Chapter 28

[206]“The Christians, in all matters exclusively relating to themselves, were governed by their own laws, administered by their own judges. Their churches and monasteries (rosæ inter spinas) were scattered over the principal towns, and their clergy were allowed to display the costume and celebrate the pompous ceremonial of the Romish religion.”—Prescott, Hist. of Ferdinand and Isabella, vol. i. p. 5.[207]Sta. Justa (founded in 554), Sta. Eulalia (559), San Sebastian (601), San Marcos (634), San Lucas (641), San Torcuato (700), and Nuestra Señora del Arribal were the churches so granted for the use of the Mozarabic Liturgy. See D. Manuel de Assas, ‘Album Art. de Toledo,’ Art.II., and D. Sisto Ramon Parro, ‘Toledo en la Mano,’ p. 167 et seq.[208]“The most remarkable buildings which illustrate the Mahomedan architecture in Toledo are the following:—The Mosque, now church of Cristo de la Luz, the Synagogues Sta. Maria la Blanca and El Transito, the church of San Roman—probably once a Mosque or Synagogue—the gateways De Visagra and Del Sol, and one on the Bridge of Alcantara, the Alcazar, the Palace of D. Diego, the Casa de Mesa, the Taller del Moro, the Temple (No. 10, Calle de San Miguel), the College of Saint Catherine, the house No. 17, Calle de las Tornerias, the ruins of the Palace of Villena, those of St. Augustine, of San Ginés, the Baths de la Cava, the Castle of San Servando (or Cervantes), the Palace of Galiena, and finally the Churches of SS. Ursula, Torcuato, Isabel, Marcos, Justo, Juan de la Penitencia, Miguel, Magdalena, Concepcion, Sta. Fé, Santiago, Cristo de la Vega (or Sta. Leocadia), SS. Tomé and Bartolomé.”—D. Manuel de Assas, Album Artist. de Toledo, and Toledo Pintoresca, Don J. Amador de los Rios. There are other remains, and among them a very fine room behind the house, No. 6, Calle la Plata.[209]Ponz, Viage de España, vol. i. p. 210, gives a view of the considerable remains of a Roman aqueduct. I believe these have now entirely disappeared.[210]There is a view in Villa Amil’s work of this interior, but the scale of the figures introduced is so much too small as to increase largely the apparent size of the building; otherwise the drawing is fairly correct. The illustration which I give is borrowed from Mr. Fergusson’s ‘Handbook of Architecture,’ and is from a drawing by M. Girault de Prangey.[211]I find that Archbishop Rodrigo consecrated the church of San Roman on the 20th of June, 1221. See his Historia de Rebus Hispaniæ, in España Sagrada, vol. ii. p. 23.[212]San Vicente Ferrer is said to have converted more than 4000 Toledan Jews in one day in the year 1407; and in 1413 a vast number were converted in Zaragoza, Calatayud, and elsewhere in the north of Spain. One cannot but fear that coming events in this case cast their shadows before them, and that the Jews had a shrewd suspicion of the coming of the edict of 1492, by which 170,000 Jewish families were ordered to leave the kingdom if they would not be baptized. The establishment of the Inquisition was the necessary consequence of such an edict. See Don J. Amador de los Rios, Estudios sobre los Judios de España, pp. 84, 106, 156.The illustration which I give of the interior of this synagogue is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’ The original view is in M. Villa-Amil’s work, and gives a fairly correct representation of the general effect of the building.[213]Said to have been so called on account of the passing-bell rung at the death of any of the Knights of Calatrava, to which it belonged afterA.D.1492; but more probably owing to its possession of a picture of the Assumption, the church having sometimes been called Nuestra Señora del Transito. It is also called San Benito. See D. Man. de Assas, Alb. Art. de Toledo.[214]For some notice of Samuel Levi, and the inscriptions in the Synagogue, see Don José Amador de los Rios, Estudios sobre los Judios de España, pp. 52-7. Translations of these long and curious Hebrew inscriptions are given by D. F. de Rades y Andrada in his Chronicle of Calatrava, pp. 24, 25.[215]The capture of Granada, on Jan. 2nd, 1492, and the expulsion of the Jews at the end of July in the same year, were jointly recorded over the door “del Escribanos” at the west end of the cathedral; and at the same time so great was the zeal for the Christian faith that nothing else was tolerated anywhere in Spain, and least of all here under the eye of the Primate. Yet it is more than doubtful whether the country gained in any way—moral or material—by such a measure; it lost its most skilled workmen, its most skilled agriculturists; and the gloom-inspiring effect of the necessary Inquisition, seems permanently to have fixed itself on Spanish art and manners. 170,000 families of Jews, at the time of their expulsion, were compelled to leave the kingdom in four months, or be baptized.—Don J. A. de los Rios, Estudios s. l. Judios, p. 156.[216]Fromartesa, a kneading-trough; a carved ceiling, made in the shape of an inverted trough. This term is usually applied by Spanish writers to this class of roof, and I follow Mr. Ford’s example in adopting it, as we have no term which exactly represents it.[217]Viage de España, vol. i. p. 41.[218]España Art. y Mon., vol. i. p. 78.[219]I am aware that in saying this I blame myself as much as any one else. The truth is, that so violent is the popular prejudice on some points that he must be a bold architect who ventures to run counter to it; and I am quite sure that the first brick building I erect with the brickwork executed in the proper way will be met by a storm of abuse from all sides. This is a great snare to most of us. Nothing is more easy than to secure popular applause in architecture. If we abstain from study, thought, or over-labour about the execution of every detail, we may still do what every one will agree is right and proper, because it has been done five hundred times before; but if we only give a fair amount of all three we are sure to meet with plenty of critics who never give any of either, and who hate our work in proportion to their own incapacity to criticize it from their old standpoint.[220]A good illustration of San Tomé is given in Villa Amil, vol. ii.[221]Toledo en La Mano, pp. 249 et seq. Escosura in Villa Amil, vol. ii. p. 51.[222]Ford’s Handbook, p. 777.[223]see ante, p. 210.[224]An inscription was put up in the time of Philip II. giving the history of the bridge, and stating that it had been rebuilt by Pedro Tenorio, the archbishop: “Pontem cujus ruinæ in declivis alveo proxime visuntur, fluminis inundatione, quæ anno DominiMCCIII.super ipsum excrevit, diruptum Toletani in hoc loco ædificaverunt. Imbecilla hominum consilia, quem jam amnis lædere non poterat, Petro et Henrico fratribus pro regno contendentibus interruptum, Petrus Tenorius archiepiscopus Toletan. reparâdum curavit.”A quaint story is told of the building of this bridge. The architect whilst the work was going on perceived that as soon as the centres were removed the arches would fall, and confided his grief to his wife. She with woman’s wit forthwith set fire to the centring, and when the whole fell together all the world attributed the calamity to the accident of the fire. When the bridge had been rebuilt again she avowed her proceeding, but Archbishop Tenorio, instead of making her husband pay the expenses, seems to have confined himself to complimenting him on the treasure he possessed in his wife.—Cean Bermudez, Not. de los Arquos., &c., vol. i. p. 79.[225]A stone was found in the 16th century with this inscription on it:—IN NOMINE DNI CONSECRATA ECCLESIA SCTE MARIEIN CATHOLICO DIE PRIMOIDUS APRILIS ANNO FELICITER PRIMO REGNI DNINOSTRI GLORIOSISSIMI HRECCAREDI REGIS ERADCXXVThis stone is still preserved, and is interesting as a proof that a church was standing here in the year 587.[226]Bernard, the first bishop, after the expulsion of the Moors was sent from France, at the request of the king, by Hugo, Abbot of Cluny. The story of this seizure of the mosque is as follows: “Regina Constantia hortante de revete adscitis militibus Christianis, majorem Mezquilam ingressus est Toletanam, et eliminata spurcitia Mahometi, erexit altaria fidei Christianæ, et in majori turri campanas ad convocationem fidelium collocavit.” The king came back forthwith in great wrath, determined to burn both queen and archbishop, and riding into the city was met by a crowd of Moors, to whom he cried out that no injury had been done to them, but only to him who had solemnly given his oath that their mosque should be preserved to them. They, however, prudently begged him to let them release him from his oath, whereat he had great joy, and riding on into the city the matter ended peacefully.—Archbishop Rodrigo, De Rebus Hispaniæ, lib. vi. cap. xxiii.[227]“In theera1264 (A.D.1226) the king D. Fernando, and the archbishop Don Rodrigo, laid the first stones in the foundation of the church of Toledo.”—Anales Toledanos III. Salazar de Mendoza, in the prologue to the Chronicle of Cardinal D. Pedro Gonzalez de Mendoza, says that the function took place on the 14th Aug. 1227, the eve of the Assumption. The archbishop, in his History, lib. ix. cap. 13, says that the work was carried on to the great admiration of the people: “Et tunc jecerunt primum lapidem” (the Toledo MS. has lapides) “Rex et Archiepiscopus Rodericus in fundamento ecclesiæ Toletanæ, quæ in forma mexquitæ” (of a mosque) “à tempore Arabum adhue stabat: cujus fabrica opere mirabili de die in diem non sine grandi admiratione hominum exaltatur.” It is vexatious to find the archbishop who laid the first stone writing a history of his own times, and saying nothing throughout the entire volume beyond these few words about his cathedral. No one seems to be able to judge what will interest another age. Most of the archbishop’s facts are rather insignificant, and what thanks would we not have given him for any information as to the building of one of the grandest churches of the age!—See his History—finished in 1243—in vol. iii. of Coll. Patrum Ecc. Toletanæ, Madrid, 1795.[228]It is preserved in the Chapel of St. Catherine.—See Blas Ortiz, Summi Templi Toletani graphica Descriptio.[229]I venture to speak with great positiveness about some features of detail. It is possible enough that architects in various countries may develop from one original—say from a Lombard original—groups of buildings which shall have a general similarity. They may increase this similarity by travel. But in each country certain conventionalities have been introduced in the designing of details which it is most rare to see anywhere out of the country which produced them. Such,e.g., are the delicate differences between the French and English bases of the thirteenth century, nay even between the bases in various parts of the present French empire. These differences are so delicate that it is all but impossible to explain them; yet no one who has carefully studied them will doubt, when he sees a French moulding used throughout a building, that French artists had much to do with its design.[230]Cean Bermudez, Arq. de Esp., &c., vol. i. pp. 253-4; and Bellas Artes en España, passim.[231]—Width inclear ofWalls.Length inclear.Width ofNave fromc to cof Columns.feet. in.feet.feet. in.Toledo[A]178 039550 6Milan[B]186 039550 6Cologne[B]130 040544 0Paris[A]110 040048 0Bourges[A]128 037049 0Troyes[A]124 039550 0Chartres[C]100 043050 0Amiens[D]100 043549 0Reims[C]95 043048 0Lincoln[C]80 046845 0York[C]106 048652 0Westminster[C]75 050538 0A: Five aisles, exclusive of chapels between buttresses.B: Three aisles, exclusive of chapels between buttresses.C: Five aisles.D: Three aisles.[232]The north-west tower only was built, and this long after the original foundation of the church (i.e.circa 1380-1440). Blas Ortiz, speaking of the foundation of the Mozarabic chapel at the west end of the opposite (south) aisle, says it was placed “in extrema Templi parte, ubi cœptæ turris fundamenta surgebant.” The four western bays of the nave are no doubt rather later in date than the rest of the church, but they follow the same general design, and are not distinguishable on the ground-plan. My ground-plan of this enormous cathedral is deficient in some details; but my readers will pardon any departure from absolute accuracy in every part, when they consider how much useless labour the representation of every detail entails in such a work, and how impossible it would be for any one without a great deal of time at his disposal to do more than I have done. I am not aware that any plan of this cathedral has ever before been published. I omitted to examine a detached chapel—that I believe of the “Reyes Nuevos”—but with this exception, I think my plan shows the whole of the old portion of the work quite accurately.[233]The account given by Blas Ortiz (who wrote his description of the cathedral in the time of Philip II.) ought to be given here, because it seems to show that in his time the roofs were not entirely covered with stone, but, as at present, with tile roofs in some parts above the stone. “Ecclesiæ testudines,” he says, “candidæ sunt, muniunt eas, et ab imbribus aliisque incommodis protegunt tabulata magna (sive contiguationes) artificiose composita, fulcris statura hominis altioribus suffulta, tectaque partim tegulis, partim lateribus ac planis lapidibus. Turriculæ lapideæ in modum pyramidum erectæ, e singulis (inquam) pilis per totum ædificium exeunt, quæ sacram Basilicam extrinsecus pulcherrimam faciunt.”—Descrip. Temp. Toletani, cap. xxi.[234]M. Viollet le Duc’s articles in the Dictionnaire de l’Architecture Française on the planning of French churches are extremely valuable, as indeed is all that he writes; and I take the opportunity afforded me by the aid which he has thus given me in the consideration of this question, to express the gratitude which I suppose every student of Christian art feels for what he has done towards promoting its right study.[235]That ingenious form of vault invented by modern plasterers, in which the transverse arch gives all the data for the shape of the diagonal rib, which is consequently neither a true pointed arch, nor a true curve of any kind, is, of course, the worst of all forms; and it might be thought unnecessary to utter a protest against it, were it not that we see some of our best modern buildings disfigured beyond measure by its introduction. Nothing is simpler than a good vault. The best rule for it is to make a good diagonal arch and a good transverse arch, and the filling in of the cells is pretty sure to take care of itself.[236]I refer my readers to Chapter XX. for an account of the curious likeness between this plan and one by Wilars de Honecort.[237]Plate XIV.[238]Toledo Pintoresca, p. 87.[239]I take the height of nave from Blas Ortiz. He gives the dimensions of the church in Spanish feet as follows:—Length, 404; breadth, 202; height, 116 feet.[240]Compendio del Toledo en la Mano, p. 182.[241]The western bay, on the north side, has a monument with a gable, and the spandrels between it and the side pinnacles crowded with tracery mainly composed of cusped circles. The second bay, counting from the north-west, has in the tympanum over the cusped arch figures of the twelve apostles; and over them, our Lord, with angels holding candles and censers on either side. The monument in the third bay has figures of twelve saints, and above them the coronation of the Blessed Virgin Mary. The fourth or eastern bay has a modern altar, which conceals completely the old work. The fifth bay has a Renaissance tomb of a bishop. The sixth, the same monument as in the second and third bays, with figures of twelve female saints, and above them the Resurrection, and the Last Judgment. The seventh bay corresponds with the first, which is opposite it; and the eighth bay contains the arch of communication with the choir aisle.[242]Archbishop Don Pedro Tenorio was one of the most munificent of the archbishops of Toledo. In addition to the cloister and chapel of San Blas he is said to have built the castle of San Servando, the bridge of San Martin, and the convent of Mercenarios in Toledo. Besides which, he built castles and forts on the frontier of the kingdom of Granada, and erected the town of Villafranca with its famous bridge “del Arzobispo.”[243]There are twelve bells, of which the largest is San Eugenio. There are some old lines which show its fame:—Campaña la de Toledo,Iglesia la de Leon,Reloj el de BenaventeRollos los de Villalon.[244]It is said that a number of designs were sent in competition for this monument, and that from among them that of Pablo Ortiz was selected, and a contract entered into for its erection on January 7th, 1489.—Bellas Artes en España, iii. 284.[245]These later stalls have the following inscription:—“Signa, tum marmorea, tum ligna cœlavere:Hine Philippus BurgundioEx adversum Berruguetus HispanusCertaverunt, tum artificium ingenia.Certabunt semper spertatorum judicia.”But for their whole history see Bellas Artes en España, v. 230. Borgoña carved the stalls on the Gospel side, Berruguete those on the Epistle side of the choir.—Ponz, Viage de España, i. 59. This same Felipe de Borgoña was architect of the lantern of Burgos cathedral.[246]The Reja east of the Coro was designed by Domingo Cespides, by order of the Chapter, to whom he presented a model made in wood by Martinez, a carpenter.—Toledo Pintoresca, p. 40.[247]Alonso de Covarrubias, Maestro Mayor from 1534 to 1536, mentions among his works the removal of most of the Retablos, which, he says, produced a “detestable effect.” For an account of the Retablo of the principal altar, and the names of the men who executed it, see Ponz, Viage de España, i. 65. It was designed in 1500. See also the Life of Juan de Borgoña, in Diccin., &c., de las Bellas Artes en España, vol. i. p. 163.[248]I find the following interesting account of the colours used during the different seasons of the ecclesiastical year given by Blas Ortiz, Descriptio Templi Toletani, pp. 387, 388:—White.—The Nativity and Resurrection of our Lord, and the feasts of the Blessed Virgin Mary and Virgins.Red.—Epiphany, Pentecost, Festivity of Holy Cross, Apostles, Evangelists, and Martyrs, and the Victory of Benamarin.Green.—In the procession on Palm Sunday, and the Solemnity of S. John Baptist.Saffron, or light Yellow.—On Feasts of Confessors, Doctors, and Abbots.Blue.—Trinity Sunday, and many other Sundays.Ash-colour.—Ash-Wednesday.Violet.—Advent and Lent, wars, and troubles.Black.—For the Passion of our Lord, and for funerals. And besides these all sorts of colours mixed with gold on the festival of All Saints, on account of their diversity of character, and on the coming of the king or archbishops of Toledo, or of legates from the Pope.[249]Hernando del Pulgar, in the ‘Cronica de los muy Altos y Esclarecidos Reyes Catolicos’ (part ii. cap. 65), records the erection of the church in accomplishment of a vow made after the battle of Toro; and D. Francisco de Pisa, in his ‘Descripcion de la Imperial Ciudad,’ says that Ferdinand and Isabella intended to be buried here. They changed their intention in favour of the chapel they built at Granada after the conquest.[250]Said to be portraits of Ferdinand and Isabella.—Toledo en la Mano, p. 137.[251]ANNODOMINIM.CC.LXII. X.KAL. JUL. FUITPOSITUSPRIMUS LAPIS INECCLESIABEATÆMARIÆ SEDISVALENTINÆ PER VENERABILEMPATREMDOMINUMFRATREMANDREAMTERTIUMVALENTINÆ CIVITATISEPISCOPUM.[252]This doorway ought to be compared with the south door of the nave of Lérida cathedral, the detail of which is so extremely similar to it that it is impossible, I think, to doubt that they were the work of the same men.[253]Madoz gives the same date.—Dicc. Geo. Esp. Histórico.[254]The illustration which I give of this lantern is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’[255]Noticias de los Arquitectos, &c., vol. i. p. 256.[256]Viage Lit. á las Iglesias de España, vol. i. p. 31.[257]L’an 1238, lorsque Jaques I. Roi d’Arragon assiégoit Valence, qui etait au pouvoir des Mores, il déclara que les premiers qui l’emporteroient auroient l’honneur de donner les poids, les mesures, et la monnaye de leur ville à ceux de Valence; là dessus ceux de Lérida s’y jettèrent les premiers, et prirent la ville. C’est pourquoi, lorsqu’on repeupla Valence, ils y envoyèrent une colonie, leurs mesures, et leur monnaye, dont on s’y sert encore aujourd’hui; et la ville de Valence reconnoit celle de Lérida pour sa mère.—Les Délices de l’Espagne, iv. 613. Leyden,A.D.1715.[258]Ponz, Viage de España, iv. 21, 22.[259]Valdomar also built the chapel “de los Reyes,” in the convent of San Domingo, commenced 18th June, 1439, and completed 24th June, 1476. This convent is now desecrated, and I did not see it, but it is said still to contain a good Gothic cloister.[260]Pedro Compte is mentioned as having been invited by the Archbishop of Zaragoza to a conference with four other architects as to the rebuilding of the Cimborio of his cathedral, which had fallen down in 1520.[261]Viage de Esp., vol. iv. pp. 29, 30.[262]Spain boasts other like treasures,e.g.—a figure still preserved at Mondoñedo, and which is still called “la Yuglesa,” because brought from St. Paul’s.—See Ponz, Viage de España, vol. iv. p. 43.[263]Handbook of Spain, i. 367.[264]Cean Bermudez, Arqua. y Aquos. de España, vol. i. p. 139.[265]In May, 1862.[266]Tarragona is the see of an archbishop, who claims to be equal, if not superior, to the Archbishop of Toledo. Practically, of course, he is nothing of the kind, yet he carries the assertion of his dignity so far that I noticed a Mandamos of the Cardinal Archbishop of Toledo hung up in the Coro, in which his title “Primada de las Españas,” and the same word in “Santa Iglesia Primada,” were carefully scratched through in ink.[267]España Sagrada, vol. xxv. p. 214.[268]Historia de los Condes de Barcelona, p. 183.[269]The Chapter-house at Fountains Abbey has one of the largest collections of masons’ marks I have ever seen, and in this case they are of much value, as proving how large was the number of skilled masons employed on this one small building at the same time. At Tarragona I saw nothing like the same variety of marks.[270]See p.388.[271]See illustrations of these on the ground-plan of Tarragona Cathedral,Plate XV.[272]See detail of this pavement onPlate XV.[273]In 1278 M. Bartolomé wrought nine figures of the Apostles for the façade; and in 1375 M. Jayme Castayls agreed to execute the remainder. His contract is made under the direction of Bernardo de Vallfogona, acting as architect to the Chapter, and father probably of the man of the same name who was consulted about Gerona cathedral, and who executed the reredos of the high altar at Tarragona inA.D.1426, and died inA.D.1436.[274]The stalls of the Coro were executed betweenA.D.1479 and 1493, by Francisco Gomar of Zaragoza.[275]See the illustration of this marble pavement on Plate XV.[276]Vallbona has a very fine Romanesque cruciform church with eastern apses and a low central octagonal lantern; Poblet was an early cross church with a fourteenth-century central lantern, and a cloister of the same age; and Sta. Creus is an early church with a fourteenth-century cloister, which has a projecting chapel with a fountain in it on one side similar to that at Veruela.—Parcerisa, Recuerdos, &c.[277]There is a good inn here, the Fonda del Europa. But beware of the Fonda de los Cuatro Naciones, which is dirty and bad. Tarragona may be reached easily by steamboats from Barcelona. They go twice a week in five or six hours, I believe.[278]He was buried here, and this inscription was formerly in the church: “Sub hac tribuna jacet corpus condam Wilfredi comitis filius Wilfredi, simili modo condam comitis bonæ memoriæ, Dimittat ei Dñs. Amen. Qui obiit, vi. Kal. Madii sub eraDCCCCLII.” (A.D.914).[279]San Cucufate del Vallés is not far from Barcelona; it has a fine early cloister somewhat like that of Gerona Cathedral, an early church with parallel triapsidal east end, octagonal lantern and tower on south side.—See illustrations in Parcerisa, Recuerdos, &c., de Esp. Cataluña, ii. 23, &c.[280]Cean Bermudez, Arq. de España, i. 12.[281]According to Ford it was built by Guillermo II., Patriarch of Jerusalem, in imitation of the church of the Holy Sepulchre.—Handbook for Travellers in Spain, p. 416. It was one of the churches founded by the Order of the Holy Sepulchre in Jerusalem after the year 1141, in which they sent emissaries to Spain for the purpose.—Viage Literario á las Iglesias de España, xviii. 139. The necrology of the monastery contained the obit of a canon who came from Jerusalem, called Carfilio, as follows: “Obiit Caifilius frater Saucti Sepulchri, qui edificavit ecclesiam sanctæ Annæ.—Viage Lit., xvii. 144. See ground-plan of this church onPlate XVII.[282]Plate XVI.[283]The inscription on the right hand of this door is as follows:—+ In: noīe: Dñi: nri: Ihu: Xri: ad. honorē. + Sce: Trinitatis: Pats̄. et. Filii. et. Sp̄s. Sc̄i. ac. Beate. Virginis: Marie. et Sce. crucis. Sce. q. Eulalie. Virginis. et. Martiris. Xri. ac. civis Barchn. cujus. sōm. corpus. in ista. requiescit. sede. opus. istius. eccē. fuit. inceptum. Kl. Madii año. Dñi.M.CCXCVIII. regnāte. illustrissimo. Dño. Jacobo. rege. Aragonū. Valn̄. Sardinie. Corsice. + comite. Q. Barchinone.The other inscription is on the left side of the same door:—In. noīe. Dñi. nri. Ihu. Xri. Kds. Novēbr. anno. Dñi.M.CCC.XXIX. regnante. Dño. Alfōso. rege. Aragonū. Valēcie. Sardinie. Corsice. ac. comite. Barchn. opus. hujus. sedis. operabatur. ad. laudē. Dei. ac. Bte. M Sce+ Sceq. Eulaie.

[207]Sta. Justa (founded in 554), Sta. Eulalia (559), San Sebastian (601), San Marcos (634), San Lucas (641), San Torcuato (700), and Nuestra Señora del Arribal were the churches so granted for the use of the Mozarabic Liturgy. See D. Manuel de Assas, ‘Album Art. de Toledo,’ Art.II., and D. Sisto Ramon Parro, ‘Toledo en la Mano,’ p. 167 et seq.

[208]“The most remarkable buildings which illustrate the Mahomedan architecture in Toledo are the following:—The Mosque, now church of Cristo de la Luz, the Synagogues Sta. Maria la Blanca and El Transito, the church of San Roman—probably once a Mosque or Synagogue—the gateways De Visagra and Del Sol, and one on the Bridge of Alcantara, the Alcazar, the Palace of D. Diego, the Casa de Mesa, the Taller del Moro, the Temple (No. 10, Calle de San Miguel), the College of Saint Catherine, the house No. 17, Calle de las Tornerias, the ruins of the Palace of Villena, those of St. Augustine, of San Ginés, the Baths de la Cava, the Castle of San Servando (or Cervantes), the Palace of Galiena, and finally the Churches of SS. Ursula, Torcuato, Isabel, Marcos, Justo, Juan de la Penitencia, Miguel, Magdalena, Concepcion, Sta. Fé, Santiago, Cristo de la Vega (or Sta. Leocadia), SS. Tomé and Bartolomé.”—D. Manuel de Assas, Album Artist. de Toledo, and Toledo Pintoresca, Don J. Amador de los Rios. There are other remains, and among them a very fine room behind the house, No. 6, Calle la Plata.

[209]Ponz, Viage de España, vol. i. p. 210, gives a view of the considerable remains of a Roman aqueduct. I believe these have now entirely disappeared.

[210]There is a view in Villa Amil’s work of this interior, but the scale of the figures introduced is so much too small as to increase largely the apparent size of the building; otherwise the drawing is fairly correct. The illustration which I give is borrowed from Mr. Fergusson’s ‘Handbook of Architecture,’ and is from a drawing by M. Girault de Prangey.

[211]I find that Archbishop Rodrigo consecrated the church of San Roman on the 20th of June, 1221. See his Historia de Rebus Hispaniæ, in España Sagrada, vol. ii. p. 23.

[212]San Vicente Ferrer is said to have converted more than 4000 Toledan Jews in one day in the year 1407; and in 1413 a vast number were converted in Zaragoza, Calatayud, and elsewhere in the north of Spain. One cannot but fear that coming events in this case cast their shadows before them, and that the Jews had a shrewd suspicion of the coming of the edict of 1492, by which 170,000 Jewish families were ordered to leave the kingdom if they would not be baptized. The establishment of the Inquisition was the necessary consequence of such an edict. See Don J. Amador de los Rios, Estudios sobre los Judios de España, pp. 84, 106, 156.The illustration which I give of the interior of this synagogue is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’ The original view is in M. Villa-Amil’s work, and gives a fairly correct representation of the general effect of the building.

The illustration which I give of the interior of this synagogue is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’ The original view is in M. Villa-Amil’s work, and gives a fairly correct representation of the general effect of the building.

[213]Said to have been so called on account of the passing-bell rung at the death of any of the Knights of Calatrava, to which it belonged afterA.D.1492; but more probably owing to its possession of a picture of the Assumption, the church having sometimes been called Nuestra Señora del Transito. It is also called San Benito. See D. Man. de Assas, Alb. Art. de Toledo.

[214]For some notice of Samuel Levi, and the inscriptions in the Synagogue, see Don José Amador de los Rios, Estudios sobre los Judios de España, pp. 52-7. Translations of these long and curious Hebrew inscriptions are given by D. F. de Rades y Andrada in his Chronicle of Calatrava, pp. 24, 25.

[215]The capture of Granada, on Jan. 2nd, 1492, and the expulsion of the Jews at the end of July in the same year, were jointly recorded over the door “del Escribanos” at the west end of the cathedral; and at the same time so great was the zeal for the Christian faith that nothing else was tolerated anywhere in Spain, and least of all here under the eye of the Primate. Yet it is more than doubtful whether the country gained in any way—moral or material—by such a measure; it lost its most skilled workmen, its most skilled agriculturists; and the gloom-inspiring effect of the necessary Inquisition, seems permanently to have fixed itself on Spanish art and manners. 170,000 families of Jews, at the time of their expulsion, were compelled to leave the kingdom in four months, or be baptized.—Don J. A. de los Rios, Estudios s. l. Judios, p. 156.

[216]Fromartesa, a kneading-trough; a carved ceiling, made in the shape of an inverted trough. This term is usually applied by Spanish writers to this class of roof, and I follow Mr. Ford’s example in adopting it, as we have no term which exactly represents it.

[217]Viage de España, vol. i. p. 41.

[218]España Art. y Mon., vol. i. p. 78.

[219]I am aware that in saying this I blame myself as much as any one else. The truth is, that so violent is the popular prejudice on some points that he must be a bold architect who ventures to run counter to it; and I am quite sure that the first brick building I erect with the brickwork executed in the proper way will be met by a storm of abuse from all sides. This is a great snare to most of us. Nothing is more easy than to secure popular applause in architecture. If we abstain from study, thought, or over-labour about the execution of every detail, we may still do what every one will agree is right and proper, because it has been done five hundred times before; but if we only give a fair amount of all three we are sure to meet with plenty of critics who never give any of either, and who hate our work in proportion to their own incapacity to criticize it from their old standpoint.

[220]A good illustration of San Tomé is given in Villa Amil, vol. ii.

[221]Toledo en La Mano, pp. 249 et seq. Escosura in Villa Amil, vol. ii. p. 51.

[222]Ford’s Handbook, p. 777.

[223]see ante, p. 210.

[224]An inscription was put up in the time of Philip II. giving the history of the bridge, and stating that it had been rebuilt by Pedro Tenorio, the archbishop: “Pontem cujus ruinæ in declivis alveo proxime visuntur, fluminis inundatione, quæ anno DominiMCCIII.super ipsum excrevit, diruptum Toletani in hoc loco ædificaverunt. Imbecilla hominum consilia, quem jam amnis lædere non poterat, Petro et Henrico fratribus pro regno contendentibus interruptum, Petrus Tenorius archiepiscopus Toletan. reparâdum curavit.”A quaint story is told of the building of this bridge. The architect whilst the work was going on perceived that as soon as the centres were removed the arches would fall, and confided his grief to his wife. She with woman’s wit forthwith set fire to the centring, and when the whole fell together all the world attributed the calamity to the accident of the fire. When the bridge had been rebuilt again she avowed her proceeding, but Archbishop Tenorio, instead of making her husband pay the expenses, seems to have confined himself to complimenting him on the treasure he possessed in his wife.—Cean Bermudez, Not. de los Arquos., &c., vol. i. p. 79.

A quaint story is told of the building of this bridge. The architect whilst the work was going on perceived that as soon as the centres were removed the arches would fall, and confided his grief to his wife. She with woman’s wit forthwith set fire to the centring, and when the whole fell together all the world attributed the calamity to the accident of the fire. When the bridge had been rebuilt again she avowed her proceeding, but Archbishop Tenorio, instead of making her husband pay the expenses, seems to have confined himself to complimenting him on the treasure he possessed in his wife.—Cean Bermudez, Not. de los Arquos., &c., vol. i. p. 79.

[225]A stone was found in the 16th century with this inscription on it:—IN NOMINE DNI CONSECRATA ECCLESIA SCTE MARIEIN CATHOLICO DIE PRIMOIDUS APRILIS ANNO FELICITER PRIMO REGNI DNINOSTRI GLORIOSISSIMI HRECCAREDI REGIS ERADCXXVThis stone is still preserved, and is interesting as a proof that a church was standing here in the year 587.

[225]A stone was found in the 16th century with this inscription on it:—

IN NOMINE DNI CONSECRATA ECCLESIA SCTE MARIEIN CATHOLICO DIE PRIMOIDUS APRILIS ANNO FELICITER PRIMO REGNI DNINOSTRI GLORIOSISSIMI HRECCAREDI REGIS ERADCXXV

This stone is still preserved, and is interesting as a proof that a church was standing here in the year 587.

[226]Bernard, the first bishop, after the expulsion of the Moors was sent from France, at the request of the king, by Hugo, Abbot of Cluny. The story of this seizure of the mosque is as follows: “Regina Constantia hortante de revete adscitis militibus Christianis, majorem Mezquilam ingressus est Toletanam, et eliminata spurcitia Mahometi, erexit altaria fidei Christianæ, et in majori turri campanas ad convocationem fidelium collocavit.” The king came back forthwith in great wrath, determined to burn both queen and archbishop, and riding into the city was met by a crowd of Moors, to whom he cried out that no injury had been done to them, but only to him who had solemnly given his oath that their mosque should be preserved to them. They, however, prudently begged him to let them release him from his oath, whereat he had great joy, and riding on into the city the matter ended peacefully.—Archbishop Rodrigo, De Rebus Hispaniæ, lib. vi. cap. xxiii.

[227]“In theera1264 (A.D.1226) the king D. Fernando, and the archbishop Don Rodrigo, laid the first stones in the foundation of the church of Toledo.”—Anales Toledanos III. Salazar de Mendoza, in the prologue to the Chronicle of Cardinal D. Pedro Gonzalez de Mendoza, says that the function took place on the 14th Aug. 1227, the eve of the Assumption. The archbishop, in his History, lib. ix. cap. 13, says that the work was carried on to the great admiration of the people: “Et tunc jecerunt primum lapidem” (the Toledo MS. has lapides) “Rex et Archiepiscopus Rodericus in fundamento ecclesiæ Toletanæ, quæ in forma mexquitæ” (of a mosque) “à tempore Arabum adhue stabat: cujus fabrica opere mirabili de die in diem non sine grandi admiratione hominum exaltatur.” It is vexatious to find the archbishop who laid the first stone writing a history of his own times, and saying nothing throughout the entire volume beyond these few words about his cathedral. No one seems to be able to judge what will interest another age. Most of the archbishop’s facts are rather insignificant, and what thanks would we not have given him for any information as to the building of one of the grandest churches of the age!—See his History—finished in 1243—in vol. iii. of Coll. Patrum Ecc. Toletanæ, Madrid, 1795.

[228]It is preserved in the Chapel of St. Catherine.—See Blas Ortiz, Summi Templi Toletani graphica Descriptio.

[229]I venture to speak with great positiveness about some features of detail. It is possible enough that architects in various countries may develop from one original—say from a Lombard original—groups of buildings which shall have a general similarity. They may increase this similarity by travel. But in each country certain conventionalities have been introduced in the designing of details which it is most rare to see anywhere out of the country which produced them. Such,e.g., are the delicate differences between the French and English bases of the thirteenth century, nay even between the bases in various parts of the present French empire. These differences are so delicate that it is all but impossible to explain them; yet no one who has carefully studied them will doubt, when he sees a French moulding used throughout a building, that French artists had much to do with its design.

[230]Cean Bermudez, Arq. de Esp., &c., vol. i. pp. 253-4; and Bellas Artes en España, passim.

[231]—Width inclear ofWalls.Length inclear.Width ofNave fromc to cof Columns.feet. in.feet.feet. in.Toledo[A]178 039550 6Milan[B]186 039550 6Cologne[B]130 040544 0Paris[A]110 040048 0Bourges[A]128 037049 0Troyes[A]124 039550 0Chartres[C]100 043050 0Amiens[D]100 043549 0Reims[C]95 043048 0Lincoln[C]80 046845 0York[C]106 048652 0Westminster[C]75 050538 0A: Five aisles, exclusive of chapels between buttresses.B: Three aisles, exclusive of chapels between buttresses.C: Five aisles.D: Three aisles.

[231]

A: Five aisles, exclusive of chapels between buttresses.B: Three aisles, exclusive of chapels between buttresses.C: Five aisles.D: Three aisles.

[232]The north-west tower only was built, and this long after the original foundation of the church (i.e.circa 1380-1440). Blas Ortiz, speaking of the foundation of the Mozarabic chapel at the west end of the opposite (south) aisle, says it was placed “in extrema Templi parte, ubi cœptæ turris fundamenta surgebant.” The four western bays of the nave are no doubt rather later in date than the rest of the church, but they follow the same general design, and are not distinguishable on the ground-plan. My ground-plan of this enormous cathedral is deficient in some details; but my readers will pardon any departure from absolute accuracy in every part, when they consider how much useless labour the representation of every detail entails in such a work, and how impossible it would be for any one without a great deal of time at his disposal to do more than I have done. I am not aware that any plan of this cathedral has ever before been published. I omitted to examine a detached chapel—that I believe of the “Reyes Nuevos”—but with this exception, I think my plan shows the whole of the old portion of the work quite accurately.

[233]The account given by Blas Ortiz (who wrote his description of the cathedral in the time of Philip II.) ought to be given here, because it seems to show that in his time the roofs were not entirely covered with stone, but, as at present, with tile roofs in some parts above the stone. “Ecclesiæ testudines,” he says, “candidæ sunt, muniunt eas, et ab imbribus aliisque incommodis protegunt tabulata magna (sive contiguationes) artificiose composita, fulcris statura hominis altioribus suffulta, tectaque partim tegulis, partim lateribus ac planis lapidibus. Turriculæ lapideæ in modum pyramidum erectæ, e singulis (inquam) pilis per totum ædificium exeunt, quæ sacram Basilicam extrinsecus pulcherrimam faciunt.”—Descrip. Temp. Toletani, cap. xxi.

[234]M. Viollet le Duc’s articles in the Dictionnaire de l’Architecture Française on the planning of French churches are extremely valuable, as indeed is all that he writes; and I take the opportunity afforded me by the aid which he has thus given me in the consideration of this question, to express the gratitude which I suppose every student of Christian art feels for what he has done towards promoting its right study.

[235]That ingenious form of vault invented by modern plasterers, in which the transverse arch gives all the data for the shape of the diagonal rib, which is consequently neither a true pointed arch, nor a true curve of any kind, is, of course, the worst of all forms; and it might be thought unnecessary to utter a protest against it, were it not that we see some of our best modern buildings disfigured beyond measure by its introduction. Nothing is simpler than a good vault. The best rule for it is to make a good diagonal arch and a good transverse arch, and the filling in of the cells is pretty sure to take care of itself.

[236]I refer my readers to Chapter XX. for an account of the curious likeness between this plan and one by Wilars de Honecort.

[237]Plate XIV.

[238]Toledo Pintoresca, p. 87.

[239]I take the height of nave from Blas Ortiz. He gives the dimensions of the church in Spanish feet as follows:—Length, 404; breadth, 202; height, 116 feet.

[240]Compendio del Toledo en la Mano, p. 182.

[241]The western bay, on the north side, has a monument with a gable, and the spandrels between it and the side pinnacles crowded with tracery mainly composed of cusped circles. The second bay, counting from the north-west, has in the tympanum over the cusped arch figures of the twelve apostles; and over them, our Lord, with angels holding candles and censers on either side. The monument in the third bay has figures of twelve saints, and above them the coronation of the Blessed Virgin Mary. The fourth or eastern bay has a modern altar, which conceals completely the old work. The fifth bay has a Renaissance tomb of a bishop. The sixth, the same monument as in the second and third bays, with figures of twelve female saints, and above them the Resurrection, and the Last Judgment. The seventh bay corresponds with the first, which is opposite it; and the eighth bay contains the arch of communication with the choir aisle.

[242]Archbishop Don Pedro Tenorio was one of the most munificent of the archbishops of Toledo. In addition to the cloister and chapel of San Blas he is said to have built the castle of San Servando, the bridge of San Martin, and the convent of Mercenarios in Toledo. Besides which, he built castles and forts on the frontier of the kingdom of Granada, and erected the town of Villafranca with its famous bridge “del Arzobispo.”

[243]There are twelve bells, of which the largest is San Eugenio. There are some old lines which show its fame:—Campaña la de Toledo,Iglesia la de Leon,Reloj el de BenaventeRollos los de Villalon.

[243]There are twelve bells, of which the largest is San Eugenio. There are some old lines which show its fame:—

Campaña la de Toledo,Iglesia la de Leon,Reloj el de BenaventeRollos los de Villalon.

[244]It is said that a number of designs were sent in competition for this monument, and that from among them that of Pablo Ortiz was selected, and a contract entered into for its erection on January 7th, 1489.—Bellas Artes en España, iii. 284.

[245]These later stalls have the following inscription:—“Signa, tum marmorea, tum ligna cœlavere:Hine Philippus BurgundioEx adversum Berruguetus HispanusCertaverunt, tum artificium ingenia.Certabunt semper spertatorum judicia.”But for their whole history see Bellas Artes en España, v. 230. Borgoña carved the stalls on the Gospel side, Berruguete those on the Epistle side of the choir.—Ponz, Viage de España, i. 59. This same Felipe de Borgoña was architect of the lantern of Burgos cathedral.

[245]These later stalls have the following inscription:—

“Signa, tum marmorea, tum ligna cœlavere:Hine Philippus BurgundioEx adversum Berruguetus HispanusCertaverunt, tum artificium ingenia.Certabunt semper spertatorum judicia.”

But for their whole history see Bellas Artes en España, v. 230. Borgoña carved the stalls on the Gospel side, Berruguete those on the Epistle side of the choir.—Ponz, Viage de España, i. 59. This same Felipe de Borgoña was architect of the lantern of Burgos cathedral.

[246]The Reja east of the Coro was designed by Domingo Cespides, by order of the Chapter, to whom he presented a model made in wood by Martinez, a carpenter.—Toledo Pintoresca, p. 40.

[247]Alonso de Covarrubias, Maestro Mayor from 1534 to 1536, mentions among his works the removal of most of the Retablos, which, he says, produced a “detestable effect.” For an account of the Retablo of the principal altar, and the names of the men who executed it, see Ponz, Viage de España, i. 65. It was designed in 1500. See also the Life of Juan de Borgoña, in Diccin., &c., de las Bellas Artes en España, vol. i. p. 163.

[248]I find the following interesting account of the colours used during the different seasons of the ecclesiastical year given by Blas Ortiz, Descriptio Templi Toletani, pp. 387, 388:—White.—The Nativity and Resurrection of our Lord, and the feasts of the Blessed Virgin Mary and Virgins.Red.—Epiphany, Pentecost, Festivity of Holy Cross, Apostles, Evangelists, and Martyrs, and the Victory of Benamarin.Green.—In the procession on Palm Sunday, and the Solemnity of S. John Baptist.Saffron, or light Yellow.—On Feasts of Confessors, Doctors, and Abbots.Blue.—Trinity Sunday, and many other Sundays.Ash-colour.—Ash-Wednesday.Violet.—Advent and Lent, wars, and troubles.Black.—For the Passion of our Lord, and for funerals. And besides these all sorts of colours mixed with gold on the festival of All Saints, on account of their diversity of character, and on the coming of the king or archbishops of Toledo, or of legates from the Pope.

[248]I find the following interesting account of the colours used during the different seasons of the ecclesiastical year given by Blas Ortiz, Descriptio Templi Toletani, pp. 387, 388:—

White.—The Nativity and Resurrection of our Lord, and the feasts of the Blessed Virgin Mary and Virgins.

Red.—Epiphany, Pentecost, Festivity of Holy Cross, Apostles, Evangelists, and Martyrs, and the Victory of Benamarin.

Green.—In the procession on Palm Sunday, and the Solemnity of S. John Baptist.

Saffron, or light Yellow.—On Feasts of Confessors, Doctors, and Abbots.

Blue.—Trinity Sunday, and many other Sundays.

Ash-colour.—Ash-Wednesday.

Violet.—Advent and Lent, wars, and troubles.

Black.—For the Passion of our Lord, and for funerals. And besides these all sorts of colours mixed with gold on the festival of All Saints, on account of their diversity of character, and on the coming of the king or archbishops of Toledo, or of legates from the Pope.

[249]Hernando del Pulgar, in the ‘Cronica de los muy Altos y Esclarecidos Reyes Catolicos’ (part ii. cap. 65), records the erection of the church in accomplishment of a vow made after the battle of Toro; and D. Francisco de Pisa, in his ‘Descripcion de la Imperial Ciudad,’ says that Ferdinand and Isabella intended to be buried here. They changed their intention in favour of the chapel they built at Granada after the conquest.

[250]Said to be portraits of Ferdinand and Isabella.—Toledo en la Mano, p. 137.

[251]ANNODOMINIM.CC.LXII. X.KAL. JUL. FUITPOSITUSPRIMUS LAPIS INECCLESIABEATÆMARIÆ SEDISVALENTINÆ PER VENERABILEMPATREMDOMINUMFRATREMANDREAMTERTIUMVALENTINÆ CIVITATISEPISCOPUM.

[251]

ANNODOMINIM.CC.LXII. X.KAL. JUL. FUITPOSITUSPRIMUS LAPIS INECCLESIABEATÆMARIÆ SEDISVALENTINÆ PER VENERABILEMPATREMDOMINUMFRATREMANDREAMTERTIUMVALENTINÆ CIVITATISEPISCOPUM.

[252]This doorway ought to be compared with the south door of the nave of Lérida cathedral, the detail of which is so extremely similar to it that it is impossible, I think, to doubt that they were the work of the same men.

[253]Madoz gives the same date.—Dicc. Geo. Esp. Histórico.

[254]The illustration which I give of this lantern is borrowed from Mr. Fergusson’s ‘Handbook of Architecture.’

[255]Noticias de los Arquitectos, &c., vol. i. p. 256.

[256]Viage Lit. á las Iglesias de España, vol. i. p. 31.

[257]L’an 1238, lorsque Jaques I. Roi d’Arragon assiégoit Valence, qui etait au pouvoir des Mores, il déclara que les premiers qui l’emporteroient auroient l’honneur de donner les poids, les mesures, et la monnaye de leur ville à ceux de Valence; là dessus ceux de Lérida s’y jettèrent les premiers, et prirent la ville. C’est pourquoi, lorsqu’on repeupla Valence, ils y envoyèrent une colonie, leurs mesures, et leur monnaye, dont on s’y sert encore aujourd’hui; et la ville de Valence reconnoit celle de Lérida pour sa mère.—Les Délices de l’Espagne, iv. 613. Leyden,A.D.1715.

[258]Ponz, Viage de España, iv. 21, 22.

[259]Valdomar also built the chapel “de los Reyes,” in the convent of San Domingo, commenced 18th June, 1439, and completed 24th June, 1476. This convent is now desecrated, and I did not see it, but it is said still to contain a good Gothic cloister.

[260]Pedro Compte is mentioned as having been invited by the Archbishop of Zaragoza to a conference with four other architects as to the rebuilding of the Cimborio of his cathedral, which had fallen down in 1520.

[261]Viage de Esp., vol. iv. pp. 29, 30.

[262]Spain boasts other like treasures,e.g.—a figure still preserved at Mondoñedo, and which is still called “la Yuglesa,” because brought from St. Paul’s.—See Ponz, Viage de España, vol. iv. p. 43.

[263]Handbook of Spain, i. 367.

[264]Cean Bermudez, Arqua. y Aquos. de España, vol. i. p. 139.

[265]In May, 1862.

[266]Tarragona is the see of an archbishop, who claims to be equal, if not superior, to the Archbishop of Toledo. Practically, of course, he is nothing of the kind, yet he carries the assertion of his dignity so far that I noticed a Mandamos of the Cardinal Archbishop of Toledo hung up in the Coro, in which his title “Primada de las Españas,” and the same word in “Santa Iglesia Primada,” were carefully scratched through in ink.

[267]España Sagrada, vol. xxv. p. 214.

[268]Historia de los Condes de Barcelona, p. 183.

[269]The Chapter-house at Fountains Abbey has one of the largest collections of masons’ marks I have ever seen, and in this case they are of much value, as proving how large was the number of skilled masons employed on this one small building at the same time. At Tarragona I saw nothing like the same variety of marks.

[270]See p.388.

[271]See illustrations of these on the ground-plan of Tarragona Cathedral,Plate XV.

[272]See detail of this pavement onPlate XV.

[273]In 1278 M. Bartolomé wrought nine figures of the Apostles for the façade; and in 1375 M. Jayme Castayls agreed to execute the remainder. His contract is made under the direction of Bernardo de Vallfogona, acting as architect to the Chapter, and father probably of the man of the same name who was consulted about Gerona cathedral, and who executed the reredos of the high altar at Tarragona inA.D.1426, and died inA.D.1436.

[274]The stalls of the Coro were executed betweenA.D.1479 and 1493, by Francisco Gomar of Zaragoza.

[275]See the illustration of this marble pavement on Plate XV.

[276]Vallbona has a very fine Romanesque cruciform church with eastern apses and a low central octagonal lantern; Poblet was an early cross church with a fourteenth-century central lantern, and a cloister of the same age; and Sta. Creus is an early church with a fourteenth-century cloister, which has a projecting chapel with a fountain in it on one side similar to that at Veruela.—Parcerisa, Recuerdos, &c.

[277]There is a good inn here, the Fonda del Europa. But beware of the Fonda de los Cuatro Naciones, which is dirty and bad. Tarragona may be reached easily by steamboats from Barcelona. They go twice a week in five or six hours, I believe.

[278]He was buried here, and this inscription was formerly in the church: “Sub hac tribuna jacet corpus condam Wilfredi comitis filius Wilfredi, simili modo condam comitis bonæ memoriæ, Dimittat ei Dñs. Amen. Qui obiit, vi. Kal. Madii sub eraDCCCCLII.” (A.D.914).

[279]San Cucufate del Vallés is not far from Barcelona; it has a fine early cloister somewhat like that of Gerona Cathedral, an early church with parallel triapsidal east end, octagonal lantern and tower on south side.—See illustrations in Parcerisa, Recuerdos, &c., de Esp. Cataluña, ii. 23, &c.

[280]Cean Bermudez, Arq. de España, i. 12.

[281]According to Ford it was built by Guillermo II., Patriarch of Jerusalem, in imitation of the church of the Holy Sepulchre.—Handbook for Travellers in Spain, p. 416. It was one of the churches founded by the Order of the Holy Sepulchre in Jerusalem after the year 1141, in which they sent emissaries to Spain for the purpose.—Viage Literario á las Iglesias de España, xviii. 139. The necrology of the monastery contained the obit of a canon who came from Jerusalem, called Carfilio, as follows: “Obiit Caifilius frater Saucti Sepulchri, qui edificavit ecclesiam sanctæ Annæ.—Viage Lit., xvii. 144. See ground-plan of this church onPlate XVII.

[282]Plate XVI.

[283]The inscription on the right hand of this door is as follows:—+ In: noīe: Dñi: nri: Ihu: Xri: ad. honorē. + Sce: Trinitatis: Pats̄. et. Filii. et. Sp̄s. Sc̄i. ac. Beate. Virginis: Marie. et Sce. crucis. Sce. q. Eulalie. Virginis. et. Martiris. Xri. ac. civis Barchn. cujus. sōm. corpus. in ista. requiescit. sede. opus. istius. eccē. fuit. inceptum. Kl. Madii año. Dñi.M.CCXCVIII. regnāte. illustrissimo. Dño. Jacobo. rege. Aragonū. Valn̄. Sardinie. Corsice. + comite. Q. Barchinone.The other inscription is on the left side of the same door:—In. noīe. Dñi. nri. Ihu. Xri. Kds. Novēbr. anno. Dñi.M.CCC.XXIX. regnante. Dño. Alfōso. rege. Aragonū. Valēcie. Sardinie. Corsice. ac. comite. Barchn. opus. hujus. sedis. operabatur. ad. laudē. Dei. ac. Bte. M Sce+ Sceq. Eulaie.

[283]The inscription on the right hand of this door is as follows:—

+ In: noīe: Dñi: nri: Ihu: Xri: ad. honorē. + Sce: Trinitatis: Pats̄. et. Filii. et. Sp̄s. Sc̄i. ac. Beate. Virginis: Marie. et Sce. crucis. Sce. q. Eulalie. Virginis. et. Martiris. Xri. ac. civis Barchn. cujus. sōm. corpus. in ista. requiescit. sede. opus. istius. eccē. fuit. inceptum. Kl. Madii año. Dñi.M.CCXCVIII. regnāte. illustrissimo. Dño. Jacobo. rege. Aragonū. Valn̄. Sardinie. Corsice. + comite. Q. Barchinone.

The other inscription is on the left side of the same door:—

In. noīe. Dñi. nri. Ihu. Xri. Kds. Novēbr. anno. Dñi.M.CCC.XXIX. regnante. Dño. Alfōso. rege. Aragonū. Valēcie. Sardinie. Corsice. ac. comite. Barchn. opus. hujus. sedis. operabatur. ad. laudē. Dei. ac. Bte. M Sce+ Sceq. Eulaie.

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