Chapter 30

[389]His name occurs in an inscription on it.[390]Madoz, vol. xv. p. 685.[391]SeePlate XXIII.[392]See ground-plan,Plate XXIV.[393]The leadflêchein a similar position at Reims cathedral will no doubt be remembered by many of my readers. No doubt, however, this work at Tudela is earlier, and being of stone is even more remarkable.[394]There is, I believe, a fine old bridge of seventeen arches over the Ebro, near Tudela: unfortunately I did not see it.[395]See illustration on next page.[396]I believe a portion of the old cloister remains. I was not aware of this, and seeing the fine late cloister, assumed, unfortunately, that there was nothing else to be seen.[397]Plate XXV.[398]Arq. de España, i. p. 83.[399]See ground-plan onPlate XXV.[400]Morales, lib. 12, cap. 76.[401]See p.212.[402]Noticias de los Arq. de España, i. 1-14.[403]Esp. Sag., vol. xxxvii. p. 86-7.[404]Recuerdos y Bellezas de Esp., Ast. y Leon, p. 76 and 244.[405]See the account of it in the Historia Compostellana, lib. i. cap. 78.[406]See p.331. I am not certain as to the dedication. I refer to the small church near San Pedro de los Galligans.[407]For illustration, &c., seep. 366, andPlate XXI.[408]Both these churches are planned upon precisely the same system of proportions founded upon the equilateral triangle. Taking the width of the nave and aisles as the base, the apex of the triangle gives the centre from which the vault of the nave is struck; and all the subordinate divisions are also so exactly marked that there is hardly room for doubt that the system was distinctly recognised, and intentionally acted on.[409]The Monistrol I refer to is the village between S. Etienne and Le Puy, and not the place of the same name at the foot of Monserrat, in Cataluña.[410]E.g., St. Albans, Winchester Cathedral, St. Cross Chapel.[411]The parallel holds good in very small matters. At Westminster the clergy and choir assemble in the choir, and begin the service so soon as the clock strikes. In several Spanish churches the same custom obtains. I think it would be a great gain if the metal screens across the transepts were moved so as to form the narrow central passage from the choir to the altar, so common in Spain. They would then have some meaning and use, which they certainly have not now.[412]Seepp. 385-6.[413]The design of this chevet is almost a repetition of that of the church at Avenières, near Laval, which is said to have been commenced as early asA.D.1040, though most of it is certainly later by a century than this.[414]I might perhaps add Tarazona Cathedral to this list.[415]See ground-plan,Plate XIV.[416]The round portion of the Temple Church, London, has its aisle groined with alternate bays of square and triangular outline. The latter have no ribs, and are constructed differently from those at Toledo.[417]Facsimile of the Sketch-book of Wilars de Honecort. Eng. edit. Edited by Professor Willis. Plate XXVIII.[418]Beauvais cathedral was commenced inA.D.1225.[419]See the plan,Plate I.The chapel marked B is, I think, the only original one; and this repeated five times will probably give the exact plan of the original chevet.[420]The commerce of the south of Spain with England was considerable; and it is just possible that some of the middle-pointed work in Valencia may have an English origin. The English sovereigns encouraged the Catalan traders by considerable immunities to frequent their ports during the fourteenth century.—Macpherson, ‘Annals of Commerce,’ i. 502, &c.[421]I speak only of town churches here: our little English village churches are the most perfect in the world, so thoroughly characteristic, and at the same time so suitable for their work, that we may always study them with greater gain than any others elsewhere in Europe.[422]Seefrontispiece. In so small an engraving—putting out of view the extreme difficulty of getting a faithful transcript of a careful sketch of sculpture—it is impossible to do justice to such a work; and I must ask my readers rather to accept my statement than to pass judgment by aid only of the illustration.[423]See p.283, and illustrations on ground-plan,Plate XV.[424]See p.366.[425]See p.381.[426]See p.215.[427]See ground-plan,Plate IV.[428]See illustration of this battlement at Las Huelgas, No. 4, page 38, and on the walls at Veruela, No. 48, page 384.[429]‘Annals of the Artists of Spain,’ 1848.[430]The paintings at Leon seem to me to be such as one might expect at the hands of Dello Delli. He is said to have made Seville his place of residence during the many years that he spent in Spain. But the period of his abode there is just that during which the paintings at Leon were executed.[431]See the short account of these painters in Mr. Stirling’s ‘Annals of the Artists of Spain,’ vol. i. chap. ii.[432]I venture to regard the stern simplicity of Mr. Butterfield’s noble church of St. Alban as his silent protest against the vulgarity in art to which I here refer. Without any sculpture, this church is from first to last the work of a great master of his art, and one for which his brother artists owe him a great debt of gratitude.[433]See Appendix. The maravedi was, I believe, a more valuable coin than it is now, so that it is difficult to say what amount of money at the present day this grant really represents.[434]This inscription is referred to atp. 144.[435]I do not know the meaning of this term; it is evidently the name of a trade or calling, and probably corresponds with “masons,” as distinguished from “wallers;” the two terms, “Lambardos” and “Cementarios,” being used somewhat in opposition to each other.Cementarios is one of the earliest terms used in documents referring to English buildings, and no doubt would be properly translated by the word “mason;” but in the case of the Urgel contract, it seems there were to be several “Lambardos,” and, as “Cementarios” were only to be employed if absolutely necessary, there must have been some distinction between them, which was more probably of grade or degree than of profession. Possibly the “Lambardos” may have been members of a guild, “Cementarios” common masons.[436]This contract is given by Don J. Villanueva, Viage Literario a las Iglesias de España, vol. ix. pp. 298-300. I extract from it the parts which are especially interesting:—“Ego A. DeiGratia Urgellensis episcopus, cum consilio et comuni voluntate omnium canonicorum Urgellensis ecclesiae, commendo tibi Raymundo Lambardo opus beatae Mariae, cum omnibus rebus tam mobilibus quam immobilibus, scilicet, mansos, alodia, vineas, census, et cum oblationibus oppressionum et penitentialium, et cum elemosinis fidelium, et cum numis clericorum, et cum omnibus illis, quae hucusque vel in antea aliquo titulo videntur spectasse sive spectare ad prephatum opus beatae Mariae. Et preterea damus tibi cibum canonicalem in omni vita tua, tali videlicet pacto, ut tu fideliter et sine omni enganno claudas nobis ecclesiam totam, et leves coclearia sive campanilia, unum filum super omnes voltas, et facias ipsum cugul bene et decenter cum omnibus sibi pertinentibus. Et Ego R. Lambardus convenio Domino Deo, et beatae Mariae, et domino episcopo, et omnibus clericis Urgellensis ecclesiae, qui modo ibi sunt, vel in antea erunt, quod hoc totum, sicut superius scriptum est, vitâ comite, perficiam ab hoc presenti Pascha, quod celebratur anno dominicae incarnationis M.º C.º LXXV.º, usque ad VII. annos fideliter, et sine omni enganno. Ita quod singulis annis habeam et teneam ad servitium beatae Mariae, me quinto, de Lambardis idest IIII. lambardos et me, et hoc in yeme et in estate indesinenter. Et si cum istis potero perficere, faciam, et si non potero addam tot cementarios, quod supra dictum opus consumetur in prephato termino. Post VII. vero annos, cum iam dictum opus, divina misercordiâ opitulante, complevero, habeam libere et quiete cibum meum dum vixero, et de honore operis et avere stem in voluntate et mandamento capituli postea. Preterea nos, tam episcopus, quam canonici, omnino prohibemus tibi Raymundo Lambardo, quod per te, vel per submisam personam, non alienes vel obliges aliqua occasione quicquam de honore operis, quae modo habet, vel in antea habebit. De tuo itaque honore, quem nomine tuo adquisisti, et de avere, fac in vita et in morte quod tibi placuerit post illud septennium. Si forte, quod absit, tanta esterilitas terrae incubuerit, quod te nimium videamus gravari, liceat nobis prephato termino addere secundum arbitrium nostrum, ne notam periurii incurras. Sed aliquis vel aliqui nostrum praedictam relaxationem sacramenti facere tibi non possit, nisi in pleno capitulo, comuni deliberatione et consensu omnium. Et quicquid melioraveris in honore operis, remaneat ad ipsum opus. Si vero pro melioracione honoris operis oporteret te aliquid impignorare vel comutare, non possis hoc facere sine consilio et conveniencia capituli. Juro ego R. Lambardus, quod hoc totum, sicut superius est scriptum, perficiam, et fidelitatem et indempnitatem canonicae beatae Mariae Urgellensis ecclesiae pro posse meo, per Deum, et haec sancta evangelia = Sig + num R. Lambardi, qui hoc iuro, claudo et confirmo = Sig + num domni Arnalli Urgellensis episcopi,” &c. &c.[437]E.g.at San Cristóbal de Ibeas—Eia M. C. LXX.Fuit hoc opus fundatumMartino Abbate regentePetrus ChristophorusMagister hujus operis fuit.Or another at Ciudad Rodrigo—Aqui yace Benito Sanchez,Maestro que fue de esta obra, eDios le perdone. Amen.So too the inscription given atp. 234of the architect of Toledo. The same term was used extensively at the same time over the greater part of Europe.In France we have these among others:—“Ci git Robert de Couey, Maitre de Notre Dame et de Saint Nicaise, qui trépassa l’an 1311.” InA.D.1251, at Rouen, “Walter de St. Hilaire, Cementarius, magister operis,” is mentioned; and inA.D.1440, in the same city, we have this inscription: “Ci git M. Alexandre de Berneval, Maistre des Œuvres de Massonerie au Baillage de Rouen et de cette église.” In Italy the same term was commonly used, as,e.g., in the Baptistery at Pisa, which has the inscription, “Deotisalvi magister hujus operis;” and again in the church at Mensano near Siena, which has “Opus quod videtis Bonusamicus magister fecit.” But in England, according to Mr. Wyatt Papworth, who has devoted much pains to the elucidation of the subject, the term “Master of the works” appears to be very seldom employed, and sometimes of the officer called the “operarius” in Spain, rather than of the architect.[438]Villanueva, Viage Lit. xxi. 106.[439]Fabre is spoken of in the inscription on the shrine as Jacobus “Majoricarum, cum suis consortibus.”[440]These fabric rolls contain the names of Martin Mayol, G. Scardon, Bernardo Desdons, and Jayme Pelicer, as painters of pictures betweenA.D.1327 and 1339.[441]See p.319.[442]See p.332.[443]See p.57.[444]See p.349, note 1.[445]Villanueva, Viage Lit. a las Iglesias de España, xvi. 99, says that “Lapicida” does not really mean a cutter of stones, which would be described as “pica petras.” In vol. xxi. p. 107, however, he speaks of “Lapicida” as the Latin term corresponding to “picapedres” in the vulgar tongue; and he says sculptors of figures called themselves “Imaginayres.”[446]See p.265.[447]The contract is given at length by Cean Bermudez, Arq. de España, i. 257-61.[448]See the translation of these documents in the Appendix.[449]This sum would probably be equal to about 90l.or 100l.per annum at the present day.[450]Other plans still preserved in Spain are, the original design for the church of San Juan de los Reyes, Toledo, and that for the west front of Barcelona Cathedral. I have tried in vain to obtain copies of these plans.[451]Arq. de España, i. 282-4.[452]We have accidental evidence of the fact that Hontañon was an architect, for the “Master of the Works” of La Magdalena, Valladolid, contracted inA.D.1570 to build the tower and body of the church according to his plan for a specified sum. But it will be observed that the date of this agreement is very late, and that, whilst the maker of a plan had become an architect in the modern sense of the word, the Maestro Mayor had descended to be, in fact, nothing more than the contractor for the work, also in the modern sense. Somewhat in the same way, we know that when the lantern of Burgos Cathedral fell, inA.D.1539, Felipe de Borgoũa was summoned from Toledo to superintend the two cathedral masters of the works: from which it seems probable that they executed the work which Borgoũa designed. So again at an earlier date, inA.D.1375, Jayme Castayls executed some statues for the west front of Tarragona cathedral, under the direction of Bernardo de Vallfogona, the Maestro Mayor.[453]Bellas Artes en España. This catalogue of artists includes those who lived before the year 1500, the names of fifty sculptors, thirty painters, several silversmiths, workers in stained glass, and others.[454]See p.252.[455]See p.182.[456]Cean Bermudez, Arq. de Esp., vol. i. p. 285.[457]Cean Bermudez. Arq. de Esp., vol. i. p. 286.[458]Cean Bermudez, Arq. de Esp., vol. i. p. 287.[459]In the margin of this paragraph is written, in the hand of Maestro Juan del Ribero Rada,—“It has been built square.” The word ‘Trascoro’ seems to be used here of the east end of the church.[460]From Cean Bermudez, Not. de los Arq. y Arquos de España, vol. i. p. 293-299.[461]The sense of this word is given in Connelly and Higgins’s Dictionary, as “the substitute of the chief architect of the building, who places the workmen and distributes the materials according to the arrangements of the plan.”[462]Cean Bermudez, vol. i. p. 300.[463]Ibid., vol. i. p. 315.[464]Ibid., vol. i. p. 317.[465]Sagrario.—This, I think, sometimes means the chapel, commonly called theParroquia, or Chapel of the Cathedral Parish.[466]This subject occurs in the well-known illustrations of Queen Mary’s Psalter, 2 B. VII., at the British Museum library. It is described as “Here GODreposes on His throne with His angels.”[467]This subject occurs in the ‘Biblia Pauperum,’ with the following inscription:—“Legitur in Apocalypsi xxiº Capº et in iiiº Ysaya xiiii Capº quod lucifer cecidit per superbiam de celo cum omnibus suis adherentibus.”[468]This interrogatory, and the declarations of the twelve architects, are in the Catalan idiom in the original, and are translated into Castilian by Fr. José de la Canal, Esp. Sag. xiv. pp. 227-244. I have thought it best to give an English translation.[469]“Cana,” a measure of two ells Flemish.[470]A “cana” equals two yards and three inches Spanish measure.[471]Cean Bermudez, Arq. de España, i. pp. 276-279.

[389]His name occurs in an inscription on it.

[390]Madoz, vol. xv. p. 685.

[391]SeePlate XXIII.

[392]See ground-plan,Plate XXIV.

[393]The leadflêchein a similar position at Reims cathedral will no doubt be remembered by many of my readers. No doubt, however, this work at Tudela is earlier, and being of stone is even more remarkable.

[394]There is, I believe, a fine old bridge of seventeen arches over the Ebro, near Tudela: unfortunately I did not see it.

[395]See illustration on next page.

[396]I believe a portion of the old cloister remains. I was not aware of this, and seeing the fine late cloister, assumed, unfortunately, that there was nothing else to be seen.

[397]Plate XXV.

[398]Arq. de España, i. p. 83.

[399]See ground-plan onPlate XXV.

[400]Morales, lib. 12, cap. 76.

[401]See p.212.

[402]Noticias de los Arq. de España, i. 1-14.

[403]Esp. Sag., vol. xxxvii. p. 86-7.

[404]Recuerdos y Bellezas de Esp., Ast. y Leon, p. 76 and 244.

[405]See the account of it in the Historia Compostellana, lib. i. cap. 78.

[406]See p.331. I am not certain as to the dedication. I refer to the small church near San Pedro de los Galligans.

[407]For illustration, &c., seep. 366, andPlate XXI.

[408]Both these churches are planned upon precisely the same system of proportions founded upon the equilateral triangle. Taking the width of the nave and aisles as the base, the apex of the triangle gives the centre from which the vault of the nave is struck; and all the subordinate divisions are also so exactly marked that there is hardly room for doubt that the system was distinctly recognised, and intentionally acted on.

[409]The Monistrol I refer to is the village between S. Etienne and Le Puy, and not the place of the same name at the foot of Monserrat, in Cataluña.

[410]E.g., St. Albans, Winchester Cathedral, St. Cross Chapel.

[411]The parallel holds good in very small matters. At Westminster the clergy and choir assemble in the choir, and begin the service so soon as the clock strikes. In several Spanish churches the same custom obtains. I think it would be a great gain if the metal screens across the transepts were moved so as to form the narrow central passage from the choir to the altar, so common in Spain. They would then have some meaning and use, which they certainly have not now.

[412]Seepp. 385-6.

[413]The design of this chevet is almost a repetition of that of the church at Avenières, near Laval, which is said to have been commenced as early asA.D.1040, though most of it is certainly later by a century than this.

[414]I might perhaps add Tarazona Cathedral to this list.

[415]See ground-plan,Plate XIV.

[416]The round portion of the Temple Church, London, has its aisle groined with alternate bays of square and triangular outline. The latter have no ribs, and are constructed differently from those at Toledo.

[417]Facsimile of the Sketch-book of Wilars de Honecort. Eng. edit. Edited by Professor Willis. Plate XXVIII.

[418]Beauvais cathedral was commenced inA.D.1225.

[419]See the plan,Plate I.The chapel marked B is, I think, the only original one; and this repeated five times will probably give the exact plan of the original chevet.

[420]The commerce of the south of Spain with England was considerable; and it is just possible that some of the middle-pointed work in Valencia may have an English origin. The English sovereigns encouraged the Catalan traders by considerable immunities to frequent their ports during the fourteenth century.—Macpherson, ‘Annals of Commerce,’ i. 502, &c.

[421]I speak only of town churches here: our little English village churches are the most perfect in the world, so thoroughly characteristic, and at the same time so suitable for their work, that we may always study them with greater gain than any others elsewhere in Europe.

[422]Seefrontispiece. In so small an engraving—putting out of view the extreme difficulty of getting a faithful transcript of a careful sketch of sculpture—it is impossible to do justice to such a work; and I must ask my readers rather to accept my statement than to pass judgment by aid only of the illustration.

[423]See p.283, and illustrations on ground-plan,Plate XV.

[424]See p.366.

[425]See p.381.

[426]See p.215.

[427]See ground-plan,Plate IV.

[428]See illustration of this battlement at Las Huelgas, No. 4, page 38, and on the walls at Veruela, No. 48, page 384.

[429]‘Annals of the Artists of Spain,’ 1848.

[430]The paintings at Leon seem to me to be such as one might expect at the hands of Dello Delli. He is said to have made Seville his place of residence during the many years that he spent in Spain. But the period of his abode there is just that during which the paintings at Leon were executed.

[431]See the short account of these painters in Mr. Stirling’s ‘Annals of the Artists of Spain,’ vol. i. chap. ii.

[432]I venture to regard the stern simplicity of Mr. Butterfield’s noble church of St. Alban as his silent protest against the vulgarity in art to which I here refer. Without any sculpture, this church is from first to last the work of a great master of his art, and one for which his brother artists owe him a great debt of gratitude.

[433]See Appendix. The maravedi was, I believe, a more valuable coin than it is now, so that it is difficult to say what amount of money at the present day this grant really represents.

[434]This inscription is referred to atp. 144.

[435]I do not know the meaning of this term; it is evidently the name of a trade or calling, and probably corresponds with “masons,” as distinguished from “wallers;” the two terms, “Lambardos” and “Cementarios,” being used somewhat in opposition to each other.Cementarios is one of the earliest terms used in documents referring to English buildings, and no doubt would be properly translated by the word “mason;” but in the case of the Urgel contract, it seems there were to be several “Lambardos,” and, as “Cementarios” were only to be employed if absolutely necessary, there must have been some distinction between them, which was more probably of grade or degree than of profession. Possibly the “Lambardos” may have been members of a guild, “Cementarios” common masons.

Cementarios is one of the earliest terms used in documents referring to English buildings, and no doubt would be properly translated by the word “mason;” but in the case of the Urgel contract, it seems there were to be several “Lambardos,” and, as “Cementarios” were only to be employed if absolutely necessary, there must have been some distinction between them, which was more probably of grade or degree than of profession. Possibly the “Lambardos” may have been members of a guild, “Cementarios” common masons.

[436]This contract is given by Don J. Villanueva, Viage Literario a las Iglesias de España, vol. ix. pp. 298-300. I extract from it the parts which are especially interesting:—“Ego A. DeiGratia Urgellensis episcopus, cum consilio et comuni voluntate omnium canonicorum Urgellensis ecclesiae, commendo tibi Raymundo Lambardo opus beatae Mariae, cum omnibus rebus tam mobilibus quam immobilibus, scilicet, mansos, alodia, vineas, census, et cum oblationibus oppressionum et penitentialium, et cum elemosinis fidelium, et cum numis clericorum, et cum omnibus illis, quae hucusque vel in antea aliquo titulo videntur spectasse sive spectare ad prephatum opus beatae Mariae. Et preterea damus tibi cibum canonicalem in omni vita tua, tali videlicet pacto, ut tu fideliter et sine omni enganno claudas nobis ecclesiam totam, et leves coclearia sive campanilia, unum filum super omnes voltas, et facias ipsum cugul bene et decenter cum omnibus sibi pertinentibus. Et Ego R. Lambardus convenio Domino Deo, et beatae Mariae, et domino episcopo, et omnibus clericis Urgellensis ecclesiae, qui modo ibi sunt, vel in antea erunt, quod hoc totum, sicut superius scriptum est, vitâ comite, perficiam ab hoc presenti Pascha, quod celebratur anno dominicae incarnationis M.º C.º LXXV.º, usque ad VII. annos fideliter, et sine omni enganno. Ita quod singulis annis habeam et teneam ad servitium beatae Mariae, me quinto, de Lambardis idest IIII. lambardos et me, et hoc in yeme et in estate indesinenter. Et si cum istis potero perficere, faciam, et si non potero addam tot cementarios, quod supra dictum opus consumetur in prephato termino. Post VII. vero annos, cum iam dictum opus, divina misercordiâ opitulante, complevero, habeam libere et quiete cibum meum dum vixero, et de honore operis et avere stem in voluntate et mandamento capituli postea. Preterea nos, tam episcopus, quam canonici, omnino prohibemus tibi Raymundo Lambardo, quod per te, vel per submisam personam, non alienes vel obliges aliqua occasione quicquam de honore operis, quae modo habet, vel in antea habebit. De tuo itaque honore, quem nomine tuo adquisisti, et de avere, fac in vita et in morte quod tibi placuerit post illud septennium. Si forte, quod absit, tanta esterilitas terrae incubuerit, quod te nimium videamus gravari, liceat nobis prephato termino addere secundum arbitrium nostrum, ne notam periurii incurras. Sed aliquis vel aliqui nostrum praedictam relaxationem sacramenti facere tibi non possit, nisi in pleno capitulo, comuni deliberatione et consensu omnium. Et quicquid melioraveris in honore operis, remaneat ad ipsum opus. Si vero pro melioracione honoris operis oporteret te aliquid impignorare vel comutare, non possis hoc facere sine consilio et conveniencia capituli. Juro ego R. Lambardus, quod hoc totum, sicut superius est scriptum, perficiam, et fidelitatem et indempnitatem canonicae beatae Mariae Urgellensis ecclesiae pro posse meo, per Deum, et haec sancta evangelia = Sig + num R. Lambardi, qui hoc iuro, claudo et confirmo = Sig + num domni Arnalli Urgellensis episcopi,” &c. &c.

[436]This contract is given by Don J. Villanueva, Viage Literario a las Iglesias de España, vol. ix. pp. 298-300. I extract from it the parts which are especially interesting:—

“Ego A. DeiGratia Urgellensis episcopus, cum consilio et comuni voluntate omnium canonicorum Urgellensis ecclesiae, commendo tibi Raymundo Lambardo opus beatae Mariae, cum omnibus rebus tam mobilibus quam immobilibus, scilicet, mansos, alodia, vineas, census, et cum oblationibus oppressionum et penitentialium, et cum elemosinis fidelium, et cum numis clericorum, et cum omnibus illis, quae hucusque vel in antea aliquo titulo videntur spectasse sive spectare ad prephatum opus beatae Mariae. Et preterea damus tibi cibum canonicalem in omni vita tua, tali videlicet pacto, ut tu fideliter et sine omni enganno claudas nobis ecclesiam totam, et leves coclearia sive campanilia, unum filum super omnes voltas, et facias ipsum cugul bene et decenter cum omnibus sibi pertinentibus. Et Ego R. Lambardus convenio Domino Deo, et beatae Mariae, et domino episcopo, et omnibus clericis Urgellensis ecclesiae, qui modo ibi sunt, vel in antea erunt, quod hoc totum, sicut superius scriptum est, vitâ comite, perficiam ab hoc presenti Pascha, quod celebratur anno dominicae incarnationis M.º C.º LXXV.º, usque ad VII. annos fideliter, et sine omni enganno. Ita quod singulis annis habeam et teneam ad servitium beatae Mariae, me quinto, de Lambardis idest IIII. lambardos et me, et hoc in yeme et in estate indesinenter. Et si cum istis potero perficere, faciam, et si non potero addam tot cementarios, quod supra dictum opus consumetur in prephato termino. Post VII. vero annos, cum iam dictum opus, divina misercordiâ opitulante, complevero, habeam libere et quiete cibum meum dum vixero, et de honore operis et avere stem in voluntate et mandamento capituli postea. Preterea nos, tam episcopus, quam canonici, omnino prohibemus tibi Raymundo Lambardo, quod per te, vel per submisam personam, non alienes vel obliges aliqua occasione quicquam de honore operis, quae modo habet, vel in antea habebit. De tuo itaque honore, quem nomine tuo adquisisti, et de avere, fac in vita et in morte quod tibi placuerit post illud septennium. Si forte, quod absit, tanta esterilitas terrae incubuerit, quod te nimium videamus gravari, liceat nobis prephato termino addere secundum arbitrium nostrum, ne notam periurii incurras. Sed aliquis vel aliqui nostrum praedictam relaxationem sacramenti facere tibi non possit, nisi in pleno capitulo, comuni deliberatione et consensu omnium. Et quicquid melioraveris in honore operis, remaneat ad ipsum opus. Si vero pro melioracione honoris operis oporteret te aliquid impignorare vel comutare, non possis hoc facere sine consilio et conveniencia capituli. Juro ego R. Lambardus, quod hoc totum, sicut superius est scriptum, perficiam, et fidelitatem et indempnitatem canonicae beatae Mariae Urgellensis ecclesiae pro posse meo, per Deum, et haec sancta evangelia = Sig + num R. Lambardi, qui hoc iuro, claudo et confirmo = Sig + num domni Arnalli Urgellensis episcopi,” &c. &c.

[437]E.g.at San Cristóbal de Ibeas—Eia M. C. LXX.Fuit hoc opus fundatumMartino Abbate regentePetrus ChristophorusMagister hujus operis fuit.Or another at Ciudad Rodrigo—Aqui yace Benito Sanchez,Maestro que fue de esta obra, eDios le perdone. Amen.So too the inscription given atp. 234of the architect of Toledo. The same term was used extensively at the same time over the greater part of Europe.In France we have these among others:—“Ci git Robert de Couey, Maitre de Notre Dame et de Saint Nicaise, qui trépassa l’an 1311.” InA.D.1251, at Rouen, “Walter de St. Hilaire, Cementarius, magister operis,” is mentioned; and inA.D.1440, in the same city, we have this inscription: “Ci git M. Alexandre de Berneval, Maistre des Œuvres de Massonerie au Baillage de Rouen et de cette église.” In Italy the same term was commonly used, as,e.g., in the Baptistery at Pisa, which has the inscription, “Deotisalvi magister hujus operis;” and again in the church at Mensano near Siena, which has “Opus quod videtis Bonusamicus magister fecit.” But in England, according to Mr. Wyatt Papworth, who has devoted much pains to the elucidation of the subject, the term “Master of the works” appears to be very seldom employed, and sometimes of the officer called the “operarius” in Spain, rather than of the architect.

[437]E.g.at San Cristóbal de Ibeas—

Eia M. C. LXX.Fuit hoc opus fundatumMartino Abbate regentePetrus ChristophorusMagister hujus operis fuit.

Or another at Ciudad Rodrigo—

Aqui yace Benito Sanchez,Maestro que fue de esta obra, eDios le perdone. Amen.

So too the inscription given atp. 234of the architect of Toledo. The same term was used extensively at the same time over the greater part of Europe.

In France we have these among others:—“Ci git Robert de Couey, Maitre de Notre Dame et de Saint Nicaise, qui trépassa l’an 1311.” InA.D.1251, at Rouen, “Walter de St. Hilaire, Cementarius, magister operis,” is mentioned; and inA.D.1440, in the same city, we have this inscription: “Ci git M. Alexandre de Berneval, Maistre des Œuvres de Massonerie au Baillage de Rouen et de cette église.” In Italy the same term was commonly used, as,e.g., in the Baptistery at Pisa, which has the inscription, “Deotisalvi magister hujus operis;” and again in the church at Mensano near Siena, which has “Opus quod videtis Bonusamicus magister fecit.” But in England, according to Mr. Wyatt Papworth, who has devoted much pains to the elucidation of the subject, the term “Master of the works” appears to be very seldom employed, and sometimes of the officer called the “operarius” in Spain, rather than of the architect.

[438]Villanueva, Viage Lit. xxi. 106.

[439]Fabre is spoken of in the inscription on the shrine as Jacobus “Majoricarum, cum suis consortibus.”

[440]These fabric rolls contain the names of Martin Mayol, G. Scardon, Bernardo Desdons, and Jayme Pelicer, as painters of pictures betweenA.D.1327 and 1339.

[441]See p.319.

[442]See p.332.

[443]See p.57.

[444]See p.349, note 1.

[445]Villanueva, Viage Lit. a las Iglesias de España, xvi. 99, says that “Lapicida” does not really mean a cutter of stones, which would be described as “pica petras.” In vol. xxi. p. 107, however, he speaks of “Lapicida” as the Latin term corresponding to “picapedres” in the vulgar tongue; and he says sculptors of figures called themselves “Imaginayres.”

[446]See p.265.

[447]The contract is given at length by Cean Bermudez, Arq. de España, i. 257-61.

[448]See the translation of these documents in the Appendix.

[449]This sum would probably be equal to about 90l.or 100l.per annum at the present day.

[450]Other plans still preserved in Spain are, the original design for the church of San Juan de los Reyes, Toledo, and that for the west front of Barcelona Cathedral. I have tried in vain to obtain copies of these plans.

[451]Arq. de España, i. 282-4.

[452]We have accidental evidence of the fact that Hontañon was an architect, for the “Master of the Works” of La Magdalena, Valladolid, contracted inA.D.1570 to build the tower and body of the church according to his plan for a specified sum. But it will be observed that the date of this agreement is very late, and that, whilst the maker of a plan had become an architect in the modern sense of the word, the Maestro Mayor had descended to be, in fact, nothing more than the contractor for the work, also in the modern sense. Somewhat in the same way, we know that when the lantern of Burgos Cathedral fell, inA.D.1539, Felipe de Borgoũa was summoned from Toledo to superintend the two cathedral masters of the works: from which it seems probable that they executed the work which Borgoũa designed. So again at an earlier date, inA.D.1375, Jayme Castayls executed some statues for the west front of Tarragona cathedral, under the direction of Bernardo de Vallfogona, the Maestro Mayor.

[453]Bellas Artes en España. This catalogue of artists includes those who lived before the year 1500, the names of fifty sculptors, thirty painters, several silversmiths, workers in stained glass, and others.

[454]See p.252.

[455]See p.182.

[456]Cean Bermudez, Arq. de Esp., vol. i. p. 285.

[457]Cean Bermudez. Arq. de Esp., vol. i. p. 286.

[458]Cean Bermudez, Arq. de Esp., vol. i. p. 287.

[459]In the margin of this paragraph is written, in the hand of Maestro Juan del Ribero Rada,—“It has been built square.” The word ‘Trascoro’ seems to be used here of the east end of the church.

[460]From Cean Bermudez, Not. de los Arq. y Arquos de España, vol. i. p. 293-299.

[461]The sense of this word is given in Connelly and Higgins’s Dictionary, as “the substitute of the chief architect of the building, who places the workmen and distributes the materials according to the arrangements of the plan.”

[462]Cean Bermudez, vol. i. p. 300.

[463]Ibid., vol. i. p. 315.

[464]Ibid., vol. i. p. 317.

[465]Sagrario.—This, I think, sometimes means the chapel, commonly called theParroquia, or Chapel of the Cathedral Parish.

[466]This subject occurs in the well-known illustrations of Queen Mary’s Psalter, 2 B. VII., at the British Museum library. It is described as “Here GODreposes on His throne with His angels.”

[467]This subject occurs in the ‘Biblia Pauperum,’ with the following inscription:—“Legitur in Apocalypsi xxiº Capº et in iiiº Ysaya xiiii Capº quod lucifer cecidit per superbiam de celo cum omnibus suis adherentibus.”

[468]This interrogatory, and the declarations of the twelve architects, are in the Catalan idiom in the original, and are translated into Castilian by Fr. José de la Canal, Esp. Sag. xiv. pp. 227-244. I have thought it best to give an English translation.

[469]“Cana,” a measure of two ells Flemish.

[470]A “cana” equals two yards and three inches Spanish measure.

[471]Cean Bermudez, Arq. de España, i. pp. 276-279.

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