Page:A history of architecture on the comparative method for the student, craftsman, and amateur.djvu/598

 540 COMPARATIVE ARCHITECTURE. Granada Cathedral (a.d. 1529), by Diego Siloe, is a grand example of the Renaissance churches of Southern Spain. It is a translation of Seville Cathedral into the Renaissance style, the Gothic system being followed, but with the Classic orders applied to the piers carrying the vaulting. The lofty circular choir is domed on radiating supports, ingeniously disposed, constituting a fresh and original departure. The general effect of the interior is powerful, but unduly sensational, Valladolid Cathedral (a.d. 1585), by Herrera, is more dis- tinctively Classic, but remains incomplete, although Herrera's model is preserved. The west fai^ade is imposing, but wholly out of scale, and in the interior the execution and detail are incredibly rough. Granada, Santiago, Malaga, and Carmona cathedrals have steeples placed alongside, forming a class of structure in which Spain is especially rich, and which was generally treated in a most pleasing manner. In the latter half of the seventeenth century there was a reaction from the correct and cold formalities of the school of Herrera, and buildings were erected in a manner called Churrigueresque, after the name of the architect, Churriguera, in which fantastic forms were employed for their own sake, without reference either to good taste or fitness. 4. COMPARATIVE. A. Plans. — In churches wide naves sometimes without any aisles are usual. Lanterns or domes are common at the crossing, the transepts and apsidal chancel, being usually shallow, and the ritual choir remaining west of the transepts. In houses the Patio (Nos. 236 b and 237), or Spanish version of the Roman atrium, and Italian cortile, is universal, and has even an added seclusion, which seems due to Moorish influence. The streets of Toledo present walls all but blank (No. 236 a), through the doorways of which, when open, a glimpse only of the patio can be obtained. Staircases are often large, as in the Burgos transept and the Casa Infanta at Saragossa, in which latter building the patio and staircase beyond are as picturesque and fanciful as any in Spain. Largeness of scale characterizes palaces as well as churches. B. Walls. — Brickwork was used in large, rough, but effective masses, as at Saragossa. Fine stonework was used in other places, and also granite, as at the Escurial and in Madrid. Gables were never or rarely employed, but a special feature is an arcade (No. 236), forming an open top story, on which all the decoration was concentrated, leaving a blank wall below, relieved by an elaborate doorway. Arabesque pierced parapets or crestings are