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 no doubt that its exuberant richness in the 16th century derives its inspiration from the latter, and especially so in patios or courts found in every class of building, ecclesiastical as well as civil. There is still, however, another characteristic in the early Renaissance of Spain, which is not found in Italy or France, and which again owes its source to Moorish work, where the external walls and towers consist of simple plain masonry, and the rich decoration, generally in stucco brilliantly coloured and gilded, is confined to the courts and to the interiors of their magnificent halls. The Italian method of decorating the external front of the palaces with flat pilasters of the various orders placed at regular intervals, the windows and doors forming features of second-rate importance, was not followed by the architects of the Spanish Renaissance, who retained the simple plain masonry and reserved their decorations for the entrance doorways and windows, emphasizing therefore these features, and by contrast increasing their value and interest.

Instead also of the huge cornicione which the Italians employed to give the shadows required to emphasize the crowning features of their palaces, the Spanish architects preferred to obtain a similar effect by an open arcaded upper storey, which, as Fergusson remarks, “forms one of the most pleasing architectural features that can be applied to palatial architecture, giving lightness combined with shadow exactly where wanted for effect and where they can be applied without any apparent interference with solidity.” These galleries would seem to have been provided to serve as promenades to the occupants of the palace, and more especially for the ladies when it would have been unwise or imprudent for them to venture into the streets. There is one well-known example in France, in the château of Blois, which is so attractive a feature that it is singular it has not been more often adopted.

Instead also of the monotonous balustrade, which is invariably found in Italy, the Spanish architects introduced richly carved crestings, with finials at regular intervals, a feature probably borrowed from Flamboyant Gothic and Moorish.

The three periods into which the architectural phases of the Renaissance style in Spain are divided are:—(1) The Plateresque or Silversmiths’ work, from the conquest of Granada to the reign of Philip II. (2) The purer Italian style, called by the Spanish the Greco-Roman, though it has no Greek elements in its design, being based on the work of Palladio and Vignola. This style prevailed until the end of the 17th century. (3) The Rococo or Churrigueresque style, so called from the name of the architect, José Churriguera (d. 1725), the chief leader of the movement, which lasted for about 100 years.

Ecclesiastical Architecture.—The cathedral of Granada, built from the designs of Diego de Siloé, is the earliest example of the Renaissance in Spain, and in some respects the most remarkable, not only for its plan, in which there is an entirely new feature, but for the scheme adopted in the vaulting, which covers the whole church, and shows that its architect had studied the earlier Gothic churches, and was well acquainted with the principles of thrust and counter-thrust developed in them. The cathedral is 400 ft. long by 230 ft. wide, and therefore of the first class as far as size is concerned. The western portion consists of nave and double aisles on each side, the outer aisle being carried round the whole church and giving access to the chapels which enclose the building. The principal feature of the cathedral is at the east end, where the place of the ordinary apse is occupied by a great circular area, 70 ft. in diameter, crowned by a lofty dome, in the centre of which in a flood of light stands the high altar. The vista from the nave through the great arch (37 ft. 6 in. wide and 97 ft. high) is extremely fine, and it is strange that it should be the only example of its kind. The west front was completed at a later date; the only feature of it belonging to the original church being the north-west tower, which, in its design, resembles the south-west tower of the church at Gisors in France. There are two other important Renaissance cathedrals at Jaen and Valladolid. The latter was built from a design of Juan de Badajoz in 1585 but never completed. On the south side of the cathedral is the chapel in which the Catholic kings lie buried, where there are two fine marble tombs enclosed by the reja or wrought-iron screen partly gilt, forged in 1522 by Maestre Bartholomé. The sagrario or parish church, also on the south side, is a small version of the scheme of design employed in the cathedral.

In Spain, as in France, magnificent portals have been added to cathedrals and churches, and these are amongst the finest works of the Renaissance period. The more remarkable of these are the portals of the cathedral of Malaga, a deeply recessed porch, enriched with slender shafts and niches between; of Santa Engracia at Saragossa; and of Santo Domingo and the cathedral at Salamanca. Externally the Renaissance domes over the crossings of Spanish cathedrals are poor, but this is compensated for by the lofty steeples which form striking features. The western towers of the cathedral at Valladolid; the tower of the Seo in Saragossa, which bears some resemblance to Wren’s steeples in the setting back of the several storeys and the crowning with octagonal lanterns; the tower of the cathedral Del Pilar at Saragossa, and that at Santiago, are all interesting examples of the Spanish Renaissance.

One of the most beautiful features of the Spanish Renaissance is found in the magnificent rejas or wrought-iron grilles, richly gilt, which form the enclosures of the chapels. Besides the example at Granada, others are found at Seville, where is the masterpiece of Sancho Muñoz (1528); at Palencia (1582); Cuenca (1557), where there are three fine examples; Toledo; Salamanca; and other cathedrals. The iron pulpit at Avila, the eagle lectern at Cuenca and the staircase railing at Burgos are all remarkable works in metal.

Secular Architecture.—With the exception of the magnificent portals, the finest works of the Renaissance in Spain as in France are to be found in the secular buildings, but with this difference, that the best examples in France are those built in the country or in comparatively small provincial towns, whereas in Spain they are all in the midst of the larger towns, and further they are not confined to palaces and châteaux; monasteries and universities coming in for an equal share in the great architectural development.

The characteristic style of the Spanish architecture of the Renaissance period is due probably to the influence of the earlier Moorish work, where the value of the rich Alhambresque decorations in the entrance doorways and windows, and the patios or courts, is enhanced by contrast with the plain masonry of their walls and towers. This influence had already been felt in the Spanish flamboyant Gothic panelling and tracery; when translated into Renaissance, and probably, at first, executed by Italian artists, it displayed a variety and beauty in its design scarcely inferior to some of the best work in Italy. And this development, taking place at a time when Spain was overflowing with wealth, resulted in that exuberant richness we find in the entrance doorways and windows, the external galleries of the upper storey, and the rich cresting surmounting the cornice.

Comparison with the contemporary and even earlier work in Italy, where the principal thought of the architect would seem to have been to break the wall surface by an unmeaning series of flat pilasters, and then fill in the windows as features of secondary importance, will show that the Spanish architect recognized more fully the true principle of design, and although, in the profiles of their mouldings, and the execution of the sculpture decorating their pilasters and friezes, Spanish work in contrast with Italian looks somewhat coarse, in general picturesqueness it is far in advance of the palaces of Rome, Florence, and even Venice, and has not yet received the recognition which it deserves.

The earliest palace built in the Renaissance style is that which adjoins the Alhambra at Granada, and was begun by the emperor Charles V. for his own residence in 1527, but never completed. The building is nearly an exact square of 205 ft., with a great circular court in the centre, nearly 100 ft. in diameter. This central court was enclosed by a colonnade with Doric columns, and an upper storey with columns of the Ionic order. From the unfinished condition of the palace and the absence of roofs, it is difficult to decide what the form of the latter might have been. But the design, begun by Pedro Machuca and continued by Alonso Berruguete (1480–1561), is so remarkable that it ought to be better known. Its proximity to the Alhambra, however, deprives it of the attention which otherwise it deserves for the purity of its details and for its good proportion.

A second palace, the Alcazar at Toledo, was begun in 1540 by Charles II., but little else than the bare walls remain, as it was destroyed by fire in 1886, after having been twice rebuilt. In its design it belongs to the true Spanish type of the Renaissance, with the simple ashlar masonry of its walls and the accentuation of the principal entrance doorway and the windows. In this palace also the plan is square, about 110 ft., with a square courtyard (240 ft.).

The third palace built, the Escorial, some 20 m. to the north-east of Madrid, is the most renowned—more, however, on account of its immense size than for its design. It was built for Philip II. and begun in 1563 from the designs of Juan Bautista de Toledo, being completed by his pupil, Juan de Herrera, in 1584. The principal front is 680 ft. in width, the depth of the palace 540 ft., with the king’s residence in the rear. The plan is a fine conception, and consists of a large entrance court in the centre, with the church in the rear, having on the right the Colegio and on the left the monastery, with numerous courts in each case. The church is 320 ft. long by 220 ft. wide, the principal portion being the intersection of the nave and transept, which is covered by a dome. The coro is placed above the entrance vestibule, which is 100 ft. long and 27 ft. high, imperfectly lighted, but by contrast emphasizing the dimensions and the splendour of the church beyond. Externally the grouping is fine; the lofty towers at the angles, the central composition of the main front, and at the rear of the court the front of the church