([^QtneU Uniueraitg COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library NA1301.W58M5 The minor ecclesiastical, domestic, a^^^^ "3 1924 015 349 693 «•» Date Due ''J^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015349693 vv I'!. r«j\ J •0 V i.«. V. THE MINOR. ECCLE5IA5TICAb DOMESTIC GAR.DEN ARCHITECTYP.E OF 50VTHEILN .SPAIN Photoardphs dnd Drd wings bj AVSTIN WHITTLES ET With a Preface by Bertrdjn Grojvenor Goodhue NEW TOR,ie 7\RCHITECTVPAL BOQFLPVBLISHING CO, PAVL WEN2EL AND MAVR.ICE KRAKOW THIRTYONE EAJT TWELFTH JTR.EET MA 1301 \^56 Copyright 1917 BY Paul Wenzel and Maurice Krakow TO PIERRE L. LE BRUN, ESQ. Founder of the Le Brun Traveling Scholarship With the grateful regards of The Author INTRODUCTION WHEN, in 1910, the late Pierre L. Le Brun founded the Scholarship which bears his honoured name, no one foresaw, or even dreamed of, the possibility of what is now upon us; that the measure of civilization the world was then enjoying would be, within a few short years, so brought to wrack, even perhaps destroyed: So the first winner of this Scholarship, following the usual custom, devoted "well and truly" his six months abroad to "travel and the study of Architecture" in England, France and Italy as a matter of course. Then, in 1914, the present horror burst upon us, and a year ago it was forced upon the conscious- ness of the Scholarship Committee, that, of necessity, the usual routine, however valuable, must be dispensed with, and the minds of the contestants set upon other than the customary things, — and that the successful one's feet should be led away from, rather than into, the lands now grappling in a life and death struggle. Casting about, therefore, for a subject that, however unusual, would still be practical, the Committee hit upon our own great and largely undeveloped Southwest, its ethnic peist and pres- ent architectural needs, and decided upon a great building for some supposititious Mining Com- pany that should contain, in addition to the Mine Superintendent's residence, a Bcuik, Arsenal, Guard Rooms, etc., and it was suggested to the successful one that he should betake himself not to France or Italy, but first to Spain, and afterwards to Spanish and French North Africa: To Spain, by way of preparation merely, to familiarize himself with the great works of the Moors; and to North Africa to study, sketch, measure, and photograph the buildings of the same race after their expulsion from the Iberian Peninsular, — buildings of which little is known, but of which it could be fairly assumed that although naturally of lesser importance, they need not be less masterly or less beautiful. That the problem appealed to the budding architectural talent in America was proved by the high average excellence of the various designs submitted, — rising indeed, in the case of the premiated ones, to distinct brilliancy. Of all the designs submitted, those by the author of this present volume were adjudged the best. Having been awarded the Scholarship, he prepared to start upon his journey. Even though the land he was first to visit was endeavouring to maintain a difficult neutrality, he at once found his path strewn with all manner of obstacles; yet, nothing disheartened, made his way to Gibraltar in defiance of mines, submarines and nervously suspi- cious officials. Thanks to its geographical position. Spain is to-day almost the only Christian land undev- astated by wars and the rumours of war, so if Mr. Whittlesey chose to spend two months rather than one in familiarizing himself with the sources of the work he was later to report upon, who should blame him, especially since he did eventually cross, by way of Gibraltar, to Spanish Northwestern Africa, where he explored Tangier and Fez, as well as such lesser known, but perhaps on that very account even more interesting, places as Tetuan, Rabat and Salli, with a thoroughness that may be regarded as remarkable, considering the difficulties that lay in wait for him at every turn. , - After three months of such sketching, measuring and photographing amid the comparative serenity of semi-barbarism, he learned that, following the course of all the other great civilized nations, his native land had declared war against the modern Attila and his hordes; where- upon he promptly put patriotism before his profession, turned his steps homeward as swiftly as was possible under the circumstances, reached New York on July 16th, and is now in service. The collection of photographs and drawings here gathered together must, therefore, be regarded as a sort of by-product of Mr. Whittlesey's journey. With the exceptions of the Gene- ralife at Granada, the Alcazar at Sevilla, and one or two other trifling buildings — the original Saracenic of which has been quite overlaid with later work — none can be regarded as Moorish except perhaps by derivation, and all the numerous sketches and photographs of other Spanish- Moorish work in Mr. Whittlesey's possession have been rigourously excluded from the present collection, it being his intention, if, and when conditions permit, to return and complete the work he set out to accomplish by visiting French and Italian North Africa where, in such towns as Algiers, Constantine, Oran and Tlemcen, he will find, it is believed, material even more valuable than that he has so far been able to gather together. Possessing an admirable photographic equipment, an inquiring mind and the traditional artis- tic temperament, Mr. Whittlesey could not resist the temptation to photograph and sketch every- thing that appealed to him. Southern, and not Northern, Spain, in its relationship to the Spanish New World of which our own Southwest is a part, furnishes, fortunately, the same parallel that Georgian England does to our own Atlantic Seaboard, and fortunately, too, it is such Southern Spanish work as is precisely, the kind best adapted to our purposes; therefore, this volume rein- forces in very able and useful fashion indeed such books as Sylvester Baxter's "Spanish Colonial Architecture in Mexico," and Messrs. Louis La Beaume & Wm. Booth Papin's "Picturesque Architecture of Mexico." Until recently the nearest approach made by the architects of our Southwestern cities to the work here published has been in the so-called very popular, but since the truth must be told very crude and very unarchitectural, "Mission" style, — if style it can be termed. Of late, however, a vi strong tendency has manifested itself to abandon this in favour of the far better and more beauti- ful Spanish Colonial which, after all, is scarcely distinguishable from Andalugian work. The "Mission" style represents merely what the well-intentioned and marvellously vigourous pioneer priests produced, practically without money, tools or intelligent labour, in emulation of the glories they had left behind them in Spain and Mexico. It must be admitted that frequently they suc- ceeded almost miraculously well, as is proved by such buildings as the Church of San Miguel at Santa Fe, originally built in 1540, or the Mission of San Jose near San Antonio, or that of San Juan Capistrano. These, however, are notable exceptions; and in the main not much can be said for their buildings other than that they are noble attempts, which is a great deal more than can be said for the great majority of the modern buildings that have been produced in imitation, — now, how- ever, with ample funds, tools, amd skilled, if highly unionized, labour. It would seem as if the "Mission" style had had its day and that we may hope for better things. No longer are railway stations, houses, shops and hotels built with one or more, if not indeed all, the various distinctive features of a "Mission" Church. Storied towers, Carmelite belfries, and tortured and be-consoled gables are beginning to be more rarely employed, while perfect simplicity, great blank spaces, honest tile and masonry greet the eye more frequently than was the case only a few years ago. It is to those who are interested in this modern development, — clients, architects and draughts^ men, rather than to the theorist and antiquarian, that this book is primarily addressed. Mr. Whittlesey has left the great monuments to others and has gathered together here pictures that will be found to be almost wholly buildings of minor importance, but in consequence, of greater direct, practical value. The world changes less rapidly in Spain than elsewhere, consequently there is no reason to doubt that in all essentials, save the very unimportant one of human costume, these pictures in prSictically every aspect represent Spain of the Eighteenth quite as completely as of the Nme- teenth and beginning of the Twentieth centuries: So these are the very buildings, the very scenes that the Spanish pioneers, soldiers, priests and traders held in their hearts wheii they crossed the seas in quest of their fabled Eldorado, or later, disappointed in this search but not disheartened, made their way over the weary leagues of desert to the Northward. Barring the faint influence upon architectural design exercised by the Native Aztec blood, the buildings of Mexico are almost exact counterparts of those of Spain, and parallel after parallel can be pointed out. Such buildings as the House for Archives at Lorca and the Alhondiga at Guanajuato might well have been designed by the same architect, while such fountains as those vii at Granada, in the Pasco de la Bomba. may be found in every little plaza in Puebla, Morelia or Queretayo. In Mexico even the greatest churches can well stand comparison with those of Spam, though in Civic work, especially of the more important sort, the superior building ability of the Spaniard over the Mexican is apparent, for such Mexican examples as the Mineria at the> Capitol, or the City Hall at Guadalaraja, cannot for an instant face comparison with the City Hall at Seville. It is not amiss here to call attention to a quality certainly possessed by every building pictured in this book. We Americans are wont to associate romance, glamour, picturesque- ness and the like with everything in foreign lands, — buildings included, — "Over the seas lies Spain" — but we are not wont to realize that these qualities are as nothing unless adjuncts to honesty, and it is to be feared that in our copying we strive for the letter rather than for the spirit. In Fergusson's "History of Architecture", a work that as a lad I was taught to revere as gospel, Saracenic architecture in Spain (and by corollary, that of the Christians that followed) is treated with scant courtesy, the author finding them possessed of "no constructive ability, no skill in arrangement of plans, and no desire for architectural magnificence". To-day we will hardly agree with this dictum, but Mr. Fergusson's statement that "they (the buildings of the Moors) were also only in perishable plaster, which, though well suited'to'- the style of the Moors, is a material which no architectural people ever would have employedy, gives us matter for serious searching of hearts. After all, the walls on which the Moors laid their plaster were certainly thick enough to produce wonderful third dimensional effects, and the material of such walls was, invariably, enduring stone, or almost-as-enduring brick. One wonders what Mr. Fergusson would say of some of our modern methods of constructing the surfaces to which our modern plaster work is applied,- — I cannot say "trowelled" since the process is frequently carried through without the aid of human hands, — on surfaces, scarcely walls, of materials that have grown constantly cheaper, until now they are incredible in their flimsiness. This lamentable state of affairs, however, is only to be found in our own United States. In Mexico, as in Spam, building remains as honest and substantial as ever, although always produced with what Bernard Shaw so aptly characterizes as "Spanish magnificence and Spanish economy". Bertram Grosvenor Goodhue. vm List of Elates PLATE NO. Frontispiece, Pencil Sketch. — Osuna — A Convent Church. 1 . Utrera, A Church Tower. 2. Utrera, Santa Maria de la Melba. 3. Cordoba, San Pablo, Gateway to Court. 4. Cordoba, Church of La Magdalena. 5. Cordoba,. San Lorenzo. 6. Cordoba, Doorway of Tower of San Hipolito. 7. Cordoba, The Tower of San Nicholas, A Former Moorish Minaret. Lorca, A Country Church. 8. Cordoba, El Carmen. 9. Lorca, A Hillside Church. 10. Murcia, A Small Church. Lorca, A Church Doorway. 1 I . Lorca, The Cathedral. 1 2. Lorca, Tower of the Cathedral. 1 3. Lorca, A Church Doorway. 1 4. Ronda, Moorish Bridge and Lower Part of the Town. 15. Ronda, Santa Maria la Mayor. 1 6. Ronda, Santa Cecilia. 1 7. Ronda, Espirito Santo. 1 8. Ronda, A Convent on the Plaza de General Weyler. 1 9. Cordoba. Jerez, San Miguel. 20. Ronda, Church of La Merced. Jerez, Campanile of Dome of the Colegial. 2 1 . Jerez, Campanile of the Colegial. 22. Sevilla, Belfry, Convent of Santa Paula. 23. Sevilla, 24. Osuna. 25. Granada, Church of the Compaiiia. 26. Granada, San Ildefonso. 27. Carmona, Chapel Frontispiece in Brick and Stucco. 28. Carmona, A Church Dome. Carmona, Tower of San Pedro. ■ 29. Ronda, A Church. 30. Carmona. 3 1 . Lorca, Ancient House. Jerez. 32. Cordoba, A SmeJl House. 33. Marchena, Houses Around the Old Plaza. 34. Carmona, Houses on the Plaza. 35. Utrera. 36. Marchena. Utrera. IX PLATE NO. 37. Carmona. Utrera. 38. Almodovar Del Rio. 39. Lorca, House now Used for the Archives. 40. Lorca, Old Palace, now the Audiencia. 41. Lorca, A House near the Cathedral. 42. Carmona. Osuna. 43. Marchena, A House on the Church Plaza. 44. Marchena. ^ 45. Jerez, A House Facing la Colegial. /• 46. Lorca, A Church Doorway. Lorca, A Typical Large City House. 47. Andalugian Farmhouse, Pencil Sketch. 48. Farmhouse near Cordoba, Pencil Sketch. 49. Sevilla, A Gothic Doorway, now in Alcazar Gardens. 50. Sevilla, A Corner of the City Hall (Ayuntamiento). 5 1 . Sevilla, A Doorway. 52. Utrera, Small Houses. Osuna, Palace of the Duke of Osuna. 53. Ronda. . ., . < . . ' > A Sketch. 54. Ronda. A House on the Plaza of General Weyler.. 55. Ronda, A Doorway. 56. Ronda, Houses on the Rim of the Gorge. 57. Ronda, Two Doorways. 58. Ronda, Detail Drawings of Doorway. 59. Malaga, Ascent to the Alcazaba. Cordoba, Convent Courtyard. 60. Ronda. 6 1 . Cordoba, A Church Doorway. 62. Cordoba, Side Door to Court of the Mosque. 63. Cordoba, A Doorway. 64. Cordoba, A House with Loggia. 65. Murcia, A Palace Doorway. 66. Osuna, Doorway, Pencil Sketch. 67. Osuna, Doorway. 68. Osuna, Doorway. 69. Osuna, Doorway. 70. Utrera, A House on Calle El Cado. Osuna, A Doorway. 7 1 . Granada, Casa del Chapiz, Plan. 72. Granada, Casa del Chapiz, view point "A" on plan. 73. Granada, Casa del Chapiz, view point "B" on plan. 74. Granada, Casa del Chapiz, view point "C" on plan. 75. Granada, Casa del Chapiz, view point "D" on plan. Ronda, A Moresco House. 76. Ronda, A Doorway to Moresco House. PLATE NO. 77. Ronda, Patio of Moresco House. 78. Ronda, Patio of Moresco House. Cordoba, Patio of Small House. 79. Cordoba; Courtyard and Fountain in an old Palace. 80. Utrera, A Courtyard. Utrera, A Small Patio. 8 1 . Sevilla, Courtyard in the Casa de Pilatos. 82. Sevilla, Patio in the Palace of the Duke of Alba. 83. Monastery near Cordoba, Pencil Sketch. 84. Cordoba, A Courtyard. 85. Cordoba, Fountain in the Court of the Mosque. 86. A Monastery, Pencil Sketch, 87. Cordoba, Fountain in the Market. 88. Granada, Fountain on the Paseo de la Bomba. 89. Sevilla, Tiled Garden House in the Alcazar Gardens. 90. Sevilla, Pool in the Alcazar Gardens. Granada, Fountain in the Paseo de la Bomba. 9 1 . Granada, Sketch Plan of the Generalife Gardens. 92. Granada, GeneraHfe Gardens, view point "A" on plan. 93. Granada, Generalife Gardens, view point "D" on plan. Granada, Generalife Gardens, view point "B" on plan. 94. Granada, Generalife Gardens. 95. Granada, Generalife Gardens, Room over Entrance. Granada, Generalife Gardens, view point "G" on plan. 96. Granada, Generalife Gardens, view point "J" on plan. 97. Granada, Generalife Gardens, view point "H" on plan. 98. Granada, Generalife Gardens, view point "K" on plan. 99. Cordoba, A Garden. Granada, Generalife Gardens. 1 00. Granada, Generalife Gardens, view point "E" on plan. 101. Granada, Generahfe Gardens, view point "F" on plan. Granada, Generalife Gardens, view point "C" on plan. 1 02. Granada, Generalife Gardens, view point "I" on' plan. Granada, Generalife Gardens, view point "L" on plan. 1 03. Granada, General view of the Generalife. Cordoba, A Garden Walk. 1 04. Monastery near Cordoba, Pencil Sketch. 105. Cordoba, A Garden. ] 06. Monastery Gateway near Cordoba, Pencil Sketch. 107. Granada, The Garden of Charles V in" the Alhambra. A Sketch. XI UTRERA— A CHURCH TOWER 1 UTRERA— SANTA MARIA DE LA MELBA 2 CORDOBA-^AN PABLO, GATEWAY TO COURT Executed in Black Marble CORDOBA— CHURCH OF LA MAGDALENA 4 CORDOBA— SAN LORENZO 5 CORDOBA— DOORWAY OF TOWER OF SAN HIFOLITO u D I U >- Qi H z D O U I o Qi O J CO < O o 5 - oj ^^ P '- ^ i r CQ O Q DS o o r>i H Z u a: < u J •< o Q 8 X u OS D X u Q en _l J X o OS o o »*ife! Mgxji i i j i I m f^isf 'p'v'-^'~yfr- [l^jfftrT LORCA— TOWER OF THE CATHEDRAL 12 v'T lifZ ijiSjSE'"^ i . 'y^ MPM BSBI ■ ■ ■'■ ''-^r-r':^^ /•-' ■•:•'-;: ; ■;,■- -*;;;-;;: ;:;:- -■■■-"-^— — -^— v« ■-(«0'--w,V i^ra^ .~t ^>»s»«49!t->'^ tAiySa :•*,,-■-.. LORCA— A CHURCH DOORWAY 13 RONDA— MOORISH BRIDGE AND LOWER PART OF THE TOWN 14 - iii.iiiii.il.. Ill I j I |,,,^a,^,^aiyimaiBaiiatot, RONDA— SANTA MARIA LA MAYOR J?.* ifc- • /^fMRH ^u. v "*T ^^v '•'^S RONDA— SANTA CECILIA 16 u < UJ Z bD O tJ Q < N < CU OO Ui X H Z o H Z > Z o o < Q Z o o z < If- N a: u ON < m O a o o RONDA— CHURCH OF LA MERCED JEREZ— CAMPANILE OF DOME OF THE COLEGIAL 20 JEREZ— CAMPANILE OF THE COLEGIAL 21 ClfS---^''"' SEVILLA— BELFRY, CONVENT OF SANTA PAULA 22 SEVILLA 23 OSUNA 24 GRANADA— CHURCH OF THE COMPANIA 25 GRANADA— SAN ILDEFONSO 26 i m ■--yft^Jt^ CARMONA— CHAPEL FRONTISPIECE IN BRICK AND STUCCO 27 o OS Q bi Qu Z < b. P OS u O z o < 00 o Q X o d; D O z o a: < u X o D X u D Z < z o 6 o CO tn D O X J < < O Q DJ o o CM on < J a. O J o X H Q Z D s < CO U D O X i z Id U < 2 CO < < Q. U] X H Z o en tn D O X I < z o a: < u CO UTRERA 35 UTRERA 36 CARMONA UTRERA 37 ALMODOVAR DEL RIO 38 LORCA— HOUSE NOW USED FOR THE ARCHIVES 39 *, ity^i-'- LORCA— OLD PALACE, NOW THE AUDIENCIA 40 la 'St it-, \. ft 1 1 J i»ja»f"? 't-.'^j»<.iest»^ ~ ' "^ LORCA— A HOUSE NEAR THE CATHEDRAL 41 OSUNA 42 MARCHENA— A HOUSE ON THE CHURCH PLAZA 43 < z I < 2 < OS o o Q I O Qi D I u < o q: o -J u to D O >- H U U o a: < J a. < O J -zy-- i 7 ,0.,^ > «-■ '(( t^ ^ ^ \ s •0 :^-i^ ^^- CO SEVILLA— A GOTHIC DOORWAY Now in Alcazar Cardens 49 SEVILLA— A CORNER OF THE CITY HALL (AYUNTAMIENTO) 50 SEVILLA— A DOORWAY 51 v'-'T^wd OSUNA— PALACE OF THE DUKE OF OSUNA 52 G3 fi'^'-ffi M^ C p .i^ /y' .' c JT^ ■ lA^ - Hi -J < a tu z Ui\ u. O < < Du tU X H z o u CO D O t Q Z o a: < I o o Q < Q Z o in m O a o o la X H bu O ^ so z -J^ o to u 3 o X i Q z o QO Q OS < 8 H Z > Z o o i < DQ < O < u I H O H H Z u 1 < o < < ON RONDA 60 CORDOBA— A CHURCH DOORWAY 61 CORDOBA— SIDE DOOR TO COURT OF THE MOSQUE 62 mm^K -'•|' CORDOBA— A DOORWAY 63 ■"/I Wk,^, a^s."*^ ^P-mSSIr '^^*L,jv. f,^ "5 ^». ,.», '/*"•' ^^,'y* "■-i, . ^"cr. ^ V :~-'^" 66 OSUNA— A DOORWAY 67 OSUNA— A DOORWAY 68 I i i '- k Ifff 1 ;! 1 ::l «_ f 1 5 :l ' r "J i W irf . li ''^■:/- ,,_ ^-W' OSUNA— A DOORWAY 69 o J.7 77 1 /-..- t>> GRANADA— CASA DEL CHAPIZ 5ee ViexD Poinl "A" on Plan 72 GRANADA— CASA DEL CHAPIZ See VieTU Point "B" on Plan 73 GRANADA— CASA DEL CHAPIZ 5ee Vieti) Point "C" on Plan 74 '.<^M 1 M ■» / GRANADA— CASA DEL CHAPIZ See Fi'cip Poini "U" on Plan RONDA A MORESCO HOUSE 75 tffiri RONDA— A DOORWAY TO MORESCO HOUSE 76 RONDA— PATIO OF MORESCO HOUSE 11 u tn O X J < in O < Oh I < CQ o Q o o to O I O o tn u b: o o o p < a. i Q Z s oo o < < a _j o z < < H Z D O u, Q Z < Q OS < D O O I < o Q Pi O O ON o p < Dl. J -J < CO < a: H D Q < H a: D O O < OS UJ K H D O QO CO O H < -J Q < < U u H Q < D O O J: J J > CO < J ,< o bJ 1^ D Q tJ X H u. O u o < < cu bJ H < i -J > ^: ::3SeS ^ ^'- '-~::» f - --^f- ^ \ ?^'= " -<•■■ ^ '';i',''-' ^ J- V ^ U ^J \ N) \ \ V' ■S V \ \ \ ^ \ CO CORDOBA— A COURTYARD 84 CORDOBA— FOUNTAIN IN THE COURT OF THE MOSQUE 85 86 CORDOBA— FOUNTAIN IN THE MARKET 87 GRANADA— FOUNTAIN ON THE PASEO DE LA BOMBA 88 CO Z bJ Q a < o < N < H u en D O X z u D Q bJ -J > CO OO < ffl o < -J Q O en < a X I- z H Z D O < Q < Z < o c/3 z Q < o a: < N < J o o a, I < > CO o 0^ 13, ^ - S i«o s ^ M ^ ^ 9-, ^ ^^ : ^ b ^ %- ^ S-i kj \ SL. V K Q ^•- uj N ^ -^ -^ "^^ ^ s ,^ ' ^ ^ ^j b ^'i^KflK i O '71J^7.7^S. GRANADA— GENERALIFE GARDENS See View Point "A" on Plan 92 CO Z ui Q < i S i u .= Id ^ 91 ^^ Q g < ^ BSI^^I?w^^!^ ■ /> ■•■■i^fe^.iai 1^^^^ ^ mf0^0m^ ^ 51ps^ i^ ^N^^jjj^^^l n V^'^t'T^'shmrMl^ ^ ■■-■<.■' I-- ■ , KJjX-Ci.' -^ ^ .^^^H i^B^^^^' . '"^i!!^! ■''■■■ ■ ■ '; : ->' '^MXlt^ty ..'*'" *;■■. 1 ;.■<.■ •*•:>■ " ■''■ GRANADA— GENERALIFE GARDENS See Vieto Point "L" on Plan 102 GRANADA— GENERAL VIEW OF THE GENERALIFE CORDOBA— A GARDEN WALK 103 o z Q a < a < CQ O Q a o o o 'St s < X < X H tn J < I u O z Q I 1 Q < Z o o