At the close of the eleventh century a new and more vigorous life sprang up in the art of Spain. The fresh impulse came from France; it expended1 itself chiefly in building.
It is necessary to remember that the geographical2 barrier of the Pyrenees forms no real ethnological separation between that country and Spain; one and the same Iberian race dwells in Gascony, Navarre, and the Basque provinces. Hence it is easy to understand that natural relations, intimate and frequent, grew up between the two countries. Marriage alliances united the two royal families, and the princes of France crossed the frontier to fight against the Moors3 in Spain. With them came priests and monks4, more learned than their neighbours, many of whom settled in the Peninsula. In this way the influence of the great orders of Cluny and Citeaux spread and grew powerful.{26} Then followed architects and sculptors5 from Aquitaine, Languedoc, Toulouse, Burgundy, and Normandy, to find work, and impress their separate influences on the numerous churches that at this time were being built. The Romanesque cathedrals are indeed the direct outcome of French medi?valism; and the figure-statues of the numerous tombs and altars are full of reminiscences, so that it is difficult to distinguish the native art. Yet in the midst of these imported styles we shall find, do we seek them, those distinct traits which belong to Spain.
It is in the province of Asturias that we find the greatest number of Romanesque churches. These churches were of moderate size. Their style was that of the basilica, with nave6 and aisles7, a well-marked transept, a trans-apsidal termination, and a lantern or dome9 over the crossing. The roof was at first flat, but afterwards the nave was covered with barrel vaulting10, and the aisles with quadrant or semi-barrel vaulting.
The most important of the early Romanesque churches is Santiago de Compostella (Plate 7), which was commenced and finished building during the twelfth century. It is a somewhat simplified copy of St. Sernin at Toulouse, and shows in its structure, as well as in its ornaments11 and{27} sculptures, very clearly marked, the influences of Cluny. This explains the great excellence12 of the carvings14 (Plates 8 and 9); works that are surprising at this period when so many figures are still barbaric. The admirable Puerta de las Gloria, which was completed by the carver Maestre Mateo in 1188, after twenty years’ work, is held by Mr. Street to be “one of the greatest glories of Christian15 art.” It is a vestibule or porch, divided into three sections, which extend across the entire width of the nave. The quadri-partite vaulting of the roof is adorned16 with elaborate carvings. Still more sumptuous17 are the carvings of the doorways18; one, the double doorway19 which opens on the nave, has exquisitely20 delicate carvings. On the shaft21 dividing the doorway into two is a seated figure of St. James, holding the burdon or pilgrim’s staff; while the shaft itself has carvings of the Tree of Jesse. The shafts22 in the jambs have figures of the Apostles and Major-Prophets. The main capital above represents the Temptation in the Garden and Angels ministering to Christ. At the back of the middle pillar is a kneeling figure, supposed to be the portrait of Maestre Mateo. Then in the tympanum is a seated figure of Our Lord, with upraised hands; and round Him are the Evangelists and eight angels{28} with the symbols of the Passion, while above are a company of the worshipping elect. The archivolt shows figures of the twenty-four elders of the Apocalypse. The general idea of the subject of the whole doorway is the Appearance of Christ at the Last Judgment23, but each of the series of small pictures is in itself an independent work of art. The side doorways which lead into the aisles are equally ornate. The shafts are adorned with figures of the Apostles; above are representations of Purgatory24 and Hell. All the figures are clearly painted. M. Marcel Dieulafoy does not think, however, that the tones which now show are the original colours, but that during the restoration in the seventeenth century some innovations occurred.
The Colegiata de San Isidoro at Leon (Plate 10), an early Romanesque edifice25, resembles in many respects Santiago de Compostella. The actual date of the building is difficult to establish. It was founded by Ferdinand I. of Castile in 1065 as a royal mausoleum; and the building is said to contain the tombs of eleven kings and twelve queens. It was altered and rebuilt by Maestro Pedro Vitambeu, and was not consecrated26 until 1149, while even then much of its decoration was probably incomplete. Some subjects of sculpture{29} and ornamentation are very analogous27 to St. Sernin, Toulouse. The main fa?ade is decorated with quaint28 old reliefs in stone; above the right portal are the Descent from the Cross (Plate 11) and the Deposition29 in the Tomb, with St. Paul on the right hand and St. Peter on the left. Then in the tympanum of the left portal is a very interesting Sacrifice of Abraham, placed under a zodiacal frieze30. But perhaps the most interesting parts of the building are the chapel31 and cloisters32 of the eastern aisle8, where the groined vaults33 are covered with fresco34 paintings of admirable effect and preservation35. The paintings show strongly the influence of France, curiously36 interpreted by the native art. C. Gasquoine Hartley writes, in “A Record of Spanish Painting”: “In colour and certain peculiarities37 of outline they are strongly French, but they are executed with a rugged38 and original force which is entirely39 Spanish.... The Bible narratives40 are executed with a direct and almost brutal41 baldness that at once marks the frescoes42 as the work of a Spaniard.” We are, however, chiefly interested with their colourisation, which is very important where so much of the colourisation of statuary has disappeared. As M. Marcel Dieulafoy points out, these frescoes give the range of tones usual to this epoch43 in France and in Spain. We{30} find red-brown, indigo44, yellow-ochre, and white; the black seems to have been obtained by a mixture of three of these colours. It is interesting to note that these are the colours, and of about the same shade, that we find used by the Persian artists in their decorations.
San Vicente of Avila (Plate 13) is another admirable example of the Romanesque churches. The nave, with its triforium and clerestory, is in a pure Romanesque style; while the transept, choir45, and three semicircular apses are in the Transition style. Though the building was begun in the twelfth century it was not finished until three hundred years later, and for this reason it shows a more advanced art. M. Marcel Dieulafoy holds it to be “the most beautiful specimen46 and the purest example of Burgundian architecture in Spain.” The west portal (Plate 14) is decorated with admirable statuettes in terra-cotta, unfortunately much mutilated, whose style recalls that of St. Landre of Avallon. Very curious are the heads of bulls, decorating the base of the pilaster by which the tympanum is sustained. Here the analogy with the bicephalous capitals of the Achemenide is very marked.
Romanesque churches are found in other provinces of Spain. One of the most ancient is{31} San Pedro of Huesca, which was begun in the eleventh century and consecrated in 1241. The church is roofed with barrel vaulting, and terminates in three semicircular apses. It contains many sculptures characteristic of this period.
The cloisters of the Cathedral of Gerona, and those of the Monastery47 of Santo Domingo at Silos, and of San Pedro, and the churches of Santa Maria and Santiago at Corunna, are additional examples of the same style.
The Cathedral of Zamora (Plate 15) is a more important edifice. This ancient city had in succession two French archbishops—Bernard and Jerome de Perigneaux. It is probable that the church was erected48 during the episcopate of Jerome, who died in 1126. It was consecrated in 1174, as is now known from that date discovered in an old epitaph during the restoration in the eighteenth century. This makes impossible the old belief that the church was built by Bernard de Perigneaux. M. Marcel Dieulafoy believes that it is the work of an Aquitaine architect. Both the exterior49 of the building, with its square tower, graceful50 cupolas, richly decorated, and the interior are interesting, with a character very rare in Spain. Of the carvings of this church M. Marcel Dieulafoy writes:{32} “From the sculptural point of view I would signalise in the portal, the corinthian columns and niches51, which both seem to come down from a monument of the decadence53 of the Roman age. One will notably54 remark the busts55, bezel set in a sort of window, which has been seen in the monuments of Roman Gaul, on the northern slope of the Pyrenees, and which became a most common feature in the architecture of the Spanish renaissance56; also the laurelled flying-arch, and the bas-relief of the spandril which crowns the busts.”
Two Romanesque churches, one belonging to the same period, the other to a later date, with a more advanced art, are the church and fine cloisters of San Pablo del Campo of Barcelona (Plate 16) and the Cathedral of Sigüenza. This last church, which was begun in 1102 and consecrated in 1123, was not completed until the thirteenth century. It is the most important example of the late-Romanesque Transition style. San Pablo was originally a Benedict convent, erected in 914 by Count Guitardo, but the building was restored in 1117 by Guiberto Guitardo, and is an excellent specimen of early Catalan architecture. Like San Pedro of Huesca, it has three parallel apses. The nave and transept are covered with barrel vaulting, and{33} above the crossing rises an octagonal cupola. On the chief portal are carved figures of St. John and St. Matthew; and especially interesting are the carved capitals of the columns, both those in the church itself and even more those in the cloisters, where we find cusped arches in the Saracenic style, coupled shafts, and richly decorated capitals.
In all the Romanesque churches the greatest wealth of the carver’s art is lavished57 on the capitals of the columns. Here we see Bible scenes and purely58 decorative59 designs, alternating, often very strangely, with fantastic monsters, fables60, and scenes from daily life. Almost all of these carvings are truly Spanish in their sentiment, though the foreign influences are always visible.
The Romanesque period lasted longer in Spain than in France; we do not find the Pointed61 or Gothic style before the twelfth century, when the Cistercian order introduced the severe and noble Burgundian type of church. But many old churches, though begun in the Romanesque period, assumed a Gothic character before their completion; we find this at Tarragona, in the old Cathedral of Salamanca, and in those of Londa and Tudela, as well as in many other churches. In the Monastery of Las Huelgas, Burgos, celebrated62 as the church where Edward I. of England was knighted by{34} Alonso the Learned, the church, dating from 1279, is in severe Gothic style; the cloisters, too, are Gothic, but in the earlier Claustreo (Plate 17) there are fine Romanesque capitals and arches. Again, the older and less-known Cistercian Abbey at Verula is a Transition building, while the beautiful cloisters of the fourteenth century are Gothic.
This mingling63 of styles, owing to the difference in time between the building of different parts of the same church, has a real advantage to the student of Spanish architecture and sculpture. The Cathedral of Tarragona (Plate 18) especially furnishes an almost complete series of examples of all the Spanish art-styles. For the church, built on the site of a mosque64, was begun about the year 1118, and dates mainly from the end of the twelfth and first half of the thirteenth centuries, but additions were made from the fourteenth century onwards as late as the eighteenth century. Thus we have examples of early Christian art in a sarcophagus of the fa?ade, and that in the ancient window of the Capilla Mayor with the three Byzantine columns. The main building is a brilliant example of the developed Romanesque Transition style; the beautiful cloisters, among the most perfect in Spain,{35} and the earliest of the side chapels65 are Gothic; the other chapels, added later, date from the sixteenth to the eighteenth century, and are in the Renaissance and baroque styles. Even Moorish66 art is represented in the azulejo roofing of the N.W. lateral67 chapels, and in the small Moorish window, said to be a prayer niche52 or mihrab, with its Cufic inscription68 dating from the year of the Hegira69 347—that is, 958 A.D.—in the ancient Capilla de Santa Maria Magdalena. The splendid doorway, with elaborate carvings, which gives entrance to the cloisters is the most notable pre-Gothic work in marble in Spain (Plate 19). But of this work we shall speak in the next chapter.
Following these early Gothic buildings we have the developed French cathedral style of the thirteenth century introduced into Spain. It is first seen in the great cathedrals of Burgos and Toledo (Plates 20 and 21), and a little later in that of Leon (Plate 22), the most perfect of the Gothic cathedrals in Spain. Very little of the national Spanish art is visible in these buildings; built for the most part by French architects, they recall in turn the cathedrals of Rheims, Beauvais, Bayonne, and Amiens; some see in Leon a copy of the great cathedral at{36} Chartres. The truth is that the style of these buildings is eclectic; they are all distinguished70 by the romantic magnificence of their ornamentation. The elaborately carved choir-stalls of Leon Cathedral (Plates 23-29) furnish a splendid example of the power of carving13. They are the masterpiece of John of Malines and the Dutch artist Copin. It was from carvings such as these that the native artists drew their inspiration.
点击
收听单词发音
收听单词发音 |
1
expended
|
|
| v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽 | |
参考例句： |
|
|
|
|
2
geographical
|
|
| adj.地理的；地区(性)的 | |
参考例句： |
|
|
|
|
3
moors
|
|
| v.停泊，系泊（船只）( moor的第三人称单数 ) | |
参考例句： |
|
|
|
|
4
monks
|
|
| n.修道士，僧侣( monk的名词复数 ) | |
参考例句： |
|
|
|
|
5
sculptors
|
|
| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
参考例句： |
|
|
|
|
6
nave
|
|
| n.教堂的中部；本堂 | |
参考例句： |
|
|
|
|
7
aisles
|
|
| n. (席位间的)通道, 侧廊 | |
参考例句： |
|
|
|
|
8
aisle
|
|
| n.（教堂、教室、戏院等里的）过道，通道 | |
参考例句： |
|
|
|
|
9
dome
|
|
| n.圆屋顶，拱顶 | |
参考例句： |
|
|
|
|
10
vaulting
|
|
| n.（天花板或屋顶的）拱形结构 | |
参考例句： |
|
|
|
|
11
ornaments
|
|
| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
参考例句： |
|
|
|
|
12
excellence
|
|
| n.优秀，杰出，(pl.)优点，美德 | |
参考例句： |
|
|
|
|
13
carving
|
|
| n.雕刻品，雕花 | |
参考例句： |
|
|
|
|
14
carvings
|
|
| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
参考例句： |
|
|
|
|
15
Christian
|
|
| adj.基督教徒的；n.基督教徒 | |
参考例句： |
|
|
|
|
16
adorned
|
|
| [计]被修饰的 | |
参考例句： |
|
|
|
|
17
sumptuous
|
|
| adj.豪华的，奢侈的，华丽的 | |
参考例句： |
|
|
|
|
18
doorways
|
|
| n.门口，门道( doorway的名词复数 ) | |
参考例句： |
|
|
|
|
19
doorway
|
|
| n.门口，(喻)入门；门路，途径 | |
参考例句： |
|
|
|
|
20
exquisitely
|
|
| adv.精致地；强烈地；剧烈地；异常地 | |
参考例句： |
|
|
|
|
21
shaft
|
|
| n.(工具的)柄，杆状物 | |
参考例句： |
|
|
|
|
22
shafts
|
|
| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
参考例句： |
|
|
|
|
23
judgment
|
|
| n.审判；判断力，识别力，看法，意见 | |
参考例句： |
|
|
|
|
24
purgatory
|
|
| n.炼狱；苦难；adj.净化的，清洗的 | |
参考例句： |
|
|
|
|
25
edifice
|
|
| n.宏伟的建筑物(如宫殿，教室) | |
参考例句： |
|
|
|
|
26
consecrated
|
|
| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
参考例句： |
|
|
|
|
27
analogous
|
|
| adj.相似的；类似的 | |
参考例句： |
|
|
|
|
28
quaint
|
|
| adj.古雅的，离奇有趣的，奇怪的 | |
参考例句： |
|
|
|
|
29
deposition
|
|
| n.免职，罢官；作证；沉淀；沉淀物 | |
参考例句： |
|
|
|
|
30
frieze
|
|
| n.(墙上的)横饰带，雕带 | |
参考例句： |
|
|
|
|
31
chapel
|
|
| n.小教堂，殡仪馆 | |
参考例句： |
|
|
|
|
32
cloisters
|
|
| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
参考例句： |
|
|
|
|
33
vaults
|
|
| n.拱顶( vault的名词复数 )；地下室；撑物跳高；墓穴 | |
参考例句： |
|
|
|
|
34
fresco
|
|
| n.壁画；vt.作壁画于 | |
参考例句： |
|
|
|
|
35
preservation
|
|
| n.保护，维护，保存，保留，保持 | |
参考例句： |
|
|
|
|
36
curiously
|
|
| adv.有求知欲地；好问地；奇特地 | |
参考例句： |
|
|
|
|
37
peculiarities
|
|
| n. 特质, 特性, 怪癖, 古怪 | |
参考例句： |
|
|
|
|
38
rugged
|
|
| adj.高低不平的，粗糙的，粗壮的，强健的 | |
参考例句： |
|
|
|
|
39
entirely
|
|
| ad.全部地，完整地；完全地，彻底地 | |
参考例句： |
|
|
|
|
40
narratives
|
|
| 记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分 | |
参考例句： |
|
|
|
|
41
brutal
|
|
| adj.残忍的，野蛮的，不讲理的 | |
参考例句： |
|
|
|
|
42
frescoes
|
|
| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
参考例句： |
|
|
|
|
43
epoch
|
|
| n.(新)时代；历元 | |
参考例句： |
|
|
|
|
44
indigo
|
|
| n.靛青，靛蓝 | |
参考例句： |
|
|
|
|
45
choir
|
|
| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
参考例句： |
|
|
|
|
46
specimen
|
|
| n.样本，标本 | |
参考例句： |
|
|
|
|
47
monastery
|
|
| n.修道院，僧院，寺院 | |
参考例句： |
|
|
|
|
48
ERECTED
|
|
| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
参考例句： |
|
|
|
|
49
exterior
|
|
| adj.外部的，外在的；表面的 | |
参考例句： |
|
|
|
|
50
graceful
|
|
| adj.优美的，优雅的；得体的 | |
参考例句： |
|
|
|
|
51
niches
|
|
| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
参考例句： |
|
|
|
|
52
niche
|
|
| n.壁龛；合适的职务(环境、位置等) | |
参考例句： |
|
|
|
|
53
decadence
|
|
| n.衰落，颓废 | |
参考例句： |
|
|
|
|
54
notably
|
|
| adv.值得注意地，显著地，尤其地，特别地 | |
参考例句： |
|
|
|
|
55
busts
|
|
| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
参考例句： |
|
|
|
|
56
renaissance
|
|
| n.复活，复兴，文艺复兴 | |
参考例句： |
|
|
|
|
57
lavished
|
|
| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
58
purely
|
|
| adv.纯粹地，完全地 | |
参考例句： |
|
|
|
|
59
decorative
|
|
| adj.装饰的，可作装饰的 | |
参考例句： |
|
|
|
|
60
fables
|
|
| n.寓言( fable的名词复数 )；神话，传说 | |
参考例句： |
|
|
|
|
61
pointed
|
|
| adj.尖的，直截了当的 | |
参考例句： |
|
|
|
|
62
celebrated
|
|
| adj.有名的，声誉卓著的 | |
参考例句： |
|
|
|
|
63
mingling
|
|
| adj.混合的 | |
参考例句： |
|
|
|
|
64
mosque
|
|
| n.清真寺 | |
参考例句： |
|
|
|
|
65
chapels
|
|
| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
参考例句： |
|
|
|
|
66
moorish
|
|
| adj.沼地的，荒野的，生[住]在沼地的 | |
参考例句： |
|
|
|
|
67
lateral
|
|
| adj.侧面的，旁边的 | |
参考例句： |
|
|
|
|
68
inscription
|
|
| n.（尤指石块上的）刻印文字，铭文，碑文 | |
参考例句： |
|
|
|
|
69
hegira
|
|
| n.逃亡 | |
参考例句： |
|
|
|
|
70
distinguished
|
|
| adj.卓越的，杰出的，著名的 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |