84.
Pedro de Lerzama; worked at Seville.
85.
Pedro de Lazaretea; worked at Bilbao.
86.
Pedro de Orozco.
87.
Pedro de Belmonte.
88.
Roque Hernandez.
Sarabal; used no mark.
89.
Sebastian Hernandez, el viejo, 1637.
90.
Sebastian Hernandez, el mozo; he worked also at Seville.
91.
Silvestre Nieto.
92.
Silvestre Nieto.
93.
Tomas de Ayala, 1625.
94.
Zamorano, el Toledano.
Nos. 95, 96, 97, 98, and 99, are the marks of sword makers whose names are unknown.
Miguel y Manuel Fernandez; worked at Toledo in 1786.
Pedro de Barreta; at Bilbao at the end of the 16th century.
The following names may be added to this list—
Luis Calisto, 1760; and the four following artists are mentioned by Palomares as working at Toledo.
Juan de Valladolid.
Sebastian Herbás, 1617.
Manuel Ruiz, 1700.
Ignacio Fernandez, 1708.
Juan Orenga, 15th century; worked at Tortosa, and mentioned in the "Corvacho" of the Arcipreste de Talavera, fol. xi.
Martin Garro, v. p. 120, "Almanaque de la Industria."
Alonso Gutierrez, master of sword making at Madrid in 1625.
This artist, and the eleven following, are mentioned in original documents at the Academia de San Fernando.
Francisco de Borja, sword maker and gilder; Madrid, 1634.
Gaspar Martin, sword maker; working at Madrid in 1637.
Juan Mazon de Santorcas, sword maker and gilder; Madrid, 1636.
Juan de Medina; Madrid, 1620.
Lorenzo de los Rios; Madrid, 1585.
Miguel de Berrio; Madrid, 1575.
Pedro Casado, sword maker; Madrid, 1636.
Francisco de Elias, an apprentice of Pedro Casadós.
Francisco de Salinas; Madrid, 1636.
Acheza——; Toledo.
Camilo, 1500.
Two fine rapiers are in the Kensington Museum, Nos. 626, '68, and 2214, '55, which belong to the 16th and 17th centuries, and give a good idea of this industry of Toledo. Woodcuts of these appear on the opposite page. One of the blades is marked with the name of Francisco Ruiz. A large and most important collection of rapiers, swords, and other arms exists at the Royal Armoury of Madrid.
The breastplates are unusually fine, but the finest among them are by Milanese artists. A good example, which has been considered Spanish, was formerly in the Bernal Collection (see woodcut on p. 98); it gives an excellent idea of the artistic importance attained by this industry.
SPANISH RAPIERS. SOUTH KENSINGTON MUSEUM.
The saddles used in Spain were similar to those of other European countries, for we find the same names adapted to the Spanish language. In the poem of the Cid, 13th century, and other works of the Middle Ages, gallega and barda saddles are mentioned which were peculiar to Spain. The gallega saddles were called so from being made in Gallicia; the barda proceeded from the Moors. We find no details which explain their exact structure.
BREASTPLATE, FORMERLY IN THE BERNAL COLLECTION.
A very remarkable collection of saddles of every description may be studied at the fine collection of armour at Madrid; among them are two of special interest—No. 2311 of "Catalogue of Armoury"—traditionally supposed to have belonged to the Cid, and No. 1310, which was used by King James the Conqueror in the 13th century. The Cid's saddle (see woodcut) is intended for a war-horse; its bows are covered with black metal plating, ornamented with a design of leaves and pilgrims' shells, partially gilt, and the word "Fides," considered to be the Cid's devise. Much has been written on the origin and authenticity of this saddle. Cervantes alludes to it in the 49th Chapter of "Don Quixote," Part I. For further details see "Catalogue of the Armeria."
SADDLE OF THE CID. ARMOURY, MADRID.
The greatest novelty which was introduced during the Renaissance period was the use of fire-arms. The only names of ancient artists that I have met with, who had any connection with the manufactory of large pieces of artillery were Pedro Burgues, an iron master of Barcelona, who lived in 1393; Rodrigo de Almanza, and Pedro Colomer, who made fire-arms at Barcelona in 1413; and the Moor, Alfarax Darhin, an iron master of Tarazona; V. Fernandez Duro. [Museo Español, vol. v. p. 18.]
Portable fire-arms were introduced into Spain towards the middle of the 15th century. Count Clonard, in treating this subject in the "Memorias de la Academia de la Historia," ix. p. 214, says:—"Alfonso de Palencia tells us the espingarda, or large hand musket (see woodcut), and arbatana culverin, were used in the insurrection at Toledo in July, 1467. He assures us they had been very recently invented and named. They had been mentioned as early as 1449. In the siege of Toledo, Don Alvaro de Luna could not be kept back from the dangerous position in which he had placed himself, notwithstanding the shower of stones, rockets, arrows, and shots of espingardas which were thrown into the town."
SPANISH MUSKETS.
At the same time as these portable fire-arms were used in Spain, the ancient ballestas, crossbows, so generally used in the Middle Ages, were very popular. Several artists became very famous in their manufacture. Alonso Martinez de Espinar enters into many details of this implement in his rare volume on the "Arte de Ballesteria y Monteria," Madrid, 1644, 4to, from which I copy the following passage, p. 11:—"The crossbow is more secure and less dangerous than the arquebuse; for it has never been known that a man's life has been lost by breaking the string or cord, two things which are dangerous, but not to a considerable extent. The crossbow has many advantages over the arquebuse: it kills, but does not frighten game; this cannot be done with the arquebuse, for the sound it makes alarms and frightens the game, and is heard everywhere. Once set, its shot is secure; which is not the case with the arquebuse, which often misses fire.
"This weapon has been used in Spain from very early times, and has been made by the best masters; the most famous among them were—
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Azcoitia el Viejo. Pedro de la Fuente. Christoval de Azcoitia. Juan Hernandez. Juan Perez de Villadiego. Juan Azcoitia. Vzedo. Hortega. |
"The only famous maker of crossbows of the present time is Juan de Lastra."
Espinar does not mention the name of Miguel, a crossbow maker of Zaragoza, or another celebrated maker who lived at Barbastro. The ambassador Salinas alludes to them both in an hitherto unedited letter written to King Ferdinand of Hungary, the brother of the Emperor Charles V. He says:—"Before I was able to find a lodging in this town of Monzon (Aragon), which was about five or six days, I went to Balbastro, Barbastro, and there occupied myself in making a pair of crossbows for your Majesty. I believe they are so made that they will satisfy the desires which were required; they were made in my presence and according to my wishes, and as your Majesty is annoyed when they do not go off as you wish, I determined to make them in the following manner: One of them weighs l. ounces, which is considered here a very great weight. I, knowing your Majesty's wishes, had another made of lvi. ounces, that is to say 3½ lbs. of Castille, carved and worked in such a manner that the cords should not break; and that it be pleasant to shoot, I can affirm your Majesty that the maker is the best which exists in Spain, and yet he has never made so fine a crossbow as this one which is now sent to your Majesty; and if not to your liking, I do not expect you ever will be pleased with one. I have sent them to Victoria in order that the screws may be made to fit the cords, and have ordered them to be made without delay; and as soon as they are ready they are to be sent to Bilbao to be forwarded to Flanders to the Queen, to whom your Majesty must write, in order that whatever you may wish may be done with them. When we leave here, it is said, we are to go to Zaragoza, where your Majesty will stay ten or twelve days. I will order two crossbows from Maestro Michel, who competes with the maker at Barbastro. I will do the same with these as the others. I entreat your Majesty should provide that the best of the two should not be lost. I am thoroughly satisfied with it, and am sure it will please your Majesty. From Monzon, 27th day of August, MDXXXIII." (Copy of a letter by Martin de Salinas to Ferdinand, King of Bohemia and Hungary, MS. fol. Acad. of History, c. 71).
Martinez de Espinar gives in his "Arte de Ballesteria," p. 41, the names of the best Spanish arquebuse or musket makers, and says: "The first cannon brought to Spain came from Germany; the artist who made them used the following marks:—
"Two heads.
"A vase.
"A vase and pine.
"A pair of tongs.
"Flames.
"A knife.
"An excellent artificer worked formerly in Italy called Lazari Cominaz, but many bad cannons have been attributed to him.
"The best Spanish masters were—
"Maestre Simon, el viejo.
"Maestre Pedro, his brother, who made at Madrid excellent cannon and locks.
"They came over with the Emperor Charles V., and worked also for the Kings Philip II. and III., and marked the pieces they made with three sickles.
"Maestre Simon had four sons; all of them followed his profession. Felipe and Simon Marcuarte have worked for Philip III. and IV. Simon Marcuarte is still alive. They mark with a sickle in a shield, and make also excellent hunting-knives, archers' knives, halberds, and other things. Pedro, their brother, is also an excellent artificer.
"Juan Salado worked in several localities, and died at Salamanca. He was an excellent arquebuse maker. His mark was the letter of his name and a horse.
"Sanchez de Mirveña, his son-in-law, followed him. He marked with a lion and his initials.
"Gaspar Fernandez was brought by King Ferdinand from Salamanca, and the arms he makes are the best in Spain.
"Pedro Muñoz worked at Seville. He was surnamed El Toledano, and marked with all the letters of his name.
"Juan de Metola did the same.
"Leguizamo worked at Seville. He marked with his name and two stags.
"Francisco Hernandez used his full name.
"Andres Herraez was a native of Cuenca. He made every sort of arm, and marked with an eagle and his initials.
"Maestre Cristoval de Ricla marked with an X.
"Pedro Palacios with P P."
A fine musket exists by Palacios at the Royal Armoury of Madrid—No. 427. By Cristoval de Ricla there is a cannon of worked iron, No. 2319, mounted on its gun-carriage, with the following inscription, "Hizome en Ricla Cristoval Frisleva año, 1565." A fine gun, also at the Armeria, is by the same artist.
Juan de Espinar does not mention the following artists, who lived at his time at Madrid. I find their names given in original documents in the Library of the Academia de San Fernando.
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Bartolomé de Orgaz |
1643 |
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Juan de la Cruz |
1629 |
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Juan de Mazo |
1613 |
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Juan de Pozo |
1625 |
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Juan de Zuazo, armourer of his Majesty |
1645 |
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Lucas de Ros, armourer of his Majesty |
1623-1628 |
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Matias Suezo, was arquebusier of the guards of Seville in |
1625 |
|
Rafael Villato in |
1625 |
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Pero Matia appears in documents of the archives of Simancas as musket-maker living at the Alhambra at the end of the 16th century. |
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By extracting the information on this subject which is given in the introduction to the Catalogue of the Armoury, we find this list can be brought down to our time:—
Gaspar Hernandez had two excellent pupils.
Domingo Garcia and Juan Belen, who marked with a lion with a lifted paw. He was appointed gunsmith to King Charles II. in 1699.
Alonso Martinez was an excellent artist; he marked his work with the letters of his name.
Luis Santos, 1739.
Nicolas Bis.
Matias Baeza, gunsmith of King Philip V., 1739.
Alonso Martinez, 1732.
Diego Esquivel.
Juan Fernandez, appointed in 1726.
Diego Ventura, appointed gunsmith to Charles III., 1760.
Luis Santos.
Matias Baeza, 1740.
Francisco Bis.
Ignacio Barcina.
Sebastian Santos, 1752.
Gabriel de Algora, appointed gunsmith to Ferdinand VI., 1746.
Juan Fernandez.
Manuel Sutil, an excellent artist.
José Cano, 1740.
Joaquin Celaya, 1749.
José Lopez.