The Industrial Arts in Spain by Juan F Riano - HTML preview

In Cean Bermudez "Dicc Historico de los Profesores de Bellas Artes" appear among the sculptors' names, those of the artists who carved the most important stalls of the cathedrals, and other works of art of a similar kind, but the names of those who made cabinets have never yet been published. I have been fortunate enough to be able to collect the following from unpublished documents which exist at the Library of the Acad. de San Fernando at Madrid. They worked in the 16th and 17th century.

Large arm-chairs of a quadrangular form, with arms, back and seat of leather or embroidered stuffs, were used to furnish rooms at the same time as these cabinets; tables, and frames inlaid with ivory, tortoise-shell, ebony, bronze and silver, were hung on the walls; side-boards, beds, and braziers were made of inlaid woods or silver. Women during the 16th and 17th centuries sat on low stools on the ground. The beds were made of rich brocades embroidered with gold, (vide Madame d'Aunoy), trimmed with point d'Espagne, and on the splendid carpets were placed silver braziers which burnt crushed olive stones. The walls were covered with tapestry and rich silks, and from very early times stamped, painted or gilt leather guadameciles were used in Spain to a very great extent. These guadameciles were imitated in France and other countries in the 16th and 17th centuries; a very large quantity of this stamped leather is to be met with in England. The Baron Ch. Davillier has lately published an interesting notice on this subject, from which I take the following information. ("Notes sur les cuirs de Cordoue. Guadameciles d'Espagne," Paris, 1878.)

The word guadamecil applied to this leather comes from the village of Ghadames in Africa, celebrated from the 12th century for this industry. It was imported by the Moors into Spain, and Cordova became from the beginning of the Middle Ages the great centre of this production, although other towns, such as Seville, Granada, Toledo, and Barcelona, exported these leathers also. The chronicler Ambrosio de Morales, in his "Las Antiguedades de las ciudades de España," Alcala, 1575, says, p. 10, "A great commerce is produced by the exportation of skins, and many have been enriched by it, those prepared at Cordova are so excellent, that now in Spain any goat hide prepared in any locality is called Cordovan. Guadameciles are made of leather, and are so well fashioned in Cordova that none can compete with them; they are exported to the Indies and all Europe. They produce much for the town, and beautify the principal streets, for the hides are hung out to dry after they are painted and gilt, and it is a fine sight to see the walls covered with such variety of colour and form."

A good collection of these guadameciles is in the South Kensington Museum. See Nos. 471 to 485, '69, and 1651 to 1654, '71.

At the end of the 17th and first half of the 18th century, the Baroque or Churrigueresque architecture had such influence over furniture, that although exaggerated examples were very common, they reached in no country to such a pitch as they did in Spain. As specimens, the enormous retablos over the high altars made of gilt carved wood may be mentioned, which are so frequently to be seen in Spanish churches. The exuberance of uncouth heavy ornamentation destroys the regularity and harmony of the general effect. Chairs and tables were made then in the same style, and the cornucopias or decorated mirrors which adorn Spanish churches and sacristy, belong to this period. The name of cornucopia was given in allusion to the horn of abundance.

The French influence of the last century brought the same fashions for furniture into Spain, and we also find there the styles known as Louis XVI. and Empire. Spain follows the general rule; porcelain plaques from the manufactories of Alcora and Retiro were let into furniture, and gilt bronze mountings were very much used. The most important specimens of furniture of the early present century are the splendid rooms inlaid with metal work at the Palace, called Casa del Labrador at Aranjuez, and those known by the name of "Piezas de maderas finas," at the Palace del Escorial. The description given by J. Quevdo, in his "Historia del Real Monasterio de San Lorenzo," Madrid, 1849, gives a good idea of their importance; he says, p. 343, "This series of four small rooms were decorated at a cost of 28,000,000 of reales (£280,000). The pavement, friezes, windows, and doors, are made of the most delicate inlaid work representing landscapes, vases and festoons of flowers, which look as if they were painted with a brush. King Charles IV. helped in this work, and they were finished in 1831 under the direction of Angel Maeso. The splendid iron work was made by Ignacio Millan. It is of polished iron inlaid with gold, and most exquisite in workmanship."

IVORIES.

NO artistic industry in Spain has left behind so little historical information as ivory carving. Only a very small number of examples of this art have reached us which are of undoubted Spanish manufacture, but a group exists among them which has been but little examined or studied; it is worthy of the utmost attention, on account of its artistic character, and the inferences which may be drawn from it.

We find no allusion in the works of Pliny or St. Isidoro to the existence of the industry of ivory carving in Spain during the Roman and Visigothic dominations. An interesting example of ivory work of the Roman period, consisting of a consular diptych may be seen at the cathedral of Oviedo, which, although certainly not carved in Spain, must not be overlooked here, in order that it may be included among the number of the carvings which have reached us of this period. The two leaves of this diptych are complete, and in a perfect state of preservation: they are 16 inches long by 6 inches wide; in the centres are two medallions in relief with a bust of the consul, who is represented in the act of throwing down with his right hand the mappa or handkerchief, and holding in his left hand a sceptre. The right angles are ornamented with masks, the rest of the surface is plain. The two following inscriptions run along the upper part of the leaves: FL·STRATEGIVS APION. STRATEGIVS APION V. ILL: COM. DEVV. DOMM. ET · CONS · OR.

Flavius Strategius Apius. Strategius Apius, illustrious man, count of the most fervent servants, and consul in ordinary.

This consul belongs to the period of Justinian, by which emperor he was invested with this dignity in A.D. 539. We do not know how this diptych came to Spain; it is generally supposed that it belonged originally to the shrine of the cathedral of Toledo, from whence it was removed to Asturias, with other relics, to be concealed there during the invasion of the Arabs at the beginning of the 8th century. The student will find further details in "Corpus Ins." by Hübner. "Monumentos arquitectonicos." "Mus. Esp. de Antiguedades." Vol. i. p. 385.

From the invasion of the Arabs, which began early in the 8th century, and on the foundation of the empire of the Caliphs of Cordova in the year 756, an era of grandeur began for the Arabs in Spain, coinciding with their independence from the Caliphs of Damascus, which lasted for more than two centuries; during this time Cordova became the most important literary and scientific centre in Europe. The direct influence of the East and Constantinople may be traced without interruption from this time on the culture of the Spanish Arabs. At times this culture was transmitted by the objects of every kind which the Spaniards received from the East, at others by the influence exercised by the artists who established themselves on the territory of the Caliphate of Cordova. The greater part of the industrial arts, which were imported at this time, became naturalized in the country, and we find them developed in every locality of the Peninsula, and although we do not possess any positive historical information stating this fact, which distinctly bears on ivory carvings, we are safe in affirming that the industry existed among the Spanish Arabs in a very high state of perfection during the last years of the Caliphate. The description and details of the most important ivories which have reached us of this period confirms this opinion.

At the South Kensington Museum there is a cylindrical box No. 217-'65 with rounded cover. I copy Mr. Maskell's description of this object, of which a woodcut is given. (Vide "Ivories, Ancient and Mediæval, in the South Kensington Museum," London, 1872.)

"This beautiful box is carved throughout, except the bottom of it, with interlacing narrow bands forming quatrefoils, in which on the cover are four eagles. These have spread wings and stand erect; well designed and most delicately executed. A small knob serves to lift the lid.

 
IVORY BOX. MOORISH. 10TH CENTURY. SOUTH KENSINGTON MUSEUM.

"Round the side, each quatrefoil is filled with a star having a leaf ornament. The same decoration is repeated in the spaces between the larger quatrefoils on the cover.

"The whole is carved in pierced work, except a band which forms the upper upright portion of the box, round the side of the lid. This band has an Arabic inscription:

"A favour of God to the servant of God, Al Hakem al Mostanser Billah, commander of the faithful." He was a Caliph who reigned at Cordova, A.D. 961-976."

Another very interesting oblong box is preserved in the same Museum, No. 301-'66. The cover and sides are carved with scroll foliated ornament: the hinges and clasp are of chased silver inlaid with niello. Round the sides, immediately below the lid is the following Arabic inscription in Cufic characters:

"In the name of God. This (box) was ordered to be made by Seidat Allah, the wife of Abdo-r-rahman, prince of the believers. God be merciful and satisfied with him."

 
IVORY BOX. MOORISH. 10TH CENTURY. SOUTH KENSINGTON MUSEUM.

This inscription must allude to Abd er Rahman III. the first Caliph of Cordova who bore the title of Emir, el Mumenin. The formula "God be merciful," &c., denotes that he was dead when it was written. He died A.D. 961. (See woodcut.)

Another casket, undoubtedly the most important in size which is known of this period, proceeds from Sanguesa, in the province of Navarre, and is now preserved in the treasury of the cathedral of Pamplona.

This splendid box, hitherto undescribed, is 15 inches long, by 9¼ wide. A woodcut is given opposite. It is completely covered with carvings in relief, within circular cusped medallions, with figures in the centres representing different subjects: men seated, hawking, or struggling with wild beasts, and numerous single figures of lions, stags, and other animals. The intermediate spaces contain an ornamentation of leaves and flowers which is accommodated to the geometrical style of Saracenic art. Round the upper part of this box appears an Arabic inscription in fine Cufic characters.

"In the name of God. The blessing of God, the complete felicity, the happiness, the fulfilment of the hope of good works, and the adjourning the fatal period (of death), be with the Hagib Seifo daula (sword of the State), Abdelmalek ben Almansur. This (box) was made by the orders (of the said Hagib), under the inspection or direction of his chief eunuch, Nomayr ben Mohammad Alaumeri, his slave in the year of 395," [A.D. 1005].

In the centre medallion, on the opposite side to the lock, is represented the standing figure of a man who is attacked by two lions. He holds on his arm a shield, upon which is engraved an inscription, with the following religious formula: "There is no God but God," or a similar one, for the characters are very illegible and confused. In the centre of this shield may be read  "made by Hair," undoubtedly one of the artists who made the box. Another artist's name may be read with difficulty in a similar inscription which appears on one of the medallions on the left side: it is written on the thigh of a stag, which is attacked by a lion  "it was made by Obeidat." Three other inscriptions of a similar character appear in other parts of this box, which probably give the names of other artists, but I have been unable to decipher them.

 
MOORISH CASKET. 11TH CENTURY. CATHEDRAL OF PAMPLONA. 
[Medium amplification] 
[Largest amplification]

Among other artistic objects in the shrine of the cathedral of Braga, in Portugal, there is an ivory box of the same period, and the inscription, which runs round the cover, mentions the same persons:

"There is no God but God, and Mahomad is his prophet. In the name of God, a blessing, prosperity and fortune for the Hagib Seifo, d. daula, for this work, which he ordered to be made by the hands of"—here the inscription has been broken off—"his principal eunuch." (Vide 'Artes e Letras,' No. 6, 3rd series, p. 94, Lisbon, 1874.)

Both these caskets were made for Hadjeb Abd el Melik, a minister of Hischem the second.

It is necessary to add to them an ivory diptych, preserved at the Provincial Museum of Burgos, which, as we find by the following inscription, was also made for Abder Rahman III, (A.D. 912-961).

"This was ordered to be made by the Iman servant of God Abder Rahman, prince of believers."

Two other boxes of the same artistic character, belonging to a private collection, must also be mentioned. They are both cylindrical, and are terminated by a spherical cover. They measure 7½ inches high, by 4-5/8 wide, and are covered with a profuse and splendid ornamentation of figures and animals. Round the lid of one them is a band, with the following inscription in fine Cufic character:

"The blessing of God and his favours, joy, and prosperity, for Almogueira, son of the Prince of the faithful, whom may God have forgiven. It was made in the year 357 [A.D. 967]."

Almogueira was the son of the Caliph of Cordova, Abder Rahman III.

On the other may be read in similar characters—

("In the name of God, clement and merciful, blessing")—this part of the inscription is missing—"and prosperity and happiness for Riyadh ben Aflah, captain of the superior guard. It was made in the year 359" [A.D. 969].

The style of the objects which we have hitherto described is undoubtedly Oriental, and we must seek in Persia the origin of this industry. There is, however, every probability that these seven ivory boxes were made in Spain by Spanish Arabs, or artists who had settled there from the East. On all these carvings the names of Spanish historical persons appear, and it is hardly possible that they were ordered in remote countries, especially as some of these objects are small and comparatively unimportant. It must also be borne in mind that we find in contemporary authors many details on the luxury and magnificence of this period of the Spanish Arabs, and the great height which the arts and industries had reached at that time.

The ivory carvings which I have described present all the characteristics of the Oriental school, which was copied by European Christian sculptors during the 11th and 12th centuries. We find in Christian productions of this period, too constantly to require any further comment, the same geometrical traceries, flowers, leaves, animals, and birds. The subjects represented on monuments of Christian art have been erroneously interpreted by modern ecclesiologists who have endeavoured to demonstrate the symbolism of these figures in a purely Christian sense with only the unsatisfactory result of checking and leading astray art students of the Middle Ages. It is of the utmost importance to go to the primitive sources from which this art is derived in order to illustrate this important theory. The Oriental school of sculpture was soon transmitted, ei