The Industrial Arts in Spain Part 2
No. 314-64. Silver-gilt pax of architectural design; in the centre is a group in full relief of the Virgin giving the chasuble to St. Ildefonso.
About 1540-50. [See woodcut, p. 33.]
No. 1129-64. Incense holder, boat-shaped, of rock crystal mounted in silver-gilt. Around the rim is a band of guilloche pattern, set with amethysts and garnets; on the lids a band inscribed "Oratio mea dirigatur sicut incensum." About 1540-50.
[Ill.u.s.tration: SPANISH CHALICE. SOUTH KENSINGTON MUSEUM.]
No. 93-65. Silver triptych with suspending chain, the interior painted in oils, the exterior engraved in arabesque. About 1550.
We find that Spanish jewels were as magnificent in the 16th century as were the large architectural objects for ecclesiastical use. One of the most important in richness and artistic merit was the splendid crown belonging to the Virgen del Sagrario at Toledo, which it is deeply to be regretted disappeared in 1868. This crown was made in 1556 by the silversmith Hernando de Carrion; it then consisted of a gold circle with chiselled and enamelled ornamentation, set with pearls, emeralds and rubies. In 1574 Cardinal Loaisa wished to enrich it, and ordered a silver worker called Alejo de Montoya to add to it an upper part, formed as an imperial crown, which Montoya agreed to do by a special agreement.
This addition was formed of small figures of angels of enamelled gold, in pairs supporting the side bands, which met in the upper part forming a group of allegorical figures, upon which was placed a spherical emerald, without a flaw, 1 inches in diameter, which served as a base to the cross. The bands were studded with precious stones and ornamented inside with subjects of the life of the Blessed Virgin in enamel. The height of this crown was 10 inches by 8 wide.
Montoya took 12 years to do this work--he finished it in 1586. The fine bracelets belonging to this crown, which have also disappeared, were made at the same time by Julian Hernando.
The jewels worn by the Spanish kings and grandees were equally magnificent. In the description of the gems which Prince Don Carlos, the son of Philip II, left to be distributed at his death, are included a sword the hilt of which was of solid gold enamelled in different colours: this Don Carlos bequeathed to the Grand Master of the Order of St. John:--a halberd composed of 27 pieces of enamelled gold in high relief; and a sword with gold mount enamelled in colours with masks, medals and festoons in the Roman style, made by Rodrigo Reynalti.
Consult "Coleccion de Doc.u.mentos Ineditos para la Historia de Espana,"
vol. 27, Madrid, 1855. I owe to the courtesy of Count Valencia de Don Juan, the following description of arms made by _Toto platero de su Alteza_ in 1554. [Archives of Simancas legajo, No. 37.] These arms belonged to Prince Don Carlos.
[Ill.u.s.tration: SPANISH PAX. SOUTH KENSINGTON MUSEUM.]
A gold sword, the cross of which is ornamented with masks of white, grey, and black enamel.
A gold dagger, and sword-belt belonging to the same sword, ornamented in a similar manner.
Also a gold sword, belt and dagger ornamented with figures of children in solid gold and enamel.
Although the greater part of these silversmiths were Spaniards, the Milanese artist, Jacome de Trezzo was very celebrated during the reign of Philip II. He made several jewels of great importance for the king and royal family. The splendid tabernacle which was taken by the French in 1810 from the Escorial was one of his finest works; they carried off at the same time the superb shrines, the gifts of kings and princes, and everything they could lay their hands on of gold and silver, loading ten campaign carts. Consult, "Historia del Escorial," by Quevedo. Madrid, 1849, p. 220.
At the South Kensington Museum are several objects of this kind, which will give an excellent idea of Spanish jewel work.
No. 334-70. A gold enamelled pendant, in form of a chained dog, supported on a scroll from which small pearls depend, and suspended by two chains of alternate enamelled and plain links, united to a fastening crowned by a bird.
No. 335-70. Enamelled gold pendant in form of a pelican and her young, enriched with a carbuncle and pearls, and suspended by pearl links.
No. 336-70. Enamelled gold pendant in form of a dog enriched with jewels.
No. 337-70. Enamelled gold pendant, in form of a parrot, set with hyacinth, suspended by chains.
No.340-70. Enamelled gold pendant representing the Virgin of the Immaculate Conception.
Nos. 341 and 342-70. Pendants representing the Virgen del Pilar Saragossa, attended by saints. [See woodcut opposite.]
[Ill.u.s.tration: SPANISH JEWEL, 17TH CENTURY. SOUTH KENSINGTON MUSEUM.]
Spanish jewel work does not decrease during the 17th century, the number of artists who worked was very great, and the quant.i.ty of objects of all kinds which were made by them to enrich the shrines of churches, and the houses of grandees, was remarkable, although their artistic merit was far inferior to the work of the 16th century. The general decay of art, which produces in Europe the _barroco_ style, appears in Spain more exaggerated and to a greater extent than elsewhere. The objects made during this period reproduce until the beginning of the 18th century the lines and extravagant ornamentation which we meet with in architecture, the handiwork however continued to be excellent, and no expense was spared to give an aspect of richness to the objects made.
[Ill.u.s.tration: SILVER DISH. SPANISH, 17TH CENTURY. SOUTH KENSINGTON MUSEUM.]
The large quant.i.ty of objects of all kinds made of silver, and the quant.i.ty also used in wearing apparel, gave rise to constant prohibitions restricting its use from the reign of Ferdinand and Isabel, and even to a far greater extent at the beginning of the 16th century.
In a Decree, issued at Madrid in 1594, "it is forbidden to make or sell cabinets, escritoires, caskets, brasiers, _chapines_ (clogs), tables, commodes decorated with silver, either beat in _repousse_, stamped, carved or plain, and whoever makes, sells, or buys them, is to lose them." Notwithstanding this and other restrictions which appeared in the 17th century, this abuse can hardly have been checked, judging by the number of these objects which have reached us, not counting those preserved in the shrines of Spanish churches and cathedrals.
The luxury which was apparent in this century of great decay for Spain will be found in the numerous descriptions which exist of different feasts and ceremonies.
A good idea may be had of this style of silversmiths' work from the silver dishes in the South Kensington Museum. An engraving of one of these appears on the preceding page.
[Ill.u.s.tration: BREAST ORNAMENT SET WITH EMERALDS. SPANISH, LATE 17TH CENTURY. SOUTH KENSINGTON MUSEUM.]
During the 17th century, jewellery underwent a complete transformation--the proceedings and _renaissance_ forms of the Italian school were abandoned, with all their richness of sculptures, enamels, and variety of stones. Instead of this, jewels were formed of emeralds, diamonds or rubies in gold setting, _perces a jour_, producing an excellent effect. The exceptions to this rule are the objects in which enamelled work still predominates, a reminiscence of the former century.
Among the finest and best examples may be mentioned the gold crown of the Virgen de los Desamparados of Toledo, made in Mexico in the 17th century. It is formed like a basket of flowers, of delicate tracery, and richly studded with fine emeralds. Several most interesting specimens exist at Kensington of Spanish jewellery of this kind, bought at the sale which took place in 1870 of the jewels belonging to the Virgen del Pilar at Zaragoza.
No. 325-70 is a breast ornament of gold scroll open work, with enamelled flowers, set with emeralds. [See woodcut on p. 37.]
No. 320-70, a gold breast ornament with five bosses and seven pendants, set with rose diamonds.
No. 406-73. Breast ornament, gold open strap work and floral filigree, the lower part an oval pendant, set with table diamonds. [See woodcut on p. 39.]
The following fine Spanish jewels of the 17th century in the Kensington Museum are also worthy of attention:
No. 330-64. A pectoral cross, with medallions containing relics.
No. 298-66. Gold filigree cross, within which is an ivory crucifix.
No. 344-70. Enamelled gold pectoral cross set with amethysts.
No. 417, 417A.-69. A pair of earrings of gold open work, branches set with white crystals.
No. 323, 323A.-70. Silver open work earrings set with rose diamonds.
No. 330 to 330C.-70. Four miniature ewers of silver filigree open work, the bodies of Chinese enamelled copper.
No. 1224-71. Silver frame _repousse_, with the Holy Dove, and a bleeding heart encircled with thorns.
Models of the baroque or, as it is called in Spain, _Churrigueresque_ styles continued to be copied during the beginning of the 18th century, in the same manner as in the 17th century. At this time, as in the rest of Europe, a reaction begins in every branch of art, due in Spain to the influence of French and Italian artists who accompanied the family of Bourbon. The Academy of Fine Arts of St. Fernando was founded by a king of that House towards the middle of the century, the teaching was reduced to copying Greco-Roman models, such as they were understood at that time.
[Ill.u.s.tration: BREAST ORNAMENT SET WITH DIAMONDS. SPANISH, LATE 17TH CENTURY. SOUTH KENSINGTON MUSEUM.]
The great centres which in the 16th century had produced such splendid works of art had almost completely ceased. No great silversmiths remained at Valladolid, Leon, Toledo, or Seville. The only localities which have preserved even to the present day the traditional forms of these ornaments are Salamanca, Cordova, Astorga, and Santiago. Madrid absorbed from the middle of the 17th century the whole of this industry.
In Larruga's "Memorias," Vol. IV., will be found every detail given on this subject. Several important establishments for the object of making silver work on a large scale were founded at Madrid, the most important being that of Tomas de Buenafuente, which pa.s.sed after to Francisco Novi. Two Frenchmen called Isaac and Miguel Naudin established a manufactory in 1772. In each the greater part of the work was machine made. Others were founded to cut and polish precious stones, and mount paste stones. This was done with great skill by Antonio Martinez in 1778, in a building fitted up for the purpose, which still exists opposite the Botanical Garden of Madrid. Martinez was pensioned by Charles III. in Paris and London to study the improvements in this industry. The princ.i.p.al object of the manufactory was to teach the technical proceedings required in order to extend this industry in the country, and supply a school in which machinery, models, drawings, &c., were to be met with. Pupils of both s.e.xes were admitted; machinery was made in the workshops, and Martinez undertook to teach the manufacture of gold, double, or steel trinkets, with or without enamel or stones.
Sword-hilts, buckles, snuff-boxes, needle-cases, handles for sticks, brooches, necklaces, orders, and other different objects, were made either of open work or enamelled gold.
Inkstands, dishes, dinner services, chocolate stands, cruets, knives and forks, were made of silver in different styles, generally imitating the English manner. [Consult Larruga, "Memorias Politicas y Economicas."
Madrid, 1789. Vol. IV., p. 116.]
The results obtained by the manufactory of Martinez were most satisfactory; a large number of apprentices were taught there; but their work was completely French in character; the manner and style of the Spanish school of silversmiths was completely forgotten.
As I have already mentioned, the traditional forms were preserved in some localities which require to be mentioned here in order to finish this account of this industry in Spain. An interesting and varied collection of modern Spanish peasant jewellery exists at the South Kensington Museum. Strange to say, although this collection was formed a very few years ago, in 1870, it would be very difficult now to make another; for owing to the means of communication having been of late years so much improved in Spain, the peasantry are leaving off their national costumes, and subst.i.tuting in every detail modern fashions.
Among this peasant jewellery the silver gilt necklace and reliquaries of Astorga, No. 1114-73, deserve special attention. These necklaces were worn round the neck and part of the body. The neck ornaments of gold and seed pearls made at Salamanca, those of silver gilt of Santiago; the filigree work of Cordova in the Moorish style, and the long earrings of Cataluna with precious stones, are interesting reminiscences of older times.
LIST OF SPANISH GOLDSMITHS AND SILVERSMITHS.