Portuguese Architecture Part 21

He then speaks of the different reredoses, tombs of two priors, silver candlesticks, a great silver cross made by Eytor Gonsalves, a goldsmith of Lisbon, much other church plate, and then goes on to say that a lectern was ordered for the choir but was not made and was much needed, as was a silver monstrance, and that the monastery had no money to pay Christovam de Figueiredo for painting the great reredos of the high altar and those of the other chapels, 'and, Sir, it is necessary that they should be painted.'

Besides making so many gifts to Sta. Cruz, Dom Manoel endowed it with many privileges. The priors were exempt from the jurisdiction of the bishop, and had themselves complete control over their own dependent churches. All the canons were chaplains to the king, and after the university came back to Coimbra from Lisbon in 1539 Dom Joo III. made the priors perpetual chancellors.[135]

By 1522 then the church must have been practically ready, though some carving still had to be done.

Marcos Pires died in 1524 and was succeeded by Diogo de Castilho, and in a letter dated from Evora in that year the king orders a hundred gold cruzados to be paid to Diogo and to Master Nicolas[136] for the statues on the west door which were still wanting, and two years later in September another letter granted Diogo the privilege of riding on a mule.[137]

The interest of the church itself is very inferior to that of the different pieces of church furniture, nearly all the work of foreigners, with which it was adorned, and of which some, though not all, survive to the present day.

Inside there is nothing very remarkable in the structure of the church except the fine vaulting with its many moulded ribs, the large windows with their broken Manoelino heads, and the choir gallery which occupies nearly two bays at the west end. Vaulted underneath, it opens to the church by a large elliptical arch which springs from jambs ornamented with beautiful candelabrum shafts.

Of the outside little is to be seen except the west front, one of the least successful designs of that period.

In the centre--now partly blocked up by eighteenth-century additions, and sunk several feet below the street--is a great moulded arch, about eighteen feet across and once divided into two by a central jamb bearing a figure of Our Lord, whence the door was called 'Portal da Majestade'; above the arch a large round-headed window, deeply recessed, lights the choir gallery, and between it and the top of the arch are three renaissance niches, divided by pilasters, and containing three figures--doubtless some of those for which Diogo de Castilho and Master Nicolas were paid one hundred cruzados in 1524. The window with its mouldings is much narrower than the door, and is joined to the tall pinnacles which rise to the right and left of the great opening by Gothic flying b.u.t.tresses. Between the side pinnacles and the central ma.s.s of the window a curious rounded and bent shaft rises from the hood-mould of the door to end in a semi-cla.s.sic column between two niches, and from the shaft there grow out two branches to support the corbels on which the niche statues stand. All this is very like the great south door of the Jeronymite monastery at Belem, the work of Diogo's brother Joo de Castilho; both have a wide door below with a narrower window above, surrounded by a ma.s.s of pinnacles and statues, but here the lower door is far too wide, and the upper window too small, and besides the wall is set back a foot or two immediately on each side of the window so that the surface is more broken up. Again, instead of the whole rising up with a great pinnacled niche to pierce the cornice and to dominate parapet and cresting, the drip-mould of the window only gives a few ugly twists, and leaves a blank s.p.a.ce between the window head and the straight line of the cornice and parapet; a line in no way improved by the tall rustic cross or the four broken pinnacles which rise above it. Straight crested parapets also crown the wall where it is set back, but at the sides the two corners grow into eight-sided turrets ending in low crocketed stone roofs. Of course the whole front has suffered much from the raising of the street level, but it can never have been beautiful, for the setting back of part of the wall looks meaningless, and the turrets are too small for towers and yet far too large for angle pinnacles. (Fig. 69.)

Although the soft stone is terribly perished, greater praise can be given to the smaller details, especially to the figures, which show traces of considerable vigour and skill.

If the church shows that Marcos Pires was not a great architect, the cloister still more marks his inferiority to the Fernandes or to Joo de Castilho, though with its central fountain and its garden it is eminently picturesque. Part of it is now, and probably all once was, of two stories. The b.u.t.tresses are picturesque, polygonal below, a cl.u.s.ter of rounded shafts above, and are carried up in front of the upper cloister to end in a large cross. All the openings have segmental pointed heads with rather poor mouldings. Each is subdivided into two lights with segmental round heads, supporting a vesica-like opening. All the shafts are round, with round moulded bases and round Manoelino caps.

The central shaft has a ring moulding half-way up, and all, including the flat arches and the vesicae, are either covered with leaves, or are twisted into ropes, but without any of that wonderful delicacy which is so striking at Batalha. Across one corner a vault has been thrown covering a fountain, and though elsewhere the ribs are plainly moulded, here they are covered with leaf carving, and altogether make this north-east corner the most picturesque part of the whole cloister. (Fig.

70.)

The upper walk with its roof of wood is much simpler, there being three flat arches to each bay upheld by short round shafts.

Now to turn from the church itself and its native builders to the beautiful furniture provided for it by foreign skill. Much of it has vanished. The church plate when it became unfas.h.i.+onable was sent to Goa, the great metal screen made by Antonius Fernandes is gone, and so is the reredos carved by a master from Seville and painted by Christovo de Figueredo. There still hang on the wall of the sacristy two or three

[Ill.u.s.tration: FIG. 69.

COIMBRA.

WEST FRONT OF STA. CRUZ.]

[Ill.u.s.tration: FIG. 70.

COIMBRA.

CLOISTER OF STA. CRUZ.]

pictures which may have formed part of this reredos. They are high up and very dirty, but seem to have considerable merit, especially one of 'Pentecost' which is signed 'Velascus.' The 'Pentecost' still has for its frame some pieces of beautiful early renaissance moulding not unlike what may still be seen on the reredos at Funchal, and it is just the size of a panel for a large reredos. Of course 'Velascus' is not Gro Vasco, though the name is the same, nor can he be Christovo de Figueredo, but perhaps the painting spoken of by Gregorio Lourenco as done by Christovo may only have been of the framing and not necessarily of the panels.

These are gone, but there are still left the royal tombs, the choir stalls, the pulpit, and three beautiful carved altar-pieces in the cloister.

The royal tombs are both practically alike. In each the king lies under a great round arch, on a high altar-tomb, on whose front, under an egg and tongue moulding a large scroll bearing an inscription is upheld by winged children. The arch is divided into three bands of carving, one--the widest--carved with early renaissance designs, the next which is also carried down the jambs, with very rich Gothic foliage, and the outermost with more leaves. The back of each tomb is divided into three by tall Gothic pinnacles, and contains three statues on elaborate corbels and under very intricate canopies, of which the central rises in a spire to the top of the arch.

On the jambs, under the renaissance band of carving, are two statues one above the other on Gothic corbels but under renaissance canopies.

Beyond the arch great piers rise up with three faces separated by Gothic pinnacles. On each face there is at the bottom--above the interpenetrating bases--a cla.s.sic medallion encompa.s.sed by Manoelino twisting stems and leaves, and higher up two statues one above the other. Of these the lower stands on a Gothic corbel under a renaissance canopy, and the upper, standing on the canopy, has over it another tall canopy Gothic in style. Higher up the piers rise up to the vault with many pinnacles and b.u.t.tresses, and between them, above the arch, are other figures in niches and two angels holding the royal arms.

The design of the whole is still very Manoelino, and therefore the master of the royal tombs spoken of by Gregorio Lourenco was probably a Portuguese, but the skill shown in modelling the figures and the renaissance details are something quite new. (Fig. 71.)

Many Frenchmen are known to have worked in Santa Cruz. One, Master Nicolas, has been met already working at Belem and at the west door here, and others--Longuim, Philipo Uduarte, and finally Joo de Ruo (Jean de Rouen)--are spoken of as having worked at the tombs.

Though the figures are good with well-modelled draperies, their faces, or those of most of them, are rather expressionless, and some of them look too short--all indeed being less successful than those on the pulpit, the work of Joo de Ruo. It is likely then that the figures are mostly the work of the lesser known men and not of Master Nicolas or of Joo de Ruo, though Joo, who came later to Portugal, may have been responsible for some of the renaissance canopies which are not at all unlike some of his work on the pulpit.

The pulpit projects from the north wall of the church between two of the chapels. In shape it is a half-octagon set diagonally, and is upheld by circular corbelling. It was ready by the time Gregorio Lourenco wrote to Dom Joo III. in 1522, but still wanted a suitable finis.h.i.+ng to its door. This Gregorio urged Dom Joo to add, but it was never done, and now the entrance is only framed by a simple cla.s.sic architrave.

Now Georges d'Amboise, the second archbishop of that name to hold the see of Rouen, began the beautiful tomb, on which he and his uncle kneel in prayer, in the year 1520, and the pulpit at Coimbra was finished before March 1522.

Among the workmen employed on this tomb a Jean de Rouen is mentioned, but he left in 1521. The detail of the tomb at Rouen and that of the pulpit here are alike in their exceeding fineness and beauty, and a man thought worthy of taking part in the carving of the tomb might well be able to carry out the pulpit; besides, on it are cut initials or signs which have been read as J.R.[138] The J or I is distinct, the R much less so, but the carver of the pulpit was certainly a Frenchman well acquainted with the work of the French renaissance. It may therefore be accepted with perhaps some likelihood, that the Jean de Rouen who left Normandy in 1521, came then to Coimbra, carved this pulpit, and is the same who as Joo de Ruo is mentioned in later doc.u.ments as

[Ill.u.s.tration: FIG. 71.

COIMBRA, STA. CRUZ.

TOMB OF D. SANCHO I.]

[Ill.u.s.tration: FIG. 72.

COIMBRA.

STA. CRUZ.

PULPIT.]

still working for Santa Cruz, where he signed a discharge as late as 1549.[139]

The whole pulpit is but small, not more than about five feet high including the corbelled support, and all carved with a minuteness and delicacy not to be surpa.s.sed and scarcely to be equalled by such a work as the tomb at Rouen. At the top is a finely moulded cornice enriched with winged heads, tiny egg and tongue and other carving. Below on each of the four sides are niches whose sh.e.l.l tops rest on small pilasters all covered with the finest ornaments, and in each niche sits a Father of the Western Church, St. Augustine, St. Jerome, St. Gregory, and St.

Ambrose. Their feet rest on slightly projecting bases, on the front of each of which is a small panel measuring about four inches by two carved with tiny figures and scenes in slight relief. On the sh.e.l.l heads, which project a little in the centre, there stand, above St. Augustine three minute figures of boys with wreaths, the figures being about three or four inches high, above St. Jerome sit two others, with masks hanging from their arms, upholding a s.h.i.+eld and a cross of the Order of Christ.

Those above St. Gregory support a sphere, and above St. Ambrose one stands alone with a long-necked bird on each side. At each angle two figures, one above the other, each about eight inches high, stand under canopies the delicacy of whose carving could scarcely be surpa.s.sed in ivory. They represent, above, Religion with Faith, Hope, and Charity, and below, four prophets. The corbelled support is made up of a great many different mouldings, most of them enriched in different ways.

Near the top under the angles of the pulpit are beautiful cherubs'

heads. About half-way down creatures with wings and human heads capped with winged helmets grow out of a ma.s.s of flat carving, and at the very bottom is a kind of winged dragon whose five heads stretch up across the lower mouldings. (Fig. 72.)

Altogether the pulpit is well worthy of the praise given it by Gregorio; there may be more elaborate pieces of carving in Spain, but scarcely one so beautiful in design and in execution, and indeed it may almost be doubted whether France itself can produce a finer piece of work. The figure sculpture is worthy of the best French artists, the whole design is elaborate, but not too much so, considering the smallness of the scale, and the execution is such as could only have been carried out in alabaster or the finest limestone, such as that found at Anc not far off, and used at Coimbra for all delicate work.[140]

In the discharge signed by Joo de Ruo in 1549 reredoses are spoken of as worked by him. There is nothing in the doc.u.ment to show whether these are the three great pieces of sculpture in the cloisters each of which must once have been meant for a reredos. Unfortunately in the seventeenth century they were walled up, and were only restored to view not many years ago, and though much destroyed, enough survives to show that they were once worthy of the pulpit.

They represent 'Christ shown to the people by Pilate,' the 'Bearing of the Cross,' and the 'Entombment.'

In each there is at the bottom a shelf narrower than the carving above, and uniting the two, a broad band wider at the top than at the bottom, most exquisitely carved in very slight relief, with lovely early renaissance scrolls, and with winged boys holding s.h.i.+elds or medallions in the centre. Above is a large square framework, flanked at the sides by tall candelabrum shafts on corbels, and finished at the top by a moulding or, above the 'Bearing of the Cross,' by a crested entablature, with beautifully carved frieze. Within this framework the stone is cut back with sloping sides, carved with architectural detail, arches, doors, entablatures in perspective. At the top is a panelled canopy.

In the 'Ecce h.o.m.o' on the left is a flight of steps leading up to the judgment seat of Pilate, who sits under a large arch, with Our Lord and a soldier on his right. The other half of the composition has a large arch in the background, and in front a crowd of people some of whom are seen coming through the opening in the sloping side.

In the 'Bearing of the Cross' the background is taken up by the walls and towers of Jerusalem. Our Lord with a great T-shaped cross is in the centre, with St. Veronica on the right and a great crowd of people behind, while other persons look out of the perspective arches at the side. (Fig. 73.)

In all, especially perhaps in the 'Ecce h.o.m.o,' the composition is good, and the modelling of the figures excellent. Unfortunately the faces are much decayed and perhaps the figures may be rather wanting in repose, and yet even in their decay they are very beautiful pieces of work, and show that Joo de Ruo--if he it was who carved them--was as able to design a large composition as to carve a small pulpit. Under the 'Ecce h.o.m.o,' in a tablet held by winged boys who grow out of the ends of the scrolls, there is a date which seems to read 1550. The 'Quitacam' was signed on the 11th of September 1549, and if 1550 is the date here carved it may show when the work was finally completed.[141]

There once stood in the refectory a terra cotta group of the 'Last Supper.' Now nothing is left but a few fragments in the Museum, but there too the figures of the apostles were well modelled and well executed.

Of the other works ordered by Dom Manoel the only one which still remains are the splendid stalls in the western choir gallery. These in two tiers of seats run round the three walls of the gallery except where interrupted by the large west window. They can hardly be the 'cadeiras'