Portuguese Architecture Part 22

or seats mentioned in Gregorio's letter of July 1518, for it is surely impossible that they should have been begun in January and finished in July however active the Seville master may have been, and judging from their carving they seem more Flemish than Spanish, and we know that Flemings had been working not very long before on the cathedral reredos.

The lower tier of seats has Gothic panelling below, good Miserere seats, arms, on each of which sits a monster, and on the top between each and supporting the book-board of the upper row, small figures of men, with bowed backs, beggars, pilgrims, men and women all most beautifully carved. The panels behind the upper tier are divided by twisted Manoelino shafts bearing Gothic pinnacles, and the upper part of each panel is enriched with deeply undercut leaves and finials surrounding armillary spheres. Above the panels, except over the end stalls where sat the Dom Prior and the other dignitaries, and which have higher canopies, there runs a continuous canopy panelled with Gothic quatrefoils, and having in front a fringe of interlacing cusps. Between this and the cresting is a beautiful carved cornice of leaves and of crosses of the Order of Christ, and the cresting itself is formed by a number of carved scenes, cities, forests, s.h.i.+ps, separated by saintly figures and surmounted by a carved band from which grow up great curling leaves and finials. These scenes are supposed to represent the great discoveries of Vasco da Gama and of Pedro Alvares Cabral in India and in Brazil, but if this is really so the carvers must have been left to their own imagination, for the towns do not look particularly Indian, nor do the forests suggest the tropical luxuriance of Brazil: perhaps the small three-masted s.h.i.+ps alone, with their high bows and stern, represent the reality. (Fig. 74.)

As a whole the design is entirely Gothic, only at the ends of each row of stalls is there anything else, and there the panels are carved with renaissance arabesque, which, being gilt like all the other carving, stands out well from the dark brown background.

These are almost the only mediaeval stalls left in the country. Those at Thomar were burnt by the French, those in the Carmo at Lisbon destroyed by the earthquake, and those at Alcobaca have disappeared. Only at Funchal are there stalls of the same date, for those at Vizeu seem rather later and are certainly poorer, their chief interest now being derived from the old Chinese stamped paper with which their panels are covered.

[Sidenote: Coimbra, Se Velha.]

If the stalls at Santa Cruz are the only examples of this period still left on the mainland, the Se Velha possesses the only great mediaeval reredos. In Spain great structures are found in almost every cathedral rising above the altar to the vault in tier upon tier of niche and panel. Richly gilded, with fine paintings on the panels, with delicate Gothic pinnacles and tabernacle work, they and the metal screens which half hide them do much to make Spanish churches the most interesting in the world. Unfortunately in Portugal the bad taste of the eighteenth century has replaced all those that may have existed by great and heavy erections of elaborately carved wood. All covered with gold, the Corinthian columns, twisted and wreathed with vines, the overloaded arches and elaborate entablatures are now often sadly out of place in some old interior, and make one grieve the more over the loss of the simpler or more appropriate reredos which came before them.

Dom Jorge d'Almeida held the see of Coimbra and the counts.h.i.+p of Arganil--for the bishops are always counts of

[Ill.u.s.tration: FIG. 73.

COIMBRA.

STA. CRUZ.

REREDOS IN CLOISTER.]

[Ill.u.s.tration: FIG. 74.

COIMBRA.

STALLS, STA. CRUZ.]

Arganil--from 1481 till 1543, when he died at the age of eighty-five; during these sixty-two years he did much to beautify his church, and of these additions the oldest is the reredos put up in 1508. This we learn from a 'quitac' or discharge granted in that year to 'Mestre Vlimer framengo, ora estante nesta cidada, e seu Parceiro Joo Dipri,' that is, to 'Master Vlimer a Fleming, now in this city, and to his partner John of Ypres.'

The reredos stands well back in the central apse; it is divided into five upright parts, of which that in the centre is twice as wide as any of the others, while the outermost with the strips of panelling and carving which come beyond them are canted, following the line of the apse wall. Across these five upright divisions and in a straight line is thrown a great flattened trefoil arch joined to the back with Gothic vaulting. In the middle over the large division it is fringed with the intersecting circles of curved branches, while from the top to the blue-painted apse vault with its gilded ribs and stars a forest of pinnacles, arches, twisting and intertwining branches and leaves rises high above the bishop's arms and mitre and the two angels who uphold them.

Below the arch the five parts are separated by pinnacle rising above pinnacle. At the bottom under long canopies of extraordinary elaboration are scenes in high relief. Above them in the middle the apostles watch the a.s.sumption of the Virgin; saints stand in the other divisions, one in each, and over their heads are immense canopies rising across a richly cusped background right up to the vaulting of the arch. Though not so high, the canopy over the Virgin is far more intricate as it forms a great curve made up of seven little cusped arches with innumerable pinnacles and spires. (Fig. 75.)

Being the work of Flemings, the reredos is naturally full of that exuberant Flemish detail which may be seen in a Belgian town-hall or in the work of an early Flemish painter; and if the stalls at Santa Cruz are not by this same Master Vlimer, the intertwining branches on the cresting and the sharply carved leaves on the panels show that he had followers or pupils.

Like most Flemish productions, the reredos is wanting in grace. Though it throws a fine deep shadow the great arch is very ugly in shape and the great canopies are far too large, and yet the ma.s.s of gold, well lit by the windows of the lantern and rising to the dim blue vault, makes a singularly fine ending to the old and solemn church.

More important than the reredos in the art history of the country are some other changes made by Dom Jorge, which show that the Frenchmen working at Santa Cruz were soon employed elsewhere.

On the north side of the nave a door leads out of the church, and this these Frenchmen entirely transformed.

At the bottom, between two much decayed Corinthian pilasters, is the door reached by a flight of steps. The arch is of several orders, one supported by thin columns, one by square fluted pilasters. Within these, at right angles to each other, are broad faces carved and resting on piers at whose corners are tiny round columns, in two stories, with carved reliefs between the upper pair. In the tympanum is a beautiful Madonna and Child, and two round medallions with heads adorn the spandrils above the arch. Beyond each pilaster is a canted side joining the porch to the wall and having a large niche and figure near the top.

The whole surface has been covered with exquisite arabesques like those below the reredoses in the cloister at Santa Cruz, but they have now almost entirely perished.

Above the entablature a second story rises forming a sort of portico. At the corners are square fluted Corinthian pilasters; between them in front runs a bal.u.s.trading, divided into three by the pedestals of two slender columns, Corinthian also, and there are others next the pilasters. The entablature has been most delicate, with the finest wreaths carved on the frieze. Over the canted sides are built small round-domed turrets.

Above this the third story reaches nearly up to the top of the wall. In the middle is an arch resting on slender columns and supporting a pediment; on either side are square niches with columns at the sides, beyond them fan-shaped semicircles, and at the corners vases. Behind this there rise to the top of the battlements four panelled Doric pilasters with cornice above, and two deep round-headed niches with figures, one on each side.

Inside the church are pilasters and a wealth of delicate relief.

Perhaps the whole may not be much more fortunate than most attempts to build up a tall composition by piling columns one above the other, and the top part is certainly too heavy

[Ill.u.s.tration: FIG. 75.

COIMBRA.

Se VELHA.

REREDOS.]

[Ill.u.s.tration: FIG. 76.

COIMBRA.

Se VELHA.

CHAPEL OF SO PEDRO.]

for what comes below it. Yet the details are or were beautiful, and the portico above the door most graceful and pleasing, though, being unfortunately on the north side, the effect is lost of the deep shadow the sun would have thrown and the delicacy of the mouldings almost wasted.

Less important are the changes made to the north transept door. Fluted pilasters and Corinthian columns were inserted below, a medallion with a figure cut on the tympanum, and small coupled shafts resting on the Doric capitals of the pilasters built to uphold the entablature.

Inside the most important, as well as the most beautiful addition, was a reredos built by Dom Jorge as his monument in the chapel of So Pedro, the small apse to the north of the high altar.

Just above the altar table--which is of stone supported on one central shaft--are three panels filled in high relief with sculptured scenes from the life of St. Peter, the central and widest panel representing his martyrdom, while on the uprights between them are small figures under canopies.

The upper and larger part is arranged somewhat like a Roman triumphal arch. There are three arches, one larger and higher in the middle, with a lower and narrower one on each side, separated by most beautiful tall candelabrum shafts with very delicate half-Ionic capitals. In the centre, in front of the representation of some town, probably Rome, is Our Lord bearing His Cross and St. Peter kneeling at His feet--no doubt the well-known legend 'Domine quo vadis?' In the side arches stand two figures with books: one is St. Paul with a sword, and the other probably St. Peter himself. Above each of the side arches there is a small bal.u.s.traded loggia, scarcely eighteen inches high, in each of which are two figures, talking, all marvellously lifelike. Beautiful carvings enrich the friezes everywhere, and small heads in medallions all the spandrils. At the top, in a hollow circle upheld by carved supports, crowned and bearing an orb in His left hand, is G.o.d the Father Himself.

(Fig. 76.)

Less elaborate than the pulpit and less pictorial than the altar-pieces in the cloister of Santa Cruz, this reredos is one of the most successful of all the French works at Coimbra, and its beauty is enhanced by the successful lighting through a large window cut on purpose at the side, and by the beautiful tiles--probably contemporary--with which the chapel is lined.

In front of the altar lies Dom Jorge d'Almeida, under a flat stone, bearing his arms, and this inscription in Latin, 'Here lies Jorge d'Almeida by the goodness of the divine power bishop and count. He lived eighty-five years, and died eight days before the Kalends of s.e.xtillis A.D. 1543, having held both dignities sixty-two years.'

CHAPTER XV

THE INFLUENCE OF THE FOREIGNER

Very quickly the fame of these French workers spread across the country, and they or their pupils were employed to design tombs, altar-pieces, or chapels outside of Coimbra. Perhaps the da Silvas, lords of Vagos, were among the very first to employ them, and in their chapel of So Marcos, some eight or nine miles from Coimbra, more than one example of their handiwork may still be seen.

[Sidenote: Tomb in Nossa Senhora dos Olivaes, Thomar.]

However, before visiting So Marcos mention must be made of two tombs, one in Nossa Senhora dos Olivaes at Thomar, and one in the Graca church at Santarem. Both are exceedingly French in design, and both were erected not long after the coming of the foreigners.

The tomb in Thomar is the older. It is that of Diogo Pinheiro, the first bishop of Funchal--which he never visited--who died in 1525. No doubt the monument was put up soon after. It is placed rather high on the north wall of the chancel; at the very bottom is a moulding enriched with egg and tongue, separated by a plain frieze--crossed by a s.h.i.+eld with the bishop's arms--from the plinth and from the pedestals of the side shafts and their supporting mouldings. On the plinth under a round arched recess stands a sarcophagus with a tablet in front bearing the date A.D. 1525, while behind in an elegant sh.e.l.l-topped niche is a figure kneeling on a beautiful corbel. The front of this arch is adorned with cherubs' heads, the jambs with arabesques, and heads look out of circles in the spandrils. At the sides are Corinthian pilasters, and in front of them beautiful candelabrum shafts. The cornice with a well-carved frieze is simple, and in the pediment are again carved Dom Diogo's arms, surmounted by his bishop's hat.

At the ends are vase-shaped finials, and another supported by dragons rises from the pediment. (Fig. 77.)