The Industrial Arts in Spain Part 21

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 Herbas, 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 doc.u.ments 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 Casados.

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.

[Ill.u.s.tration: 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.

[Ill.u.s.tration: 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' sh.e.l.ls, 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."

[Ill.u.s.tration: 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 Espanol, 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 a.s.sures 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."

[Ill.u.s.tration: 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 pa.s.sage, 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--

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 amba.s.sador 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 3 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, MDx.x.xIII." (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.