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The Renaissance architecture.
During the reign of Carlos V one perceives a fast diminution of the German
influence and a greater dependency of the lines of the Italian Renaissance. The
Hispanic forms stay following the traditional or mixed lines with the new
Italian forms. The traditional plateresco maintains its rich ornamentation, like
in the House of the City council of Seville, constructed according to planes of
Diego de Riaño. Predominance of the Italian lines demonstrates the puristic
plateresco style already, call thus by its smaller amount of adornment.
Throughout the century a resignation to the excessive decoration also notices,
so of the traditional taste, simultaneously that occurs greater importance to a
decorative purity of Italian classic line. The beautiful cathedral of Jaén,
numerous noble houses are examples of her, like the palace of Mancera in Úbeda
and the New Door of Hinge in Toledo and, in Granada, the palace of the
Chancellery, today City council, work of Martin Diaz and Alonzo Hernandez. All
these works represent the predominant style since then. In Andalusia the palace
of Carlos V is remarkable, in Granada, builds without finishing of Pedro Machuca,
Italian style without relationship with the Spaniards.
In the last third over century XVI, already during the reign
of Felipe II, the Italian influence prevailed completely on the exuberant
plateresca decoration, looking for compensation the ornamental nakedness in the
mass and hugeness of the work. The new style was consecrated with the
construction of the monastery of the Dump, by many years calls to account
favorite of the monarch. Its construction was ordered by Felipe II in
commemoration of its victory on the French in the battle of San Quintín (1557)
and was initiated by the famous architect Juan Baptist of Toledo. To the death
of this one Juan of Herrera continued it and he is one of the most famous
monuments of the Spanish architecture. The characterized herrerian style, more
than no other, about its defined lines and without adornment, but of monumental
hugeness reached enough diffusion in Spain, with works like the cathedral of
Valladolid, never finished, the Market of Seville and the convent of Santa
Teresa in Avila, among other works, Arriving even at America with the cathedrals
of Mexico and Puebla. Nevertheless this influence of the herreriano style, had.
to a large extent to the preference shown by Felipe II never he was truely
popular in Spain, name that can only be applied with all justice the baroque
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