This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1856 Excerpt: ... the Germans are rising fast; but there is withal an affectation of the works of the middle ages in their productions, which, impressed as they are with great beauties, are not sufficiently pure to prognosticate the establishment of schools which will sweep all before them, as did those of Italy. CHAPTER XXII. SPANISH AND PORTUGUESE AKCHTTECTURE. What has been said in the preceding chapter on the architecture of Germany is equally applicable to that of Spain and Portugal, whose architects were educated, if not in the schools of Italy, yet on the principles that guided them. Still, the pre-eminence in architecture on the revival of the arts must be given to these countries over the contemporaneous buildings erected in Germany, and more especially to those of Spain. Under Ferdinand and Isabella, both greatly attached to the fine arte, the pointed style gave way to the architecture then in esteem in Italy; and Giovanni de Olotzaga, a native of Biscay, is, we believe, entitled to the merit of having first introduced it in the great col lege of Santa Croce at Valladolid, which was commenced in 1480, and finished in 1492 About the same period appeared Pietro de Gumiel, supposed to have been the architect of Santa Engracia at Saragossa; but known as the artist who designed the college of Alcala, a splendid building in a mixed and impure style. In this the orders were employed. The edifice consists of three courts: the first Doric, with an arcade and two orders above, in the lower whereof the Doric was repeated, and the upper was Ionic; the second court has thirty-two Composite columns, with arcades; and the third is designed with thirty-six Ionic columns, beyond which is the theatre. The church is of the Ionic order, and contains the monument of Cardinal Ximenes, ...
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