SPANISH RENAISSANCE.
Spain was the first country into which the new style penetrated. En rique de Egas built in 14So the College of Sta. Cruz at Valladolid, and in the same city, in I4SS, there followed the Colegio S. Gregorio, which is particularly charming from the richness of its detail. In these struc tures we find only certain antique details mixed with Gothic and Mo resque elements. In i5o4 the same master constructed the portal of the foundling hospital at Toledo, which has a tympanum richly adorned with sculptures and enclosed in a round arch. In 1521, Ibarra built the Co legio Mayor at Salamanca, and at the same period the Casa de los Muertos and the Palace of the Marquesa de las Naves were erected in the same city.
In 1526, Charles V. permitted a portion of the Alhambra, at Granada, to be taken down that a palace might be executed after the plans of Ma chuca. In this structure the classical style already appears in tolerable purity. The principal portion is a circular range of Doric columns, with an Ionic one above, surrounding a court. (See ground-plan, pi. 2I,fig. 6.) In 1529, Diego de Siloe began the Cathedral of Granada in strict classi cal style; that of Malaga is also ascribed to the same master. The chap ter-house of Seville Cathedral, built by Diego Rano in 153o, shows also a classical construction, while the royal chapel built in 153r by Alonso de Covarrubias in the Cathedral of Toledo has indeed the principal details antique, but among them the varied forms of the Christian medieval period are brought in with exuberant splendor.
The sacristy of the Cathedral of Seville (1533) and the city-hall (ayuntanziento) of the same city also allow this mixture of forms to appear in the most elegant manner, while the archbishop's palace at Alcala de Henares, built (1534) by the above-mentioned Alonso, shows a pleasant court similar to those of Florence, with Corinthian-like capitals and round arches with antique profiles, having above them a second storey of similar columns, the latter surrounded by an architrave which carries a roof. The court of the Convent of Lnziana is similar; this is surrounded
by four storeys of colonnades of considerable dimensions, some united by round arches, others by trefoil arches, while still others carry an architrave. The collegiate church at Osuna has a magnificent portal of the year 1534. The Alcazar of Toledo (1537) recalls the facade of the Farnese Palace at Rome, and it may therefore be asked whether a later alteration has not intruded into the work of Alonso de Covarrubias. The fine cloister built (1546) by the same master at S. Miguel de los Reyes in Valencia is, how ever, still intact.
The façade of the Convent of S. Marcos at Leon is in the full bloom of the early Renaissance, as is also the richly-adorned cloister of S. Ziol at Carrion, both works of Juan de Badajos. The severe and inharmonious triumphal arch erected by Charles V. at Burgos in honor of Fenian Gon zalez, and the Cathedral of Jaen, built by Pedro de Valdelvira, are works of the classical style. Less strictly so are the Colegio S. Nicolas, the tran sept of the cathedral, and the Casa del Cordon at Burgos, the famous Chapel de los Beneventes at Medina de Rio Seco, and the Carcel del Corte at Baeza.
With even greater coldness the classical style is displayed at the Con vent S. Lorenzo of the Escorial, begun in 1563 by Philip II. accord ing to the plans of Juan of Toledo, who died in 1567, leaving its comple tion to his pupil Juan de Herrera. The Cathedral of Valladolid, the south side of the Alcazar of Toledo, the Bolsa (Exchange), the palace at Aranjuez, and the Casa de Oficios at Seville, are all the works of Herrera. In these Palladio's influence is manifest, as it is also in the works of Herrera's, contemporaries and immediate successors.