Purism is an initial phase ofRenaissance architecture in Spain, which took place between 1530 and 1560, afterIsabelline Gothic and prior to theHerrerian architecture in the last third of the 16th century. The name "Prince Philip" refers to the period in whichPhilip II of Spain (born in 1527) had not yet received the inheritance of theSpanish Monarchy by abdication of his father, theEmperor Charles V (1556). The name "Serlian" is due to the influential architect and treatiseSebastiano Serlio (in addition to the architectural element calledSerlian in his honor).
TheGreco-Roman, the purist and thecasticist are related to the interpretation given to different elements of style, whether intellectual, formal, structural or decorative. Until then, writers of the period termed theclassicist forms of theItalian Renaissance as "the Roman" (Diego de SagredoLas Medidas del Romano, 1526), while the late-Gothic forms were called "the modern".[1] For a more stylistic periodization more common in theart history, at that point of the 16th century theCinquecento had entered in itsMannerist phase, while for the Spanish art is commonly used the expressionHigh Renaissance (reserving the term Low Renaissance for the last third of the century).
The introduction of theRenaissance in Spain coincided with a period of great political, economic and social splendor, after the union betweenCastile andAragon, the end of theReconquista, thediscovery of America and the coming to power of theHabsburgs. Although in its beginning the new style fromItaly lived with the persistence ofGothic andMudéjar forms, gradually took hold and served as the expression of the new political power, linked to the new conception of the CatholicCounter-Reformation. In the first third of the 16th century came thePlateresque, fine and elegant style of decoration, characterized by the use ofrustication on the exterior walls,balusteredcolumns withCorinthiancapitals,arches or basket-handle, andpilasters decorated withgrotesques.
In front of the excessive decorate of Plateresque style, the Purism sought ways simpler and refined, in a sober and classic line, balance and technical perfection, taking more on structural issues and harmonious proportions. The architects have better preparation and training, with the publication of several theoretical treatises such asLas Medidas del Romano byDiego de Sagredo (1526), the first Renaissance treaty written outside Italy, which highlights the prevalence of proportion and the proper disposal of the elements over the decoration.
The Purism was characterized by the use of oval orbarrel vaults,arches, half domes and carved decoration limited to some strategic areas, evaluating the smooth space as an exponent of this new more pure and harmonious aesthetic. In general, the aspect of Purist architecture is of balance and monumentality, compared to the apparent fragility and decorativism of Plateresque.
The main signs of the style are found inCastile andAndalusia.
InToledo developed his workAlonso de Covarrubias, launched in the Plateresque (Courtyard of theHospital de la Santa Cruz), which reached the position ofarquitecto real (1537). Among his buildings are thePuerta de Bisagra (in the form of atriumphal arch), theAlcázar (rectangular and severe facade flanked by towers) and theHospital de Tavera (1541), which for its classicism and sobriety aimed for Herrerian style. InAlcalá de Henares built the Palacio Arzobispal, a monumental facade topped by a gallery of arches.
Rodrigo Gil de Hontañón worked mainly inSalamanca, but was involved in projects throughout Castile. Also formed in the plateresque, although his most representative works are of purism. In 1539, projected –with Fray Martín de Santiago–, thePalace of Monterrey, built only in one quarter, but that is a remarkable example of civil architecture, with magnificent towers withcrenellations and lookouts drafts. One of his best works would be the façade ofColegio Mayor de San Ildefonso in the University of Alcalá de Henares (1537–1553), decorated with evenly distributed at regular intervals,pediment and top ofcrenellations with garlands. Other works were thePalacio de los Guzmanes inLeón, thechurch of Santa María Magdalena inValladolid and the façades of the cathedralics dependences ofdas Platerías in theCathedral of Santiago de Compostela (1540).
Diego de Siloé also was initially one of the leading exponents of plateresque (Courtyard of theColegio Mayor de Santiago el Zebedeo,Salamanca; Golden Staircase of theCathedral of Burgos). Subsequently, spent most of his work inGranada, where he made thepantheon forEl Gran Capitán in theMonastery of San Jerónimo, in collaboration with the ItalianJacopo Torni. His main work was theCathedral of Granada (begun in 1528), continuing the original Gothic design byEnrique Egas, who made numerous changes, became thepresbytery in a round dome shaped, preceded by a large triumphal arch type. In thepillars of thenaves increased height with small columns on an entablature located in the capital, as hadBrunelleschi inFlorence. This provision influenced later works such as the cathedrals ofMálaga andGuadix, as well asGuadalajara (Mexico),Lima andCuzco (Peru).
In Granada also workedPedro Machuca, author of thePalace of Charles V at theAlhambra (started in 1528 and interrupted to death of the architect in 1550). The palace included a circular courtyard and anoctagonal chapel, which was never built. The courtyard, ofBramante influence, is one of the masterpieces of the Purism and the Spanish Renaissance architecture, example of balance and perfection of classical, with two-story with columns ofDoric-Tuscan order (lower) andIonic (upper).
Another great example of Andalusian purism wasAndrés de Vandelvira, of own style that was directed then toMannerism. One of his characteristic was the use ofvaults, and in the Sacra Capilla del Salvador inÚbeda (1536) – project initiated by Siloé, with who Vandelvira worked in its beginning-. His great work was theCathedral of Jaén (begun in 1540), rectangular, with pillars inspired by theCathedral of Granada. Remarkably in this work the Sacristy, with double entablature and overlap of arches of Mannerist style, although of great structural simplicity. Other works were: the Chapel of San Francisco (1546), the Torre del Tardón inAlcaraz (1555), the palaces of Vela-Cobos (1561) andVázquez de Molina (1562) and theHospital de Santiago (1562–1575), all inÚbeda. The work of Vandelvira left a strong mark on subsequent architecture, especially in Andalusia, Murcia and Alicante.
In Seville highlights the construction of the Royal Chapel of thecathedral and theHospital de las Cinco Llagas, byMartín de Gainza, and the top of the Giralda, byHernán Ruiz the Younger, ofSerlian influence, that influence the later Andalusian altars.
