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U994.30.466

SPAIN

1865/03/15

SEVILLA. ALCAZAR

U994.30.431

SPAIN

1865/03/15

SEVILLA. ALCAZAR. PATIO ENTRANCE

U994.30.464

SPAIN

1865/03/14

SEVILLA. CATE. CAPILLA REAL. STUDIES

U994.30.430

SPAIN

1865/03/12

SEVILLA. CATHEDRAL. WINDOW IN GIRALDA

U994.30.436

SPAIN

1865/03/18

SEVILLA. CATHEDRAL. WINDOW LA GIRALDA

U994.30.469

SPAIN

1865/03/19

SEVILLA. CHURCH OF S. [?]

U994.30.435

SPAIN

1865/03/18

SEVILLA. NORTH WALK TO COURT OF CATHEDRAL

U994.30.433

SPAIN

1865/03/17

SEVILLA. S. MARCOS. WEST DOOR

U994.30.434

SPAIN

1865/03/17

SEVILLA. S. MARIANA. WEST FRONT

U994.30.468

SPAIN

1865/03/18

SEVILLA. SAN FRANCISCO DE PASABLO [?]

U994.30.467

SPAIN

1865/03/17

SEVILLA. SAN MARCOS

U994.30.432

SPAIN

1865/03/17

SEVILLA. SAN. MARCOS. WEST FRONT

U994.30.465

SPAIN

1865/03/13

SEVILLA. STUDY OF TOWER

U994.30.44

SPAIN

1865/01/05

TARAZONA. CAMP. TO CATH., N. W.

According to Street, the cathedral at Tarazona dates from 1235.22He discusses the interior and provides a plan, but seemed most impressed with the cloister built at the beginning of the sixteenth century by D. Guillen Ramon de Moncada.23There are only three drawings by Bayne of the Cathedral, and two of these are sketches in his notebook. Yet, the details he recorded are those same parts of the cathedral discussed most by Street. Bayne's drawing of the campanile of the cathedral shows only the top of the tower. Two bells are visible in the openings on the lower level. Street compared this tower, somewhat unfavourably, with a similar steeple of La Magdalena which Bayne also sketched. Street states that the upper half of the tower is modern, and the lowest stage of stone.24 The photograph indicates that at least part of the tower may be constructed of brick, or faced with brick. Bayne's drawing corresponds well to the photograph with the exception of the stage with the bell chamber. In Bayne's sketch, there are two round-arched openings on each face. The photograph shows a blind central arch flanked by decorative squares topped with three blind arches. This may indicate changes made between Bayne's visit and the publication of the photograph. Vertical and horizontal lines extending from the depiction of the building show Bayne's technique - apparently roughing out the proportions with a straight edge and then filling in the details. Bayne's monogram is at the left base of the tower rather than in the corner. The number is at the upper left, and location and date in the lower right.

U994.30.575

SPAIN

1865/01/06

TARAZONA. LA MAGDALENA. SKETCH OF CAMPANILE

U994.30.453

SPAIN

1865/01/18

TARRAGONA

U994.30.85

SPAIN

1865/01/18

TARRAGONA. CATHEDRAL FROM S. E.

This exterior view shows the tower rising from the crossing of the cathdral as seen from the south east. The outline of two figures in the lower centre provides a sense of scale. Bayne includes a detail of the cornice to the choir (visible at the centre right) with notes in the upper left, just beneath the number of the drawing. Bayne's monogram is in the lower left, and the location and date are given in the lower right corners.

U994.30.83

SPAIN

1865/01/18

TARRAGONA. CATHEDRAL. S. E. ANGLE OF CLOISTER

In this detail of the southeast angle of the cloister of Tarragona Cathedral, a figure in robe and hat can be seen standing in the opening. Bayne's monogram is in the lower left, the number of the drawing in the upper left, and the date and location in the lower right corners.

U994.30.668

SPAIN

1865/01/18

TARRAGONA. METAL WORK

U994.30.84

SPAIN

1865/01/18

TARRAGONA. WEST FACADE OF SAN PABLO

This sketch shows the exterior of the west facade of the church of San Pablo. A round window is above the rectangular double doors, and the small campanile with a single bell rises above the point of the gabled roof. Bayne has included a detail of the plan of the church in the upper left with the number of the drawing. His monogram is in the lower left, and information about the location and date is in the lower right corner.

U994.30.99

SPAIN

1865/01/26

TOLEDO. CH. OF CONVENT (SAN JUAN DE LOS REYES)

Toledo. Ch. of Convent (San Juan de los Reyes)

U994.30.101

SPAIN

1865/01/27

TOLEDO. EL TRANSITIO. JEWISH SYNAGOGUE

U994.30.102

SPAIN

1865/01/27

TOLEDO. EL TRANSITIO. JEWISH SYNAGOGUE

U994.30.671

SPAIN

1865/01/27

TOLEDO. METALWORK

U994.30.106

SPAIN

1865/01/27

TOLEDO. PUERTA DEL VIAIANA

U994.30.104

SPAIN

1865/01/27

TOLEDO. S. JUAN DE LES REYES. CLOISTER

U994.30.103

SPAIN

1865/01/27

TOLEDO. TOWER OF S. LEOCADIA

U994.30.105

SPAIN

1865/01/27

TOLEDO. TOWER OF S. ROMAN

U994.30.32

SPAIN

1865/01/05

TUDELA, STA. MARIA, CLOISTER IN WEST WALK

This sketch shows the west walk of the cloister. Bayne has included a robed figure in a wide-brimmed hat, perhaps to indicate scale. His monogram is at the lower left. In the upper left, beneath the number, Bayne has sketched a detail of one of the capitals. The location and date are in the lower right.

U994.30.446

SPAIN

1865/01/09

TUDELA. CATHEDRAL. CHAPEL CLOISTER

U994.30.445

SPAIN

1865/01/09

TUDELA. CATHEDRAL. SECTION OF NAVE ARCADE

U994.30.38

SPAIN

1865/01/05

TUDELA. S. MARIA. S. TRANSEPT

There appears to be some discrepancy between Street's description of the Western door and Bayne's identification of his sketch as the south transpet door. It is likely Bayne misidentified the western facade as the south transept, and that the photographs are similarly misidentified. Bayne's sketch seems to match Street's description of the Western door, while the photographs from Early Medieval Art in Spain and Ars Hispania V seem to match Street's description of the West portal and Bayne's sketch of the South Transept portal. Street describes the south transept as similar to the north transept in simplicity and in the presence of triple lights above the door (see A17c on page 7 for a comparison with the north transept). He also mentions that the "south transept door is round-arched, and its tympanum is not filled in."16 There are only six capitals, three on either side of the door. This description does not match Bayne's sketch. Street describes the western door in great detail, noting that the sides of the archivolt show the Resurrection and happiness of the blessed on the left, and the the Last Judgment on the right. The photograph from Early Medieval Art in Spain identifies this door as the south portal, but clearly shows the scene from the realm of the damned of the Last Judgement. Street also mentions that "the finest of the three doorways is in the centre of the west front of the church, and its opening is more than nine feet in the clear, each of the jambs having eight shafts in square recesses."17 He also mentions that the west front has "two large square turrets, one of which only is carried up above the line of the roof. Its highest stage is octagonal, with a lancet opening on each face, and is finished with a low spire."18 This matches both the photographs and Bayne's drawing. In the sketch, the door is quite large and eight columns can be counted, just as in Street's description of the western door. Above the cobel-table, there appears to be a large pointed arch, within which is a single window, rather than the triplet mentioned by Street for the south transept facade. On the other hand, Street states "western rose-window was inserted under a broadly-soffited and bold pointed arch, which spans the whole space between the turrets and rises nearly to the top of the walls"19 just as Bayne has illustrated. In addition to the customary identification information, which in this case is probably mistaken, Bayne has signed his monogram in the lower left and numbered the drawing in the upper left. Just beneath the number, he has drawn and labelled a capital from the door.

U994.30.37

SPAIN

1865/01/05

TUDELA. S. MARIA. SKETCH IN S. AISLE

Bayne's sketch in the south aisle of Santa Maria compares favourably with Street's engraving of the interior of the choir and a photograph of the central nave. Bayne's drawing shows the quadripartite vaulting and the massive piers with their mutli-columns. In the upper right corner, Bayne includes a detail of the base moulding, and beneath the drawing number in the upper left, he has sketched a detail of the capital of the pier columns. Three figures have been included in the scene. One appears to be kneeling before an altar to the right which resembles a smaller version of the reredos illustrated by Street. Two others stand to the left of the stairs leading to the pulpit. The circular recessed windows indicated in Bayne's drawing are clearly visible in both Street's engraving and the photograph. In addition to the information supplied by Bayne in each of the corners, he has signed the drawing in the lower left with his monogram.

U994.30.34

SPAIN

1865/01/05

TUDELA. STA. MARIA. ANGEL IN CLOISTER

Street comments on the beauty of the cloister and gives an engraving of the south-east angle to "show how elaborate the whole of the work is."15 This engraving is very similar to Bayne's sketch. Each shows the chevron carving of the arch to the right, the multi-columned pier with four historiated capitals, and the figure, possibly of Christ in a mandorla. The attitude and draping of the garments are similar in each illustration. Furthermore, the capital just below the figure in the mandorla seems to show an orant Virgin flanked by apostles. It possibly shows the Ascension. There are minor differences: Street's engraving shows an acanthus-leaf capital between the two historiated capitals missing in Bayne's drawing and the figure in the mandorla appear to wear a hat or headdress in Street's engraving. The general impression, however, is that Bayne had Street's illustration in mind when he arranged the composition of this drawing. In addition to the number at the upper left and monogram in lower left corners, Bayne has identified the location and dated the drawing in the lower right.

U994.30.31

SPAIN

1865/01/05

TUDELA. STA. MARIA. TOMB, SOUTH TRANSEPT

Bayne's sketch No. 13 from Tudela is identified by him as "Tomb S. Transept" and is one mentioned by Street in his description of the south-east chapel of the south transept. This is the "magnificent monument to the 'Muy Honorable Señor Mosen Francis de Villia Espepa, Doctor, Cabalero, et Chanceller de Navarre,' and his 'Muy Honorable Duenya Doña Ysabel,' who died in 1423."13 Street describes the effigies as lying under "a deeply-recessed arch filled in with tracery, the recess being adorned with sculptured subjects on its three sides. There are eight Weepers in the arcade on the side of tomb. It was too dark to see what all the subjects were; but at the back our Lord is seated and censed by angels; and below this He is represented in His tomb, with His arms bound, with a weeping angel on either side."14 Bayne's sketch shows the eight weepers on the side, the tracery above, and the sculpted figures of the back and right side of the tomb. A comparison of the drawing with the two photographs of Villaespesa's tomb shows Bayne's accuracy in even this sketchy rendition of the subject. Two registers of sculpture are visible in the drawing. These conform to the lower two, a detail of which is seen in the photograph from Historia del arte Hispania, which shows the figure of the Lord's Pity. The seated figures appear to be monks rather than angels as described by Street, although there is an angel holding the "Vernicle" or "Image Made Without Hands" on the left. The photograph from Catedrales De España shows the left side of the tomb sculpted in relief, just as Bayne has rendered the right side. The canopy just at the head of the effigy, clearly see in the photograph, is just visible in Bayne's sketch.

   
 

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