The Arts and Crafts of Older Spain, Volume 2 (of 3) — A Reader’s Guide

Furniture: From Chests to Choir-Stalls

Williams devotes the first section to furniture, describing pieces like the "mediæval chair" and the "Gothic chair" with attention to construction and ornament. He highlights the arcón, a baggage-chest, and the arca of Cardinal Cisneros, noting their functional and decorative roles. The author also examines doors, celosías (lattice screens), and zapatas (carved brackets), emphasizing the interplay of Moorish and Christian influences. His descriptions of choir-stalls in Toledo, Burgos, and León cathedrals reveal a keen eye for iconography, as seen in the carved figures of "Samson" and "Esau."

Ivories: Caskets and Carving Techniques

The chapter on ivories focuses on boxes and caskets, such as the "Ivory Box" from the Madrid Museum and the "Hispano-Moresque Ivory Casket" from the Roy collection. Williams describes the materials and carving methods, noting the geometric patterns and figurative motifs. He avoids speculation about provenance, instead detailing the physical characteristics—like the "blackish purple of baked manganese" used in tile decoration—that distinguish these objects. The section is concise, reflecting the limited scope of the surviving examples.

Pottery: Azulejos and the Evolution of Tilework

Williams provides a technical history of Spanish pottery, centering on azulejos (tiles). He distinguishes three processes: mosaic tile-work, cuenca (stamped relief), and Pisano (flat painted glaze). The author cites specific finds, such as tiles from the Torre del Oro and the churches of San Andrés and Santa Marina, describing their colors—"malachite green" and "caramel-coloured glaze"—and motifs like wolves and eagles. He traces the shift from Moorish to Italian influences, noting that Pisano's method "lent itself to most elaborate and effective schemes of ornament."

Glass: A Brief Survey of Techniques and Forms

The final chapter on glass is shorter, but Williams maintains his focus on material properties and craftsmanship. He describes the production of glassware, likely including vessels and windows, though the excerpts provide limited detail. The author's approach remains consistent: he prioritizes observable features—such as color, transparency, and decoration—over historical narrative. This section underscores the volume's overall method: a close reading of objects as evidence of technical skill and aesthetic choices.

Williams's volume rewards readers who attend to his precise vocabulary and his habit of grounding each claim in a specific artifact. The book is best approached as a series of case studies rather than a continuous history; its value lies in the details of construction and ornament that Williams extracts from museums and cathedrals across Spain.

Sitting with the Spanish ivories, I kept thinking about how a craftsman's hand leaves its mark in the smallest curling line. It reminded me of tracing the delicate handles on old Greek vessels, where every painted figure seems to pause mid-breath. That same quiet patience lives in Douris and the Painters of Greek Vases — A Closer Reading, another world of careful ornament, waiting to be noticed slowly.