Proportion and Disproportion in the Late Gothic Layout of the Charterhouse of Jerez (Cádiz, Spain)

Vol.:(0123456789) Nexus Network Journal (2023) 25:187–207 https://doi.org/10.1007/s00004-022-00634-8 RESEARCH Proportion andDisproportion intheLate Gothic Layout oftheCharterhouse ofJerez (Cádiz, Spain) ManuelCastellano‑Román1 · FranciscoPintoPuerto1 Accepted: 19 August 2022 / Published online: 22 September 2022 © The Author(s) 2022 Abstract The construction of a large and complex monastery such as the Charterhouse of Jerez required a precise geometric plan, the layout, which once deployed on the ground becomes the shape control system of the construction process. The basic geometric figure that supports the layout is the square and the variations derived from the ratio between its side and its diagonal. This paper presents the graphic definition of this geometric layout and analyses its persistence over more than three centuries of architectural evolution (fifteenth through eighteenth centuries). During this lengthy process, it has been possible to characterise how the rigour of geometric abstraction, the natural conditions of the ground on which the monastery was founded, and the functional and symbolic demands of the Carthusian order have been balanced. Likewise, there has been an analysis of the situations in which disproportion is imposed: the alteration or abandonment of the geometric plan. These undesirable situations reveal the imposition of existing conditions and the evolution of artistic concepts. Keywords Charterhouse of Jerez· Geometric analysis· Proportion theory Introduction The conception and production of architecture are closely related to its geometric control. Throughout history, the evolution of scientific knowledge and the conception of architectural space have produced different ways of demonstrating this relationship (Padovan 1999). The production of Gothic architecture is based * Manuel Castellano‑Román [email protected] Francisco Pinto Puerto [email protected] 1 Department ofArchitectural Graphic Expression, Higher Technical School ofArchitecture ofSeville, University ofSeville, Seville, Spain 188 M.Castellano-Román, F.Pinto Puerto on the application of precise geometric processes, without which its significant achievements would not have been possible (Bucher 1968; Bork 2011). In the cultural context of the end of the fifteenth century in Spain, at a time of transition between the Gothic language and the Renaissance language that has been called late Gothic, geometry applied to architecture is focused on the control and execution of works, which has been suggested by the term geometria fabrorum (Ruiz de la Rosa 1987). In this final stage of the Middle Ages, the master builders kept the knowledge of these geometric resources based on basic ratios and proportions but with great potential to generate forms: from a pinnacle to a cathedral through the establishment of the dimensions of the structural elements (Huerta 2006). In this architecture, a basic geometric concept is the traça (traza in modern Spanish), which would translate literally to “trace” (or possibly “tracing”), but “layout” conveys the right meaning in English. The layout is a drawing, not necessarily very complex, that contains the key guidelines of the building. These general lines were laid out on the ground with the help of stakes and ropes to establish the connection between the drawing and the construction of the work. The layout should not be understood as a definitive plan of the building, but as general guidelines for rationally ordering the whole and its parts. Therefore, it is a living document that evolves as the building develops, especially as the construction project lasts decades (Jiménez Martín 2021; García Ortega 2012; Pinto Puerto 2009). In this paper, these geometric resources for the definition of the layout are studied in a large‑scale built complex. It is the Charterhouse of Nuestra Señora de la Defensión or Charterhouse of Jerez, located five kilometres from the urban centre of Jerez de la Frontera (Cádiz, Spain), which occupies a confined area between the road from this city to Medina Sidonia and the Guadalete river (Fig.1). Its architectural configuration is articulated around the monastic core, which is surrounded by diverse structures of different origins and functions, resulting from its extensive historical process. The foundation took place in the fifteenth century and its construction developed during the sixteenth, seventeenth and up to the end of the eighteenth century. The author of the layout of the Charterhouse of Jerez is not known and no drawings have been found that can be identified as such. However, it is possible to approximate its geometric foundations by taking as a reference the space‑time context in which it occurred. The start of work on the Charterhouse of Jerez is documented in 1478 (Mayo Escudero 2001). The Gothic forms built in the first decades gradually incorporated Renaissance elements, giving rise to an example of the architectural style known as late Gothic. The façade of the main entrance, built in 1571, is the first fully Renaissance element of the monastery. This context is dominated by the construction of a singular work: the Cathedral of Seville, whose influence will be transcendental throughout the geographical scope of its Archbishopric, which includes the town of Jerez (Rodríguez Estévez 2007). Thus, the main objective of this research has been to determine the geometric foundations of the original fifteenth century layout of the Charterhouse of Jerez. Second, to analyse how the layout persists as a regulatory drawing throughout the centuries of construction evolution, from the fifteenth to the eighteenth, even though the physical conditions of the building and the cultural context changed 189 Proportion andDisproportion intheLate Gothic Layout ofthe… significantly. Third, to recognise in the architectural structure of the monastery those elements that respect the layout and those that do not, that is, those that fit the proportion and those that show disproportion. The focus has been placed on the latter, since it is assumed that this disrespect for the geometric plan would reveal very significant information about the physical and cultural conditions of each historical moment. These objectives can be summed up in one: to advance the knowledge of the relationship between geometry and architecture in the case of the Charterhouse of Jerez and of late Gothic architecture in general. Methodology To achieve the proposed objectives, a methodology consisting of three processes aimed at understanding the constructive evolution of the monastery and the role of the geometric layout as a guide to this evolution has been followed. These three processes are: the collection and study of historical documents, the architectural analysis, and the generation of a digital graphic model of information. Fig. 1 Charterhouse of Jerez. Photograph from the southwest taken from an airplane in the mid‑twentieth century. Archive of the Charterhouse of Nuestra Señora de la Defensión 190 M.Castellano-Román, F.Pinto Puerto Generation ofaDigital Graphic Information Model The methodological core of the research is the generation of the digital graphic model of the monastery, according to the methodological procedures of the Heritage Building Information Modelling, HBIM. The construction of the graphic model is inseparable from the process of knowledge of the asset that is modelled. One of the key concepts of HBIM is the Level of Knowledge (LOK), a measure of both the level of graphical detail and the reliability of the information in the model (Castellano‑Román and Pinto‑Puerto 2019). In this case, the construction of the model is not based on a digital capture using photogrammetry or digital scanning of the entire monastery. That is precisely one of the singularities of this case study: the model is based on the information available at the beginning of the research without the need for initial investment in extensive metric capture, which can be delayed to future developments. The model does not represent the current configuration of the monastery, but rather its construction evolution, from the approach to the topographic surface prior to the beginning of construction at the end of the fifteenth century to its maximum development in the eighteenth century. Therefore, the model shows the sequence of construction phases that have been established from architectural analysis and historical documents (Fig.2). Fig. 2 3D rendered views of the construction phases of the Charterhouse of Jerez, from its HBIM model 191 Proportion andDisproportion intheLate Gothic Layout ofthe… Collection andStudy ofHistorical Documents Knowledge of the Charterhouse of Jerez revolves around two main documentary sources: the Primitive Protocol and Foundation of the Charterhouse of Santa María de la Defensión and the document known as Manuscript 18259 of the National Library of Spain, composed by Father Gaspar del Castillo. For simplicity, this text will refer to the Protocol and the Manuscript, respectively. The Protocol is only the first of several volumes composed for the different areas of activity of the monastery. It records the period from the foundation in the fifteenth century to the beginning of 1669, informing about the construction process and other relevant issues of the functioning of the monastery such as appointments and dismissals of Priors, acquisitions, and litigations. It is not a work of linear development but rather a set of documents arranged with different sections capable of accepting new insertions at any point (Mayo Escudero 2001). The Manuscript is a heterogeneous document composed of several sections, dating back to the second half of the seventeenth century, as it is attested by the dates of Del Castillo’s profession as a Carthusian in 1645 and his death in 1696 (Mayo Escudero 2007). Analysis of the Protocol and the Manuscript are also used to write other fundamental studies in the bibliography of the Charterhouse of Jerez, whose authorship is not revealed, since it is signed simply as a ‘Cartujo de la Defensión’ or ‘Cartujo’ (Cartujo de la Defensión 1995; Cartujo 1995). The publications present a similar structure of chronological follow‑up of the works in three different areas of the monastery: the Large Cloister, the Small Cloister, and the Lay Brothers Cloister. In addition to these textual documents, graphic documents have been central to this methodological strategy. Since no drawing of the original layout has been found, the fundamental reference is the first known floor plan, drawn by Father Juan Antonio de la Peña in 1769 (Fig.3). It is a floor plan that frames the monumental area of the monastery and does not draw other buildings around it, which are related to the economic activities needed to ensure its functioning. The drawing was made just three decades before the beginning of the successive expulsions of the monks during the nineteenth century, which marked the decline and abandonment of the monastery, and therefore shows us the monastery at a time of full development. The main historical picture of the Charterhouse of Jerez is provided by the Cartusia de Xeritio painting, an anonymous work from the late seventeenth century (Fig.4). The painting belongs to a collection called the ‘Galerie des Cartes’, made at the request of Rev. Father General Dom Innocent le Masson (1675–1703), which represented monasteries of the order, originally located in the Hall of the General Chapters of the Grande Chartreuse. They are currently housed at the Correrie Museum in Grande Chartreuse. Its main value lies in offering a representation of the entire monastery in aerial perspective, made with a descriptive intention of its parts and the articulation between them reinforced by the incorporation of a legend to name each of the represented spaces. Finally, the most valuable graphic document for the analysis of the dimensions and proportions of the Charterhouse of Jerez is the digital drawing made by the Department of Urban Planning of the Jerez City Council (Fig. 5). This drawing has been made with topographic means, completing the details with direct metric 192 M.Castellano-Román, F.Pinto Puerto capture using analogue means. The main value of this planimetry is its precision and thoroughness, which has made it the basis of the three‑dimensional graphical model and geometric analysis. Architectural Analysis Knowledge acquired through the study of historical documents has been complemented by architectural analysis. This analysis has focused on three basic architectural concepts: the spatial‑functional programme, the construction systems, and the architectural typology. The spatial‑functional programme is a key concept in a Carthusian monastery. It is structured around two cores, the cenobitic and the eremitic, which serve as the architectural framework for the different routines of a Carthusian monk: community life and solitude, respectively. Thus, solitary life requires living and working units, cells, that allow maximum possible isolation. For this purpose, the cells are arranged in a cloister that occupies a large area and, consequently, is called the Large Cloister. However, the Carthusian monks combined this isolation with certain community activities that required specific architectural spaces: church, refectory, kitchens, and chapterhouses, all of which were arranged around a smaller cloister than the Large Cloister and, therefore, known as the Small Cloister (Fig.6). Another singular consideration about the life of the Carthusians that has an impact on the spatial and functional structure is the distinction of the monks between the Fathers and the Lay Brothers. While the Fathers were ordained Fig. 3 Floor plan of the Chartehouse of Jerez by Father Juan Antonio de la Peña (1769) (Mayo Escudero 2002) 193 Proportion andDisproportion intheLate Gothic Layout ofthe… priests and focused on contemplative life, the Lay Brothers were not ordained priests and engaged in manual labour. Therefore, the Lay Brothers had different spaces from the Fathers and a specific area called Conreria. The word Conreria, typical of the Carthusian lexicon, comes from the French word for the Father Procurator, Courrier. The Conreria housed the cells of the Father Procurator and the Lay Brothers, the chapel, the workshops, and other rooms connected with the material life of the monastery. In the older Carthusian monasteries, the Conreria, or “lower house”, was a separate building from the monastery, or “upper house”, as an additional guarantee for the solitary and silent life of the monks. However, this separation became less and less advantageous, which made the merging of the “upper” and “lower” houses more and more common, and at the General Chapter of 1679 it was finally abolished (Aniel 1983; Barlés Báguena 2010). The identification of the different construction systems has been carried out by direct inspection of the building and analysis of available archaeological reports. Different types of materials and fixtures have been verified against historical information to make graphical modelling decisions. The synthesis of spatial, functional, and constructive concepts observed in a Carthusian monastery can be Fig. 4 Cartusia de Xeritio, seventeenth century, anonymous. Collection Monastery of the Grande Chartreuse 194 M.Castellano-Román, F.Pinto Puerto expressed in terms of architectural typology. For the architectural characterization of the monastery from a typological point of view, the reference text by Carlos Martí Arís is used, in which the Carthusian foundations are identified as “a Fig. 5 Floor plan of the Charterhouse of Jerez. City Council of Jerez, 2005 Fig. 6 Location of the main areas of the monastery 195 Proportion andDisproportion intheLate Gothic Layout ofthe… perfect example of reconciliation between the individuality of the building and the identity of the type” (Martí Arís 1993). Results The Charterhouse of Jerez is a monumental complex of great surface area that includes both the buildings destined for monastic life and the activities that allowed the economic support of it. To the complexity of this functional structure must be added a lengthy three‑century construction process in which the organization of the spaces had to reconcile geometry, the rules of the order known as Consuetudines Cartusiae, the physical conditions on the site of the foundation, and the cultural circumstances of each historical period. This constructive evolution has been organised in a sequence of eight phases, the time limits of which correspond to the relevant events of this evolution (Table1). In any case, the result of the historical process recognizable today reflects the remarkable existence of an architectural project that, although it did not address the whole complex in its entirety, had to remain as a layout/guide for the most significant parts of the complex: the eremitic area that occupies the Large Cloister and the community outbuildings of the cenobitic core. Given the Gothic shapes of its stonework and the dates recorded in the documents, it is possible to characterise the Charterhouse as an important late Gothic work begun in the late seventies of the fifteenth century. The scale of the undertaking developed by the Carthusians over a century, and the maintenance of a unitary late Gothic language, place us in the context of the construction of the Cathedral of Seville and its production centre, with which it shared many masters, stonemasons, material resources, and shapes, especially during the first three decades of the sixteenth century. Likewise, the Charterhouse shared not only the influence of the Cathedral of Seville but also the blossoming of a focus of local production infused by it and external influences (Romero Medina and Romero Bejarano 2017). As in the Cathedral of Seville, in the Charterhouse of Jerez can be noticed the existence of a layout that directed, with considerable determination, the course of such a lengthy work. This layout has not been preserved, nor is its authorship Table 1 Construction phases Phase Name Years Phase 00 Pre‑existence …–1478 Phase 01 Foundation 1478–1505 Phase 02 Large Cloister W‑S 1505–1525 Phase 03 Cenobitic Core 1525–1560 Phase 04 Large Cloister E‑N 1560–1610 Phase 05 Conreria 1610–1662 Phase 06 Baroque Completion 1662–1769 Phase 07 Monastery 1769–1835 202 M.Castellano-Román, F.Pinto Puerto The fifth phase (1610–1660) and the sixth phase (1660–1769) are presented together, since the latter did not involve the construction of new buildings, but rather the superimposition of profuse Baroque decoration. Thus, in these phases, with the general configuration of the monastery already completed and consolidated as a very important part of the economic activity of its surroundings, it was considered necessary to organise the spaces related to this activity, which until then had been Fig. 15 Layout of the atrium Fig. 16 Phase 04, Large Cloister E‑N (1560–1610) 203 Proportion andDisproportion intheLate Gothic Layout ofthe… occupied by reused buildings. To this end, the construction of a Conreria was planned, a set of spaces articulated around a cloister where the administrative offices of the monastery and the cells of the lay brothers would be located. The chosen site is located in the southwest corner of the monastery area, bounded on its northern flank by the Kitchen Cloisters, on the west by the Courtyard of Obediences, on the eastern flank by the Large Cloister, and on the south by the retaining wall of the fill made for the leveling of the monastery, following the oblique alignment with respect to the orthogonals of the complex, which was necessary to adapt to the orographic conditions (Fig.17). Even though more than a century had passed since the foundation of the Charterhouse, a certain persistence of the general lines of the layout of the monastery is recognisable in the Conreria project. This is due to the support of the pre‑existing alignments, but also to original design decisions of this time such as the location and size of the Lay Brothers Cloister (Fig.18). Conclusions Based on the above results, there is substantial evidence that the fifteenth century foundational layout of the Charterhouse of Jerez is supported by a system of proportions based on the square and its diagonals, in accordance with the practical knowledge of the master builders of the time, known as the geometria fabrorum of the late Gothic period. Fig. 17 Layout of the Conreria 204 M.Castellano-Román, F.Pinto Puerto The layout is adapted to the topographical conditions of the site, being resolved as the juxtaposition of two squares aligned in an east–west direction. One of the squares is dedicated exclusively to the Large Cloister, the eremitic core of the monastery, which forms the gallery that connects all the cells. The diagonal of the square generates the general lines of the living spaces and orchards of these cells. The juxtaposed square is dedicated to the spaces of community life, the cenobitic core, with a more complex organisation that has been altered over time, but where relationships can also be seen based on the diagonal of the square and the division into four parts (Fig.19). The late Gothic layout persisted as a guide throughout the successive phases of the monastery’s constructive evolution during the sixteenth, seventeenth and eighteenth centuries, despite the fact that other considerations derived from the monastery’s new functional requirements and new artistic and spatial approaches were imposed. Both in the foundational phase and in the successive construction phases, the distortions with respect to the layout reveal unique circumstances related to the physical and cultural conditions of each historical moment. Therefore, it has been possible to recognise the existence of previous buildings, the adaptation to topographic conditions, and the appropriation of the atrium space at the cost of abandoning the established proportional system (Fig.20). To conclude, the analysis of the respect for the system of proportions of the layout and, simultaneously, of the circumstances in which some disproportion is produced has allowed an advance in the knowledge of the relationship between geometry and architecture in the case of the Charterhouse of Jerez and Late Gothic architecture in general. Fig. 18 Phase 05, Conreria (1610–1662) and Phase 06, Baroque Completion (1662–1769) 205 Proportion andDisproportion intheLate Gothic Layout ofthe… Acknowledgements This research constitutes one of the actions developed in the project PID2020‑ 114971GB‑I00: El maestro Diego de Riaño y su taller de cantería. Arquitectura y ornamento en el contexto de la transición al Renacimiento en el sur de Europa, funded by the Ministry of Science and Innovation of the Government of Spain and directed by Antonio Luis Ampliato Briones and Juan Clemente Rodríguez Estévez. All images are by the authors unless otherwise noted. Fig. 19 General synthesis of the geometric layout on the ground plan of the Charterhouse of Jerez Fig. 20 Phase 07, Monastery (1769–1835) 206 M.Castellano-Román, F.Pinto Puerto Funding Open Access funding provided thanks to the CRUE‑CSIC agreement with Springer Nature. Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http:// creat iveco mmons. org/ licen ses/ by/4. 0/. References Aniel, Jean‑Pierre. 1983. Les Maisons de Chartreux, des Origenes a la Chartreuse de Pavia. Bibliotèque de La Sociète Française d’Archeologie, 16. Barlés Báguena, Elena. 2010. La Arquitectura de la Cartuja: Espacios y Funciones. In Del silencio de la Cartuja al Fragor de la Orden Militar (Vol. 1, pp. 61–100). Fundación Santa María La Real. Bork, Robert. 2011. The Geometry of Creation: Architectural Drawing and the Dynamics of Gothic Design. Ashgate. Bucher, François. 1968. 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La obra tardogótica de la Cartuja de la Defensión de Jerez de la Frontera. Reflexiones sobre la intervención de Diego de Riaño. De Arte. Revista de Historia Del Arte, 0(16), 31. https:// doi. org/ 10. 18002/ da. v0i16. 4980 Ruiz de la Rosa, José Antonio. 1987. Traza y Simetría de la Arquitectura en la Antigüedad y Medievo. Universidad de Sevilla. VORSEVI S.A. 2007. Estudio del Claustro Grande del conjunto monumental de la Cartuja. Jerez de la Frontera. Publisher’s Note Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Manuel Castellano‑Román holds a Ph.D. in Architecture and a Master’s Degree in Architecture and Historical Heritage from the University of Seville. He is an Associate Professor in the Department of Architectural Graphic Expression at the University of Seville. He is a member of the HUM‑799 research group: Heritage Knowledge Strategies, from which he has participated as a researcher in two projects: “A digital information model for the knowledge and management of cultural heritage assets” and “Sustainable management of cultural heritage through BIM and GIS digital models, contribution to knowledge and social innovation”. He develops his research in the field of new graphic and information technologies for architectural heritage, which he has been able to apply to case studies of different scales and types, the results of which have been published in various scientific journals and scientific meetings. Francisco Pinto Puerto is a Professor of Architectural Graphic Expression at the University of Seville. He is currently developing two lines of research: the first in relation to the development of the subject of his Ph.D.: “the stone spheres”, where he analyses architecturally and graphically the Late Gothic and Renaissance ribbed vaults in Andalusia. His line of research is included in the Late Gothic network, made up of research groups from the universities of Cantabria, Valencia, Madrid, Seville, Lisbon, and Palermo. The other line develops multidisciplinary modes and strategies for understanding architectural heritage and its application to studies prior to and in parallel with the intervention, as well as the development of management models of the processes involved in the restoration and conservation of architecture. These lines are related to the HUM‑799 research group: Heritage Knowledge Strategies, of which he has been director since 2010.