The Façade of the Escuelas Mayores Building

The Façade of the Escuelas Mayores Building

Designers Unknown (Salamanca)

Early 16^th Century

The massive façade to the Escuelas Mayores building has an unknown creation date, lost during the 400 yearlong (15^th-19^th century) construction of the gothic Escuelas Mayores building, which is the main academic building of the University of Salamanca. The ornate façade most likely began construction by 1526, yet, even to this day, the designers of the façade remain unknown (Gonzales 15). Yet, what is known about the façade is that it is a testament to University of Salamanca’s dedication to spread liberal education in Spain. Through the façade’s use of Vitruvian inspired Spanish plateresque style, depiction of important Spanish historical figures and mythological figures representing virtue and vice, the façade underscores the importance of liberal education in Spain to every visitor in Salamanca.

The façade employs a plateresque style, is entirely sculpted from Villamayor stone, and follows Vitruvius’ guidelines for harmonious architecture. Plateresque style, also referred to as silver-smith style, is the use of intricate and detailed sculpting on the outer surface of buildings. This style was popular in Spain during the 15^th and 16^th centuries and can be seen in many forms of Spanish architecture (Encyclopedia Britanica). The sculpted façade is carved out of Villamayor stone, which is indigenous to Salamanca. In fact, almost the entirety of the historic district of Salamanca, housing the university, is created from this sand stone. This stone gives the city the nickname “The Golden City” and glows when exposed to sunlight (Garcia-Talegon 1). Through the adoption of plateresque style and Villamayor stone, the façade becomes inherently Spanish. While the designer of the façade remains unknown, the architecture of the façade follows the Vitruvian theory of harmony. Vitruvius was a Roman architect during 1^st Century BC who supported liberal education. He states in his expansive De Architecture that an architect should be well versed in history, geometry and optics, music, moral philosophy, and writing (Vitruvius 1). It is important to note, then, that the façade follows Vitruvius’ theory of harmony, utilizing firmitas (durability), utilitas (fitness for purpose), and venustas (visual delight) (Jones 46). The harmonic qualities of the façade can be seen today as one sees the durable architectural design, use as an entrance to the university, and intricate design. The façade also follows other Vitruvian principles including symmetry, proportion, and arrangement. Therefore, the Vitruvian harmony present in the façade inherently supports liberal education itself, in addition to the use of a Spanish style and building materials. Ultimately, the plateresuqe style, Villamayor stone, and Vitruvian harmony create a stunning entrance to the university that is both strikingly Spanish and harmonious, which were both important to advocate Spanish liberal education.

The façade functions as a symbol of gratitude to its benefactors in an attempt to gain political and economic support in its educational mission. The façade is divided into three sections, vertically stacked on one another, which represent different historical figures that supported the university. The lowest section includes a medallion of Ferdinand and Isabella (1474-1504). The Catholic Monarchs supported he university in its goal to educate its people and as a strategic move to consolidate the nation and expand rule in the new world. This is clear in the inscription above the medallion that states, “The Monarchs for the University and the latter for the Monarchs,” which reiterates the close relationship between the university and the monarchs. (Gutiérez and Ferrero 50).  The middle section includes a medallion of Charles V (1516-1556), his wife Isabella of Portugal, a two-headed eagle representing the Habsburg House, the eagle of St. John, and Charles V’s coat of arms. The inclusion of the middle section, which was constructed during the reign of Charles V, serves as an ode to the ruler of Spain and the Holy Roman Empire, evidencing the University of Salamanca’s interest in monarchal (therefore monetary) favor. Finally, the top tier includes symbols of the papacy including the crossed keys of Peter. Some scholars even suggest that specifically Pope Martin V and Pope Benedict XII are represented, who were benefactors of the university (Gonzales 15). The inclusion of symbols of the Catholic Monarchs, Charles V, and the papacy oreveal the interdependency of the University of Salamanca and the rulers. The rulers expected the university to create future scholars who would assist the king and queen. In turn, the university depended on these ruling bodies for support to continue liberally educating students.

The façade also includes mythological iconography related to the potential path of success and failure of liberal education. Below the sculpted façade are two red doors that represent the virtue and vice of university life. On the right of the façade there are figures associated with virtue such as the patron of the Spanish monarchy, Hercules; maternal figure, Juno; and giver of light, Jupiter. These classical figures encourage students to maintain a virtuous life that would allow them to excel at the university. On the left side, one finds figures that represent vice, such as Venus, goddess of physical love; Bacchus, god of wine; and Priapus, god of fertility (Gutiérrez and Ferrero 50). This arrangement suggests that students had to decide which door, therefore which path, they would take at the university. Scholars also point out the sculpture of a frog on top of a skull located on the right side, also known as the virtuous side, of the façade. The frog, usually understood as a symbol of earthly desires and lust, is now a symbol of good fortune at the university. Yet, the frog remains a warning to the students of vice present (Gutiérrez and Ferrero 50). The playful and scholarly inclusion of mythological figures stands as a testament to the university’s commitment to learning and guiding students down the correct path of life. This final element of the façade is also the most directly related to academia, assuming many common people would not understand the mythological references. A viewer would have to be educated to completely understand the meaning of the façade and its relation to mythology and philosophy.

Ultimately, the façade represents a literal and figurative entrance to the University of Salamanca, a place with strong ties to Spain and liberal education. As an art piece, the façade represents the dedication of the university to spread a liberal education throughout Spain.

List of Works Cited

Gutiérrez, Laura Illana, and Alberto Fernández Ferrero. Salamanca, Art and Monuments. Zaragoza: Edilera, 2015. Print.

"Plateresque". Encyclopædia Britannica. Encyclopædia Britannica Online.

Encyclopædia Britannica Inc., 2016. Web. 07 Apr. 2016.

Pollio, Vitruvius, and Joseph Gwilt. On Architecture. London: Priestley and Weale, 1826. Print.

Ramón, Nieto González José. University of Salamanca: The Escuelas Mayores Building. Salamanca: Universidad De Salamanca, 2013. Print.

Wilson Jones, Mark. "Greek and Roman Architectural Theory."  Architectural Theory. Oxford: Oxford University Press, 2014. Print.