Herrerian style (Spain)
Introduction
Herrerian architecture, Herrerian style or Escurialense style, also called by some authors classicist mannerism,[1] developed in Spain in the last third of the century, coinciding with the reign of Philip II (r. 1556-1598), and continued in force in the century, although transformed by the baroque currents of the time. It corresponds to the third and final stage of Spanish Renaissance architecture, which evolved towards a progressive ornamental purification, from the initial Plateresque to the classical purism of the second third of the century and the absolute decorative nudity introduced by the Herrerian style.[2].
It originated with the construction of the Monastery of El Escorial and, more specifically, with the reorganization of the project carried out by the architect Juan de Herrera (1530-1597), after the death of Juan Bautista de Toledo (1515-1567), author of the first design.[3].
Its main representatives are the aforementioned Herrera, to whom the style owes its name, and Francisco de Mora (1553-1610), disciple of the previous one and architect of the Ducal Palace of Lerma, another of the key works of Herrera's architecture.[3][2].
Characteristics
Herrerian architecture, or the Herrerian style, is characterized by its geometric rigor, the mathematical relationship between the different architectural elements, the clean volumes, the predominance of the wall over the opening and by the almost total absence of decoration, which is why in its time it was called deornamented style. It is also known as escurialense style, in allusion to the building that serves as a paradigm for this architectural movement.[4].
Herrerian buildings stand out for their severe horizontality, achieved thanks to the balance of the shapes, preferably cubic, that are symmetrically arranged in the structure. They generally have wooden roofs covered on the outside with slate "Slate (rock)") and side towers, topped with conical or quadrangular pyramidal spiers ending in a point, known as Madrid spiers, which introduce an element of verticality and magnificence, while helping to reinforce the feeling of symmetry.[5].
On other occasions, horizontality is not sought so much as volume, which is achieved through the geometric play of the various architectural elements. This is the case of the model used in the construction of parish churches, with large facades, quadrangular towers and heavy buttresses.[5].