AURELIO RAMÍREZ GALLARDO
THE ROMAN AQUEDUCT OF SEGOVIA
General comment
ROMAN AQUEDUCTS
Many believe, and some still teach, that the Romans built aqueducts to store water because they didn't
know about the siphon. Also known as the communicating glasses (physics principle), used to transfer
water through a valley using it's own pressure.
Nothing could be further from reality. The Romans built siphons with ceramic pipes, wood and lead
but they didn't have the right materials or the appropriate methods to make tighter joints. For that
reason their siphons weren't generally more than 10 meters in depth, although sometimes they were
larger. The water pressure, broke the joints and broke the pipes. They preferred to build one, two or
more aqueduct levels of superimposed arches.
THE ROMAN AQUEDUCT OF SEGOVIA (SPAIN)
Since the first century, A.D., Segovia's aqueduct has supplied the city with water. It's mission of
bringing water from the ancient Roman times to the present it's been accomplished. The aqueduct is
an example of survival. It's survival is also one of it's biggest mystery.
The fact that the monument still stands is an enigma on itself. We do not know why, but we do know
many things by studying its evidences. Who ordered to be built? When it's construction started?. Who
were the engineers and craftsmanship's that built it?. How did they justify such a huge hydraulic
system for such an insignificant city, compared with the other more opulent and famous Roman cities?.
DESCRIPTION
The aqueduct was built in two phases.
In the first (9 km.), taking the
water in the Brook of la Fuentecilla
of the Tilviejo, that in summer is
almost tail, so they were forced
to take it in the Moors River
having more contributions.
The second phase (5 km.) ends up
in a jump of about 75 metres.
If had files of
the Romans, would see the
project of bringing of
water to Segovia and of
the extension of the same.
Takes its waters from the Moros river head.
Exit of the canal with their
corresponding floodgate.
Descripción
The granite pieces are
fastened with iron plates.
It's part of a dam who was built during
the Catholic Kings times in the fifteen century.
The canal was built with gneiss stone pieces.
In some tracks, the stones were disassembled partly
to build one wall of a someone's property before
they were monument regulations.
Descripción
There are remains of a roman roadway also.
The canal arrives at the first tower of water.
The tower is a beacon that has another canal stream.
These lateral canal alleviate the flow excesses
following a little canal is only about 5 gallons/second.
Descripción
Output of the first water tower
a channel, parts U, that
follow to the second tower.
This second tower of water is a simple water-treatment plant
Descripción
The canal strayed when correcting
a great slope change that there was
on the road that goes parallel to the
aqueduct.
Tower section.
Here, there are the solid
objects separation and
foams cleaning.
Descripción
Water is purified.
Diagram settle operation.
Descripción
The
Thestructure
structuredidn't
didn'tallow
allow
totopass
passthe
thefloating
floatingobjects.
objects.
The first arches were re-built many times.
Descripción
That was the first place that invaders saw.
They used to dismantle the arches.
The aqueduct's central part had some brick walls
that were placed there during the Carlist wars.
Descripción
Before arriving to the double arcade structure
that breaks in an angle of 127º degrees to cross
the stream bed where the most monumental
and well-known part of the aqueduct is located.
Descripción
View of the monumental part from the east
before the restoration works from the 70´s.
The sentry booth location
Descripción
From the West
Characteristics
Total length . . . . . . . 9,3 miles
Aqueduct in earth . . 8,7 miles
High aqueduct . . . . . 0,6 miles
Maximum height . . . 93 feet
Maximum flow . . . . 4,4 g/sec.
Ashlars numbers . . 20.400
Piles numbers . . . . . 120
Arches numbers . . . 166
Weigh approximate . . . 4.500.000 pound
Biggest ashlars weigh . . . 4.400 pound
Obelisk in the beginning
high aqueduct.
Represents a scroll
held in place by arms
on both sides.
A pipe dropped
with wrench, power
pour water by the
channel to the source
Santa Colomba.
Descripción
It should pass water at
certain times, for bear
witness that is the only
aqueduct the world
Romano, that follows
carrying water.
Brick walls that were with battlements
during the Carlist Wars.
Old pencil drawing
This source was disassembled
and placed in the terrace of
Santa Colomba, that took the
name of the Church
appearing here.
Precious engraving by g. Doré.
By placing the source
A National Monument since 1884
The old town of Segovia and its aqueduct
World Heritage site since 1985.
Location of sticky traps on the floor.
Green dots: documented.
Red dots: oral sources.
This San Sebastian's carving, was burnt by fires.
It was moved to Segovia museum.
In that niche the symbol would be Hercules' statue
or boar, very abundant in those times.
This Carmen's Virgin carving was
placed May 21, 1520. It was made by Antonio
de Jardina, “ensayador” of Currency House.
Hercules carvings and a wild boar
replica of the God and the symbol
the nearby Sierra.
Probably this, or
something like that was what
There would be two niches
plants of the plates.
The legend
The water carrier - Goya - Museum of Budapest
THE LEGEND
Hear ye. I'm going to refer you the origin of the aqueduct of Segovia.
Years ago, many years lived in Segovia, an elderly priest,
In the company of the priest lived his niece Mary.
He was to bring the water up to his house, from a distant source
Prepared a good day to go out to the square he saw at an angle
the kitchen the pitcher of water without a drop of liquid inside.
Full of wrath took to the street and arrived at the gates of the city.
With a clear and distinct voice, he left these words:
I would give my soul to which avoided me to come every day to the dog source!
-I take it! -a gentleman with a sarcastic and soft voice replied.
Return to your House, girl, said that man; you will never have to go back to the source.
Whenever I call me you will find in your presence, and remember your Word,
that makes mine your soul forever.
The stranger stretched hand and touched the edge of the jar.
Instantly filled with this, D. Frutos told Maria that he called the stranger.
-I give my soul, said D. Frutos in a serene voice, if you do what I ask you;
but on the condition that if you don't, you will also be free the soul of Mary.
-Be! said the devil,
I don't want to just water for me; I need to bring it for all Segovia.
-Bring it!.
- But it has to be tonight and if the bridge you are going to build to that
water reaches the top of the city is not completed, unless you
Miss a single stone, leaving the morning sun, won't right or my
soul nor to the one of Mary.
. Saying is! He said the devil.
Satan ran from one side to another as flying activity, always
It appeared there where more effort is needed, and the black legion could not
given moment's rest.
The huge bridge was almost completed; only needed to place a stone in
your website, in the highest part, when Sun looked on the verge of its brilliant
disk above the mountains.
A thread of light, crossed the space and came to hurt the aqueduct until Satan himself,
raised on shoulders of its workers, had time to place the last stone.
His astonishment to see the arrogant arches of the aqueduct, had no limits, and soon was the entire population
gathered in the Azoguejo, commenting on the wonderful fact.
It was then when, full of joy, D. Frutos and his niece gave with loud voices to their neighbors the key to the mystery.
Maria repentant of sin, was strongly willing to not ever run the risk of losing its soul.
This is the true origin of the aqueduct of Segovia.
If you doubt it, look at the stone that is missing and that never has been able to be placed.
Look in each of the stones tracks
That in them he let Satan scorched fingers.
Recesses for to raise the blocks with a pair of tweezers.
The more weigh more tightened.
You will then have the conviction of the truth
of my story, and get the certainty that the
aqueduct, which already has so many centuries
of existence, will remain standing, according to
the promise of the devil, until the consummation
of the ages on the last night of the world.
AURELIO RAMÍREZ GALLARDO
THE ROMAN AQUEDUCT OF SEGOVIA
Technical construction
They didn't have elements to cut blocks of sandstone.
The gneiss makes staggered cuts.
When not having perforation elements neither explosive,
could not take out ashlars, so big of a quarry front.
They threw out it
from here.
The ashlars were taken by cutting stones, with wooden wedges of elm tree nailed
into customize fissures.
The process was made a clay fence, then it was wet with water. When the wood
expanded, they performed the cuts of the ashlars.
If a cracks are made on a granite Crag
with a chisel, are filled with wood wedges of
elm, are surrounded by a cordon of clay and are
they filled with water, the day following is broken in two
pieces with a flat and clean cut.
In each piece are the traces of the wedges.
This granite is an isotropic rock
(it has the same physical properties in any direction)
and therefore it can cut a piece of trapezoidal form.
These ashlars have small holes and they still
have remains of the tools, that cut them.
The granite erosion is shown in many pieces although
it's not much, after almost two millenniums (1,950 years
since it's construction).
Face of a coincidental ashlar
with a mirror of failure and
not be it has weathered.
It is incredible to see how, they cut
the ashlars, in such a good way.
It has never been broken.
Here we can see the cut drawings
and the prints of the pincers.
The Roman engineers didn't
modulate the ashlars disposition.
There are some ashlars
with 8 or 9 rows.
In the central part they have prepared some “cartels”
made with brass letters. They could have been made from a
Hercules and a boar statue.
There are tracks were the letters where located.
There still some lead remain.
Somorrostro´s book inscriptions interpretation
doesn't correspond with those, that we have
reproduced directly from a scaffold.
Fernandez Casado´s interpretation is as next:
TI CLAVDIVS PONT MAX VIII COS III TRIBVNICIA POTESTATE VIIII IMPPP
OMNIVM FECIT
Cartels with the prints of the inscriptions.
The prints were taken out, in 1973 from some
scaffolds.
They are an exact reproduction
Some still have lead or keep the traces.
The German Alfoldy, proposed a new interpretation
in which he believes, that there was a restoration of
the aqueduct on the inscriptions.
AURELIO RAMÍREZ GALLARDO
THE ROMAN AQUEDUCT OF SEGOVIA
REPAIR WORKS AND CONSOLIDATION
The works aimed to consider the following aspects.
Stability
Move the pipe installed near Foundation
and dismantling of the coronation.
Integrity
Cleaning of all foreign objects and demolition of walls in coronation.
Functionality
Restore the flow of water for his coronation to a source.
Conservation
Sealing of joints of the coronation channel.
Consolidation
Injection of concrete for the Foundation, fails it central.
and the sewing of ashlars
Restoration
Restore the fascia in the Central arches and the functionality
of all the elements composing them from
its construction by the Romans.
The Commission inspector of works was
consisting of the following persons:
Santiago Serrano . . . . . General Direction of Hydraulic Works.
Fernando Chueca . . . . . Academy of history
Luis Menéndez Pidal . . .Academy of Fine Arts.
Francisco Pons Sorolla . General Direction of Architecture.
Francisco Iniguez . . . . . General Direction of Fine Arts.
Martín Almagro . . . . . . Commissioner of excavations.
Mayor of Segovia
Segovia Aqueduct repair works and consolidation.
Dated 1970 - 1974.
Before the project started, we developed a
whole structure detailed inspection.
This hut was in very bad conditions.
The moat was padded of debris, inhabited,
with electric power entrance and then whitewashed.
This is the way it look, after restoration was completed.
In the mid-20th century was placed on the coronation
a pipeline, between brick small walls.
It covered straw, to protect it from Frost.
All the walls and pipes, were disassembled.
The U shape pipes took the water from the aqueduct.
The structure was made in time of Felipe V, King of Spain.
Once the walls are removed, the structure contour is
festooned. The rest of the wall disappears from the direct
line. The disproportionate, in the upper part is more
harmonious.
Blinded arch.
When it was discovered, they found out that it
was a water canal that went to the reservoir.
Once the aqueduct was restored, it´s image was improved.
The aqueduct goes along, in 90º degree angle.
The missing ashlars, were taken out to place them, in the
aqueduct coronation, some centuries ago.
The Romans did not finish the construction.
For some reason, there are little information about it´s
antiquity. Irresponsible restorers, disassembled these
pieces and they placed them back, in the
aqueduct above the superior arches.
When they built the Azoguejo square, the construction team,
dug too much leaving the overdraft outside foundation.
In most parts, the foundation is laid on gneiss and granite
rock.
Protecting the pile: Small concrete pieces were
placed there and picked up with a "zuncho".
Here we can see the sky, between two pieces.
To sew the broken ashlars, we used some, they
were made by diamonds drills mouths.
These holes are threaded brass bulones placed and fixed
with resin epoxi. If they were made of iron, that could cause
breaking the ashlar. Oxidation and humidity are stress.Wool
it´s used to retain, the extra injected mortar.
Once they are covered cement made of mortar
and granite sand, make it look like the original stone.
The "enjutas" of the arches were stuffed
to avoid holes movements from.
It was made with mortar, to better
preserve the isostatic stone.
All the joints from the second level, were made
waterproof with elastic resins to
avoid episodes like this one.
Disassembling a piece from the upper level, appeared at a
highest of seven stories with “opus signinum” (isolation
material to transport water). That piece is not Roman
and confirms that they didn't finish it. The pieces in U of the
current small canal come from the King Felipe V.
These pieces are missing from the “cartela”, also
are missing in all the arches, of the first floor.
In the central part, the pieces were restored
and there you can see the “cartela”, where
the Roman inscriptions were made.
In this bow came out them a little pointed,
the parts are small and there is a huge mess.
This reconstruction is a very refined
one made with small ashlars.
Ashlars have the dated, when they that were made.
In a moonless night, the street lights have the legend
“SIGLO” (CENTURY) 19.
It seems that they erased, the Roman nomenclature.
The quarrymen marks found on some blocks.
AURELIO RAMÍREZ GALLARDO
THE ROMAN AQUEDUCT OF SEGOVIA
Publication
Inside the publication.
Only in Spanish version.
SUPERVIVENCIA DE UNA OBRA HIDRÁULICA
EL ACUEDUCTO DE SEGOVIA
SCIENCES, HUMANITIES AND ENGINEERING COLLECTION, No. 40
COLEGIO DE INGENIEROS DE CAMINOS, CANALES Y PUERTOS.
Servicio de publicaciones. Almagro, 42 28010 - MADRID
Phone: 91 3081988 Fax: 91 3199556
SPAIN - European Union
Youl find a wide range of information about
this magnificent Roman aqueduct.
SURVIVAL OF A HYDRAULIC WORK - THE AQUEDUCT OF SEGOVIA (SPAIN)
This book explains in great technical and narrative style the Aqueduct´s
restoration process step by step (Proyecto de Reparación y Consolidación).
SUMMARY
Introduction, by Spain´s Aristocrat Lozoya Marquise
Foreword, by Fernando Chueca Goitia (Ph. D. Architect. Spain´s National Fine Arts
Academy Chair. Spain´s National History Academy Chair)
Preliminary, by the author Aurelio Ramírez Gallardo, Ph. D Civil Engineer
Chapter I
Description. The intake. - The piping. - First tower of water. Stone house. – Second
tower of water. Decanter hut. - Aqueduct in simple arcade.
- The end of the aqueduct back to city walls - Main characteristics.
Chapter II
Construction. - Comments about its construction. - The longitudinal profile.
Why they used the granite. - Elevation breakdown. - Construction Techniques.
Why they made an aqueduct. - When the aqueduct was built.
Why it was built in Segovia. – How much is its weight. - Why it still stands.
Its price. - For how long it will last.
Chapter III
Preceding, Repair and consolidation works design and motivation. Stability
The design - Government reports - Elements of the Inspecting Committee,
Technical Direction and the Contractor.
Chapter IV
The repair and consolidation works. Stability - Integrity - Functionality
Conservation - Consolidation -Restoration - Knowledge
Chapter V
The repair and consolidation works through press releases.
Chapter VI
Historical data.
First part: Documents from 1483 to 1868.
Second part: Press releases found in newspapers
and magazines from 1868 to 1970.
Chapter VII
The legend.
Bibliography
Prints and Photographs lists.
One volume, size 22 x 32 cm. In Spanish version only
297 pages. 76 drawings and pictures. 27 old engravings.
Author: Aurelio Ramírez Gallardo - [email protected]
SURVIVAL OF A HHYRAULIC WORK
THEE AQUEDUCT OF SEGOVIA
PROLOGUE BY FERNANDO CHUECA GOITIA
There are historical monuments about which we often have abundant information, dates, motives for their
construction, names of people who founded or promoted them, artisans who took part in the building process,
circumstances as well as problems encountered during the construction, and anything else we might wish to know in
order to perfect our knowledge about them. However, sometimes we discover that what we are missing is the
monument itself, which wars or other catastrophes have destroyed. Frequently the only things that remain are
historical dates, pitiful ruins or dispersed pieces which need the work of an archaeologist to theoretically reconstruct
them. That is the case, for example, of the famous prodi-gious and monumental Abbey of Cluny, which has
disappeared without leaving early any trace behind.
The aqueduct of Segovia is a completely opposite case: we have the entire monument in perfect conditions, due to
the frequent and intelligent care it has received over the centuries, and also due to its natural physical fortitude.
Nothing is missing from this beautiful utilitarian construction that has been alive and operating right up until now,
and still does so today, even though it has only an honorary function. From the first century, A. D., the aqueduct of
Segovia has provided the city of Segovia with water and while doing so has lived through all the epoch from classical
antiquity until the twentieth century, including the Visigoths, the Moors, Castilians conquerors, the long Middle Ages,
the Catholic kings, Ferdinand and Isabelle, Austrian and Bourbon Kings, the tumultuous nineteenth century with its
Carlist invasions, progressive revolutions and conservative or moderate restorations, without suffering any damage to
its structure, unless one includes small, although glorious, wounds quickly healed.
It is an extraordinary case of survival, and therefore the title of Aurelio Ramirez's book seems very appropriate:
Survival of a Hydraulic Work. Yes, it is an extraordinary case of survival, almost as mysterious as its own mystery.
© Aurelio Ramírez Gallardo
This mystery is precisely the other side of the question. The fact that we have the monument standing today is still
an enigma. We are not scientifically sure what or to whom we owe its existence, an existence which is so real and
evident. Who had it built? On what date or approximate date was it started or finished? Who were the artisans who
constructed it? How can we explain such a colossal hydraulic work in such an apparently insignificant city compared
to other more opulent and famous cities in Spain during the Roman period?
The enigma of the aqueduct has obsessed, and still does obsess, a variety of people: chroniclers, historians,
archeologists, poets and writers who have been struck by it beauty, by the transparency of its granite blocks that
receive a diver-sity of light in the morning or at sunset, responding to images that sometimes seem to float in the air as
if weightless, and other times seem to weigh down the earth with geological gravity. These variations of its character
and its presence make the Arcanum more inscrutable.
It is not at all strange that Ramón Gomez de la Serna, when he wrote The Secret of the Aqueduct, invented a
fictional character, the crazy chronicler Don Pablo, who went insane before he could solve the mystery.
The truth of the matter is that in spite of all the efforts put forth, the mo-nument still jealously guards its mystery
against the constant attacks of the most able champions who seek in vain to conquer greater certainties. Thus, we
must content ourselves with observations and conjectures which leave us in the desperate trance of throwing it all to
the devil, or, in other words, attributing its origin to the arts of Satan, who, in a moment of satanically whim, wanted
to tease man by imposing himself upon us with his incomprehensible extravagancies.
It is interesting to note that recently those who have been most successful in unraveling the enigma of the aqueduct
have not been learned and patient scripturists or erudites, skilled in the handling of dust covered papers or in the
comparison of chronicles and old manuscripts. They have been men of science and modern technology; engineers
skilled in construction and building techniques.
Two civil engineers, Carlos Fernandez Casado, and the author of this book, are the two who have advanced the
most down the thorny path of explorations into the history and reality of the aqueduct.
© Aurelio Ramírez Gallardo
The Marques of Lozoya has already indicated in his enjoyable and suggestive presentation, the importance of the
contributions which writers in the field of physical and natural science have made in the area of historical themes.
Nothing truer could be said, especially in this case where we can verify how the work of these two engineers has made
it possible to break the traditional molds of study, and also get away from the continuous repetitions of Somorrostro's
book, which has become a classic in this field and has recently been re-edited by the Caja de Ahorros of Segovia in a
facsimile of the 1820 edition.
Fernandez Casado, as well as Aurelio Ramírez, played a decisive part in the restoration and consolidation of the
aqueduct which the Hydrographic Confederation of the Duero undertook as part of the bimillennium of the aqueduct
which was celebrated in 1974. Fernández Casado, a master veteran of engineering and history, was the director and
advisor of the project. Aurelio Ramírez, young and enthusiastic, a native of Segovia, was the executor of this
extraordinarily delicate and compromising project, which caused alarm among art and history lovers mainly because
strange rumors began to circulate concerning the type of work that was going to be done in order to secure the link
between the old stones which had maintained their own equilibrium for so many centuries.
As a representative of the Royal Academy of History, the author of this prologue was a witness to the work of both
these architects while serving on an advisory and supervisory commission. The members of the commission were: the
late architect Luis Menéndez Pidal, representative from the Academy of Fine Arts; the architects, Francisco Pons
Sorolla from the General Directory of Architecture, and, Francisco Iñiquez from the General Directory of Fine Arts;
the archeologist, Martín Almagro from the Commission of Excavations; and, the Mayor of Segovia. The director of
the Hydrographic Confederation of the Duero, Santiago Serrano Pendan, presided over the commission with
tactfulness, knowledge, and intelligence.
I must say that the work of the commission was, besides enjoyable, also easy and simple due to the fact that at no
time did we have any discrepancies with the directors of the project, nor with the criterion of Fernández Casado,
Aurelio Ramírez, or Arenillas and García Gil, two architects who also collaborated in the work.
© Aurelio Ramírez Gallardo
Personally, the only difficulty I encountered was assuring some alarmed people —including some of my fellow
Academy members— what was being done to the aqueduct and what systems and procedures of consolidation were
being employed. I am not going to describe at this moment what those procedures and measures were, because a
major part of this book is dedicated to that task, and furthermore, now that the aqueduct has survived this delicate
surgical operation, everyone can see that it is strong and healthy without any scars. The expert engineers also revealed
themselves as masters in plastic surgery; as if they had operated on the body of a beautiful actress whose physical
charm could not be marred in any way.
The monument, besides being safe and sound, is more exuberant and beautiful than ever.
Aurelio Ramírez gradually became more and more interested in this subject with a growing passion until finally
for a few years he lived only for the aqueduct; auscultating it, inspecting it, measuring it, weighing it, analyzing its
stones one by one, their size, form, and placement, in brief, investigating every detail, no matter how insignificant it
might seem. As far as Ramirez is concerned, the body of the aqueduct has no secrets, but, its history... that is another
story; its history resists investigations. Nevertheless, the author's love for this subject has also led him into its history.
He, himself, tells us so in chapter IV, page 65: «We have also tried at the same time to contribute to the history of this
monument by initiating a series of investigations about everything related to the aqueduct, which we have included in
this publication».
Without a doubt, the author has not cut corners in his effort to compile everything that concerns the aqueduct.
Not only are technical aspects included, but also historical and literary themes as well as all sorts of news articles
which have appeared in national and local newspapers from 1868 until 1970.
His work also contains the most complete ichnography of the monument that we know of; its figure appears in old
engravings, prints, lithographs and curious photographs of the past.
One of the most interesting parts of the book is chapter II, titled «Realizations». It is particularly interesting
because it refers to the granite material with which the monument was built. This is a very wide-ranged subject,
although apparently the material selected for this monument seems to be rather obvious, and offers few problems. In
the city of Segovia, where the neighboring “Carpetovetónica” mountain range contains abundant volcanic rock, and
granite has traditionally been the major building material, it is not at all strange that the aqueduct was constructed
with this material. Yes, but... in this «but» lie the many questions that still remained unsolved until Aurelio Ramirez's
investigations were able to answer many of them.
The pillars of the aqueduct are built on foundations sometimes made of gneiss, and other times made of sandstone
from Albense; however, the superstructure is made completely of granite. Some people have tried to find cut-away
hillsides which might have harbored the quarries which supplied the 7.500 m3 of granite needed during the
construction of the aqueduct, but they were never found; the volume of rock is sufficient enough that it should have
left its mark. But these people did not realize that the Romans did not possess the means of perforation nor the
explosives needed in order to exploit these quarries by separating huge blocks and dividing them into smaller well
squared units.
«While investigating the land near Segovia», explains Ramirez, «we have studied the granite and have discovered
that its composition and its characteristics are similar to that used in the aqueduct. Between the Eresma river and city
of Segovia there are still surface rock formations, but the closer we get to the aqueduct they become less and less
numerous, until they finally disappear beneath the now existing orchards and vegetable gardens», page 25. These
granite rock formations which have disappeared —not a quarry— contained the 7.500 m3 of granite we were looking
for.
Ramirez's finding is essential; it is one of the most interesting contributions to the history of the aqueduct. These
rock formations, by means of wet wooden wedges that swell with the humidity, could be broken down into smaller
squared off and almost geometrically perfect blocks, due to the isotropic properties of granite. We can still see the
marks left by these wedges on the stones of the aqueduct.
This explains many things: first of all, since the granite was very near the project site and did not need to be carted
from far away, it proved to be a rich as well as economical, construction material; and secondly, due to the regularity
of the granite blocks, a great deal of labor was saved, and also it was possible to build the aqueduct without the use of
cement, which is an unusual luxury in a utilitarian project.
At this point we have come upon a type of construction which is traditionally Greek or Hellenistic: perfectly
squared off blocks which are placed one on top of the other without cement. The fact that an elegant building such as
the Parthenon was constructed this way does not surprise us, but the fact that a humble provincial aqueduct was built
in the same manner, is quite a shock. However, we have already explained what special circumstances brought about
this happening. Although it is only fair to say that the blocks were coarsely carved which meant that the stones did not
lie evenly on top of each other, and therefore, the use of cement would have been beneficial in smoothing out these
joints.
This type of construction without mortar has led Fernández Casado to set the date of the aqueduct back to the time
of Claudius instead of during Trajan's time, which was considered by many to be the approximate date. He explains:
«If we go back to the first century, A.D., the fact that the monument was built without cement permits us to discard
this date since this form of construction in opera quadrata, directly inherited from Greeks, was substituted by the
Roman structura cementiciae, which consists of small stones mixed together with cement, either with the same opus
quadrata or else more frecuently in public works with the opus incertum or opus reticulatum, and later on with opus
lateritiae, which in Rome eventually substituted the others especially in the area of aqueducts, starting with the
neronian or celimontian arches of the addition to the «Aqua Claudia». (Published in Roman Aqueducts in Spain.
Instituto Eduardo Torrola, 1972. transcribed in this book 31-35.)
According to this type of quadrata construction, the date of the aqueduct could be anywhere from the time of
Claudius on back into Roman history. Fernandez Casado's theory interpreted the inscription on the pediment of the
aqueduct as a dedicatory to Claudius, which up until recently seemed quite plausible. However, when the scaffolds
were mounted for the restoration work done on the aqueduct, Aurelio Ramírez was able to examine the holes which
were left by the letters and he demonstrated that they did not coincide exactly with those Fernández Casado had
detected with photographic instruments. The enigma continues.
There is still one doubt left in our mind. If the quadrate construction, as Ramirez has demonstrated, was the logical
form to be employed at the site of the aqueduct, would not it continue to be logical due to the excellent material
available in Segovia at the foot of the project site, even though the use of this type of construction had varied in other
areas of the Roman Empire less favorably endowed? All of these considerations only seem to increase the mystery.
© Aurelio Ramírez Gallardo
One thing is clear, with the material at their disposal, they knew how to take advantage of it, and they did so
economizing at the same time. In other words, the more perfect and the less coarse the material, the smaller the units
needed. Any other type of material would have required much wider sections and consequently the pillars would not
have produced such a tall and elegant effect. Also, it would have been inconceivable for them not to have taken full
advantage of the possibilities of the material on hand, as they so skillfully did. They proved that they were audacious
because they knew what they were doing.
I would say, a little hyperbolically, that the aqueduct of Segovia has something Gothic about it; the builders of
medieval cathedrals, just as those who built the aqueduct drained every possibility out of the costly material they
employed. One thing compensated for the other.
All of these considerations were especially interesting to me, because as Aurelio Ramírez explained them to me
during the restoration of the aqueduct I was thinking about the hypothetical reconstruction of the aqueduct of Toledo
which I was working on at that time. The aqueduct of Toledo, much bigger than the one in Segovia (compare the
height above the “azoguejo” in Segovia 27 m., to the height above the Tajo river 90 m.), could not have been anything
else but structura cementiciae, as the existing ruins indicate. These ruins were undoubtedly the nuclei of the aqueduct.
But how were these nuclei covered? I do not think they could have possibly been covered with opus quadrata, because
this would have meant an absurd carting of stone blocks. I am more inclined to believe that they were covered with
stone masonry and bricks in a mixed composition or «aparejo», as I have always thought that the classical «aparejo»
of Toledo had a Roman origin.
In order to find granite rock in Toledo similar to that which was at the foot of the aqueduct in Segovia, it would
have been necessary to go to Ventas con Peña Aguilera, 40 kilometers away, which makes it inconceivable to think that
the Romans would have wasted so much money and time in transportation, especially in a public work project.
Getting back to the aqueduct of Segovia, I have always been interested in its proportions which I consider were
based on architectural models. I will explain what I mean: the Romans did not disassociate architectural work, with
its norms and its classical linguistics, from engineering work. This divorce came about in the nineteenth century when
architecture still upheld the traditions while engineering broke away from them due to new technological conquests.
Now things have changed again and in a certain way this union has once more occurred, not that engineering has
© Aurelio Ramírez Gallardo
returned to the yoke of architecture, but that the latter has been subjected to the former.
But Rome used to see everything more architectonico. In order to see the aqueduct in this light we must
abstract the first two parts of the central pillars which were added because of the unlevel terrain.
If we draw a hypothetical line from the ground to the second impost, what remains above that point is a splendid
and academic composition of an architectural order in double arches (see drawing). The part of the pillars between
the 2a and 3a impost can be considered as the pedestal of this composition. The fact that other imposts were added is
because the builders felt that the only way to architecturally solve the problem was by adding successive pedestals. If
not, then it is difficult to understand why the space between the 3a and 4a imposts is much larger than the ones below.
The reason for this is that we are not dealing with the pedestal any more, but with the pillar. Draw, if you like, the big
pillars with the imposts divided up equally and you will see the unattractive effect it produces.
If you want to take this architectural image of the aqueduct a step further, insert an order of pilasters or columns
into the nude and utilitarian structure, and you will see what the underlying architectural model is, which when
simplified, subsists.
In order for this model to gain more respect, the aqueduct needs a rather high crown, equivalent to what would be
the entablature of an order. When the restoration work began, the mass of this crown existed and it was made up of
masonry and bricks that had been built over the specus.
© Aurelio Ramírez Gallardo
During the meetings of the Inspection Commission I was worried about this attic or crown which, naturally, had to
be removed since it was a coarse addition built in order to lodge a cast iron water conduction tube. But who knows
how the double arches would have been crowned if the Romans who initiated the construction of the aqueduct had
finished it. Because, the aqueduct is not finished; it lacks the final touch, not essential in the utilitarian project, but
definitely so from the architectural point of view.
Aurelio Ramirez explains perfectly, what are the deficiencies of this crown, which perhaps was never finished or
was destroyed and later rebuilt with precipitation and bad taste by employing in the upper part, molded pieces from
the cornice of the lower arches which were placed in a confused and disorderly manner. Anyway, this is another small
enigma which still remains, and in the presence of which, we will abide by what Ramirez says on p. 84 of his text.
If the analysis done by the engineer and director of the restoration of the aqueduct is as thorough as we have been
saying all along, and not a single aspect has been left without being taken into consideration or clarified, then we must
also thank him for his patient work as a compiler of all sorts of information about this monument. This makes his
book a Summa or Varia Recopilación, which ranges from first class historical documents to the most trivial newspaper
articles, which can, however, give us fructiferous clues, or else provide us with a curious lesson. Such is the case of the
controversy which began when the Royal Academy of History asked that the aqueduct be declared a national
monument on October 11, 1884, (p. 201).
The report issued by Royal Academy irritated many of the people in Segovia because of the terminology in which
it was written. They felt their pride and dignity had been wounded and consequently a dispute broke out in the press.
The author has captured all of these details in his book. «A rumor is circulating around Segovia, » states the Academy
report, «that the Town Hall is going to allow a building to be constructed against the pillars of the aqueduct».
In 1884 this report exasperated the Town Hall, the Sociedad Económica Segoviana de Amigos del País, and many
writers and newspaper men. Nevertheless, time went on, and less than twenty years afterwards, the municipal
architect, Mr. Odriozola, proposed the destruction of one of the arches of the aqueduct which was located in the
“bajada del Postigo” between the Civil Government building and the Conciliar Seminary (p. 254). His proposal was
meant to beautify the street, improve the circulation, and take advantage of the stone blocks for other projects. Of
course, the Town Hall approved the proposal and decided that the demolition should take place as soon as possible. It
did not mean a thing that this municipality once felt so offended because someone doubted its desire to conserve the
© Aurelio Ramírez Gallardo
monument.
It is also very interesting and curious to follow the long series of different interpretations of the “cartela” of the
aqueduct, or, in other words, the inscription found on the pediment between the two central arches. Without a doubt,
this controversy started in 1885 when the aqueduct was declared a national monument and the people of Segovia
wanted to demonstrate their interest for the monument. The Sociedad Económica Segoviana de Amigos del País
sponsored this investigation which unfortunately ended in complete failure. However, it triggered off a tournament of
ideas, studies, and research which was often digressive, useless and tiring, but at the same time offered an occasional
interesting fact which could very well be helpful to future investigators. These future historians will also owe a great
deal to Aurelio Ramírez for having put at their disposal in an orderly and skillful manner such abundant documental
material.
I want to finish by telling the author of this book that there is definitely one thing that he can be proud of, and I
believe it is the one thing will most satisfy him: after the restoration which he directed with such enthusiasm, natural
talent and technical competence, and after the publication of this book which will convert him into the Somorrostro of
our century, his name will always remain associated with the aqueduct. And, to be associated with a monument whose
continuance he has demonstrated and assured, is also the best way to assure one's own continuance through the
gratitude of coming generations.
FERNANDO CHUECA GOlTIA
END
© Aurelio Ramírez Gallardo