Chapter II: Part 2

In the vicinity of Figueras is the church of Villabertrán, dating from the end of the eleventh century. Designed by a priest it exhibits, remarks a Spanish writer, in every detail the ecclesiastical bias. All animal figures are excluded as tending to disturb religious recollection. The interior is nobly designed but destitute of all ornament. “In this temple everything appeals to the reason, nothing to the imagination; these low dark vaults dissipate illusions; the thought of death oppresses the mind; but the eyes discern a gleam of light in the darkness of the sanctuary, and the soul hungrily seeks a gleam of faith in the gloom of doubt.”

Of a similarly severe character is the adjacent cloister. The campanile of the church alone presents any airy or graceful features. The whole foundation would have been spared even by Knox or Calvin.

On the bay of Rosas, the town of Castellón de Ampurias recalls the great city of Empurias which was founded by the Greeks, and utterly perished at the end of the twelfth century. It was among those great maritime powers which for long resisted the encroachments of the Carthaginians, and which fell in turn before the irresistible arms of Rome--reminders for us of the days when the fate of the Mediterranean still hung in the balance, and it was yet uncertain whether the civilisation of Europe should be Hellenic, Punic or Latin. The destruction of Empurias is ascribed partly to the Saracens, partly to the Normans. Whoever accomplished the work did it thoroughly, for nothing but the name survives of this once rich and puissant colony of Hellenes.

Castellón de Ampurias is a Latin foundation, with which time has dealt unkindly. Its parish church of Santa Maria is a noble monument of its prime. It was consecrated in 1064 and finished in the late Gothic period. To this last style belongs the west porch, with a pointed arch of six orders, and the figures of the Twelve Apostles beneath canopies in the jambs. The tympanum shows a relief of the Adoration of the Magi. Contrasting strikingly with this carefully chiselled and graceful Gothic work is the stern square campanile to the left, a remnant of the Romanesque days. The interior is early Gothic. The combination of this with the preceding style is strikingly shown in the principal apse. The altar, a single piece of marble, is carved with reliefs which exhibit (says Pi y Margall) the artist’s breadth of imagination rather than his skill.

Further inland is the venerable abbey of San Pedro de Roda, founded in the tenth century, and abandoned by the religious in the year 1799. To-day the monastic buildings are in utter ruin, but enough of the church remains to fill us with admiration for the loftiness of its nave, the harmonious admixture of the Romanesque with the pure classic forms, the skilful decoration of the various parts, and the sombre majesty of the whole.

THE VALLEY OF THE TER

The river Ter, which washes the walls of Gerona, is born among the snows of the Puigmal, the loftiest of the Eastern Pyrenees. Its stream is still ice-cold when it flows past the little town of San Juan de las Abadesas, which changed its name from Ripollet upon the foundation of an abbey within its precincts by Wilfred the Hairy, Count of Barcelona, in the year 877. The Count’s daughter was the first Abbess. The present abbatial church replaced the original structure in 1150. It is strictly cruciform, consisting of a nave and transept without aisles. There are only two columns in the church, these being planted at the entrance to the presbytery. The chancel is in the florid late Gothic style, contrasting oddly with the extreme simplicity of the rest of the fabric. Behind the altar is a figure of Christ, sculptured in the year 1250; in the forehead, it is believed, is contained a Host, which has preserved its integrity for seven centuries, and which it was found impossible to remove in the year 1598. The church has two choirs, both blocking the nave. The north and south porches were reserved respectively for men and women. The adjoining cloister is in good fifteenth-century style, and was probably designed or improved by the architect of the Palacio de la Diputacion at Barcelona.

Five or six miles farther down the valley stands Ripoll, one of the towns that suffered most severely during the Carlist wars. It has, however, long since recovered from its reverses. Unfortunately the damage done to the monastery founded by Wilfred the Hairy cannot be repaired. As the Mausoleum of the counts from the ninth to the twelfth century, it possessed great interest. The church, built by Bishop Oliva about the thousandth year of our era, is roofless. The nave terminates in an apse, and there are three smaller apses opening from the east into each transept. The special glory of the building is its west porch, formed by a rounded arch with three shafts in each jamb. The middle shafts are carved into life-size figures of St. Peter and St. Paul; the others are most beautifully chiselled. The orders of the arch are variously treated; caprices, grotesques, masques, mythological designs being interwoven with more appropriate religious symbols. One series of reliefs appears to represent the twelve months.

The façade on either side of this portal is similarly decorated with graphic reliefs in six courses, the lowest representing scenes in which centaurs, lions, &c., figure; above this is a row of figures of knights, princes, and prelates; above this, battle scenes, then come two rows of sacred figures and subjects, and finally the figure of God the Father attended by angels and princes. The whole of this portal is of profound interest to students of the Romanesque.

The interior of the church was restored as lately as twenty years ago. All styles seem to have entered into its architecture. Instead of columns, massive piers support the vaulting, and mark off the aisles from the nave. The chancel--merely a shallow apsidal prolongation of the nave--is strewn with the ruins of the high altar and the roof.

The cloister of the monastery is the most interesting part. It is composed of an upper and lower gallery of round arches, uninterrupted by any piers or buttresses. The harmony of the whole is admirable. The columns are of Gerona marble, and pinkish grey in hue. Variety is imparted by the capitals whereon the unknown sculptor has expended his fanciful, nervous genius. The upper gallery was not completed till the end of the fourteenth century, though the cloister had been begun as far back as 1172.

Farther down stream is Vich, a town constantly referred to in the annals of the Carlist wars. As the history of that insurrection is not well known to foreigners, visitors are more likely to be interested in the monuments that have survived those troubled times. The cathedral was built in 1040--a date which sounds promising; but alas! the architects of the eighteenth century have forestalled us, and have worked their wicked will upon a once noble church. The artistic eye will not linger upon the exterior, but it may find some refreshment in the majestic nave, divided from the aisles by six clustered columns, with Corinthian capitals. When the church was rebuilt, all the tombs were swept away, and none of the altars spared, except the high altar, which is a meritorious work of the early fifteenth century. As at Ripoll, there is a fine cloister built five hundred years ago. The gallery, with its pointed openings and trefoil and quatrefoil tracery, is built over a substructure with round arched open vaults. The centre of the quadrangle is occupied by the statue and monument of the philosopher Balmes, who was born at Vich and died in 1848, aged only thirty-eight years. He is buried in the cathedral nave.

Outside this church there is little to be seen in the old Catalan town. The remains of a Roman temple are worth examination, and the artist may find plenty of material for sketches in the picturesque Plaza Mayor.

From Vich it is about forty-five miles to Barcelona.

LERIDA

Lerida is another of those Catalan cities that remind one of the saying about new wine in old bottles. Seen from afar it is clearly one of those old human hives that have existed on the same spot ever since man felt the need of a permanent abode--you have the hill-site, the walls, the towers, the flowing river, the mediæval aspect. You observe with delight a humpbacked bridge, such as (with a total disregard for beasts of burden) our pious ancestors loved to build. And over all rises the cathedral--or, as we shall soon learn, what was the cathedral. But on a closer inspection we find that time has by no means left Lerida untouched. Already she has overflowed into the opposite side of the stream, and there is a big new suburb with wide white streets, spaciously planned squares, and avenues along which the trees are beginning to grow. And as you cross the humpbacked bridge, you observe that the centre arch is quite new, and as you enter the old town, you are astonished by the stir and the modernity of it all. It is just like Smyrna or Damascus. Every one has been too busy to build the town over again. Its poor old rickety houses, in which men designed to lead only the sedatest of lives, have been hastily requisitioned for the service of modern industry and commerce. The low rooms are packed with merchandise, the frail houses seem like to burst. The underground cellars come in very handily. Lerida is very much alive. Some day she will have to pull her house down and build a new one altogether.

Probably no one would have come to Lerida--no strangers of the uncommercial variety, that is--if Street had not told us about the old cathedral, since turned into a barracks. Nor without his detailed and professional description would the average traveller be able to make much of the building. The purposes to which it has been put have obscured the outlines of the features of the original fabric. But you cannot overlook it for it stands high on the hill like a citadel, which, indeed, it has now become.

Lerida--which the Catalans, by the way, call Lleyda--was known to the Romans as Ilerda, and when they turned Christian, they built a church on this site. This, it is supposed, became a mosque during the brief Moorish period, to be reconsecrated on the reappearance of the Christians. The first stone of the actual building was laid on July 22, 1203, in the presence of King Pedro II., and the consecration took place on October 31, 1278.

(People often wonder why we do not build cathedrals nowadays equal to the old. One of the reasons may be that we are in too great a hurry. In the Middle Ages no man expected to see the completion of the work he began. They were animated by a strong communal sense, different from the individualism of to-day.)

The excellent bishop and chapter of Lerida in the year 1707 thought the cathedral too old for their requirements, and having already commissioned a military architect to build them a new church in the city below, thither they removed. By a fair exchange the military took possession of the cathedral. They willingly display it to you, and the non-commissioned officer who shows you round seems less in a hurry to get the visit over than your clerical cicerone usually is.

The lay traveller in attempting to understand this church has always to refer himself to the explanation of Street or else to that of Piferrer, which is certainly not so intelligible. In plan, then, the church is cruciform with three eastern apses and square transept arms. Another apse projects eastward from the south transept, which is flanked on the other side by a semicircular chapel, pointing south. Over the crossing rises an octagonal lantern, roofed like the whole church with stone, and pierced in each face with double windows with varied tracery. At its north-west angle is a slender octagonal staircase turret, rising from the south-west angle of the north transept. There is a similar but stouter tower, detached from the lantern, rising over the south transept. These towers give the whole pile a romantic and beautiful appearance.

The principal portal, called in the Catalan dialect the Puerta dels Fillols, opens into the middle of the south aisle. “This [says our authority] is an example of singularly rich transitional work, with an archivolt enriched with chevrons, mouldings, dog-tooth, intersecting arches, and elaborate foliage. There is the usual horizontal cornice over the arch, and above this is a fourteenth-century statue of the Blessed Virgin Mary and Our Lord. The horizontal cornice is carried on moulded corbels, between which and the wall are carvings of wyverns and other animals; whilst the soffit of the cornice in each compartment is carved with delicate tracery panels, in some of which I thought I detected some trace of Moorish influence. The cornice has a delicate trailing branch of foliage; and the labels and two or three orders of the arch, in which sculpture of foliage is introduced, are remarkable for the singular delicacy and refinement of the lines of the foliage, and for the exceeding skill with which they have been wrought. There is none of that reckless dash which marks our carvers nowadays, but in its place a patient elaboration of lovely forms, which cannot too much be praised. The mouldings here are all decidedly characteristic by a later--probably fifteenth-century--vaulted porch, which occupies the space between two added chapels. The effect is very good and picturesque.”

The transept doors are also very fine, especially the southern one. The cornice is beautifully sculptured and the wheel window above reveals in its details the influence of the Italian Romanesque. These entrances make us regret the effacement of the west porch, which is concealed by the vast square cloister covering that side of the church. This remarkable building, now occupied by troops, is the grandest, Street declared, he had ever seen. In its present desecrated state, it must be confessed it needs a highly trained eye to appreciate its beauty. The arcades are walled up, and there is some ground for supposing that when in ecclesiastical occupation the galleries were used as dormitory and refectory. The details vary greatly. The bays vary in width, the sculpture is of all sorts of design, and of all periods. Adjoining this vast cloister on the north side is a long barrel-vaulted hall, lighted only at one end. On the west side the cloister is entered through an enormous western doorway with a pointed arch. South of this and almost detached from the cloister stands that beautiful octagonal steeple which served Pedro Balaguer as a model for the Micalet Tower at Valencia. It is 170 feet high and divided into five stages, “the whole construction being of the most dignified and solid description.”

Concerning the position of this tower, Street remarks: “Here, as often happens with detached campaniles, the grouping of the steeple with the church from various points of view is very diversified, and often very striking. From its great height above the valley it is seen on all sides, and generally at some distance. From the south, the grand size of the cloister, which connects the steeple with the church, gives it somewhat the effect of being in fact at the west end of an enormous building, of which the cloister may be the nave; whilst the steeple rears its whole height boldly to the right, and makes the whole scheme of the work utterly unintelligible, until after a thorough investigation.”

The interior of the church is now cut horizontally by a plank flooring, and no features of interest can be distinguished, except in a single apsidal chapel, which is still used as such, and where is buried a natural son of King Pedro the Catholic, who died in 1254. Whitewash has obscured all the details of capitals and columns.

Adjacent to the cathedral on the north side is the ruin of a once noble hall, with traces of Moorish influence in its carving--possibly the remains of a chapter-house or episcopal palace.

Far exceeding the cathedral in antiquity is the church of San Lorenzo hard by, though it is not safe to accept the tradition of its Gothic origin. It was certainly built prior to the twelfth century. Originally just an apse and a nave, with walls eight feet thick and a span of thirty-three feet, aisles each ending in an apse were added to it at a much later period. They communicate with the nave by very simple pointed arches, and their windows have good traceries of the late thirteenth century. “The apse has a semi-dome and is lighted by three round-headed windows, five inches wide in the clear, and has a corbel-table under the eaves outside.”

The octagonal campanile dates from the fifteenth century, to which period belongs the western gallery. There is a good deal of pointed work in the church, which is gloomy and religious. The high altar, dating from about 1400, has a reredos which is highly praised by some critics.

Lerida was the Salamanca of Aragon. Her university, founded in 1300 by Jaime II., numbered the profligate Calixtus III. among its professors, and Vicente Ferrer--the “angel of the judgment”--among its alumni. Ford reminds us that Horace speaks of the place as a seat of learning in Roman times, to which the troublesome youths of the capital were banished. The town, like its Castilian prototype, has been famed for arms as well as learning. It sustained a severe siege from Felipe IV. himself in 1640, and withstood the assaults of the great Condé in 1640. It owned the loss of its university to its devotion to the Archduke Charles in the War of Succession, and (more directly) to the defeat sustained close by, by the Bourbon king. At the same time the military authorities made the clergy give up their cathedral.

Probably none of the ancient edifices of Lerida will interest you as much as the market-place, surrounded by quaint old houses; entering, you find the whole house is a great wine-press, the grapes, trodden on the ground floor, pouring their juice into the cellars below.

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Higher up the Segre is the historic town of Balaguer, the Bargusia of Livy, and the capital of the ancient county of Urgel. The counts had their residence in the “Beautiful Castle” (“Castillo hermoso”) which overlooked the town and has now totally disappeared. There are a few ruins of the once famous priory of Santo Domingo. The site of the castle is occupied by the church of Santa Maria, built in 1351. It is a dignified, simple edifice, of a single nave with lateral chapels. The Trappist monastery of Bellpuig de las Avellanas a little way out of the town is another and better preserved monument of the piety of the old Counts of Urgel whose line expired with Jaime el Desdichado at the beginning of the fifteenth century.

Still going northward, and without crossing the limits of the old country, we reach the venerable town of Agramunt, notable for its late Romanesque church with a portal similar to the Puerta dels Fillols at Lerida. We reach at last Seo de Urgel at the very foot of the Pyrenees. As a see, the place is of immemorial antiquity. Its bishops (who are co-sovereigns with France of the Republic of Andorra) attained the zenith of their power and splendour in the eleventh century. The town has figured in every border war and was the seat of the audacious reactionary caucus which called itself a regency and declared Ferdinand VII. unfit to govern while he was obedient to the constitution.

The actual cathedral was consecrated by Bishop Eribal in 1040, but its construction lasted well on into the next century. It resembles a church of southern France more than one of Cataluña. The façade is divided vertically by two buttresses, horizontally by string courses into three stages, the lowest of which is pierced by the simple round arched west porch, the middle by three round-headed windows, the highest forming a sort of attic, by a round-headed window and two _rosaces_. The interior is divided into a nave and aisles with transept and lantern. The treasury is interesting for its collection of documents dating back to the time of the Carlovingian kings.

Returning from Lerida to Barcelona we pass the castle of Bellpuig, the seat of the great family of Anglesola--a massive fortress of red stone, restored in the sixteenth century. Its magnificent staircase still gives one some idea of the pomp and state of its former lords. The village extends from the castle to the church--a situation which inspired the erudite topographer of this country (Piferrer) with reflections that remind one of Don Quixote’s address to the goatherds. The church contains the tomb of Don Ramon de Cordova, one of the ablest lieutenants of Gonzalo de Cordova. His effigy, armed and holding his helmet, reclines in a sleeping posture on an urn adorned with reliefs of marine gods and monsters and upheld on the backs of sirens, whose hands are webbed; the sepulchral arch is formed by six Ionic columns, against which lean figures expressive of mourning; over the tomb is a relief of the Entombment. In niches on each side of the arch are two life-size figures emblematic of Victory; above them, two figures leaning forth from medallions appear to extend laurels toward the hero. The plinth and cornice of this superb tomb are adorned with reliefs illustrating the victories and achievements of the deceased, who was as distinguished as an admiral as a general. His body remains in the urn practically incorrupt. The tomb is the work of Juan Nolano.

This work has been brought here from the ruined Franciscan friary, founded a few miles from Bellpuig by the knight in the year 1507. The cloister is fairly well preserved. The two lower galleries--a third has been added since the foundation--are in debased Gothic style. The second gallery is formed by eleven rectangular columns, like those of the Lonja at Valencia, with four bands of moulding wreathed round each and gathered in at the capitals. The convent church is also of interest and is connected with the cloister by a fine staircase.

From Bellpuig we pass on to Cervera, to which Philip V. transferred the university from Lerida in 1717. This is the famous body which proclaimed, in the enlightened reign of Fernando VII., its horror of the fatal habit of thinking (“Lejos de nosotros a mania funesta de pensar”). Notwithstanding, it was closed in 1823, and finally suppressed or rather transferred to Barcelona in 1842. This singular university was housed in a building opened in 1740, which still dominates the whole town; it is a huge tasteless structure, a rather suitable home for learned fools. Nothing seems to have been determined with regard to its ultimate destiny, and the whole town has a frustrate and somewhat hopeless air. The church of Santa Maria is not devoid of beauty and interest. One of the porches appears to be a survival of an earlier Romanesque structure, and is surmounted by a relief of St. Martin sharing his cloak with the beggar. The tombs are also worthy of note.

TARRAGONA

Tarragona stands high and nobly on the coast of Cataluña looking east towards Rome, as her million citizens did when the Cæsars ruled, and she gave her name to the vast province of Tarraconensis. The Phœnicians were here, of course, before the Romans; they called the place Tarchon, and found it already strengthened by walls which remain to this day. Publius and Cneius Scipio wrested the town from Carthage, and afterwards the lords of the world gratified the city with the titles of _victrix_, _togata_, and _turrita_. “It had a mint and temples to every god, goddess and tutelar; nay, the servile citizens erected one to the emperor, _Divo_ Augusto, thus making him a god while yet alive.” Since that time, Tarragona has not flourished, though it was for a brief interval the capital of the Visigoths. Desolated by the Moors, it was given at the reconquest to a Norman adventurer whose wife, in his absence, proved as doughty a warrior as he. And now shrunk and depopulated, the once imperial city stares in a sort of mellow calm for ever seaward, as if plunged in reveries on the glorious past.

High over the town, on the crest of the slope, towers the cathedral. “This,” says Street (and none will disagree with him), “is one of the most noble and interesting churches in Spain. It is one of a class of which I have seen others upon a somewhat smaller scale (as, _e.g._, the cathedrals at Lerida and Tudela) and which appears to me, after much study of old buildings in most parts of Europe, to afford one of the finest types from every point of view that it is possible to find. It produces in very marked degree an extremely effective internal effect, without being on an exaggerated scale, and combines in the happiest fashion the greatest solidity of construction with a lavish display of ornament in some parts to which it is hard to find a parallel.” Roughly speaking, it may be described as Romanesque, with adornment of the Gothic period. The delicacy and richness of the later style has relieved the crudeness of the earlier, while the severity of the original plan has kept in check the tendency to be profuse of ornament.

Schemes were on foot to rebuild the church at the end of the eleventh century and Street thinks the oldest part--that is, the eastern apse--may date from 1131, though the greater portion of the fabric (including the nave and its aisles and the cloister) seems to have been executed at the end of the twelfth and during the first half of the thirteenth century; and it is very possible, therefore, that the brother Bernardus, who died in 1256, may have been the architect of the larger part of the existing fabric, both of the church and its cloister.

The west front is striking; it was begun in 1278, but not completed for another hundred years. The lower half is occupied by a deep-set portal of four orders, rising to a point. The jambs are occupied by figures of saints under canopies, and these are continued round the two buttresses which flank the doorway and end in pinnacles. The shaft is formed by a statue of the Madonna upon a pedestal, the sides of which exhibit in relief the scenes of the Creation and Fall. “These subjects are very fitly placed here, the Fall in the centre coming just under the feet of her who bears Our Lord in her arms, and thus restores the balance to the world.” (Street.) The tympanum is pierced with rich geometrical tracery. Over and behind the cross surmounting this grand doorway is an enormous rose-window. The whole is surmounted by a gable, the central portion of which has disappeared, giving a somewhat ruinous appearance to the church when seen from a distance. Flanking this, the front of the nave, are the round-arched entrances to the aisles, with round windows above, betraying Norman influence. Ford states that the great rose-window is Norman work.

The interior is grand and impressive in the extreme, though a trifle marred by the heaviness of the pillars. There is no triforium. The pointed windows of the clerestory are filled with glass vividly coloured, much of it modern, some of it the work of Juan Guas, specimens of whose craftmanship are to be seen at Toledo. The aisles are half the height of the nave, the intervening space being pierced with small rose-windows. At festivals the arches are hung with precious tapestries, designed after the Italian fashion with scenes from the histories of Joshua, Samson, David, and Cyrus. They are believed to have been presented by some potentate to the chapter about the year 1600.

While the columns are massive and plain, the bases are finely moulded and the capitals are carved with exuberant foliage. The choir screen is of marble and jasper; the stalls are plainly and chastely carved. Over the crossing rises a low, simple, but effective octagonal lantern. “The old outside roof is destroyed; but the finish of the lanterns of Lerida and of the old cathedral of Salamanca made it pretty certain that it was intended to have a pyramidal or domical stone roof.” The transepts are square, except for an apsidal recess at the east side of each. The nave and aisles end in apses--the oldest part of the edifice. The roof of the chancel apse is considerably lower than the choir’s, and the wall-space is pierced with a small rose-window. This part of the church is pure Romanesque. The high altar, however, is Gothic, and adorned with admirable reliefs, illustrating the martyrdom and apotheosis of St. Thecla, the patron of Tarragona. The centre is occupied by a colossal statue of the Virgin, covered by a very high peaked canopy of wood. To the right of the altar is the tomb of Archbishop Alfonso de Aragon, who died in 1514, and to the left a tomb older by two hundred years, that of Juan de Aragon, Patriarch of Alexandria. The remains of Cyprian, a Visigothic bishop of the see, are contained in an urn behind the reredos. The tombs are not very fine or numerous for a cathedral so ancient and so splendid.

At the south side of the chancel, at its junction with the apse, is a very remarkable stone turret stair, leading up to a square tower which rises over the end of the south aisle. There was probably at one time a corresponding steeple on the north side.

The chapels, though they have undergone considerable restoration, are interesting and possess much architectural interest. In the beautiful north transept is the fourteenth-century chapel of the Tailors (de los Sastres). Close by is the Capilla del Sacramento, formerly a Roman work, and incorporated with the cathedral by Archbishop Augustin (1561-1586) whose fine tomb, by Pere Blay, it contains. The chapel was at one time the canon’s refectory. Several ancient tombs from the other parts of the cathedral have been placed in this transept. On the opposite side of the church is the gorgeous eighteenth-century chapel of St. Thecla.

The cloister adjoins the north-east angle of the cathedral--a most unusual position. The door communicating with it is the finest in the building. It is a round-arched doorway richly and curiously sculptured in the Romanesque style. This cloister is considered one of the best of the many beautiful works of the kind in Spain. “Each bay has three round-arched openings divided by coupled shafts, and above these two large circles pierced in the wall. The arches and circular windows are richly moulded and adorned largely with delicate dog-tooth enrichments. Some of the circular windows above the arcade still retain their filling-in, which was of a very delicate interlacing work, pierced in a thin slab of stone, and evidently Moorish in its origin, though at the same time probably the work of Christian hands, as in some of them the figure of Christ is very beautifully introduced.” The sculptors have adorned the capitals with all sorts of quaint conceits, notably in one case with a pictorial rendering of the story of the rats who went to bury the cat without first tying her limbs. On another capital there is shown a spirited gladiatorial combat; on another, a cock-fight. These purely secular subjects where the sculptor seems to have indulged his humour and fancy absolutely without restraint, remind us of the “topical” carvings at Oviedo. Their humour has not escaped O’Shea, who, speaking of the Adoration of the Magi, carved on one of the pillars of the doorway from the church, says: “The three kings of the east are economically sleeping three in the same bed, and wakened early by a winged valet de chambre, that they may rise and proceed on their journey to Bethlehem.” The words “6th Company,” &c., to which this writer and others call attention, to be seen on the walls, are reminders of the passage of British troops here.

The chapter-house, the scene of many important councils, opens out of the south gallery of the cloister. The door is Norman. The exterior, like that of the cloister and cathedral generally, is most striking. The apse and the Tailors’ chapel are particularly fine seen from the outside.

Contented with their magnificent cathedral the people of Tarragona have done little to adorn their city with smaller churches. Adjacent to the seminary there stands the graceful little chapel of San Pablo, the origin of which is still a matter of conjecture. Its architectural features suggest the first half of the thirteenth century, with the exception of its west porch, which belongs to no recognised style. The chapel is first mentioned in a document of the year 1234.

These edifices apart, the Middle Ages have done little for _Tarraco togata_. Its remaining monuments belong to its infancy and prime. The Cyclopean walls, now declared a national monument, extend from near the Puerta del Rosario to the crest of the hill on which the city stands, and thence to the eastern angle of the ancient prætorium, now converted into a prison. The base of this wall is formed by huge blocks of unhewn stones, uncemented, and with their interstices filled by smaller stones. The character of the work bespeaks the primitive nature of the builders. On this rude foundation rests the more regular work of the Roman conquerors. The _enceinte_ formed by these walls is of the shape of an irregular polygon, measuring three-quarters of a mile across, and open on one side. The angles are defended by square towers, and the curtains are pierced by gates, to some of which the name “Puerta ciclopea” is given. The Puerta del Rosario, called in the Middle Ages “Portal de Predicadors,” is about eight yards thick and is roofed by an enormous block of stone about 36,000 kilogrammes in weight. On the stones composing the Roman part of the wall, Iberian letters are traced. These were merely masons’ marks for the guidance of the native workmen, and form no words. The Torre del Arzobispo was raised in Christian times on the old Roman tower. The wall extending to the Torre del Capiscol is attributed to the Scipios, and dates in any case from their time. The principal Roman gate, called the Puerta del Socarro, is a noble work formed by three concentric arches. Passing through this we obtain a fine view of the strip of wall built by order of Hadrian, and may re-enter the city by the eighteenth-century gate of San Antonio, which pierced a wall built or restored by Norman adventurers in the twelfth century.

Within the city itself not much remains from Roman times. The sites of the forum, the prætorium, and the great temples may be traced easily enough, and stones hewn by Roman hands and commemorating often enough Roman dead, are embedded in the walls of houses and churches all over the town. The local museum contains a few of the spoils of antiquity. There is a beautiful statue of Dionysus in Parian marble, and a great variety of votive inscriptions. For more substantial memorials of the Roman era we must leave the city and follow the Barcelona road some four or five miles. Here we reach the celebrated monument known as the Tomb of the Scipios, consisting of a rectangular base and an upper body, on one face of which are sculptured in high relief the figures of two warriors. The cornice is engraved with a legend in which the words “perpetuo remane” are alone decipherable. There is no ground whatever for supposing that the figures represent the brothers Scipio or that this monument marks their resting-place. It is more probably the sepulchre of some wealthy Roman settler.

The Arco de Bara is one of the best preserved monuments in Spain. The arch itself is flanked on each side by two fluted columns of the Corinthian order, supporting an entablature. It is simple and majestic, like all the Roman works of the kind. An inscription records its restoration in commemoration of the pacification of Spain during the regency of Maria Christina and by order of Don Juan van Halen, the Spanish general who in 1830 assisted at the defence of Brussels against the Dutch.

The noblest handiwork bequeathed to Cataluña by the conquerors of the world is, however, the Aqueduct, which may be compared favourably as regards preservation and solidity with the more famous work of the same kind at Segovia. Where it spans a valley it is composed of two series of arches, eleven below and twenty-five above, and rising to a height of 217 metres. The stone of which it is built was Obtained from the caves of Monte Loreto, where the quarries may still be seen.

Then there is Centcellas, on the banks of the little river Francoli, supposed to be on the site of the villa where Hadrian lodged. Part of the old _Thermæ_ remains--a stone chamber square without and circular within; while another building seems to incorporate the ruins of an early Christian structure, including a mosaic of the Ravenna type.

POBLET

About thirty-four miles from Tarragona, near the station of La Espluga, stands the ancient fane of Poblet, the Escorial of Aragon. It bears (according to tradition) the name of a hermit who in the first part of the twelfth century was three times captured by the Saracens and as often was miraculously released, whereupon the paynim king, recognising that he had to do with a man protected by heaven, endowed him with all the lands hereabouts, to be enjoyed by him and his brother hermits. In proof of this story, the religious triumphantly pointed to a venerable-looking parchment inscribed with Arabic characters, which they said and believed was the original deed of gift, and as no one could read it no one was able to throw doubt on the story. In 1496 a Moorish prince examined the document and contented himself with observing that it was not dated in the twelfth century but in the year 1217. However, no one paid any attention to this assertion, and the legend was repeated till on the dismantling of the monastery in the last century the document at last came under the critical eye of Don Pascual de Gayangos, who confirmed the Moor’s correction and pronounced the so-called deed simply a general permit to the monks to pass through and travel freely in the Moorish dominions south of the Ebro.

The foundation of the abbey may now be ascribed with safety to Count Ramon Berenguer IV., who, having conquered the territory of Lerida, bestowed the lands of Poblet on the Cistercians of Fontfroide near Narbonne, who, to the number of twelve, took possession of the site in the year 1150, Don Esteban being abbot. The monastery soon rose fair and strong, and prospered exceedingly under the favour of the Kings of Aragon, who made of it their official place of sepulture. The wealth of the community was enormous, the power of the abbot extended over fifty-six villages, but from all this prosperity resulted a falling away from monastic simplicity, till the holy men would not sit down to table unless two partridges were placed on their dishes. In the seventeenth and eighteenth centuries, they could find no better employment for their wealth than in loading their beautiful abbey with the atrocious sculpture and ornament of the period; and then in 1835 came the anti-clericals and swept out the monks and their _baroque_ rubbish with them. What the mob spared, the collectors and villagers annexed--precious manuscripts, vestments, statuary, all were carted away; and ruinous and forlorn, as it now stands, Poblet would have rejoiced the heart of the author of the stern Cistercian rule.

It is a vast and embattled pile that greets the eyes of the traveller, encircled by a crenellated wall which is pierced by a richly sculptured gate built in 1460 and so richly gilded a hundred years later as to merit the name of the Puerta Dorada. Enclosed by these outer fortifications is another line of wall twice as high as the first, which, together with its twelve towers, was built in the fourteenth century. To the right of the entrance and still in the outer ward we have the little church of San Jorge, built by Alfonso V. in honour of the patron saint of Aragon in 1541, and the chapel of Santa Catalina, believed to have formed part of the primitive building. In the outer ward may also be distinguished the remains of numerous other buildings, such as the Abbot’s house, the Hospice, and the Bridewell, reserved for female offenders against the Abbot’s jurisdiction.

The inner ward is reached through a gatehouse of the Edwardine type, flanked by heavily machicolated drum-towers, and decorated with the escutcheons of Aragon and Castile. We approach the church, founded by Ramon Berenguer, but substantially the work of his son and successor. The ugly Græco-Roman façade marks the ancient west front, which is approached across an atrium called the Galilee. The church is in the form of an elongated Latin cross. The simplicity of the architecture--its absolute freedom from ornament--illustrated the early Cistercian ideals. The aisles are of seven bays, and the chapels are confined to the south aisle and apse. There were once seventeen altars in the church, of which only four were kept up by the monastery, the rest being at the charge of individuals and corporations. All these, including the high altar, have been stripped of their ornamentations and accessories, and of the once magnificent choir only a fragment of the screen remains. Piferrer, who saw the monastery in its prime, gives a detailed account of it, and enumerated the tombs it contained. He speaks of the imposing entrance to the royal mausoleum, between the chancel and the choir. On the Epistle side lay Don Alfonso of Barcelona (II. of Aragon), opposite him was the sarcophagus of James the Conqueror, near him lay Pedro the Ceremonious. In addition to these monarchs Juan I., Martin, Fernando I., Alfonso V. and Juan II. of Aragon were buried here, with eight queens, thirty-six infantes and nine infantas. Here lies Carlos Prince of Viana, the illustrious scion of the house of Navarre; here were the last resting-places of Aurembiax, Countess of Urgel and the last princess of her house; here lay the proud Cardonas and the noble knights and ladies of the Moncada and Anglesola lines. Nearly all the tombs that had not already been despoiled of their carving and marbles have been removed to Tarragona. Of those remaining, the best preserved is that of the Infanta Juana, with its figures relieved against thick blue glass.

The north side of the church abuts on the great cloister, dating in its greater part from the thirteenth century. The windows on the south side are round-headed, those on the other three sides pointed, with good traceries. Through a round-headed arch we enter the chapter-house, divided into three aisles by four pillars, so slender as in no way to interrupt the view of the whole. The groining springs so gracefully from the capitals that the pillars themselves have the appearance of shooting up and bending like the branches of a tree. Then there is the library which once contained 10,145 volumes, including 385 valuable codices, and 250 MSS. in various styles of handwriting--forming a complete museum of calligraphy. This library is a noble chamber divided by four columns. Its walls were once hung with the portraits of the Kings of Aragon and their great nobles. Reminiscent of the brave days of old is the charming façade of the palace built by good King Martin and intended by him to be a retreat in his old age. He died before its completion and the work was abandoned.

You may still traverse miles of cloister and hall at Poblet strewn with broken tablets, overgrown with shrubs and climbing plants. One of the most beautiful of the galleries is the Novices’ Dormitory, roofed in with timber; then there are the locutorium, the only spot where conversation was permitted between the recluses; the infirmary and the beautiful cloister of San Fernando, built in 1415 by order of the first king of that name, the little chapel of the saint, founded by the Count of Barcelona, and the royal apartments, built in 1375.

SANTA CREUS

Santa Creus is the sister foundation of Poblet from which it is distant about five leagues. It was also founded by Ramon Berenguer IV. and belonged to the Cistercian Order. Not so large as Poblet, this abbey of the Holy Crosses is equally severe and chaste, and of the two, is distinguished more by its artistic harmony. The church is one of the most finished works of the age and style. Its front is discovered immediately on entering the monastery, raised on a terrace above the long and spacious court round which are grouped the conventual buildings. The battlements above the façade are a recent and incongruous addition. The west porch is finely moulded and chiselled, and with the rich foliage of the capitals creates a good impression. Another door, symmetrical and elegant, leads into a cloister on the south side of the church and was at one time flanked by the statues of Don Jaime II. and his wife Blanca. The wall on this side bears an inscription to Bernard Ranc, which is assumed to be the name of the architect. The church was begun in the year 1174, and opened to public worship in 1211. It preserves its altar, on which the light falls through a rose-window in the apse. The principal objects of interest in the interior are the noble tomb of Don Pedro the Great (who defeated the French and bound Sicily to the throne of Aragon) and of Jaime II., who conquered Sardinia and harried the Moors of Granada. King Pedro’s tomb consists of a great porphyry urn supported by lions, which is believed to have been taken from the infidels; and on this rests the stone coffin carved with figures in high relief under pinnacled canopies. The tomb is covered by a beautiful stone baldachin, with three traceried circles on each side upheld by slender columns with elaborately carved capitals. The tomb of Don Jaime is on the same plan, but is further adorned by the effigies of the king and queen in the Cistercian habit, placed here, it seems likely, long after the completion of the rest of the work. The tomb was designed by Bertran Riquer, the architect of the royal palace of Barcelona.

The church communicates with a spacious cloister with four sides of seven bays, built at the beginning of the fourteenth century by order of Queen Blanca. The traceries of the windows remaining here and there are late Gothic, and contrast oddly with the severe lines and rude capitals of the shafts. As at Poblet, in a corner of the cloister is a hexagonal chamber said to have been a lavatory. A great number of persons of distinction seem to have been buried in this cloister, in attendance, one might say, upon their lords within the church. Among these was the knight Queralt, who may been seen in effigy in a suit of fine mail, with surcoat and greaves and girt with two-handed sword. Some of the figures of divine persons to be seen over the tombs were evidently carved by late fourteenth-century sculptors.

Here, as at Poblet, the Kings of Aragon had their habitations in life as in death, and the courts of the ruined palaces of Don Pedro and Don Jaime still bear some traces of the glory and culture of the greatest maritime power of the Mediterranean of a bygone age.

VALLBONA

Vallbona, the third great royal abbey of Cataluña, is situated in the province of Lerida, but on the borders of Tarragona, in a singularly wild and remote district. Like Poblet, it is named after a hermit who in the year 1157 founded here and at Colobres, monasteries for both sexes. Twenty years later, both houses were formed into a single community of Cistercian nuns, under the headship of Doña Oria de Ramiro. The pious Anglesola of Vallbona is buried before the high altar in the company of James the Conqueror. The church is gloomy, silent and severe. It is entered through a Romanesque porch in the north transept, the west front presenting an unbroken wall. Vallbona has also a noble cloister, with a fine gallery in the Pointed style; on the north and the remaining galleries in the Romanesque. In Piferrer’s time, pictures and monuments relieved the excessive severity of the royal nunnery of Aragon, but now there reigns a desolation and poverty which might have affrighted even the hermit founder.

MONTSERRAT

Montserrat, easily accessible from Barcelona, is one of the four or five renowned shrines of Christendom. The legend of its institution is one of the quaintest and at the same time silliest in the annals of hagiology. In the time, it seems, of Count Wilfred, the Henry of Barcelona, there dwelt on the mountain a hermit named Guarin whose sanctity was famed even to the ends of the earth. Church bells rang of their own accord when he passed, and the forces of nature were at his beck and call. This being so, when Richildis, the Count’s daughter (she was beautiful, of course), became possessed of a devil, Guarin was at once called in to turn him out. Such a task was a mere matter of an Ave and an invocation on the part of the holy man; but the devil thus incontinently expelled from the person of Richildis appears to have passed into the body of the hermit. He conceived an unlawful passion for the maiden, who remained with him after her cure, to learn the arts of sanctity. He succumbed to temptation and consummated his crime by murdering the girl, cutting off her head and burying her in his cave.

Stricken with remorse immediately after, the erstwhile holy man hurried to Rome and confessed his crime. The Pope ordered him to return to Montserrat on his hands and knees and never to resume an erect posture till his pardon should be miraculously announced.

So faithfully did Guarin carry out the penance imposed that he crawled for seven years about the mountain that he had once illumined with his sanctity, living on grubs and roots and becoming to all intents and purposes a wild animal. One day Count Wilfred, while out hunting, noticed this strange beast and had him taken to his stables at Barcelona. There Guarin abode some months, saying never a word but pleasing his captors by his docility. One day he was led into the castle to amuse the Count and his Court. But before he could perform any tricks, the infant son of the Count, a baby but three months old, cried out, “Arise Guarin, for God has pardoned you.” Whereupon the strange beast rose up on his hind legs, praising God, and confessing his enormous crimes.

In these days men were very much alive, and thrilled to the passions of love and hate. But, touched by the miracle, the Count forgave the murderer of his daughter, and set out with him for Montserrat to disinter the body buried seven years before. But lo, when the fair form was revealed, it throbbed with life, and a red line only showed where her head had been severed from her neck.

Richildis was so grateful for her restoration to life that she determined to devote the rest of it to the service of God. The Count founded a monastery for both sexes, of which his daughter was abbess and Guarin became a humble lay-brother.

A mere fairy tale, yet it is full of what was best in the mediæval spirit--the conviction that no misfortune was irreparable, no crime unredeemable, no sinner unreclaimable, that for all men and all things there was indeed mercy and plentiful redemption.

Upon the invasion of the Arabs in 976 the nuns abandoned their convent, but the monastery remained and was recognised as a regular community about the time of Fernando and Isabel.

It is not, of course, to pray before the shrine of Guarin that pilgrims climb the ragged sides of the saw-edged mountain. Long before the hermit immortalised his name by his crime and his repentance, a miraculous image of the Virgin, said to have been carved by St. Luke, and brought to Spain by St. Peter, had been hidden, to save it from the infidels, in one of the caverns. Nearly two hundred years after, its whereabouts was revealed to some shepherds by lights and mysterious melodies. These manifestations were repeated every Saturday--that being the day of the week specially consecrated to the Virgin by the Church. The Bishop came over to investigate the phenomenon, and on entering the cave whence the sounds proceeded, they found the heavy image carved by St. Luke. So heavy was it that it resisted all efforts to remove it; so there it remained till the end of the sixteenth century, when it was found possible to enshrine it in the present church.