Chapter VI: Part 6

No flamboyant _retablo_ spoils the simplicity of the east end, the place of what might have been a jarring note amidst the Gothic work being taken by good paintings in flat gilded frames. It was Señor Madrazo's idea to remove the _coro_ from the centre of the nave, and had this been done Santa Maria de Regla would have gained immensely. The carved stalls are good, and the _trascoro_ sculptured in white marble, which age has toned, and picked out in gold, is decidedly a fine work.

Among the chapels in the apse that of La Nuestra Señora del Dado contains a miraculous Virgin and Child. Tradition tells that a gambler who had lost heavily threw his dice at her and smote her on the nose. This forthwith bled copiously, hence the miracle and the name of "Dado" or "die." Another chapel contains the tomb of a great benefactress of the Cathedral, the Condesa Sancha. An expectant nephew, seeing her property slowly dwindling in the cause of the Faith, put an end to his aunt, and thereby met his own death by being pulled asunder by horses to which he was tied.

However, the chapels are not very interesting, but the tombs in the Cathedral are. Of all these that of Ordoño II., behind the chancel, is certainly the finest. The king lies at full length with a herald at his head and a monk at his feet holding a scroll inscribed "aspice." He wears his crown and carries the royal emblems. This tomb was erected five hundred years after the king's death, and is guarded by a quaint iron grille.

The cloisters, entered from a door in the north transept, are a jumble of Gothic and Renaissance, with a Romanesque arcade and a good deal of plateresque work as well. Some of the earliest frescoes in Spain are fast disappearing from the walls. They illustrate events in the Life of Christ, and are in an early Italian style that places their origin in doubt. From the western spires to the angular exterior of the chevet, a good idea is obtained of the beauty of the Cathedral as one stands in these cloisters, and when they, too, are restored the great work begun in 1860 will be finished.

Next to the Cathedral, and perhaps in a way more interesting, is the convent of San Isidoro el Real. This, the Escorial of Leon and Castile, is a building which Soult's soldiers desecrated in a most abominable manner; next to the lower or Roman portion of the city walls it is the most ancient building in Leon. The body of San Isidoro was brought hither in the reign of Ferdinand I. who obtained it from the Emir of Seville, and the present church was erected to receive it. This was in 1063, the original convent being a hundred years older. San Isidoro was declared by the Council of Toledo to be the Egregious Doctor of Spain, and in his capacity of titular saint fought with cross and sword at the battle of Baeza against the Moors.

The church is Romanesque and dark with a lofty clerestory but no triforium. The High Altar shares with that at Lugo in Galicia the privilege of having the host always _manifestado_.

In the Panteon, a small low chapel at the west end, lie buried the Kings and Queens and other royalties of Leon. The columns are very massive with heavy capitals; the ceiling is adorned with early frescoes which happily escaped the depredations of the French, they are crude, but the colour adds to the impressiveness of this gloomy abode of the Dead. Representing scenes from the Lives of our Lord and His Apostles, with signs of the Zodiac and months of the year, they date from 1180. The whole convent is replete with mural paintings, and before Soult sacked it contained many extremely interesting and rare missals of the seventh and eighth centuries.

Unique is another convent, that of San Marcos, which stands on the river bank outside the city on the road to Astorga. Founded as a chapel in 1168 for the knights of Santiago, it was rebuilt in 1514-49 by Juan de Badajos, and is certainly his masterpiece. It would be difficult to find a façade of greater beauty than this marvel of plateresque work. The remarkable pink and golden colour of the stone, intensified against the background of a deep blue sky, the delicacy of the carving in which angels and cherubs, griffons and monsters intermingle with floral wreaths and branches of fruit in orderly confusion, the elegant pillars and pilasters, all so truly Spanish under the blazing sun, fascinated me immensely as time after time I returned to wonder and admire.

Here again I could conjure up the past, the romance of Spain's greatest Order; well housed were those knights of old in their glorious Hospice, and now--the river still runs under the walls of what afterwards became a convent, its banks are lined with tall poplars, far away rise the mountains of the north in rugged outline just as they did of yore--and San Marcos? Alas! half is a museum and the rest a barrack. A forlorn air pervades the place, the old garden wants tending, and despite the life of the military, I could not help sighing once again, as I have so often sighed in Spain--"How are the mighty fallen!"

OVIEDO

Oviedo, seldom visited by the foreigner, lies well situated on rising ground in a fine open valley. Grand mountains surround and hem it in on the east, south and west, to the north the country undulates until it reaches the Biscay coast twenty odd miles away. These natural barriers gather the clouds and the climate is humid; on an average there are but sixty cloudless days in the year. While I was in Oviedo it rained almost incessantly, and the "clang of the wooden shoon" kept the streets lively with a clattering "click-clack." All the poorer classes wear sabots in wet weather, sabots that are pegged on the soles, difficult to walk in, but kept well out of the mud and puddles by these pegs. This particular make is common to Asturias, just as the ordinary French shape is to Galicia.

Oviedo is one of Spain's university cities, and I happened to strike the week when the festivities in celebration of its tercentenary were in progress. Wet weather and pouring rain never damp the ardour of the Spaniard during a _fiesta_, and despite the rain, powder was kept dry somehow or other, and enthusiasm vented itself regularly up to eleven o'clock every night by terrific explosions. Functions of some sort seemed to be going on all day long. Societies from the country paraded the streets, led by music, in most cases bagpipes and a drum, and Oviedo was evidently "doing itself proud."

I happened on a ceremony in the Cathedral one morning. The bishop was preaching to an immense crowd when I entered. Seated in the nave were the Professors of the University, Doctors of Law and Medicine, the Military Governor and his Staff, the Alcalde and Town Councillors, besides representatives from the universities of every European country, except, strangely enough, Germany, and one from Harvard, the first to attend a function of this sort since the war. It was a really wonderful sight, for the Cathedral is not marred by a _coro_ in the nave. The hues of the many-coloured robes, from canary yellow and scarlet to cerulean blue and black, the vast throng literally filling every available bit of space, even on to the pulpit steps, gave me a subject for my brush, and I surreptitiously made a hasty sketch, to be finished afterwards in my room.

The Cathedral was founded by Fruela in 781, and enlarged in 802 by Alfonso the Chaste, who made Oviedo the capital of Asturias, and with his Court resided here. He created the See in 810. The present edifice was begun by Bishop Gutierrez of Toledo in 1388, and the tower added by Cardinal Mendoza in 1528.

Hedged in, although fronting on to a little _plaza_, the grand west façade with its beautiful porch can hardly be said to be visible. This lofty portico of richly ornamented Gothic, under the shelter of which the gossips parade to and fro, leads into the Cathedral and stands thrust out and between the two towers. Only one of these towers is completed, and it is surmounted by a good open-work spire the top of which rises two hundred and seventy feet from the ground.

I wandered about hopelessly trying to gain some idea of the exterior of the Cathedral and found that it was only by walking outside the city that anything at all can be seen of it, and then the towers and roof of the nave, with the flying buttresses attached, were the only features that came into view.

The entrance by the south door leads through a dark passage, in which many votive offerings hang over a tiny shrine where burnt a little flickering lamp; going in I found myself at the spot from which I had made my sketch the previous day. What a relief it was to find no _coro_ blocking up the nave! The eye could wander over the whole of this lofty interior--could follow the beautiful open work of the triforium and rest on the stained glass of the clerestory windows. The aisles are very shadowy, all the light being concentrated in the nave and the crossing, and the vision, with a great sense of good effect, is led up to the white tabernacle on the High Altar and the immense _retablo_ beyond. A little theatrical if you like, but it is business, and the Church understands this so well.

Among the chapels, good, bad and indifferent, is one containing a gorgeous silver-gilt shrine wherein rests the body of Santa Eulalia, Oviedo's patroness. In another, tucked away behind the north transept, the Capilla del Rey Casto, lies buried Alfonso the Chaste who did so much for the city. Six niches in the walls contain stone coffins, which are supposed to hold the remains of Fruela I., Urraca, wife of Ramiro I., Alfonso el Católico, Ramiro, and Ordoño I. The bodies of these royalties at one time lay here, and a modern inscription on a mural tablet relates how they were removed, but not how their tombs were destroyed. Many other kings and princes we are told by this tablet also lie here, and as there are but half a dozen coffins their bones must be _bien mélange_.

There are the usual overdone chirrigueresque altars which do their best to mar this imposing church, though I am glad to say they hardly succeed. From them, however, it was a relief to be taken by a very intelligent verger up the winding stairs which led to the Cámara Santa.

This is by far the most interesting portion of the Cathedral. Built by Alfonso in 802 to hold the sacred relics brought hither from Toledo at the time of the Moorish invasion, it stands above a vaulted basement; the reason for this arrangement evidently being the damp climate, and the wish to keep so holy a charge free from moisture. The chapel is divided into two parts. The inner, of very small dimensions, has a low barrel vaulting borne by arches with primitive twelfth-century figures. The _sanctum sanctorum_ is slightly raised, and from this inmost Holy of Holies the relics are shown to the devout who kneel in front of a low railing every day at 8.30 A.M. and 3.30 P.M. The cedar wood _arca_ in which they are kept is of Byzantine workmanship. The relics include some of Mary Magdalene's hair, and crumbs left over from the feeding of the five thousand.

The outer chamber of the chapel has a finely-groined roof, attached to the columns supporting which are statues of the twelve apostles. The richly-tesselated pavement resembles the Norman-Byzantine work of Sicily, and was not uncommon in Spain prior to the thirteenth century.

A bell tower, in which at one time hung "Wamba," the great bell of the church cast in 1219, stands partly on the roof and at the south-east corner of the Cámara Santa. It was erected by Alfonso VI., and to judge by its present state will not long survive, most decidedly "Wamba" could not swing there now.

The Cathedral possesses three remarkable crosses, La Cruz de los Angeles, Maltese in shape, is studded with uncut gems. It dates from 808, and like the cross at Santiago is 1200 years old. La Cruz de la Victoria, the cross of Pelayo, is encased in beautiful filigree work, and is the identical one borne aloft before Pelayo at his glorious victory over the Moor at the Cave of Covadonga. The third is a crucifix on an ivory diptych, absolutely identical with the Cristo de las Batallas of the Cid at Salamanca. Many other relics of great archæological interest belong to the Cathedral, and make it well worth the journey to see. This journey from Leon is long and trying, but the line, which climbs to an altitude of 4110 feet, is one of the finest pieces of engineering skill in Spain.

The dark entry of the south door leads not only into the Cathedral and up to the Cámara Santa, but also through a side door opens on to the fourteenth-century cloisters. They are well kept and the little garden court a paradise in comparison with some of those I know. The capitals of the columns are well carved with prophets and saints under canopies, angels and angels' heads, grotesques and good floral cutting; while into the walls beneath them and round the arcades are let many tombs and gravestones brought here from different ruined or desecrated churches.

I went off one morning to see the earliest Christian church in the country. Braving the rain I tramped through mud ankle-deep for an hour up the hill slopes westward. It was a case of two steps forward and one back, but the spirit of the tourist was on me. I could not leave Oviedo and acknowledge I had not been to Naranco. I was desperate and I got there. What a charming out-of-the-way spot it is! Hidden behind a grove of ancient chestnut trees, under the brow of the mountain, stands Santa Maria.

A triple arched porch at the top of a dozen steps gives entrance on the north side to this minute and primitive place of worship. I entered and found myself in a barrel-vaulted parallelogram, with a curious arcade running round the walls. The west end is raised three steps above the nave, from which it is cut off by three arches ten feet high at the centre. The east end also has this feature, but the floor is level with the nave. All the columns in the church are of twisted cable design with shield capitals containing figures in low relief. The arcades, which are walled up, have depending from the plain groining bands slabs of cut stone with plaques below, something like a ribbon and medal in the way they hang. The interior is but thirty-five feet in length and fifteen feet across.

Beneath the church is a semicircular stone crypt, similar to that beneath the Cámara Santa; it is entered from the cottage in which at one time lived the officiating priest. The caretaker inhabits this cottage, which is built on to the church, and I had come at her dinner hour. Alas! she could not leave me in peace, and I must own to a defeat. I was practically driven away, for the meal was spoiling and required her undivided attention, but I had seen Santa Maria de Naranco; I had grasped how in the early days, when the Infidel was overrunning the land, this little building on the lone hillside was a centre of the Faith, and how from the surrounding mountain fastnesses worshippers had gathered here and gone away strengthened by prayer, and how from this little seed of the Church sown on the forest-clad hill Spain's mightiness had grown.

VALLADOLID

For nearly one hundred and fifty years, from the reign of Juan II., 1454, to Philip II., 1598, Valladolid was a royal city and the capital of Castile. It lies on the plain through which the river Pisuerga meanders, just touching the outskirts of the city on the western side. In the Moorish days Valladolid was known as Belad al Wali, "The Town of the Governor," and flourished as a great agricultural centre. It is still the focus of the corn trade of Old Castile. It was here that Prince Ferdinand, despite attempts on the part of his father Juan II. to frustrate it, was introduced to Isabella the reigning Queen of Castile and Leon. Many suitors had proposed themselves and paid their addresses to this paragon among women, but possessing a will of her own she made her choice and selected the Prince whom she married on October 19, 1469.

Valladolid suffered more severely at the hands of the French than any other city of Spain. They demolished most of the good houses and despoiled the churches; among those that are left, however, I found plenty to interest me and to make a stay, after I had discovered them, well worth the while.

I made a sketch of Santa Maria la Antigua, which is the most interesting edifice in the place. The fine Romanesque tower is surmounted by a tiled steeple which recalls Lombardy, and although many additions have been made to the original fabric the whole building piles up very well, the early Gothic east end being particularly beautiful. This church dates from the twelfth century, but the greater part of it is pure Gothic. The roof is richly groined; there are three parallel apses, and the _coro_ is at the west end--an always welcome place to find it. The _retablo_ by Juan de Juni, whose work is scattered throughout the churches of Valladolid, is fine though over-elaborate.

Another good church is San Pablo, partly rebuilt by the great Cardinal Torquemada, whose name will for ever be associated with the terrors of the Inquisition. I found another subject for my brush in its very intricate late Gothic west façade. The upper part of this contains the arms of the Catholic Kings, below which on either side are those of the Duque de Lerma. The niches are luckily all filled with their original figures, and the wonderful tracery of the round window is also in good preservation. The grey finials are weather-worn and contrast well with the rich yellow and pink of the rest of the front, a façade which is absolutely crammed with intricate design. Two hideous towers of later date and of the same stone as that with which the Cathedral is built, flank this and detract unfortunately from one of the best examples of late Gothic work in the country.

Hard by, up the street pictured in my sketch, stands the Colegiata de San Gregorio, with an equally fine façade, though being an earlier Gothic it is more severe in type. The doorway of this is surmounted by a genealogical tree and the arms of Ferdinand and Isabella. Some of the figures of rough hairy men with cudgels are very primitive. San Gregorio was a foundation of Cardinal Ximenes, it is now used as municipal offices. Passing through the doorway I entered a beautiful little court, rather dark, but with sufficient light to enable me to appreciate the good artesonade ceiling of its cloisters. The second court is a blaze of light. Spiral fluted columns form the cloister, the ceiling of which is picked out in a cerulean blue and white; they support a recently restored gallery, a mixture of Moorish, Romanesque and plateresque work, into which the sheaves and yoke of the Catholic Kings is introduced as at Granada and Santiago, making a very effective whole. A fine old stone stairway leads from this court up to what in the old collegiate days was a library.

Of the Cathedral I fear I can write but little. It is a huge gloomy edifice without a single redeeming feature, and of all those I saw the most incomplete and disappointing. The exterior north and south walls are still unfinished, the stone work is not even faced! The east are built of brick, and the west façade, altered by Chirriguera himself from the original plan of Herrara, is extremely bald and ugly.

This enormous building is four hundred feet in length and over two hundred wide, yet these proportions give it no grandeur. The interior is absolutely devoid of ornament, and if it were not for the _silleria_ in the _coro_, which were originally intended for San Pablo and are good, there would be nothing to warrant a visit to this cold and depressing church. By the way, the sacristy contains a silver _custodia_ in the shape of an open temple, a good example of the work of Juan de Arfe.

There is a third-rate French air about Valladolid, at least so it struck me, and it was only after a visit to the old Colegio de Santa Cruz, wherein is the museum, that my first disappointment wore off and I felt that I was still in Spain.

The contents of the museum are mostly objects which the French plundered from the churches and monasteries of Castile, and were recovered after their disastrous defeat at Vitoria. The styles of Berruguete, Hernandez and Juan de Juni can be examined here at leisure. Some of the life-size carved wooden figures of the last named, formerly used on the processional cars which parade the streets at certain festivals, are remarkable more from the extravagant attitudes of the figures than from their artistic merit. The custodian who accompanied me was a pleasant fellow, and evinced surprise that a _pintor_ could not see the beauties he pointed out. I fear he thought little of my artistic discrimination; especially when in the Sala de Juntas he invited me to ascend a pulpit over which hung a large crucifix, and with fervour solicited my admiration of the face of Christ, on which was a most agonised look, "cheap" and quite according to academic rules. "No, no, it is bad." "But, señor, He suffers." I could not make him understand that acute suffering need not be so painfully apparent.

In this Sala are placed the whole of the _silleria de coro_ from the church of San Benito. Arranged on either side of the room they give it a superb effect. At the far end are the red velvet-covered chairs of Spanish Chippendale used by the Council of the Academy of Arts at their meetings. Beyond them, on a raised platform, are the two bronze-gilt kneeling figures of the Duke and Duchess de Lerma. A few pictures hang on the walls and other treasures and relics help to make this fine Sala an ideal council chamber for the academicians.

Of the hundreds of carved figures in other rooms those by Berruguete, very Greek in type, flat brow and straight nose, are artistically by far the best, though the "Death of our Lord," a life-size composition by Hernandez, follows not far behind. Just as Madrid contains the finest armoury in the world, I doubt if any other museum can compete with Valladolid's for figures and compositions of carved wood.

The University holds at present a high rank, most of its professors being progressive. The building itself is a chirrigueresque concern of the seventeenth century with a very extravagant façade. It possesses a good library which is get-at-able, and not like others belonging to the church which are very difficult of access. À propos of this one of the professors here told me the following hardly credible experience of a friend of his, whom I will call A.

There is a movement at present in Spain to catalogue some at least of the many thousands of priceless historical Arabic documents and MSS. which, hidden away in Cathedral and other libraries, would throw invaluable light on the history of early times if they could be examined. A. is engaged in trying to compile this catalogue, and, hearing that in a certain Cathedral city--not Valladolid--the Cathedral library contained some treasures of Arabic lore, procured an introduction to the bishop, and requested permission to search the archives of the diocese.

Explaining that he was unable to help in the matter, the bishop sent A. to the chapter authorities. The basis of their refusal was that any MS. if taken down from its shelf might be injured, and if once taken down might not be replaced in the same position! "Yes, they certainly possessed many supposed Arabic documents, but as none had been disturbed in living memory, why take the trouble to make a catalogue? Surely this would be superfluous, the books were there no doubt, A. could see them in their shelves, the librarian would be happy to show them, but no, they could not be taken down."

In the library of the Escorial the books are all placed with their titles against the wall and their edges turned towards the spectator, so that no vulgar touch could defame them by reading. Small wonder that the Progressists of Spain shrug their shoulders sometimes at the many petty obstacles encountered in their attempts to better their country, and regard it as an almost hopeless task.

Two foreign colleges are situated in Valladolid, the Scotch and the English. The first named was founded by Colonel Semple in Madrid and removed hither in 1771, the second by Sir Francis Englefield, who came to Spain after the execution of Mary Queen of Scots. They are both seminaries for the education of young priests and with the Irish College in Salamanca complete the trio.

The focus of the city's life is in the Plaza Mayor, a fine square where the first _auto da fé_, which Philip II. and his court witnessed, took place in October 1559. It was here also that Alvaro de Luna was executed, after faithfully serving his King, Juan II., for thirty years. Spain thereby lost the strong will and the arm which enforced it, and which out of chaos had brought the country into a semblance of order by quelling the turbulent nobles. Such has been in the past the fickleness of Spain's rulers that not one of the great men who have served their country, with perhaps the exception of General Prim, and he died a disappointed man, has ever ended his life in peace and quiet. They have nearly all died at the stake, on the scaffold, or been foully murdered.

The much dilapidated house in a narrow street where Columbus died is fast falling into ruin, but that in the Calle de Rastro, where Cervantes lived and wrote the first part of Don Quixote, is in better condition.

BURGOS

Unlike most folk who enter the country from the north, I left Burgos for the end of my last visit to Spain, and found it in a way not unlike Cadiz, the first place I arrived at. They are both clean cities--for Spain; the streets in both are narrow, and the houses tall with double-glazed balconies. There is but little traffic in either, the squares in both are numerous, but the resemblance stops at this. The streets of Burgos run east and west in lines more or less parallel with the river Arlanzón. They are draughty and cold. The city stands 2785 feet above sea level and the winds sweep down from the distant sierra in bitter blasts. The life of Burgos is eminently ecclesiastical with a large sprinkling of the military element, for here all three branches of the service are quartered. It is a quiet place and I worked in peace unmolested.

What a pity the builders of the great Cathedral could not find another site whereon to erect their wonderful church. How much better it would have looked if placed on the flat ground near the river than on the spot where a summer palace of Gonzalez once stood. However, one cannot move mountains and I was perforce obliged to plant my easel on the slope of the hill and paint the stock view from in front of the west façade.

In 1075 Alfonso VI. moved the Archiepiscopal See from Oca to Burgos and gave the site of the royal palace for its erection. The present edifice was founded in 1221 by Ferdinand el Santo on the occasion of his marriage with Beatrice of Swabia, who in her train brought the Englishman, Bishop Maurice. Employing a French architect, Maurice was more or less responsible for the present building, though another foreigner, John of Cologne, added the beautiful open work spires with their parapets to the towers of the west end. It is curious that this, the most richly ornate Cathedral in the country, should be the outcome of patronage of the foreigner, though at the same time it is the most Spanish of the three "foreign" Cathedrals. So rich is this magnificent Church in every style of architectural decoration that it would take a lifetime to know it thoroughly.

John of Cologne's beautiful spires are better than those at Leon and Oviedo, and rise with the towers that support them to a height close on 300 ft. The gorgeous central lantern, with its twelve traceried pinnacles, the grace of those that surmount the Constable's Chapel, the many, many others that break the skyline and adorn this glorious fabric, all go to make it a building that, despite the different styles employed, will be a wonder and a joy as long as man's handiwork lasts.

The lower portion of the west front was renewed in 1790. The Puerta Principal in the centre is flanked by two small doors, with reliefs of the Conception and Crowning of the Virgin, while the chief door has four statues of Ferdinand el Santo, Alfonso VI., and Bishops Oca and Maurice. Large Gothic windows occupy the third stage of the front, their bases being filled with statues. The central stage, which has a single arch, contains a splendid rose window. The upper portion of the two towers is occupied by very beautiful perforated double windows in which crochet decoration is profusely used. It is altogether a wonderful façade which I greatly wished could be seen from the level.

The chief entrance on the north is closed. It is on the street, and through it the descent into the north transept is by the well-known Escalada Dorada. The early Gothic portal--Puerta alta--is adorned by statues and with the whole of this façade is one of the earliest portions of the Cathedral. The door, which on this side leads into the Cathedral, is the Puerta de la Pellejeria and opens on to the north-east angle of the transept below the Golden Staircase.

On the south the Puerta del Sarmental is approached from the street by three tiers of steps, it is also part of the original Gothic and is decorated with statues and coats-of-arms. Above it rises a similar façade to that of the north transept. The arcading in both these façades is most beautiful and from some points, where the roof-line can be seen cutting the sky, they look like two towers surmounted by an elegant balustrade. Very probably the pitch of the roofs was intended to be higher, and the building of the central lantern has interfered with the original design.

The nave of pure early Gothic is lofty but sadly spoilt by the height of the _coro_. The aisles are low, but very beautiful. The _cimborio_ runs up in double stages with windows in each and balustrades, it is a perfect maze of intricate design and fine carving. The walls are covered with the royal arms of Charles V. and the City of Burgos; there are figures of patriarchs and prophets standing in the niches, seraphim and angels occupy the recesses of the spandrils, and the beautiful groining of this superb octagon is quite unmatched anywhere in Spain. It all looks as if just finished, the stone is white and in perfect preservation. How my neck used to ache when looking aloft, unweaving the intricacies of that splendid interior! To strengthen the Cathedral and support the weight of this addition, the original piers were altered at the crossing, and the huge cylindrical columns, which are richly chased with Renaissance decoration, substituted. One can hardly say that Juan de Vallejo has spoilt the church by this octagon, for his work here would grace any building, but all the same I think the Gothic of the interior has suffered by the introduction of his designs, and I would sooner have seen the crossing in its original state.

The triforium is composed of wide bays with an uneven number of closed lights in each. A single arch, the mouldings of which are surmounted by carved heads, spans each group.

The clerestory contains a little modern glass, most of the old having been destroyed by a powder explosion in the fort on the hill above.

In the _coro_ the _silleria_ are exquisitely carved; the main panels represent subjects from the New Testament, the lower, which are divided by pilasters with arabesques, represent scenes of martyrdom. Philip Vigarni, who was responsible for this fine _coro_, surpassed himself in some of its decoration, which adds one more item to all that ought to be thoroughly studied in the great Cathedral.

On the north side of the High Altar, in front or which hangs a magnificent silver lamp, are the tombs of three of the Infantes of Castile. Behind this, the _trassagrario_ is covered with well-executed reliefs in white stone, some of this is very soft and has crumbled away a good deal. Every morning a deposit of dust is swept up and it will soon be necessary to thoroughly restore these fine panels or the designs will be lost for ever. They represent the Agony in the Garden, our Lord bearing the Cross, the Crucifixion, the Descent, the Resurrection and the Ascension. The three centre are by Vigarni, and the others by Alfonso de los Rios.

Nearly all the chapels are replete with interest, be it architecture, tombs, pictures or relics, but of them all the Capilla del Condestable is the grandest. Built in 1487 by John of Cologne for the Hereditary Constable of Castile, Don Pedro Fernandez de Velasco, it is the private property of the Duque de Frias. The _reja_, the masterpiece of Cristobal Andino, bears date MDXXIII. and is certainly the finest in the Cathedral. It is a worthy entrance to this magnificent octagon, which, viewed from outside, rises detached from the main building with eight elaborate pinnacles pointing heavenwards. The tracery of the pierced ceiling of the Lantern with its gilded bosses, vies in intricacy with that of the Cathedral itself. There is a double clerestory with sculptured knights at the bases of the columns holding coloured metal banners. The undercutting of the mouldings in the arches is very marvellous, the lowest course is formed of detached figures hanging downwards and from a little distance off looks like a piece of lacework. In front of the _retablo_ and High Altar are the superbly sculptured tombs of the Constable and his wife. He is in full armour, she lies by his side on a richly embroidered cushion with her little lap-dog nestling comfortably in the folds of her robe near her feet. The chapel teems with interest; the wealth of red marble from the quarries of Atapuerca and the very effective chequer arrangement of black and white steps leading to the High Altar give it just the note of colour its whiteness otherwise would lack.

Attached to the chapel is a small vestry entered through a diminutive plateresque doorway of exquisite design. Amongst other priceless relics the vestry contains a fine gold chalice studded with precious stones and a good Madonna by Luini.

Another fine picture, a _Virgin and Child_ by Sebastian del Piombo, hangs over the altar in the Capilla de La Presentacion. In the Capilla del Santissimo Cristo is a very ancient crucifix of life-sized proportions. Tradition and the vergers say that it came from the East and was carved by Nicodemus. The figure is flexible and very attenuated, it is covered with a buff-coloured leather to represent dried flesh and is very gruesome. In San Juan de Sahagun are six panels of the fifteenth century; good specimens of the early Spanish school, they represent the Nativity, Adoration and four scenes from the Passion.

The great Bishop Alfonso de Cartagena lies interred in the Capilla de San Enrique, and his tomb is remarkably fine. Others in this chapel and in the cloisters are cut in slate and have been worked with great cleverness considering the way in which a blow splinters this material so easily.

The Chapel of Santa Ana, unfortunately restored recently, belongs to the Duque de Abrantes, and contains the best _retablo_ in the Cathedral. On it are displayed incidents in the Life of Christ which spring from and are enclosed by the branches of a genealogical tree. It is a quaint idea very well carried out.

It is a difficult task to try and give an idea of the contents and admirable style of all these chapels in the space of a short chapter, suffice it to say that they are, one and all, worthy pendants to the rest of the great church, and exemplify in their contents the glorious age of the ruling bishops and nobility of Old Castile.

In the south transept is a wonderful low doorway in front of which I had often stood examining the well-carved wooden panels on the doors themselves. It leads into the cloisters, but it was not until I had become thoroughly acquainted with the groups representing the Entry into Jerusalem and the Descent into Hades which grace this portal, that I passed through. The door dates from the early fifteenth century and considering the many thousands of times it has swung open and shut is in most excellent preservation.

The cloisters are fourteenth-century work and form an upper storey to a basement cloister of low arches surrounding a courtyard which at the time of my visit was undergoing extensive repair. In the centre is a huge cross; the flagstones of the court were all up, and the bones from many disturbed graves were being thrown into a pit. The beautiful cloisters proper are filled with modern opaque glass--"Muy frio" answered the verger to my question, "Por que?"--and no doubt it is in the winter months. But the charm about a cloister is the vista through the arches; this Burgos has lost for the sake of the well-being of her priests; the pity is that funds would not allow of better glass when the utilitarian aspect demanded the shutting out of the cold winds.

The sacristy on the east side of the cloisters is a very beautiful early fifteenth-century room with a fine groined roof, the peculiarity of which is that it has no supporting columns. The half-piers end in corbels of hunting scenes and I daresay have often recalled to many a priest days of his early boyhood.

The Chapter House, with an artesonade ceiling, contains some good pictures and is reached through the Capilla del Corpus Christi. High up on the wall of this chapel, and fixed to it with iron clamps, is the Cofre del Cid, a wooden coffer which the Campeador filled with sand, and telling the Jews it was full of gold, raised six hundred marks. He redeemed the pledge later on and paid up the sum he had borrowed. The tomb of Enrique III.'s head cook, who is lying in armour with a sword, occupies a space on the floor. He was not a bad-looking man and I daresay took his turn at the enemy and used his sword when occasion offered. Street writes of these cloisters--"I know none more interesting and more varied"--but I left them and the many fine tombs and statues they contain wishing that priests were not mortal nor liable to chills.

The capital of Old Castile is a quiet little place and I felt I was in a northern clime far away from the charm of Andalusia and the south. The name Burgos is of Iberian origin, "Briga" signifying "a fortified hill." Founded as long ago as 884 by Diego de Porcelos, it was for many generations the capital of Castile. At the marriage of Ferdinand I. in 1067 Castile and Leon became one and ten years later the seat of Government was removed by Alfonso VI. to Toledo. Serious troubles ensued between the inhabitants of the two cities. Old Castile could not brook the interference of the great archbishops of New Castile and the loss of prestige attached to royalty and its court.

In Charles V.'s reign Burgos joined the Comunéros, the opponents of centralised government, but was wisely pardoned with other towns by the King, who held a court in state for this purpose in the Plaza Mayor at Valladolid. As a result of this forgiveness the inhabitants erected the fine entrance gateway of Santa Maria of which I made a sketch. Since that day, except for Wellington's futile sieges, Burgos has slept the sleep of the just and being an eminently ecclesiastical city will continue in this happy state.

Much of interest lies tucked away in the narrow streets. There is the Casa del Cordon, at one time the palace of the Velasco family, and a royal residence. Within its walls the Catholic Kings received Columbus on his return from the New World, and here was signed the incorporation of Navarre with Castile. This fine example of a town house is flanked by two square towers, with a rope from which it takes its name carved over the portal. The Casa de Miranda, with a noble courtyard and well-proportioned fluted columns, near which is the Casa de Angulo a strong fortress-like building. The façade of the old Collegio de San Nicolas is replete with fine workmanship and the church of this name with tombs. The richly-carved stone _retablo_, illustrating events of the saint's life, is also a work of real art. Under the wall of the cemetery stood the house wherein the Cid was born, and in the Castle on the hill, now a ruin, he was married. The nuptials of Edward I. of England with Eleanor of Castile were celebrated in this fortress, which can also claim the birth of Pedro the Cruel.

For a provincial town Burgos possesses a most interesting museum. Among the many relics I saw was a bronze altar font with coloured enamels of saints and a Moorish ivory casket, both from the monastery of San Domingo de Silos. The fine kneeling figure in alabaster of Juan de Padilla, who lost his life at an early age during one of the sieges of Granada, is almost as beautiful as that of the Infante Alfonso in the Cartuja. Roman and mediæval remains, found at different times and taken from disestablished convents, added to the interest of a short visit. There is so much to see in Burgos and its surroundings, and the seeing of it all is so pleasant, so undisturbed, and so different to the south, where for ever I was annoyed by touting loafers and irrepressible boys, that when I left it was with feelings of great regret.

Across the river, about an hour's walk one morning brought me to the Convent of Las Huelgas, which is still inhabited by shy nuns. Founded in 1187 by Alfonso VIII. it has always loomed large in the history of Castile. Many of her kings have kept vigil before the High Altar, when receiving knighthood, our own Edward I. among them. Many royal pairs have been wedded within the church, and many sleep their long sleep within its quiet precincts. The Abbess was mitred, she possessed powers of life and death, she ranked as a Princess-palatine next to the Queen, and she was styled "Por la gracia de Dios." Her nuns were, and still are, daughters of noble houses, and some even of royal birth. In the chapel of Santiago hangs a copy of the embroidered banner captured at the great fight of Las Navas de Tolosa, a victory which crippled and drove out the Infidel from the north. The original hangs in the nun's choir, a fitting pendant to the splendid tapestries which cover the walls. I was told of other treasures invisible to the eye of man and once again wished I could have changed my sex for a short time. Being mere man, I heard the gate shut as I left the convent with a rather crestfallen feeling, so walked another half-mile on to the Hospital del Rey.

Alfonso VIII. built this Hospice for pilgrims _en route_ to Santiago. But little remains of the original building, though the Renaissance façade and thirteenth-century doorway, with curious figures of Adam and Eve, repaid me for my extra trudge and I returned to my hotel with the imagined slight dissipated and my _amour propre_ restored.

My last pilgrimage in Spain happened one cold afternoon when I went out to the Cartuja de Miraflores. The clouds hung low over the hills and the damp smell of autumn was in the air. The road thither passes through avenues of great poplars. The leaves had begun to fall and it was wet under foot. A slight drizzle was imperceptibly saturating everything and I thought the time of my departure from sunny Spain not ill-chosen. Despite all this, and the depressing day, I can always recall with pleasure the road that my companion and I traversed before we passed under the arch that marks the monastic boundary.

Beggars accosted us at the door of the monastery, for once I gave them alms and received a blessing. We passed in, and found ourselves in a pretty little courtyard filled with dahlias and other autumnal flowers. The bright colours cheered us a bit, the church lay on our left, we entered it under a Gothic arch. A monk in the stalls was at prayer, he also kept an observant eye on the two visitors. Our footsteps seemed to sound intensely loud on the stone pavement, and we spoke in very low whispers. The cold white-washed walls and this solitary figure droning out his prayers were depressing.

We furtively admired the finely-carved stalls, the grand _retablo_ over the High Altar with its terribly life-like crucifix, all the time with a feeling on my part of that vigilant eye boring a hole in my back like a gimlet. We next examined the alabaster tomb the masterpiece of Gil de Siloe, executed to the order of Isabella the Catholic, which stands in front of the altar. Juan II. and his wife Isabella of Portugal lie side by side clothed in their robes of state. At his feet are two Lions, at hers a Lion and a Dog. I forgot the solitary monk and the gimlet stopped its work as I became lost in admiration while following the intricacies of Gil de Siloe's greatest production.

At the eight corners of this magnificent tomb, most undoubtedly the finest I have ever seen, and by some considered unsurpassed in Europe, sixteen lions support the royal arms, above them along the cornice beautiful little statuettes stand under canopies which are a marvel of delicate tracery. The embroidery on the robes of the royal pair is exquisite and the imitation of the lace work unsurpassed.

For a long time we stood discussing and admiring the marvellous cleverness of the designer of a monument which is worthy of the great and pious woman who erected it to the memory of her parents.

Hard by in the west wall of the church is the tomb of the Infante Alfonso, whose death at the early age of sixteen left the accession vacant for Isabella and so changed the history of Castile. It is likewise a wonderful piece of work by the same skilful hand. The young Prince kneels alone in an attitude of prayer which gains dignity from the half-shadow thrown by the recess in which the monument is placed. The arch above is decorated with a twining vine, while men-at-arms support the tomb.

We turned from the contemplation of these two memorials and the monotone of the old monk's prayer filled the church. I think we both shared a feeling of relief when we found ourselves once more outside under the grey sky, though I shall ever remember the impression of that aisleless church with its magnificent tombs, that white robed monk with his droning voice, the chill of the autumn air and those long lines of stately poplars under which I passed in my last pilgrimage in Spain.

INDEX

Abderrhaman, mosque of, 80

Adrian IV., Pope, 81

Albornoz, Cardinal, tomb of, 111

Alfonso VI., 234, 235

Alfonso VIII., 245

Alfonso de Cartagena, Bishop, 240

Alfonso el Catolico, 197;
coffin of, 220

Alfonso the Chaste, 218, 220

Alfonso the Learned, sarcophagus of, 10

Alfonso de los Rios, 238

Alhambra, 31, 46, _sqq._
Court of Lions, 50

Almakkari, historian, 23

Almanzor, 200

Alva Garcia, 138

Alvaro de Luna, 232

Antequerra, 48

Arabic documents, 230

Aragon, union of, with Castile, 67

Arfe, silver monstrance by, 142

Arfe, Juan de, 228

Arlanzón, river, 233

Astorga, 193-198
Cathedral, 193, _sqq._
Historical sketch, 197

Augustus, Emperor, 84

Averroes, 30

Avila, 137-144
Cathedral, 81, 138

Avila, Historical sketch, 137

Avila, tomb of, 143

Badajos, Juan de, 215

Baeza, 195

Barcelona, 83, 91-99
Cathedral, 92, _sqq._
Church of San Pablo del Campo, 94
Church of Santa Marica del Mar, 95
Church of Santa Marica del Pi, 95
Historical sketch, 91, _sqq._
Rambla, 97

Barceloneta, suburb of Barcelona, 96

Bartolomé, and the Capilla Real, Granada, 39

Beatrice of Swabia, sarcophagus of, 10

Becerra, Gaspar, 195

Beggars, at Cordova, 29, 30;
at Seville, 30, 35;
at Madrid, 30

Bernardo de Aragon, tomb of, 164

Berruguete, carvings by, 113, 141, 228

Boabdil, figure of, at Granada, 41

Brutus, Junius, founds colony on the Turia, 66

Bull-fights, at Seville, 20

Burgos, 233-248
Capilla del Condestable, 238
Capilla del Corpus Christi, 242
Capilla de la Presentacion, 239
Capilla de San Enrique, 240
Capilla del Santissimo Cristo, 239
Cathedral, 233, _sqq._
Chapel of Santa Anna, 240
Church of San Domingo de Silos, 244
Church of San Juan de Sahagun, 240
Convent of las Huelgas, 245
Collegio de San Nicolas, 244
Historical sketch, 234, _sqq._
Museum, 244

Cadiz, 1-5
Académia de Bellas Artes, 4
Cathedral, 3, 4
Historical sketch, 3
Mercado, 4

Cæsar, Julius, captures Seville, 7

Calix at Valencia, 71

Campaña, Pedro, pictures at Seville, 12

Cano, Alonso, pictures by, at Cadiz, 4;
at Seville, 11, 12;
builds façade of Cathedral at Granada, 38;
pictures by, 38;
pictures by, at Malaga, 60;
figure by at Segovia, 151

Cartuja de Miraflores, 246

Casa Consistorial, Barcelona, 95

Casa del Cordon, Burgos, 243

Cataluña, union with Aragon, 92

Cervantes, house of, 232

Charles V., palace of, 54;
arms of, 236

Chartres Cathedral, 211

Chirriguera, High Altar by, 129, 141, 228

Cid, the, 65, 201

Cofre del Cid, 242

Columbus, monument at Seville, 11;
house of, 232

Comunéros, 243

Cordova, 23-30
Capilla de Nuestra Señorade Villavicosia, 25
Cathedral, 24, _sqq._
Convent de San Jeronimo, 30
Historical sketch, 23, 24
Mosques, 24, 25

Cornielis, work of, 141

Corre de Sol, Granada, 55

Cristóbal, carving by, at Tortosa, 81

Dalman de Mur, High Altar by, 164

Damian Forment, retablo, 166, 167

Darro, river at Granada, 31, 33, 34, 37

De Gainza, Martin, 10

Diego de Porcelos, 242

Diego de Siloe, plans Cathedral at Granada, 38;
at Malaga, 59

Duque de Lerma, 226

Edward I., marriage of, 244, 245

El Calvario, 150

El Campanario, tower at Cordova, 27

El Cristo de la Luz, Toledo, 115

El Grao, port of Valencia, 67

El Parral, Segovia, 154

El Transito, Toledo, 114

Englefield, Sir Francis, 232

Escovedo, Juan, 150

Essex, siege of Cadiz by Lord, 4

Ferdinand I., 200, marriage of, 243

Ferdinand and Isabella, monument at Granada, 40;
portraits, 41, 44, 225;
arms of, 227

Ferdinand el Santos, 234, 235

Francisco de Lara, ceiling by, 112

Francisco de Palenzuela, tomb of, 126

Fruela I., coffin of, 220

Gallegos, panels by, 203

Gayá, 84

Genil, river at Granada, 34

Geromino, tomb of, 126

Geronimo, 200

Gerona, 101-10
Cathedral, 103, _sqq._
Church of San Pedro de los Gallegans, 105
Historical sketch, 101, _sqq._

Gibraltar, 58

Gil de Siloe, 247

Giralda Tower, Seville, 13, 14

Gomar, Francisco, work at Tarragona, 86

Gonzalo de Cordoba, 45

Grado, Canon Juan de, tomb of, 204

Granada, 31-35
Albaicin, 31
Alhambra, 31, _sqq._
Antequeruela, 31
Capilla de la Antigue, 39
Capilla de Pulgar, 44
Capilla Real, 42
Capilla de Trinidad, 38
Cathedral, 38, 44
Church of San Juan de los Reyes, 44
Church of San Nicólas, 44
Church of Santa Anna, 44
Convent of Cartuja, 45
Convent of San Geronimo, 45

Greek remains, Tuy, 183

Guadalete, river at Cadiz, 5;
battle on banks of, 58

Guadalquiver, position of Cordova on, 23

Guadelmedina, the, 61

Guillermo Boffy, 104

Gutierrez, Bishop, 219

Hernandez, 229, 230

Hontañon, rebuilt dome of Seville Cathedral, 12;
Salamanca Cathedral, 125;
Segovia, 150

Hospital de Santa Cruz, Toledo, 116

Infante Alfonso, tomb of, 248

Inigo de Mendoz, tomb of, 112

James I., of Aragon, armour of at Valencia, 70;
tomb of, 86

Jews at Seville, 15

John of Cologne, 234, 238

John of Gaunt, 178

José Granados, builds western facade of Cathedral, Granada, 38

Juan II., 24

Juan Bantista Celma, 178

Juan, Prince, tomb of, 142

Juan de Borgoña, frescoes by, 112, 141