The Shadow of the Cathedral. Blasco Ibáñez Vicente
cloister, and even the chirruguesque showed at its best in the famous lanthorn of Tome, which broke the vaulting behind the high altar in order to give light to the abside.
In the evenings of the vacation Gabriel would leave the seminary, and wander about the Cathedral till the hour at which its doors were closed. He delighted in walking through the naves and behind the high altar, the darkest and most silent spot in the whole church. Here slept a great part of the history of Spain. Behind the locked gates of the chapel of the kings, guarded by the stone heralds on pedestals, lay the kings of Castille in their tombs, their effigies crowned, in golden armour, praying, with their swords by their sides. He would stop before the chapel of Santiago, admiring through the railings of its three pointed arches the legendary saint, dressed as a pilgrim, holding his sword on high, and tramping on Mahomedans with his war-horse. Great shells and red shields with a silver moon adorned the white walls, rising up to the vaulting, and this chapel his father, the gardener, regarded as his own peculiar property. It was that of the Lunas, and though some people laughed at the relationship, there lay his illustrious progenitors, Don Alvaro and his wife, on their monumental tombs. That of Doña Juana Pimental had at its four corners the figures of four kneeling friars in yellow marble, who watched over the noble lady extended on the upper part of the monument. That of the unhappy constable of Castille was surrounded by four knights of Santiago, wrapped in the mantle of their Order, seeming to keep guard over their grand master, who lay buried without his head in the stone sarcophagus, bordered with Gothic mouldings. Gabriel remembered what he had heard his father relate about the recumbent statue of Don Alvaro. In former times the statue had been of bronze, and when mass was said in the chapel, at the elevation of the Host, the statue, by means of secret springs, would rise and remain kneeling till the end of the ceremony. Some said that the Catholic queen caused the disappearance of this theatrical statue, believing that it disturbed the prayers of the faithful; others said that some soldiers, enemies of the constable, on a day of disturbance, had broken in pieces the jointed statue. On the exterior of the church the chapel of the Lunas raised its battlemented towers, forming an isolated fortress inside the Cathedral.
In spite of his family considering this chapel as their own, the seminarist felt himself more attracted by that of Saint Ildefonso close by, which contained the tomb of the Cardinal Albornoz. Of all the great past in the Cathedral, that which excited his greatest admiration was the romantic figure of this warlike prelate; lover of letters, Spanish by birth, and Italian by his conquests. He slept in a splendid marble tomb, shining and polished by age, and of a soft fawn colour; the invisible hand of time had treated the face of the recumbent effigy rather roughly, flattening the nose, and giving the warlike cardinal an expression of almost Mongolian ferocity. Four lions guarded the remains of the prelate. Everything in him was extraordinary and adventurous even to his death. His body was brought back from Italy to Spain with prayers and hymns, carried on the shoulders of the entire population, who went out to meet it in order to gain the indulgences granted by the Pope. This return journey to his own country after his death lasted several months, as the good cardinal only went by short journeys from church to church, preceded by a picture of Christ, which now adorns his chapel, and spreading among the multitude the sweet scent of his embalming.
For Don Gil de Albornoz nothing seemed impossible; he was the sword of the Apostle returned to earth in order to enforce faith. Flying from Don Pedro the Cruel, he had taken refuge in Avignon, where lived exiles even more illustrious than himself. There were the Popes driven out of Rome by a people who, in their mediaeval nightmare, tried to restore at the bidding of Rienzi the ancient republic of the Consuls. Don Gil was not a man to live long in the pleasant little Provençal court; like a good archbishop of Toledo, he wore the coat-of-mail underneath his tunic, and as there were no Moors to fight he wished to strike at heretics instead. He went to Italy as the champion of the Church; all the adventurers of Europe and the bandits of the country formed his army. He killed and burnt in the country, entered and sacked the towns, all in the name of the Sovereign Pontiff, so that before long the exile of Avignon was again able to return and occupy his throne in Rome. The Spanish cardinal after all these campaigns, which gave half Italy to the Papacy, was as rich as any king, and he founded the celebrated Spanish college in Bologna. The Pope, well aware of his robberies and rapacity, asked him to give some sort of accounts. The proud Don Gil presented him with a cart laden with keys and bolts.
"These," said he proudly, "belong to the towns and castles I have gained for the Papacy. These are my accounts."
The irresistible glamour that a powerful warrior throws over a man physically feeble was strongly felt by Gabriel, and it was augmented by the thought that so much bravery and haughtiness had been joined in a servant of the Church. Why could not men like this arise now, in these impious times, to give fresh strength to Catholicism?
In his strolls through the Cathedral Gabriel greatly admired the screen before the high altar, a wonderful work of Villalpando, with its foliage of old gold, and its black bars with silvery spots like tin. These spots made the beggars and guides in the church declare that all the screen was made of silver, but that the canons had had it painted black so that it might not be plundered by Napoleon's soldiers.
Behind it shone the majestic decorations of the high altar, splendid with soft old gilding, and a whole host of figures under carved canopies representing various scenes from the Passion. Behind the altar and the screen the gilding seemed to spring spontaneously from the white walls, marking with brilliant lights the divisions between the stalls. Beneath highly-decorated pointed arches were the tombs of the most ancient kings of Castille, and that of the Cardinal Mendoza.
Under the arches of the triforium an orchestra of Gothic angels with stiff dalmatics and folded wings sang lauds, playing lutes and flutes, and in the central parts of the pillars the statues of holy bishops were interspersed with those of historical and legendary personages.
On one side the good Alfaqui Abu-Walid, immortalised in a Christian church for his tolerant spirit, on the opposite side the mysterious leader of Las Navas who, after showing the Christians the way to victory, suddenly disappeared like a divine envoy—a statue of exceeding ugliness with a haggard face covered by a rough hood. At either end of the screen stood as evidences of the past opulence of the church two beautiful pulpits of rich marbles and chiselled bronze.
Gabriel cast a glance at the choir, admiring the beautiful stalls belonging to the canons, and he thought enthusiastically that perhaps some day he might succeed in gaining one to the great pride of his family. In his wanderings about the church he would often stop before the immense fresco of Saint Christopher, a picture as bad as it was huge—a figure occupying all one division of the wall from the pavement to the cornice, and which by its size seemed to be the only fitting inhabitant of the church. The cadets would come in the evenings to look at it; that colossus of pink flesh, bearing the child on its shoulders, advancing its angular legs carefully through the waters, leaning on a palm tree that looked like a broom, was for them by far the most noticeable thing in the church. The light-hearted young men delighted in measuring its ankles with their swords and afterwards calculating how many swords high the blessed giant could be. It was the readiest application that they could make of those mathematical calculations with which they were so much worried in the academy. The apprentice of the church was irritated at the impudence with which these dressed up popinjays, the apprentices of war, sauntered about the church.
Many mornings he would go to the Muzarabé Chapel, following attentively the ancient ritual,19 intoned by the priests especially devoted to it. On the walls were represented in brilliant colours scenes from the conquest of Oran by the great Cisneros. As Gabriel listened to the monotonous singing of the Muzarabe priests he remembered the quarrels during the time of Alfonso VI. between the Roman liturgy and that of Toledo—the foreign worship and the national one. The believers, to end the eternal disputes, appealed to the "Judgment of God." The king named the Roman champion, and the Toledans confided the defence of their Gothic rite to the sword of Juan Ruiz, a nobleman from the borders of Pisuerga. The champion of the Gothic breviary remained triumphant in the fight, demonstrating its superiority with magnificent sword thrusts, but, in spite of the will of God having been manifested in this warlike way, the Roman rite by slow degrees became master of the situation, till at last the Muzarabé ritual was relegated to this small chapel as a curious relic of the past.
Sometimes
The Muzarabé ritual is still sung in Arabic both in Toledo and Salamanca.