Part 10 (1/2)
San Pablo is a very interesting fabric, dating from the year 1259. The floor of the church is a dozen steps below the street. The _retablo_ is another fine example of Damian Forment's art. The aisles are cut off from the nave by a flat wall with square pillars and ill-proportioned pointed arches. The _coro_ is at the west end, from whence also issue the notes of a very beautifully toned organ. The extraordinary octagonal brick steeple might pa.s.s as of Russian or Tartar origin.
Of all the gateways to the city, there remains but one, the Puerta del Carmen. It has been left as it stood after the French bombardment, and retains many marks of shot and soft-nosed bullets. The site of the historic Puerta del Portillo, where the Maid of Saragossa won immortal fame, is in the square of the same name. Outside it stands the Castillo de la Aljaferia, the Palace of the Sheikhs of Saragossa, and the residence of the Kings of Aragon. Ferdinand gave it to the Holy Office, and from out its portals issued many terrible orders for the suppression of the wretched heretic. There still remains a small octagonal mosque, and many of the rooms have their original _artesonado_ ceilings. In it also is the ”Torreta,” the dungeon in _Il Trovatore_; while from the tower can be seen the Castillo de Castlejar, mentioned in the drama by Garcia Gaturrio, from which the libretto of the opera was taken. This one-time fine palace is now a barrack, and I used to watch the recruits drilling and exercising outside. When the recruiting season commences, the numbers are drawn among those liable to serve--the lucky ones being those who are not compelled to take any part in the military service of their country. There exist societies in Spain to which a sum of 750 pesetas can be paid, that undertake to pay another 750 pesetas to the State, if the payee's name is drawn for service, 1500 pesetas being the sum which enables any one to forego his military career. If his number is not drawn, he loses his deposit, if it is, the society pays the full sum.
In the old days the n.o.bles of Aragon safe-guarded their privileges by the Fueros de Sobrarbe, a code something like our Magna Charta, which reduced the King's authority to almost vanis.h.i.+ng point. Pedro IV. got rid of the Fueros by cutting to pieces the parchment incorporating the union or confederacy, whose members, if the King was thought to have exceeded his prerogative, were absolved from allegiance. They were a hard-headed race, these Aragonese, and are still like those of the other northern provinces, very independent and jealous of Castile's rule.
Among other things handed down from time immemorial is a national dance, and the Jota Aragonesa, the national air, known beyond the limits of Spain. Very few of these old airs still exist. As a fact, the old songs of Spain and their music are better known in the Jewish colony of Salonika than in the country of their origin. The upper cla.s.ses of this colony still speak the pure Castilian of Cervantes' time, and being the descendants of Spanish refugees hounded out of the country by the Inquisition, still observe the customs, songs and language of their immigrant forefathers.
The Aragonese also have a national game, Tirando a la Barra, which consists in pa.s.sing an iron bar from one hand to the other, thereby gaining impetus for the final swing which sends it hurtling through the air towards a mark on the ground, like a javelin. One or two good old houses still remain in Saragossa to testify to its former greatness, notably that of the great Luna family. Two gigantic uncouth figures with clubs stand on either side of the doorway which is the centre of a simple but good facade. The cornice above is very heavy and the eaves project far out, a feature that I noticed was very characteristic of the old quarters of the city. It was in this house that the besieged, during the French war, held their councils. The Casa Zaporta can boast of a very fine staircase and beautiful _patio_ with elegant fluted columns and reliefs and medallions breaking the spandrils. A few other good houses still exist, but as they are in the old quarters of the city, and as these are rapidly disappearing, I fear that Saragossa will not contain for long anything beyond her Cathedrals that is of tangible interest.
SANTIAGO
The evening train from Pontevedra deposited me sometime about midnight at Cernes, the hamlet outside Santiago where the line ends. The full moon during the latter portion of the journey had been a source of endless delight. My face was glued to the window watching the ever-changing hills and valleys through which the train crept, shrouded in that mystery which obliterates detail and suggests so much in great ma.s.ses of subdued light and deep shade.
I reached the hotel, procured a room, threw open the window, and stood on the balcony listening to the intense stillness of a wonderful night.
Suddenly a dull rumbling down some side street disturbed my reverie of the Santiago of days gone by. The only thing to be expected at this time of night was the station 'bus, but I heard no clattering hoofs and was lost in surmise, when out of the dark shadow of a narrow lane into the moonlight swung a yoke of oxen drawing a long cart with slow majestic pace. But what a cart! a low sort of wooden box balanced between two solid wooden wheels. The rumbling was explained. It was primitive and the most mediaeval thing I had yet seen in a country which is barely European.
The peasant owner, a few steps in advance, never turned his head, but guided his beasts with a long stick which he waved from side to side over his back. There was no shout, no cry of command. The _mise en scene_ was beautifully arranged, it was complete. There was the background of ancient grey houses, beyond them, tapering into the starry sky, the slender pinnacles of the great Cathedral. A row of stunted trees occupied places down one side of the little square which filled my stage. The subdued colour and silence of the moonlit night, and the slow pa.s.sage of the ox-cart as it pa.s.sed out of sight, bettered Irving's best effects at the Lyceum.
A clock in a neighbouring tower struck the quarters, the moment had arrived for the anti-climax! I expected every minute to see a door open, a light stream across the square, a cloaked figure steal furtively out, and disappear down into the shadow of the lane. It was perfect, nothing could have been arranged better as an introduction to Santiago de Compostela.
[Ill.u.s.tration: SANTIAGO. THE CATHEDRAL]
The body of St. James landed itself at Padron on the coast not far from Santiago, and his bones were brought to the spot where now stands the Cathedral. In the course of time their whereabouts was forgotten and it remained for Bishop Theodomir to rediscover the sacred spot in 829, guided thither by a star. Hence the Campus Stellae--or Compostela.
The shrine of the saint is still visited by innumerable pilgrims, and perhaps more arrive in Santiago than any other city of Spain. In olden days so great was the number that ”El Camino de Santiago”--”The road to Santiago,” gave rise to the Spanish term for the ”milky way.” I have watched them in the Cathedral, peasants, men and women, come from afar, to judge by their dress. They each carried a staff decorated with tufts of herbs and little star-shaped pieces of bread tied on with gay ribbons. I have seen women making the round of the altars in the different chapels with great bundles of clothes, through which were thrust umbrellas, balanced on their heads. They never lost the poise of their burden as they knelt and rose again. But of all the pilgrims I saw, one who might have stepped out of Chaucer's pages carried me back to the days of long ago. She wore a short skirt of thick brown material, sandals protected her stockinged feet, from her girdle hung rosary, scallop sh.e.l.ls and a stoneware pilgrim's bottle, a hooked staff lent support to her bent, travelled-stained figure. Her leather wallet was stuffed with bread, and covering her short cropped hair was a grey felt hat, mushroom shaped. A little black dog entered the Cathedral with her, and squatted silently by his mistress's side as she knelt praying in the dim light of a grey day. Chaucer's ”Wyt of Bath” had made a pilgrimage to ”Seynt Jame,” and my pilgrim with her little lame companion might very well have been with him too.
The Cathedral, founded in 1078, was built on the site of one destroyed by Almanzor in 997. The legend of the destruction of the first church, which had been standing for just one hundred years, was thus--Almanzor, after sacking Leon and Astorga, swept all the country westwards with his Moorish hosts until he reached Santiago. So great was his fame and in such terror was his name held that no one had the courage to face him and fight for saint and city. Riding through its deserted streets he came to the church, and to his surprise at last espied a solitary Christian, a monk, praying alone at the shrine of the saint. ”What dost thou here?” inquired the haughty Moor. ”I am at my prayers,” curtly answered the holy man, continuing his devotions. This reply and the courage of the single enemy so called forth the admiration of Almanzor, that his life was spared and an infidel guard set over the tomb.
[Ill.u.s.tration: SANTIAGO. SOUTH DOOR OF THE CATHEDRAL]
The west facade, a Renaissance outer covering, so to speak, of the older facade, would not look so imposing as it does if granite had not been used in its construction. The grey tones of the lichen-covered stone redeem the somewhat overdone florid design, and it stands well above a double flight of steps on the east side of the huge Plaza Mayor.
The south door, or Puerta de las Platerias, takes this name from the silversmiths whose workshops are still under the arcades around the Plaza on to which it opens. It is the oldest portion of the Cathedral and dates from the foundation. The shafts contain tiers of figures in carved niches, and the tympanum has rows of smaller ones.
The north door fronts on to the Plaza Fuente San Juan, and faces the convent of San Martin Pinario, which was founded in 912 by Ordono II. In the days before this Plaza was officially given its present name, it was known as Azabacheria, _azabache_ is jet, and it was here that vast quant.i.ties of rosaries made of this were sold to pilgrims.
In the south-east angle of the Cathedral is the Puerta Santa, bearing the inscription ”Hace est domus Dei et porta coeli.” It is only opened in the Jubilee year and then by the archbishop himself. The entrance to it is from the Plaza de los Literarios. It will be seen from this that the Cathedral is practically set in four great Plazas, el Mayor, de las Platerias, la Fuente San Juan, and de los Literarios, and for this reason, although the roof towers high above, it is one of the few Cathedrals the size of which can be appreciated by an exterior view.
The early Romanesque interior is superb, and not unlike our own Ely Cathedral. The finest thing in it of archaeological interest is the ”Portico de la Gloria,” which Street calls ”one of the greatest glories of Christian Art.” This Portico, situated at the west end of the nave, formed at one time the facade. The idea of the whole doorway is Christ at the Last Judgment. His figure, twice life-size, occupies the centre.
Below Him is seated St. James, while around them are angels wors.h.i.+pping.
Four and twenty elders are arranged in the circ.u.mference of the archivolt; each one holds a musical instrument, most of which are shaped like violas and guitars. A most beautifully sculptured marble column supports this in the centre, resting on a base of devils, with the portrait of Maestro Matio, who executed the whole from his own designs, facing the nave. An inscription under this doorway states that the work was finished in 1188. To the right and left are smaller arches, portraying in well-cut granite good souls on their way to Paradise and wicked ones in the clutches of devils on their way to h.e.l.l. Nothing can exceed the primitive religious feeling pervading this work. Mateo must have given his whole soul with fervour to his labours; and the almost obliterated traces of painting and gilding enhance their result by giving a touch of warmth to the cold colour of the stone.
West of the portico, above which are the remains of a fine wheel window, has been built the present Renaissance facade known as El Obradorio, the two being connected by quadripart.i.te vaulting. The nave itself has a walled-in triforium, but no clerestory and the vaulting of the roof is barrel.
The saint's shrine is in the crypt beneath the Capilla Mayor. The extra extravagant _retablo_ above the High Altar is chirrigueresque, and hardly redeemed by the lavish employment of jasper, alabaster and silver with which it is decorated. A jewelled figure of St. James is seated in a niche above the ma.s.s of precious metal in which the altar is encased.