Appendices

Footnotes:[53]Upon the other hand, a notice dated 1562 says that at that time Spanish-made black lace was largely used at the Court of England.[54]“Pour les femmes, elles ne sortent point qu'emmantelées d'une mante noire comme le deüil des dames de France, et elles ne se montrent qu'un œuil, et vont cherchant et agaçant les hommes avec tant d'effronterie, qu'elles tiennent à affront quand on ne veut pas aller plus loin que la conversation.”—Bertaut de Rouen;Journal du Voyage d'Espagne, p. 294.[55]Blonde, I need hardly state, is silk-lace. It can always be distinguished by the glossy surface.[56]This is incorrect. It was sometimes worn longer.[57]A letter from Vargas y Ponce to Cean Bermudez, dated 1797, says that in this year there existed at Murcia a school for making blondes, owned by one Castilla. “He does good work, teaches well, and has executed blondes for the Queen, which are well spoken of.”[58]Tour in Catalonia in 1787; Vol. I., p. 644, etc.

Footnotes:

[53]Upon the other hand, a notice dated 1562 says that at that time Spanish-made black lace was largely used at the Court of England.

[54]“Pour les femmes, elles ne sortent point qu'emmantelées d'une mante noire comme le deüil des dames de France, et elles ne se montrent qu'un œuil, et vont cherchant et agaçant les hommes avec tant d'effronterie, qu'elles tiennent à affront quand on ne veut pas aller plus loin que la conversation.”—Bertaut de Rouen;Journal du Voyage d'Espagne, p. 294.

[55]Blonde, I need hardly state, is silk-lace. It can always be distinguished by the glossy surface.

[56]This is incorrect. It was sometimes worn longer.

[57]A letter from Vargas y Ponce to Cean Bermudez, dated 1797, says that in this year there existed at Murcia a school for making blondes, owned by one Castilla. “He does good work, teaches well, and has executed blondes for the Queen, which are well spoken of.”

[58]Tour in Catalonia in 1787; Vol. I., p. 644, etc.

THE LEGEND OF SAN MIGUEL IN EXCELSIS

Towards the yeara.d.707, when Witiza was king of Spain, there dwelt at the castle of Goñi, not far from the city of Pamplona in Navarre, a cavalier named Don Theodosio, whose wife, Doña Constanza de Viandra, was a lady of remarkable beauty. On one occasion Don Theodosio found himself obliged to quit his native country for a time, in order to command a military expedition against the Berbers, and before his departure he begged his father and mother to cheer his wife's loneliness while he should be away, by taking up their residence at his castle. They came accordingly, and as a special mark of honour to the parents of her lord, Doña Constanza gave up to them her own chamber, together with the nuptial couch. After a time, when Theodosio's enterprise was concluded, and the warrior, safe and sound, was returning to Navarre, the Devil, disguised as a hermit, one evening lay in wait for him at a spot called Errotavidea, situated at a few miles' distance from Goñi castle, in the wooded and romantic valley of the Ollo. Stepping up to the cavalier's side, Satan assured him, in atone of smooth hypocrisy, that during his absence the lady Constanza had been seduced by one of Theodosio's own servants. Upon the knight's demanding proof, “proceed,” replied the Devil, “to your castle, enter your nuptial chamber, and there you will find your consort in the very arms of her paramour.” Frantic with apprehension, the warrior spurred home, broke into his chamber at the dead of night, and, passing his hand over the bed, encountered, as Satan had malignantly foretold, two bodies; whereupon he drew his sword and, in this moment of fatal and irreflective haste, murdered his own father and mother. Then, just as he was rushing from the room, he met, carrying a lighted lamp, the lady Constanza herself, returning from the chapel in which, as was her custom every night, she had been praying for his safe return.

Smitten with deep repentance for the crime, whose enormity had been discovered by the impetuous lord in so dramatic and dreadful a fashion, Theodosio journeyed to Rome, and related what had happened to the Pope, who sentenced him to wear a heavy iron collar round his neck, and chains about his body, and to wander, in a state of rigorous penance, through the loneliest regions of Navarre, without setting foot in any town, until, as a sign that divine justice was satisfied, the chains should fall from off him. Wherever this should come to pass, he was instructed to build a temple in honour of the archangel Michael.

The sentence was patiently performed, and Theodosio had spent some years in solitary wandering, when ona day a single link dropped from his ponderous chains. This happened on the top of a high mountain called Ayedo, in the Sierra de Andía, and accordingly the penitent erected on the spot a simple fane in the archangel's honour, known by the name of San Miguel de Ayedo, and which, in the form of a little hermitage, still exists.

This proof of heavenly grace presaged a further and a more complete deliverance. When Theodosio's wandering had lasted seven years, he reached one day the summit of Mount Aralar, at two leagues' distance from his own castle, and was there met by a ferocious dragon of appalling size. Being, as a penitent, unarmed, as well as encumbered by his massive chains, the miserable man fell helpless to his knees, and called to God to succour him. The prayer was heard. Suddenly the form of his patron the archangel flashed out against the sky, the dragon fell dead, and all of Theodosio's chains were shattered, and dropped from him. Here, therefore, he built another and a larger temple in honour of his guardian, and, accompanied by Doña Constanza, passed the remainder of his life in peaceful and secluded piety.

The castle of Goñi, which was also called “Saint Michael's palace,” and “the palace of the cavalier to whom Saint Michael revealed himself,” was standing as late as the year 1685, but, according to Padre Burgui, by the close of another century the walls were crumbling fast. Until about the year 1715 there also stood an ancient wooden cross to mark the spot where Satan, in a hermit's garb, had appeared to Don Theodosio.

JET-WORK OF SANTIAGO

In former times the art of carving jet was largely practised at this town. The characteristic form was thesignaculumor image of Saint James; that is, a more or less uncouth representation of the apostle in full pilgrim's dress. The height of these images, which are now dispersed all over Europe, varies between four and seven inches. They are fully described in Drury Fortnum's monographs,On a signaculum of Saint James of Compostela, andNotes on other signacula of Saint James of Compostela, as well as in Villa-amil y Castro'sLa azabachería compostelana. These objects were sold in quantities to the pilgrims visiting Santiago, who nevertheless were often cheated by the substitution of black glass for jet.[59]

Specimens of this work are in the British and ClunyMuseums, and in the Archæological Museum at Madrid. An interesting jet figure of the apostle on horseback belonged to the late Count of Valencia de Don Juan. Jet processional crosses (twelfth and thirteenth century), studded with enamel, and which were used at funerals, are preserved in the cathedrals of Oviedo and Orense. Rings, rosaries, and amulets were also carved from this material.

As to Spanish processional crosses generally (the use of which was undoubtedly borrowed from the standard borne at the head of pagan armies), I may say that they are commonly fitted with a handle, called thecruz bajaor “lower cross,” though sometimes this handle is dispensed with, as, for instance, at the funerals of infants. According to Villa-amil y Castro, the typical shape of the Spanish processional cross has always been that denominated theimmissa, consisting of four arms terminating in straight edges. The same authority says that within this broader definition the primitive form was the Greek cross, that is, having four arms of equal length. Another early form was the “Oviedo” cross (see Vol. I., PlateII.), with the four arms in the shape of trapezia, united at the centre by a disc. Of this latter shape are, or were, the crosses of Guarrazar and those which were presented by Alfonso the Second and Alfonso the Third to the cathedrals of Oviedo and Santiago.

A later form was thepotenzadacross, which had across-piece fixed at the extremity of each arm. As time advanced, this T-shaped termination to the arms assumed such decorative and capricious forms as the trefoil and the fleur-de-lis. Early in the history of the Spanish church the processional cross consisted often of a wooden core, covered with more or less profusely ornamented silver plates, and having, between the handle and the upper part, an enamelled bulb ornœud. The image of Christ, converting the cross into the crucifix, was not attached until a later period, because, as Villa-amil y Castro has remarked, the primitive Christians considered the essential glory of their faith, rather than, as yet, the perils and the pains to which they were exposed by clinging to that faith. The cross was thus the symbol of the Christian's glory; the crucifix, of his suffering.[60]

DESCRIPTION OF THECUSTODIASOF SEVILLE AND CORDOVA

Thecustodiaof Seville cathedral is described by its author, Juan de Arfe, in the following terms:—

The shape is circular, with projecting friezes and bases. Thecustodiais four yards high, and is divided into four orders of symmetrical proportions, the second order being smaller by two-fifths than the first, the third smaller by the same fraction than the second, and the fourth than the third. Each order rests upon four-and-twenty columns, twelve of which are of a larger size, and wrought in relief. The other and the smaller twelve are striated, and serve as imposts to the arches. All these orders are of open work, containing twelvevistas(prospects) apiece. Six are of full dimensions, and the other six spring from half-way up the larger ones, as is shown in the appended design, which I will not explain further, as the proportion and harmony can be judged of from the plan (see Vol. I., Platexvii.).

FIRST ORDER

The first order is in the Ionic style. The columns and frieze are adorned with vines containing fruits and foliage, and some figures of children holding spikes of wheat, to signify bread and wine. In the centre of this, the largest order, is Faith, represented by the figure of a queen, seated on a throne, holding in her right hand a chalice with the host, and in the other a standard such as is seen in certain ancient medals of the emperors Constantine and Theodosius. Beneath her feet is a world, and behind her, overthrown and bound with chains, a monster with the face of a beautiful woman and the trunk or body of a dragon, to represent Heresy, which seems to attract by pleasantness of shape, being at bottom poison and deceit.

At one side is the figure of a youth with wings, and a bandage over his eyes, representing Intelligence. His hands are shackled, and he is kneeling, as one that surrenders himself captive to Faith in all her mysteries, and particularly in this one.

Corresponding to this figure, on the opposite side, is that of a beautiful woman, likewise kneeling, crossing her hands before her breast, and holding a book, to represent Human Wisdom, which acknowledges the majesty of the Catholic Faith, and is subservient thereto.

On the right hand of Faith is Saint Peter, seated, holding his keys on high, and on her left Saint Paul, with naked sword, that is, the preaching of the word ofGod. High up, about the spring of the vault, is the figure of the Holy Spirit, assistant in the church.

Between the sixasientosof the base are the four doctors of the Church, together with Saint Thomas and Pope Urban the Fourth, who instituted the festival of the Holy Sacrament.

All these figures are half a yard in height; that is, one half the height of the larger columns belonging to this order.

In the six niches that are between the arches, are the figures of six Sacraments, in this wise:—

(1)Baptism, represented by the figure of a youth holding in one hand a bunch of lilies, signifying purity and innocence, and in the other a beautiful vessel, showing the act of washing the soul, that is the particular virtue of this Sacrament. Over the arch is a scroll containing the wordBAPTISMUS.

(2)Confirmationis a damsel of spirited mien, armed with a helmet. In one hand she has some vessels of holy oil. Her other hand is raised, while with the index finger she expresses firm determination to confess the name of Christ. Inscribed upon her is the wordCONFIRMATIO.

(3)Penitenceholds in her right hand a wand, denoting spiritual jurisdiction, like the wand wherewith they smite the excommunicated at his absolution. In her left hand is a Roman javelin, that was the symbol of liberty, to signify the free estate of the captive's soul, and how, through absolution, sin is made a slave; together with the wordPŒNITENTIA.

(4)Extreme Unctionis represented by an agedwoman, holding a vase whence issueth an olive bough, and in her other hand a candle, as token that this Sacrament is a succour to those that be in the last agony. The word inscribed isUNCTIO.

(5)Orderis a priest with his vestments, holding an incensory, together with a chalice and the host, signifying Oration and Sacrifice. The word inscribed isORDO.

(6)Matrimonyis the figure of a youth, holding in one hand a cross with two serpents twined about it, in imitation of Mercury's wand. In his other hand he bears a yoke, and the inscriptionMATRIMONIUM.

The Holy Sacrament of the Eucharist, as being most excellent of all, occupies a loftier place than all these other Sacraments.

The basement of this order, forming, as it were, a boundary and bordering to this holy edifice of the Church, has twelve pedestals beneath the columns, making six and thirty sides, which are adorned with six and thirty scenes, eighteen whereof are taken from the Old Testament, and the other eighteen from the New Testament, or relating to the present state of the Church.

(1) The first scene represents how God formed Eve from one of Adam's ribs. An inscription at the foot of the pedestal says,Humani generis auspicia.

(2) Next to the preceding is an image of our Saviour with two angels supporting him by the arms, while from his wounded side issue seven rays of blood, signifyingthe Church and Sacraments. The inscription says,Felicior propagatio.

(3) The tree of Life, with Adam and Eve partaking of its fruit, and the inscription,Perituræ gaudia vitæ.

(4) A cross adorned with branches and with blades of wheat, surmounted by a chalice and the host, and round about it a few prostrate figures, eating this holy fruit, and the inscription,Vitæ melioris origo.

(5) The angel with the flaming sword, driving our fathers from Paradise, without suffering them to reach the tree of Life. The inscription says,Procul, procul esse prophani.

(6) The parable of the banquet, from which was driven out the man that had no wedding garment. The inscription says,Non licet sanctum dare canibus.

(7) The stream of water that issued from the rock smitten by the rod of Moses, and the thirsty people, drinking. The inscription says,Bibebant de spirituali petra.

(8) Beside the preceding, the figure of Christ, from whose side issues a stream of blood, of which some sheep are drinking. The inscription says,Petra autem erat Christus.

(9) The manna which fell from Heaven. The inscription says,Manducaverunt et mortui sunt.

(10) The miracle of the five loaves, with the inscription,Qui manducat vivit in æternum.

(11) The raven bringing bread and meat to Elijah. The inscription says,Non turpat dona minister.

(12) Next to this, an angel conveying a chalice andthe host to the saints in the desert, with the inscription,Sacerdos Angelus Domini est.

(13) Elisha throwing flour in the pot to sweeten the bitterness of the colocynth. The inscription says,Vitæ solamen acerbæ.

(14) Christ turning the water into wine, with the inscription,Vertit tristes in gaudia curas.

(15) Tobias frightening away the Devil with the smoke from the liver of a fish. The inscription says,Fumum fugit atra caterva.

(16) Devils flying from an altar containing a chalice and the host, with the inscription,Fugiunt phantasmata lucem.

(17) Lot inebriated, sleeping with his daughters. The inscription says,De vinea sodomorum vinum eorum.

(18) A group of virgins prostrating themselves before the Sacrament upon the altar, with the inscription,Hoc vinum virgines germinat.

(19) Abraham harbouring the angels and washing their feet. The inscription says,Non licet illotos accedere.

(20) Christ washing the feet of his disciples before a table. The inscription says,Auferte malum cogitationum vestrarum.

(21) The supper of the paschal lamb, with the inscription,Antiqua novis misteria cedunt.

(22) The supper of Christ, with the inscription,Melioris fercula mensæ.

(23) The throne of God, before which stands the prophet Isaiah, and an angel whose mouth is smitten bya lighted brand. The inscription says,Purgavit filios Levi.

(24) A priest before an altar, in his robes, administering the communion to the Christian people. The inscription says,Probet se ipsum homo.

(25) Elijah reclining in the shade of the tree, with an angel bringing him bread and a vessel. The inscription says,In pace in idipsum.

(26) A sick man in his bed, with a priest administering the Sacrament to him. The inscription says,Dormiam et requiescam.

(27) Habbakuk borne by the angels to the den of lions, to carry food to Daniel. The inscription says,Adjutor in opportunitatibus.

(28) An angel with a chalice and the host, which he administers to the souls in Purgatory. The inscription says,Emissit vinctos de lacu.

(29) Noah sleeping beneath the vine, holding a vessel, with his sons gathered about him. The inscription says,Humanæ ebrietatis ludibria.

(30) Christ with a chalice in his hand, and angels round him, holding clusters of grapes, and a cross surrounded with a vine. The inscription says,Calix ejus inebrians quant præclarus est.

(31) A queen adorned profanely, crowned with a snake. She holds a vessel in her hand, and rides upon a dragon with seven heads, some of which are drooping, as though they were inebriated. The inscription says,Hæreticæ impietatis ebrietas.

(32) The figure of a virtuous lady wearing a royalcrown. She holds a chalice in her hand, and rides in a car borne by the figures of the four evangelists. The inscription says,Ecclesiæ Catholicæ veritas.

(33) The table with the loaves of propitiation, before the tabernacle, with Moses and Aaron standing beside it, and the inscription,Umbram fugit veritas.

(34) A custodia, with a chalice and the host, borne by angels. The inscription says,Ecce panis angelorum.

(35) David and his soldiers, who receive bread from the priest's hand. The inscription says,Absit mens conscia culpæ.

(36) A priest, administering the Sacrament to two persons, each of whom has an angel beside him. The inscription says,Sancta sanctis.

And since all Sacraments have virtue and efficacy from the passion of Christ our Saviour, which passion is perpetually commemorated by this holiest of Sacraments, I placed upon the summit of the twelve columns belonging to this order twelve child-angels, naked, bearing the signs and instruments of the Passion, as voices to announce this sacred mystery.

On the tympanums of the arches are angels bearing grapes and ears of wheat, and in the middle of the six sides of the frieze are graven, upon some ovals, the following images and devices, the inscription corresponding to them being on the largest scroll of the architrave.

(1) A garland of vine-tendrils and ears of wheat, and in the midst thereof an open pomegranate, signifying, bythe number and cohesion of its grains, the Church, guarded within the fortress of this holiest of Sacraments. The inscription says,Posuit fines tuos pacem.

(2) A hand among clouds, extended over a nest of young ravens that have their beaks open and raised, with the inscriptionQuanto magis vos. This signifies, that the Lord who taketh care to sustain the infidels and pagans, taketh also especial care to sustain His Church with abundance of this celestial food.

(3) A fair stalk of wheat, whence issue seven ears of great fatness, with the inscription,Sempiterna satietas; showing that, not as in the seven years in Egypt, but for ever, shall spiritual abundance abide in the Church of Christ, owing to this holy table of His body and His blood.

(4) A stork upon a nest woven of wheat-ears and vine-tendrils, with the inscription,Pietas incomparabilis. Showing the piety and fatherly love that God affordeth to us in this Sacrament.

(5) A hare smelling at a bough and some ears of wheat, with the inscription,Vani sunt sensus hominis. The hare signifies the senses, which are deceived by the appearance of the bread and wine, unless they be fortified by faith.

(6) A hand bearing a wand, the end whereof is turning to a serpent, with this inscription,Hic vita, hic mors; because this Sacrament is the judgment and condemnation of all that receive it unworthily, but life for such as receive it with a clean spirit. The device has reference to the rod of Moses, that gave health to the people of Israel, affording them a passage through the midst ofthe sea, and making streams of sweet water to gush from the rock, but that was ruinous to the Egyptians, causing among them terrible sickness and destruction.

SECOND ORDER

The second order is in the Corinthian style, the columns and frieze adorned with foliage in the upper and lower thirds, and the other one with fluted columns. This order contains the Holy Sacrament in a circularvirilornamented at its ends. Round it are the four evangelists with the figures of the lion, bull, eagle, and angel, adorning the majesty of the Lord that is within the Sacrament, whereof they gave true testimony, according to these words upon a tablet which each one holdeth in his hand:—

Saint Matthew,Hoc est corpus meum.Saint Mark,Hic est sanguis meus.Saint John,Caro mea vere est cibus.Saint Luke,Hic est calix novi testamenti.

On the outside are placed these figures, in pairs:—Saint Justa and Saint Rufina, patron saints of Seville; San Isidro and San Leandro, archbishops of the same city; San Hermenegildo and San Sebastian; San Servando and San Germano, martyrs; San Laureano, archbishop of Seville, and San Carpóforo, priest; Saint Clement, pope, and Saint Florence, martyr.

On the six running pedestals of the columns of this order are six scenes or figures of ancient sacrifices,symbolic of this holiest sacrifice of the Eucharist, as showing how this one is the consummation and perfection of all sacrifices, and that the light thereof dispersed the shadows of the others. And these be in the following wise:—

(1) The sacrifice of Abel.

(2) That of Noah, on his leaving the ark.

(3) That of Melchisidech.

(4) That of Abraham, when he sought to sacrifice Isaac.

(5) That of the lamb which was found in the thornbush and placed upon the altar.

(6) Solomon's sacrifice at his dedication of the temple.

On the tops of these columns are twelve figures representing the twelve gifts and fruits of this most holy Sacrament, as they are told of by Saint Thomas in his treatise on this mystery:—

(1)The conquest of the Devil, represented by a maiden beautified and adorned with a palm and a cross. The inscription on the pedestal says,Fuga dæmonis.

(2)Spiritual cheerfulness and delight, in the form of another maiden, holding a wand wreathed with boughs and tendrils of the vine, and in her other hand some ears of wheat. The inscription says,Hilaritas.

(3)Purity of soul, represented by a heart among flames, suspended over a crucible. The inscription,Puritas.

(4)Self-knowledge, represented by a figure of Reason,holding in one hand a mirror, in which she regards herself, and in the other hand a leafy bough. The inscription says,Cognitio sui.

(5)Peace, and the appeasing of the wrath of God, represented by a figure holding in one hand an olive bough, and in the other a cornucopia filled with grapes and wheat. The inscription,Reconciliatio.

(6)Inward quiet and control of the affections, represented by a figure holding some poppies in one hand, and in the other a lamp, the lower wick of which is being extinguished. The inscription says,Animi qui est.

(7)Charity, and profound love for God and for our neighbours, represented by a figure holding in one hand a lighted heart that has two wings, and with the other pouring from a cornucopia. The inscription says,Charitas.

(8)Increase of true worth, represented by a figure holding in one hand a bough of mustard, that is wont to grow and multiply exceedingly from a tiny grain, and in the other hand a half-moon, receiving greater brightness as it waxes. The inscription says,Meritorum multiplicatio.

(9)Firmness and constancy in well-doing, represented by the figure of a woman holding an anchor in one hand, and in the other a palm. The inscription says,Constantia.

(10)The hope that guides us to our celestial home, represented by a figure holding in one hand a bunch of flowers (denoting the hope of the fruit that is to come), and in the other hand a star, as one that guideth to a haven. The inscription,Deductio in patriam.

(11)Resurrection, represented by the figure of a beautifulwoman, holding in one hand a snake, and in the other an eagle; creatures that renew themselves by casting off the slough of their old age. The inscription says,Resurrectio.

(12)Life Eternal, represented by a figure holding a palm in one hand, and a crown in the other. The inscription says,Vita æterna.

The devices contained in this order, and in the middle of the frieze, are as follows:—

(1) A bunch of grapes upon a wand, surrounded with ears of wheat. The inscription says,Cœlestis patriæ specimen. This signifies that, as the great bunch of grapes that was borne by Joshua and Caleb on their shoulders was a token of the fertile land of promise, so the greatness and the sweetness of this admirable Sacrament, which is afforded to us in the guise of bread and wine, is the living sign and earnest of the abundance reigning in the kingdom of the blessed.

(2) A hand extending the index-finger, pointing to a chalice and the host, with the inscription,Digitus Dei hic est. This means that the miracle of this holiest of Sacraments is the work of the eternal wisdom, that cannot be attained by any wisdom of us humans.

(3) A rainbow, and above it a chalice with the host, and the inscription,Signum fœderis sempiterni. Signifying, that as in the olden time God vouchsafed the rainbow to Noah in sign of friendship and alliance, so does He now vouchsafe His own flesh and blood as a true and effective token of His lasting association with mankind.

(4) Two rays, crossed, and in their midst an olivebough, with the inscription,Recordabor fœderis mei vobiscum. These are the words that were spoken by God to Noah, when He made the said alliance with him, giving to understand the clemency wherewith God treateth mankind in the lesson of this divinest Sacrament, forgetting their errors, and establishing perpetual peace and amity with them.

(5) The pelican feeding her young with the life-blood issuing from her breast. The inscription says,Majorem charitatem nemo habet.

(6) A dead lion, from whose mouth issueth a swarm of bees, with the inscription,De forti dulcedo. Giving to understand, that as from the mouth of so brave a creature there issued a substance so sweet as honey, so did the God of vengeance, the brave Lion of the tribe of Judah, concert such love and peace with man, that He offered His very body for man's food.

THIRD ORDER

The rest of the third order, as far as the summit of thecustodia, represents the Church triumphant: wherefore was placed in the midst of this order (which is in the composite style) the history of the Lamb that is upon the throne, and round about it the four beasts that are full of eyes, as the Apocalypse relateth.

Upon the six continuous pedestals of the columns of this order are graved the following six scenes:—

(1) The saints who wash their stoles in the blood thatissues from the Lamb, as is told in the Apocalypse.

(2) God the Father, with a sickle in His hand, and angels gathering grapes in the vat, and corn in the granary, after winnowing out the chaff; signifying the reward accorded unto men in sowing, and in the harvest of the vine.

(3) The saints in joyful procession, each with his sheaf of wheat.

(4) The virgins, crowned with vine-tendrils and ears of wheat, that follow the Lamb.

(5) The five prudent virgins, that with their lighted lamps go in to the feast of the Bridegroom.

(6) The banquet of the blessed.

Between the arches of this order are the six hieroglyphs following, with their inscriptions above, upon tablets.

(1) A burning phœnix, with the inscription,Instauratio generis humani.

(2) Two cornucopias crossed, with a cross in their midst. The cornucopias are full of vine-tendrils and ears of wheat. The inscription says,Felicitas humani generis.

(3) A kingfisher brooding over her young in a nest of vine-tendrils and blades of wheat, with the inscription,Tranquillitas immutabilis. This signifies the calm state of the blessed, whereof a token is the nest of the kingfisher, which bird, when it crosses the water, causes all storms to cease.

(4) A car with flames, rising to heaven, with theinscription,Sic itur ad astra. Signifying that this divinest Sacrament is the harbinger of those that travel heavenward, in that Elijah was so swept away, after God had sent him bread by the angel and the raven.

(5) Two dolphins, whose tails are crossed, and in the middle a chalice and the host, with the inscription,Delitiæ generis humani. By this device is signified the love and the delight bestowed by God on men by means of this Sacrament.

(6) An altar adorned with festoons of vine-tendrils and blades of wheat, with flames upon it, and bearing the inscription,Æternum sacrificium.

FOURTH ORDER

In this order is represented the Holy Trinity upon a rainbow, surrounded by many rays of splendour, and in the fifth order is a bell, surmounted by a simple cross.

Thus are all the parts of thecustodiaadorned with the foregoing beautiful decoration, having regard to their proportions and their symmetry, according to the rules of good architecture, and to the movements and position of the statuary, designed after nature, as was prescribed by the inventor of histories. “Et in his omnibus sensum matris Ecclesiæ sequimur, cujus etiam juditium reveremur.”

Such is the description, written by Arfe himself, of this wonderful masterpiece of silver-work. Unfortunately, since his time thecustodiahas been much meddled with by profane hands, and has been subjected tovarious impertinent “restorations” and “improvements.” Thus, the original statuette of Faith, seated on her throne, has been replaced by another of the Virgin, and the twelve child-angels, holding the instruments of the passion, by the same number of figures of a larger size and far inferior workmanship. Further, some simple pyramids which crowned the fourth order were foolishly replaced by badly executed statuettes of children, and the Egyptian obelisk, resting on four small spheres, which surmounted the wholecustodia, by an unwieldy statue representing the Catholic Faith.

Description of theCustodiaof Cordova Cathedral(FromCórdoba, byPedro de Madrazo)

As I have stated in Vol. I., p.98, the author of thiscustodiawas Enrique de Arfe, Juan de Arfe's grandfather. “The base, supported on small wheels placed in the interior, is in the form of a regular dodecagon, each side of which measures a foot. On the twelve-sided plate which forms the base and which has well executed heads of seraphs at each corner, is an order consisting of three tiers. The first, which has projecting and receding angles, leaves, about six sides of the dodecagon, a free space for the handles by which thecustodiais raised. The first tier forms a kind of socle with six buttresses, on the surface of which are represented allegorical scenes, alternated in rows with graceful designs in relief,grotesque and pastoral dances, and scenes from Bible history relative to the carriage of the Tabernacle. This tier is surmounted by a gilded balustrade of elegant design. The bas-reliefs are wrought alternately in gold and silver.

“The second tier is formed by a small socle, crowned by a band of leaves and diminutive figures. Over this is a gilded balustrade, and finally another and a broader frieze containing gilded figures, together with delicate foliage wrought in dull silver. This second tier grows gradually narrower, and sustains the third, whose base projects, serving as cornice to the frieze of the tier below, and decorated with a gilded balustrade. Upon it rises a mass or body with twelve sides, following the same arrangement of projecting and receding angles as the lower tiers. In each of its receding spaces this order contains three compartments, and in each of its salient faces it has a small tower or buttress, which springs from the base and rests upon a delicate plinth carved with a gilded ornamental band. Thus, the order we are describing has six salient faces behind the six towers or buttresses, and six spaces containing three open compartments. In these compartments, separated one from another by diminutive buttresses with delicate pinnacles, there is the same number of sunken spaces, one inch deep, on which are represented, in high relief, scenes of the life and passion of our Lord. The figures, admirably executed, are two inches high. Above this order is a projecting cornice, decorated along its lower part with a band of dull silver. It should be noted, thatas thecustodianarrows gradually as it rises, the receding spaces grow proportionally larger, thus affording room for the spacious inner order on which is raised theviril. This order is formed by a crystal cylinder (containing the host) resting on a base which is also cylindrical, the lower part of which is decorated with a broad hexagonal band, narrower at the top than at the bottom, and wrought with delicate foliage and figures, as are the bands which lie beneath it. Above the transparent cylinder enclosing thevirilrises a Gothic vault, drooping over in the manner of a plume, and resting on the buttresses which fill the projecting spaces on the base of the principal order. These buttresses have a similar arrangement to, and coincide with, the other ones which spring from the base of the third tier of the first order, and are joined one to another by means of fine cross-buttresses surmounted by statuettes. The circular vault which holds the crystal cylinder containing theviril, and which resembles that of the rotunda dedicated as a sepulchral chapel by the emperor Constantine to the memory of his daughter, saint Constance, supports other and finer buttresses, alternated with those beneath; but instead of rising from the salient spaces of the base, these rise from the receding spaces and support another vault, of smooth open-work, beneath which is a graceful statuette of Nuestra Señora de la Asunción. Over this vault is a kind of open-work dome, consisting of an effective series of pinnacles and buttresses in the shape of segments of a circle, which bridge over the summits of the pinnacles. Upon thedome is a crown surmounted by a statuette of Christ triumphant, with the cross. The two vaults—that which encloses theviril, and the other one above it, enclosing the image of the Virgin—are masked on the outside by arches of elegant design, crowned by an elaborate balustrade. The turrets or buttresses which rise upon the lowest and the principal orders are decorated with numerous statuettes, resting on plinths of exquisite design, covered by open-work canopies.

“This masterpiece of art is made of gold, and polished and unpolished silver. The weight is 532 marks…. Unfortunately, it lacks its original purity of style, having been restored in the year 1735, when it is probable that certain details were added which now disfigure it.”

THE IMPERIAL CROWN OF THE VIRGEN DEL SAGRARIO, TOLEDO

This was the most elaborate and costly crown that had ever been produced in Spain for decorating an image of the Virgin. The following is a sketch of it:—

crown

Before it was enlarged to the imperial shape, this crownwas executed by a silversmith named Fernando de Carrión, who finished it in the year 1556, and was paid for his labour 760,000maravedis. It then consisted of a gold diadem adorned with rows of pearls, emeralds, rubies, and enamelled devices of various colours, in the style of the Renaissance.

The superstructure, which converts it into what is known as an imperial crown, was added by Alejo de Montoya, another silversmith of Toledo, who began it in 1574, and completed it twelve years later. The addition consisted of a number of gold statuettes of angels, covered with enamel, measuring in height from two inches to two and a half, distributed in pairs, and supporting decorative devices attached to the body of the crown. From behind these angels sprang gold bands thickly studded with precious stones, and terminating towards their union at the apex of the crown in seated allegorical figures grouped about a globe surmounted by a cross. This globe consisted of a single emerald, clear, perfect both in colour and in shape, and measuring an inch and a half in diameter. The inside of the hoop was covered with enamels representing emblems of the Virgin, disposed in a series of medallions, and the dimensions of the entire crown were eleven inches high by nine across the widest part.

The crown was examined and reported upon by two goldsmiths of Madrid, who declared it to contain the following precious stones:—

The precious stones were thus valued at a total of 1,744,262maravedis. Besides this, the value of the gold and silver contained in the crown was estimated to amount to 405,227maravedis, while 3,097,750maravediswere allowed for the workmanship. These figures relate to the part which was made by Alejo de Montoya only. That which had previously been executed by Fernando de Carrión was valued at 1,954,156maravedis, making a grand total, for the whole jewel, of 7,201,395maravedis. At the present day the intrinsic value of the crown would be from nine to ten thousand pounds sterling.

In 1869 this splendid specimen of Renaissance jewellery was stolen from a cupboard in the cathedral of Toledo, sharing thus the fate of many other precious objects which have been entrusted to the slender vigilance or slender probity of Spanish church authorities.

GOLD INLAY ON STEEL AND IRON

The inlaying of iron or steel with gold is often thought to be a craft particularly Spanish, and to have been inherited directly by the Spanish Christians from the Spanish Moors. This work, however, although we may assume it to have been of Eastern origin in a period of remote antiquity, was quite familiar to the ancient Romans, including, probably, such as made their home in Spain. The Memoirs of Benvenuto Cellini contain the following notice of the work in question:—

“I met with some little Turkish daggers, the handles of which were of iron as well as the blade, and even the scabbard was of that metal. On these were engraved several fine foliages in the Turkish taste, most beautifully filled up with gold. I found I had a strong inclination to cultivate this branch likewise, which was so different from the rest; and finding that I had great success in it, I produced several pieces in this way. My performances, indeed, were much finer and more durable than the Turkish, for several reasons: one was, that I made a much deeper incision in the steel than is generallypractised in Turkish works; the other, that their foliages are nothing else but chicory leaves, with some few flowers of echites: these have, perhaps, some grace, but they do not continue to please like our foliages. In Italy there is a variety of tastes, and we cut foliages in many different forms. The Lombards make the most beautiful wreaths, representing ivy and vine-leaves, and others of the same sort, with agreeable twinings highly pleasing to the eye. The Romans and the Tuscans have a much better notion in this respect, for they represent acanthus leaves, with all their festoons and flowers, winding in a variety of forms; and amongst these leaves they insert birds and animals of several sorts with great ingenuity and elegance in the arrangement. They likewise have recourse occasionally to wild flowers, such as those called Lions' Mouths, from their peculiar shape, accompanied by other fine inventions of the imagination, which are termed grotesques by the ignorant. These foliages have received that name from the moderns, because they are found in certain caverns in Rome, which in ancient days were chambers, baths, studies, halls, and other places of a like nature. The curious happened to discover them in these subterranean caverns, whose low situation is owing to the raising of the surface of the ground in a series of ages; and as these caverns in Rome are commonly called grottos, they from thence acquired the name of grotesque. But this is not their proper name; for, as the ancients delighted in the composition of chimerical creatures, and gave to the supposed promiscuous breed of animals the appellation of monsters,in like manner artists produced by their foliages monsters of this sort; and that is the proper name for them—not grotesques. In such a taste I made foliages filled up in the manner above mentioned, which were far more elegant and pleasing to the eye than the Turkish works.

“It happened about this time that certain vases were discovered, which appeared to be antique urns filled with ashes. Amongst these were iron rings inlaid with gold, in each of which was set a diminutive shell. Learned antiquarians, upon investigating the nature of these rings, declared their opinion that they were worn as charms by those who desired to behave with steadiness and resolution either in prosperous or adverse fortune.

“I likewise took things of this nature in hand at the request of some gentlemen who were my particular friends, and wrought some of these little rings; but I made them of steel well tempered, and then cut and inlaid with gold, so that they were very beautiful to behold: sometimes for a single ring of this sort I was paid above forty crowns.”

OLD SPANISH PULPITS

The earliest pulpits of the Spaniards were similar to those of other Christian nations. One of them was thetribunaortribunal, so called, according to Saint Isidore, “because the minister delivers from it the precepts for a righteous life, wherefore it is a seat or place constructed upon high, in order that all he utters may be heard.” The ambo, too, although it is not mentioned by Saint Isidore, was probably not unknown among the Spaniards.[61]Then there were various desks, such as theanalogia,legitoria, orlectra, on which the scriptures were deposited in church, or carried in procession, and from which the latter were read aloud by the priest. Saint Isidore remarks of theanalogium; “It is so called because the word is preached therefrom, and because it occupies the highest place.”[62]Ducange, quoting from old authors, remarks in his Glossary that these desks were often adorned with gold and silver plates or precious stones. Thus itis extremely probable that Tarik's celebrated “table” (see Vol. I., pp.31et seq.) was merely some elaborate and bejewelledanalogiumof the Christians; such as was, in fact, the predecessor of the modern lectern or “hand-pulpit.”

According to Amador de los Ríos, sermons in those early times were delivered from theanalogiumonly. Towards the twelfth century, the Isidorian liturgy was abolished in Spain, and the furniture of Spanish temples underwent some change. In the same century and throughout the century following, the Spanish Peninsula was invaded by the Order of Preachers, while, coinciding with, or closely consequent upon, this movement, the primitive ambo was succeeded by thejubé, and wood, as the material of which the pulpit was constructed, by marble, iron, stone, or plaster.

Two Mudejar pulpits of great interest are preserved at Toledo, in the church of Santiago del Arabal (thirteenth century), and in the convent, erected in the reign of Pedro the Cruel, of Santo Domingo el Real. The substance of these ancient objects is a brick and plaster foundation, with panels of the stucco known asobra de yesería, produced from wooden moulds. The pulpit of the church of Santiago is traditionally affirmed to be the one from which, in 1411, Saint Vincent Ferrer delivered a sermon to the Toledan Jews. Whether this be so or not, the date of its construction is undoubtedly the second half of the fourteenth century, or early in the fifteenth. The shape is octagonal—a very common form with Gothic pulpits. It is divided into fourcuerposororders, including the sounding-board. The decoration, which is chiefly floral, is a combination of the Gothic and the Moorish styles.

The pulpit of Santo Domingo el Real stands in the refectory of that convent. It dates from the same period as the one belonging to the church of Santiago, but unlike this latter, bears no trace of former gilding, painting, or enamelling upon the surface of the stone or plaster. It has three tiers or compartments, and, as in the other pulpit, the decoration consists of leaves and flowers, blended with geometrical patterns and Moorishlacería.

The Moorishmimbaror pulpit of the mosque of Cordova was very wonderful. According to Sentenach, its situation was near the archway leading to themihrab, and on its desk rested the sacred copy of the Koran which had belonged to the Caliph Othman, and which was stated to be stained with his blood.

Thismimbar, sacrificed long years ago to Christian barbarism and neglect, was the richest piece of furniture in all that mighty building, seven years of unremitting labour being exhausted by Al-Hakem's craftsmen in constructing it of the richest and most aromatic woods, inlaid with silver, ivory, gold, and precious stones. Ambrosio de Morales called it “King Almanzor's chair,” describing it quaintly as a four-wheeled car of richly-wrought wood, mounted by means of seven steps. “A few years since,” he adds, “they broke it up, I know not wherefore. So disappeared this relic of an olden time.”

SPANISH CUTLERS

In former times excellent cutlery, such as knives, scissors, daggers, spearheads, and surgical instruments, was made in Spain, at Seville, Albacete, Toledo, Valencia, Pamplona, Ronda, Peñíscola, Guadix, Ripoll, Mora, Olot, and Tolosa. Rico y Sinobas has given an interesting description of the workshop and apparatus of one of these old Spanish cutlers—his graduated set of hammers, weighing from a few ounces to five pounds, his hand-saws, bench-saw, chisels, pincers, files, and drills, his forge, measuring from a yard square to a yard and a half, his two anvils of the toughest iron, the larger with a flat surface of three inches by ten inches, for ordinary work, the smaller terminated by conical points for making the thumb and finger holes of scissors.[63]The method of tempering and forging practised by these cutlers was much the same as that of the Toledo swordsmiths.

Rico y Sinobas also embodied in his essay thefollowing list of cutlers and cutler-armourers, who manufactured knives, penknives, scissors, parts of firearms, or heads and blades for lances, halberds, and the like. The following is a summary of the list in question:—

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