Part 5 (2/2)

As we survey this immense monument of the Christian faith, we are led to muse upon the power of the early Catholic Church in Spain. It was no half-hearted belief that urged men of all ranks of society to deny themselves in contributing to the huge outlay that went to the planning, erection and decoration of this mighty Cathedral.

The dictates of the Chapter ruled the councils of the State and the conferences of kings and courtiers. When the throne lost power, the bishop's chair gained in authority. In the reign of Philip III. the Cathedral of Seville had no less than one hundred clergy on its staff.

Dunham, in his _History of Spain_, states that 'half a dozen could a.s.suredly have been sufficient for the public offices of devotion.' But there was no question of restricting the number of ministers and confessors in these days of perfervid devotion. It was considered heretical to even speak of stinting the wealth that was freely poured into the coffers of the hierarchy. To this devotion and liberality we owe the great treasure-house of art beneath whose broad shadow we stand.

The painters, sculptors and craftsmen were under the patronage of the Church; they could not have subsisted without such patronage. And in most cases they gave their services gladly, for their heart was in their labours, and devotion inspired them. Few desired any other kind of employment; the highest service was that of holy religion.

A great faith, such as the Romish, inspires its devotees to the building of resplendent temples. The Christians would not merely imitate the Moors in the beauty and richness of their churches. They pledged themselves to excel the magnificence of the _mezquitas_, and to show mankind that G.o.d is honoured most devoutly by those who spare neither wealth nor industry in the setting up of fanes dedicated to His wors.h.i.+p.

We cannot grasp the Spanish character until we realise that its keynote in the past was profound piety and deep loyalty towards the Church and the Crown. The cathedrals of Spain are testimony to this devotion to the Christian creed. They are solemn historic memorials of faith.

Wors.h.i.+ppers in the Seville Cathedral are reverential; there is no apparent insincerity in their responses and genuflexions. In Italy and France there is a less manifest reverence during divine services. But the Spanish temperament has remained religious through all the stress of heretical days and the changing fortunes of its dynasties. It is not only the women who are devout, for many men are present at the celebrations in the cathedrals and churches. Very imposing are these Spanish services in the half-light of the _capillas_:

'Dim burn the lamps like lights on vaporous seas; Drowsed are the voices of droned litanies; Blurred as in dreams the face of priest and friar.'

The organ music is often superb, and the choristers are highly trained.

Besides the organ, reed and string instruments are used to accompany the singing during important festivals. The smoke of incense mounts in the lofty naves and aisles; the altars glow with candle-lights, and the sweet, rich voices of the boys hover under the vaulted roofs. Rich and poor alike sit or stand upon the flagged floors. The preachers are often very eloquent, and they preach in the purest form of the Castilian language.

The dim light of the interior of the Cathedral is a hindrance to the full enjoyment of the very numerous works of art that adorn the chapels.

This gloom is characteristic of the Spanish cathedrals and churches. The best time in the day to inspect the pictures in Seville Cathedral is before eight in the morning. It is an early hour; but the light is then fairly good, and the chapels are usually quiet. I advise the visitor to spend several hours in the Cathedral, if he desires to study the inner architecture, carvings, pictures and statues. A mere ramble through the naves and a peep into one or two of the _capillas_ will not suffice. It is well to select a portion of the interior for each day's inspection.

Shun the loafers who offer their services as guides. They have no knowledge of the art treasures, and they possess a faculty of invention.

I trust that my description will a.s.sist the stranger in his tour of the Cathedral. The chief objects of art are indicated, or briefly described, in the remaining part of this chapter. The account is not to be taken as exhaustive. A thorough treatise on the architecture of the building alone would require more s.p.a.ce than I have at my command, and it might prove somewhat tedious to the reader who is not acquainted with the technical terminology of architecture.

THE INTERIOR OF THE CATHEDRAL.

Enter by the Puerta del Lagarto, in the Patio de los Naranjas. One's first impression when within the Cathedral is that of its magnitude and the 'frightful height,' which struck Theophile Gautier. The length, exclusive of the Capilla Real, is three hundred and eighty feet; the width is two hundred and fifty feet. The nave is one hundred and thirty-two feet in height, and over fifty feet in width.

There is great dignity in the lofty columns, and a sense of vastness possesses us as we gaze upwards. The floor is of fine marble. It was laid in the years 1787 to 1795.

_The Capilla de los Evangelistas_ is the first chapel near to the _puerta_. It has a fine altar piece in nine parts, the work of Hernando de Sturmio, containing a picture of the ancient Giralda. The paintings are on panel, and the brown tints are characteristic of the early Sevillian School of Art.

By the Puerta de los Naranjas, the great door on this side of the Cathedral, there are two altars. One is the Altar de la Asuncion, and the other is dedicated to La Virgen de Belen. The a.s.sumption picture as executed by Carlo Maratta. The face of the Virgin is clear, but somewhat dark in tone, and the light is not favourable for viewing the picture.

On the other side of the doorway the light is better. The altar is adorned by a painting of the Virgin, from the brush of the famous Alonso Cano. It is a rather conventional presentment of Holy Mother, but the features are not without beauty. On the whole, the painting is not equal in merit to most of the works of the last Andalusian master. The hands and feet of the figure are finished with the care characteristic of Cano's art.

Alonso Cano has been called the 'Michelangelo of Spain.' He studied in Seville under Pacheco and Juan de Castillo, and painted pictures for some of the religious houses. Cano was also a sculptor and architect. He was forced to leave the city after wounding an antagonist in a duel. In 1651 he was appointed a Canon of Granada, and during his residence in the old Moorish city, Cano painted works for the churches. The artist was of an irritable disposition; but he spent the latter part of his life in religious exercises, and gave freely to the poor. He died in poverty, in 1667, and received alms from the Church.

Writing of Alonso Cano, in his _Spanish and French Painters_, Mr Gerard W. Smith says: 'Although he was never in Italy, his fine feeling for form, and the natural charm and simplicity of his composition, suggest the study of the antique, while in painting, the richness and variety of his colouring could hardly be surpa.s.sed.'

_The Capilla de San Francisco_ is next to the altar of Alonso Cano. Here we may try to see a painting of the Glorification of St. Francis by Herrera el Mozo, and one of the Virgin and San Ildefonso, by Juan Valdes Leal. Herrera's picture is not of value. He was a much less capable artist than his father, Francisco Herrera el Viejo (the elder), from whose roof the mozo ran away to Italy. Upon his return to Seville, the young man was so conceited and affected in his painting that he failed to produce any fine work. The Glorification of St. Francis and the picture by Leal can be scarcely seen in the sombre shadows of the chapel.

[Ill.u.s.tration: Interior of the cathedral]

_The Capilla de Santiago_ adjoins the last chapel. There are two paintings here; one by Juan de las Roelas of St. James (Santiago) and one of St. Lawrence (San Lorenzo) by Valdes Leal. Roelas was painting in Seville at the time of Herrera the Elder. He is said to have studied art in Venice. The finest work of this artist is to be seen in the Church of San Isidoro.[C] In the Capilla de Santiago there is a dilapidated tomb of Archbishop Gonzalo de Mena, who died in 1401.

_The Capilla de Escalas_ contains two pictures of note by Luca Giordano, strong in character, drawing, and colour. Over the tomb of Bishop Baltasar del Rio, who died in 1540, is an altar relief of the Day of Pentecost by a Genoese artist.

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