APPENDIX C
DESCRIPTION OF THE CUSTODIAS OF SEVILLE AND CORDOVA
The custodia of Seville cathedral is described by its author, Juan de Arfe, in the following terms:—
The shape is circular, with projecting friezes and bases. The custodia is 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 twelve vistas (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., Plate [xvii].).
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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 of God. High up, about the spring of the vault, is the figure of the Holy Spirit, assistant in the church.
Between the six asientos of 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 word BAPTISMUS.
(2) Confirmation is 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 word CONFIRMATIO.
(3) Penitence holds 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 word PŒNITENTIA.
(4) Extreme Unction is represented by an aged woman, 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 is UNCTIO.
(5) Order is a priest with his vestments, holding an incensory, together with a chalice and the host, signifying Oration and Sacrifice. The word inscribed is ORDO.
(6) Matrimony is 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 inscription MATRIMONIUM.
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, signifying the 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 and the 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 by a 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 royal crown. 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, by the 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 inscription Quanto 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 of the 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 circular viril ornamented 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 beautiful woman, 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 olive bough, 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 the custodia, 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 that issues 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 the inscription, 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 the custodia adorned 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 the custodia has been much meddled with by profane hands, and has been subjected to various 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 whole custodia, by an unwieldy statue representing the Catholic Faith.
Description of the Custodia of Cordova Cathedral
(From Córdoba, by Pedro de Madrazo)
As I have stated in Vol. I., p. [98], the author of this custodia was 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 the custodia is 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, that as the custodia narrows gradually as it rises, the receding spaces grow proportionally larger, thus affording room for the spacious inner order on which is raised the viril. 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 the viril rises 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 the viril, 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 the dome is a crown surmounted by a statuette of Christ triumphant, with the cross. The two vaults—that which encloses the viril, 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.”