[88] See article in Smith’s Classical Dict.; also Walter Lowrie’s Christian Art and Archæology, 1901. Lowrie thinks that the use of incense originated in funeral processions. “Constantine,” he says, “presented to St. Peter’s a censer (thumiamaterium) of purest gold, adorned on all sides with gems, to the number of sixty, and weighing fifteen pounds.”
[89] Ford wrote: “In the Spanish theatres no neutralising incense is used as is done by the wise clergy in their churches. If the atmosphere (of the theatres) were analysed by Faraday, it would be found to contain equal portions of stale cigar smoke and fresh garlic fume.”
[90] See Mobilario Liturgico, p. 176.
[91] These so-called clarions or clarionets (or chirimias, as they are locally called) are not really clarionets, they are like flutes, sounded by the help of a reed fixed to the mouthpiece. I have been assured that they are the only two of their kind in existence.
[92] See his El Pontificade Gallego, 1907.
[93] See Richard Ford, A Handbook for Travellers, London, 1855.
[94] Purchase.
[95] See Historia de la Santa Iglesia de Santiago, vol. iv. 1901.
[96] As Lamperez has remarked, the return to Gothic and mediæval architecture witnessed in France and other countries in the nineteenth century may be distinctly traced to the interest aroused first by Caumont, and later by Viollet-le-Duc in the architecture of the Middle Ages.
[97] See Montalembert on this subject.