But where the silversmith's art is purest and most lavishly pronounced is in the sagrarios. These are solid silver carved pyramids about two or three feet high: they represent miniature temples or thrones with shafts or columns supporting arches, windows, pinnacles, and cupolas. In the interior, an effigy of the saint, or the Virgin, etc., to whom the cathedral is dedicated, is to be seen seated on a throne.
In all cases the workmanship of these miniature temples is exquisite, and has brought just fame to Spain's fifteenth and sixteenth century silversmiths.
Ironcraft.—Last to be mentioned, but not least in importance, are the artisans who worked in iron. They brought their trade up to the height of a fine art of universal fame; their artistic window rejas, in the houses and palaces of the rich, are the wonder of all art lovers, and so also are the immense rejas or grilles which close off the high altar and the choir from the transept, or the entrance to chapels from the[{52}] aisles. Though this art has completely degenerated to-day, nevertheless, a just remark was made in the author's hearing by an Englishman, who said:
"Even to-day, Spaniards are unable to make a bad reja."
The reader's and tourist's attention has been called to the salient artistic points of a Spanish cathedral. They must be examined one by one, and they will be admired; the view of the ensemble will puzzle and amaze him, yet it will be wise for him not to criticize harshly the lack of unity of style. Frequently the choir stalls are ogival, the retablo Renaissance, the rejas plateresque, and the general decoration of columns, etc., of the most lavish grotesque.
This in itself is no sin, neither artistic nor ethical, as long as the religious awe comes home to the Spaniard, for whom these cathedrals are intended. Besides, it is an open question whether the monotony of a pure style be nobler than a luxurious moulding together of all styles. The whole question is, do the different parts harmonize, or do they produce a criard impression.
The answer in all cases is purely personal.[{53}] Yet, even if unfavourable, the utility of the art demonstration must be borne in mind and considered as well. And as regards the Spaniard, the utility does exist beyond a doubt.
Architectural Styles
Let us now follow the art student in his task. He will determine the different styles, and, to make the matter clearer, he will employ a rhetorical figure:
There is an island in the sea. Huge breakers roar on the beach and dash against the rocky cliffs. Second, third, and fourth breakers of varying strength and energy race with the first, and are in their turn pushed relentlessly on from behind until they ripple in dying surf on the golden sands and boil in white spray in hidden clifts and caves. With the years that roll along the island is shaped according to the will of the waves.