Glories of Spain

by Charles W. Wood

On one side stretch far and wide the blue waters of the Mediterranean. Lateen-rigged feluccas, with white sails set, are wafted to and fro by the gentle breeze. Life on board seems a paradise of luxurious ease and indolence. Nothing marks the passing hours but the slow progress of the sun. The sky is as intensely blue as the sea, and the air seems full of light. You are dazzled by so much brilliance. Distant objects stand out in clear detail. The wide undulating plain stretches far away to the left, broken by towns and villages, the famous castle of Altafulla in the distance. Below the town lies the aqueduct, one of the most perfect Roman remains in Spain.

At our feet are the city walls, enclosing all the wonderful antiquities, and above the picturesque roofs of the houses rise the matchless outlines of the cathedral.

To this same cathedral we made our way this morning, passing through the market-place lively with stalls, buyers and sellers; Spanish men and women picturesque in their national costumes: a modern human picture side by side with outlines of the highest antiquity.

Passing through an archway we found ourselves in the Cathedral Square, dazzled by the splendour of the vision. Here the market had overflowed, and the market-women, full of life and colouring and animation, sat in front of their fruit and flower-stalls. One and all tempted us to buy, and rare were the wares they sold. Again the new and the ancient blended together; for beyond the women rose those marvellous outlines, sharply pencilled against the brilliant blue sky: magnificent contrast of colouring, wherein everything was in strong light and shadow.

Our strange experience of last night was still full upon us. We had hardly recovered from the dream state into which the marvellous music of Quasimodo had plunged us with strange mesmeric influence.

The beauty of the night, the pure pale moonlight effect, had not prepared us for the splendours of to-day: so effective, lovely and diversified a cathedral: the most remarkable exterior we had yet found in Spain. The whole square with its surrounding houses is a dream. The church dates from the eleventh century. Above the round apse of the choir at the east end—probably the oldest part of the building—rose outline upon outline, all bearing the refining mark of age. Much of it appeared never to have been touched or restored. On the south side was a tower, of which the lower part was Romanesque, the remainder fourteenth century and octagonal. Apart from the east end most of the church is transitional. The roofs are covered with pantiles, but they are not the original covering, and are not quite in harmony with the rest of the work.

The west doorways are very fine. Those that open to the aisles are of the earliest date; the central and more important is fourteenth century, deeply recessed, with a massive buttress on each side. This doorway rises to a triangle, above which are many statues of the apostles in Gothic niches. Above the Romanesque side doors are rose windows with rare and delicate tracery, and the south door has a finely carved relief of the Entry into Jerusalem.

The internal effect was most impressive. Few cathedrals are more solidly built, yet few display greater ornamentation. The columns are splendid, their richly-carved capitals redeeming the somewhat stern severity of the pure transition work. The piers are very massive, and the eye is at once arrested by the early-pointed clerestory and unusually large bays. The view of the interior of the transept, above which rises the octagonal lantern with its narrow pointed lights is especially striking. A little of the coloured glass is very brilliant and sixteenth century, but the greater part is modern. The chancel is pure Romanesque, the chapels are chiefly fourteenth century. In the baptistery the font is a Roman sarcophagus found in the palace of Augustus.

But the cloisters are the gem of the cathedral. Here again was an architectural dream, grand in design, of noblest proportions: six splendid bays on each side, each bay enclosing three round arches. These are divided by coupled shafts of white marble, decorated with dog-tooth mouldings. Above them two large circles are pierced in the wall, some retaining the original interlacing work of extreme beauty and delicacy, and of Moorish origin.

Many of the capitals are quaintly carved, with humorous subjects: one of them, for instance, representing a procession of rats carrying a cat to her burial. The cat shams death, and the too-confident rats omit to bind her. Presently the tables turn: the cat comes to life, springs upon the rats and devours them.