In 1613 appeared his "Novelas Exemplares," a remarkable collection of tales which gave Scott the idea of the Waverley novels. The second part of "Don Quixote," equal to the first in vigor and charm, appeared when Cervantes was sixty; "his foot already in the stirrup," he gives us in a preface, the moving description of himself. In the latter part of his life, according to a custom of the time, he became a tertiary of the Franciscan Order, and on his death in 1616 they buried him humbly in the convent of nuns in Madrid, where his daughter was a religious. Ill fortune still pursued him, for to-day there is no trace of his last resting-place.
It is with thoughts of this heroic life—this man lovable as his own Don, with a gentle stammer in his speech, and the kindly wise look in his eyes, his left hand maimed from Lepanto, his shoulders bowed and his chestnut hair turned to silver by the ceaseless calamities of life—it is with such memories one looks down from the high-road on the small house where he wrote his masterpiece. Columbus on his deathbed, and Cervantes in poverty writing "Quixote"—two such associations make a visit to Valladolid memorable.
OVIEDO IN THE ASTURIAS
"It is perfectly ridiculous to pretend that, because they dress the Madonna and saints in rich robes, the Spaniards are ignorant that a statue is but a symbol. They sing their faith, we whisper ours, but the words have the same meaning, and the same thought is in the mind ... Draw a bias line enclosing the Basque provinces,—Navarre, Castile, Aragon, Catalonia, and you have there old religious Spain as she appears in history, with a vivid and practical faith, an irreproachable clergy, a piety of the heart reflected in the manners."—RENÉ BAZIN.
WE left Valladolid toward evening, in order to stop over a night in Palencia, before going north to Asturias. The cathedral of Palencia is well worth the pause, even though the visit may be limited to a night in the Continental Inn and a hasty daybreak visit to the church; the small cities of central Spain are of so individual a character that each stamps itself separately and indelibly on the memory.
The dawn was just breaking on a raw, rainy morning when we walked through the silent streets of the town. In spite of the early hour, near each of the water fountains stood a long row of antique-shaped jars, some of red clay, some like old silver. For each housewife places her jar in line, and when the drinking water is turned on, each fills her crock in turn, according as it was put in the row. At the biblical wells of Palestine the Syrian women to-day use ugly, square Rockefeller oil cans, but happily conservative Spain is not partial to innovations. It was on this early morning walk that I first noticed the white palm leaves, some six feet in length, fastened to the balconies or above a window. One finds them all over the country. They are from the palm forests of Elche in the south, and each Easter new ones are blessed and hung out on the houses, some say to guard against lightning. Later, in Madrid, we saw one decorating the King's palace.
The Cathedral of Palencia is of the same tawny yellow as the plains about it. The east end is early Gothic, the western part of a later, weaker period. Like Salisbury it has the uncommon feature of two sets of transepts; the clearstory is carried round the church, unbroken by rose windows at the west or transept ends. The interior in the dim light of a rainy October morning was picturesque past description. There are times when the chances of travel bring one to a spot at just its perfect hour. Thus we saw this church in a moment of such exquisite half light and quietude that its memory is a possession for life. Behind the High Altar rose an isolated chapel, set detached in the midst of the ambulatory, and through its iron rejas were seen the blurred glimmer of candles, the veiled kneeling figures of the people, an aged white-haired priest at the Altar; high upon the wall the coffin of the ancient Queen Urraca. The effect was indescribable,—austere, ascetic, yet with a passionate glamour essentially Spanish. A masterpiece could an artist make of this detached chapel, lighted for divine service each day at dawn with such unconscious naturalness.
Architects may say that Spanish cathedrals are exaggerated and overloaded, that they lack the restraint and purity of line of Chartres, Amiens, and the Isle de France churches which are the world's best Gothic. All this may well be true, yet Spain can smile securely at criticism. She has a soul in her places of worship, a soaring exaltation of the imagination that imparts the assurance of a living faith. Firmly and ardently she believes in Jesus Christ, her Redeemer, and with all her lofty intensity she prostrates herself in worship.
We wandered round the dusky aisles, deciphering tombs, some of whose effigies held their arms raised in prayer,—only a Spaniard could endure to look even at such a tiring attitude! But the time for loitering was limited. The transept clock, a knight, a Moor, and a lion, sounded the warning we must heed if we were to catch the early train for the North. The thoughtful innkeeper had saved us some precious minutes by sending the hotel omnibus to wait outside the Cathedral, and we rattled—in its literal sense—to the distant station. The city was at last fully awake, and each water jar had now an owner; one by one they followed each other at the pump, with pleasant greetings and chatter.
Then again stretched the tawny plains. The fields of León were tractless wastes of mud from the rain of the past weeks. Seen from the car window, each village on the truncated mountain was the exact copy of its neighbor, the same monotonous note of color in adobe wall and denuded steppe. It was in vain to look for some distinction to mark one group of mud houses, called Paredes de Nava, birthplace of Spain's best sculptor Berruguete, from a similar mud-emblocked place called Cisneros, feudal home of Cardinal Ximenez's family; the imagination had to supply the difference.