It was late the next forenoon before I had slept the forty hot and rocky miles out of my legs and sallied forth to visit a shoemaker. As he lived only two streets away, it was my good fortune to find him in less than an hour, and as Toledo is the last city in the world in which a man would care to run about in his socks, I sat on a stool beside his workbench for something over three hours. His home and shop consisted of one cavernous room; his family, of a wife who sewed so incessantly that one might easily have fancied her run by machinery, and of a daughter of six who devised more amusement with a few scraps of leather than many another might with all the toys of Nürnberg. The shoemaker was of that old-fashioned tribe of careful workmen, taking pride in their labor, whom it is always a joy to meet--though not always to sit waiting for. He, too, hinted at the misery of life in Toledo, but unlike the specter of the night before, did not lay the blame for the sunken condition of his city on the "frailuchos," charging it rather to the well-known perverseness of fate, either because he was of an orthodox turn of mind or because his wife sat close at hand. When he had finished, having sewed soles and nailed heels on my shoes that were to endure until Spain was left behind, he collected a sum barely equal to forty cents.
In striking contrast to him--indeed, the two well illustrated the two types of workmen the world harbors--was the barber who performed the next service. He was a mountain of sloth who rose with almost a growl at being disturbed and, his mind elsewhere, listlessly proceeded to the task before him. Though he was over forty and knew no other trade, he had not learned even this one, but haggled and clawed as that breed of man will who drifts through life without training himself to do anything. The reflective wanderer comes more and more to respect only the man, be he merely a street-sweeper, who does his life's work honestly; the "four-flusher" is ever a source of nausea and a lowerer of the tone of life, be he the president of a nation.
While I suffered, a priest dropped in to have his tonsure renovated and gloriously outdid in the scrofulousness of his anecdotes not only this clumsy wielder of the helmet of Mambrino, but exposed poor timorous Boccaccio for a prude and a Quaker.
Packed away down in a hollow of the congested city is that famous cathedral surnamed "la Rica." "The Rich"--it would be nearer justice to dub her the Midian, the Ostentatious, for she is so overburdened and top-heavy with wealth that one experiences at sight of her a feeling almost of disgust, as for a woman garish with jewelry. We of the United States must see, to conceive what shiploads of riches are heaped up within the churches of Spain by the superstitions of her people and the rapacity of her priests, who, discovering the impossibility of laying up their booty hereafter, agree with many groans to stack it here.
"The Spanish church," observes Gautier, "is scarcely any longer frequented except by tourists, mendicants, and horrible old women." If one choose the right hour of the afternoon even these vexations are chiefly absent, entirely, perhaps, but for a poor old crone or two kneeling before some mammoth doll tricked out to represent the Virgin and bowing down now and then in true Mohammedan fashion to kiss the stone flagging. The Iberian traveler must visit the cathedrals of the peninsula, not merely because they offer the only cool retreat on a summer day, but because they are the museums of Spain's art and history. But even the splendor of the setting sun through her marvelous stained-glass windows cannot overcome the oppressiveness of "la Rica."
As he stands before the wondrous paintings that enrich the great religious edifices of Spain, the matter-of-fact American of to-day is not unlikely to be assailed by other thoughts than the pure esthetic. There comes, perhaps, the reflection of how false is that oft-repeated assertion that the world's truly great artists exercised their genius solely for pure art's sake. Would they then have prostituted their years on earth to tickling the vanity of their patrons, in depicting the wife of some rich candle-maker walking arm in arm with the Nazarene on the Mount of Olives, or the absurdity of picturing Saint Fulano, who was fed to Roman lions in A.D. 300, strolling through a Sevillian garden with the infant Jesus in his arms and a heavenly smirk on his countenance? How much greater treasures might we have to-day had they thrown off the double yoke of contemporaneous superstitions and servility to wealth and painted, for example, the real Mary as in their creative souls they saw her, the simple Jewish housewife amid her plain Syrian surroundings. Instead of which they have set on canvas and ask us to accept as their real conception voluptuous-faced "Virgins" who were certainly painted from models of a very different type, and into whose likeness in spite of the painter's skill has crept a hint that the poser's thoughts during the sitting were much less on her assumed motherhood of a deity than on the coming evening's amours.
Horror, too, stands boldly forth in Spanish painting. The Spaniard is, incongruously enough, as realist of the first water. He will see things materially, graphically; the bullfight is his great delight, not the pretended reality of the theater. Centuries of fighting the infidel, centuries of courting self-sacrifice in slaying heretics, the reaction against the sensuous gentleness of the Moor, have all combined to make his Christianity fervid, savage, sanguinary. Yielding to which characteristic of his fellow-countrymen, or tainted with it himself, many a Spanish artist seems to have gloried in depicting in all gruesome detail martyrs undergoing torture, limbs and breasts lopped off and lying bleeding close at hand, unshaven torturers wielding their dripping knives with fiendish merriment. These horrors, too, are set up in public places of worship, where little children come daily, and even men on occasion. It is strange, indeed, if childhood's proneness to imitation does not make the playground frequently the scene of similar martyrdoms. How much better to treat the tots to a daily visit to the morgue, where what they see would at least be true to nature--and far less repulsive.
There are other "sights" in Toledo than the cathedral for him who is successful in running them down in her jungle of streets. Each such chase is certain sooner or later to bring him out into the Zocodover, that disheveled central plaza in which the sunbeams fall like a shower of arrows. The inferno into which he seems plunged unwarned chokes at once the rambler's grumble at the intricacies of the city and brings him instead to mumble praises of the Arabs, who had the good sense so to build that the sun with his best endeavors rarely gets a peep into the depth of the pavement; and the time is short indeed before he dives back into the relief of one of the radiating calles.
As often as I crossed the "Zoco" my eyes were drawn to a ragged fellow of my own age, with a six-inch stump for one leg, lolling prone on the dirt-carpeted earth in a corner of the square, mumbling from time to time over his cigarette:
"Una limosnita, señores; qué Dios se lo pagará."