Curiosities of Christian History Prior to the Reformation

by James Paterson

THE CATHEDRAL OF PISA.

The first period of Christian architecture was the Roman basilica, the second the Byzantine, and the third the Lombard and Norman style, which was followed by the Gothic. The most splendid specimen of the Lombard style is the cathedral of Pisa. It was the oblation of the richest and most powerful city in Italy at the height of her prosperity, her industry, her commerce, her fame; it was made in the pride of her wealth, in a passion of gratitude for a victory, and for rich plunder taken from the Mohammedans in the harbour of Palermo. The cathedral makes one of the four buildings—the dome, the baptistery, the leaning tower, the Campo Santo—which in their sad grandeur in the deserted city surpass all other groups of buildings in Europe. The cathedral, standing alone, would command the highest admiration. The west front displays a profusion of tiers of arches above arches, arranged with finer proportion, richness, and upward decreasing order than elsewhere. But its sublimity is within. Its plan, the Latin cross, in the most perfect proportion, gives an impressive unity to its central nave, with its double aisles, its aisled transepts, and its receding apse. Its loftiness is more commanding than any building of its class in Italy. The Corinthian pillars along the nave are of admirable height and proportion. The first stone of the cathedral was laid in 1067, and the whole was completed in 1118. The extraordinary campanile or bell-tower, now called the leaning tower, was begun in 1174, and the foundation giving way accounts for its falling from the perpendicular. The tower is cylindrical, is 53 feet in diameter, and is 179 feet high. On the summit of the tower are seven bells, which are sonorous and harmonious. The baptistery adjoining has a dome 99 feet in diameter. On the exterior of the eastern doorway are sculptures representing the martyrdom of John the Baptist. In the centre of the building is the font, about 14 feet in diameter. The great ornament of this building is the pergamo or pulpit, by Nicolo Pisano, of hexagonal form, with bas-reliefs of the events in Christ’s life. The Campo Santo is a cemetery containing a great collection of sepulchral monuments and a museum of the dead. Upwards of three hundred statues and sculptures are here, and six hundred tombs of families. The frescoes on the walls include pictures of a great variety of sacred subjects from the Old and New Testaments, and some of these are by superior artists.

CHAPEL OF SAN GENNARO AT NAPLES.

Near the basilica of Santa Restituta, which is the cathedral at Naples, is a chapel of San Gennaro, richly decorated. It is chiefly remarkable for the blood of St. Januarius, which is exhibited in two phials resting in a tabernacle behind the high altar. The blood of the saint liquefies three times a year. The saint was exposed to lions in the amphitheatre about 305, when the beasts prostrated themselves before him and grew tame. He was afterwards decapitated and his body deposited at Pozzuoli, and then removed to this church. The blood was said to have been first collected by a woman present at the martyrdom. In 1696 Lord Perth, the chancellor of Scotland, being on his travels, described the whole exhibition of the relics in his time. He said the blood looked like a piece of pitch clotted and hard in the glass, and when brought near to the head it liquefied; and “it was an admirable thing to see blood shed upwards of thirteen hundred years ago liquefy at this approach to the head. The Roman lady who had gathered it from off the ground with a sponge had, in squeezing of it into the glass, let a bit of straw fall in too, which one sees in the blood to this very day.”

THE CATHEDRAL OF SANTIAGO COMPOSTELLA.

The cathedral of Santiago (which is the Spanish name for St. James the Elder) is also called Compostella, because a star is said to have pointed out where that saint’s body was concealed, being in a wood near the present city. This shrine has been the favourite resort of pilgrims from all parts of Spain, France, and England. The cathedral was founded in 1078, and is on the same plan and design as that of Toulouse. The statue of St. James has figures of kings kneeling before it. Here there is a hospital for pilgrims built in four quadrangles, and so contrived that the patients can all see the sacrifice of the Mass. The interior of the cathedral is purposely kept somewhat dark to increase the effect of the illuminations of the high altar, thus rendering the image of the apostle the one prominent feature. The dark side aisles, which look almost like corridors, are filled with confessional boxes dedicated to different saints, while on those destined for foreign pilgrims are inscribed the languages which the priest understands. The image of St. James in the Capilla Mayor, is Gothic, of stone painted and gilt, and so covered with ornamentation that the head alone is visible. The image is seated, holding a book in the left hand and blessing with the right. It is placed in a fine silver shrine. Mass can only be said before this image by bishops or canons of a certain dignity, of whom seven attend on grand occasions. The aureola of the saint’s head is composed of rubies and emeralds. The western portico of this church is considered the most glorious achievement of Christian art, and the Last Judgment is represented with the Saviour as the chief figure, being twice the size of life. The figures and architecture are alike exquisite. The ceremonial by pilgrims to this shrine begins with the ascent of some steps behind the image, and then the stranger places his hands on the shoulders and kisses the hood. This kiss is the chief object and end of the pilgrimage, without which all is ineffectual. He next proceeds to one of the confessors, by whom he is absolved. He then communicates and receives his certificate or compostella. This last is a printed document signed by the canon, and certifies that he has complied with all the devotional ceremonies necessary to constitute a real pilgrim. This compostella is kept along with the family title deeds as a voucher of the journey, and it is often made the condition of succession to landed estates. The ceremonies of the offertory on the great festival day, July 25th, are various and full of interest.

THE SPANISH CATHEDRAL OF LEON.

The cathedral of Santa Maria at Leon is one of the oldest in Spain, the present one being built about 1073. Its lightness of construction is proverbial. The grand western entrance is said to be the best of its kind in Spain. There are about fifty large statues and many small sculptures of admirable finish. On each side of the altar are buried two saints, Froylar and Alvito. The lofty windows are painted with apostles, saints, virgins, kings, and bishops; the reds and greens are among the finest specimens of the art, being executed by Flemish artists. In one of the chapels, called the Chapel of the Dice, is the miraculous image of the Virgin and Child, the chapel being so called because a gambler once, after being unlucky, threw his dice at it, and hit the infant’s nose, which immediately bled. The chapel of St. Andrew, in the same cathedral, has doorways and doors richly and delicately carved in the finest style. The frescoes illustrate scenes in the life of the Saviour, and the drawing and colouring are the best specimens of early Spanish painting. In Leon there is also a church of St. Isidore, which contains the body of that saint, who worked miracles after his death. Though he was known only as a learned man in his lifetime, he is said to have become the tutelar saint of Leon after his death, and in this capacity to have fought at the battle of Baeza armed with a sword and cross. He was on that occasion mounted on horseback and arrayed in his pontificals. The high altar shares with Lugo the rare privilege of having the Host, the incarnate Deity, always visible; and the effect at night, when all is lighted up, with figures of angels kneeling at the side, is described as striking.

THE CATHEDRAL OF SEVILLE.