Curiosities of Christian History Prior to the Reformation

by James Paterson

The cathedral of Seville is one of the largest and finest in Spain; its characteristic is solemnity, as elegance is the feature of Leon, strength of Santiago, and wealth of Toledo. The cathedral of Seville was begun in 1401, and its ample revenues and grand decorations long fostered and employed the artistic genius of Andalusia, and the interior, with its five mighty aisles and ample choir, remain still unrivalled. The see being vacant in 1401, the chapter determined to rebuild the fabric. “Let us build,” said these magnificent ecclesiastics, “a church that shall cause us to be taken for madmen by them who shall come after us, so that at all events it shall have no equal.” The name of the architect, though leaving his mark in this impressive way, perished with his original plans in a fire in 1734. The work went on for more than a century and a half, displaying in its many incongruous parts the successive changes of architectural style. To provide funds for so vast an undertaking, the prebendaries and canons gave up the greater part of their incomes—an instance of devotion not uncommon in those earnest times. The edifice inside and outside is a museum of fine arts. There are ninety-three windows, and the painted ones are among the finest in Spain. During Easter week the exquisite bronze candlestick, twenty-five feet high, when the Miserere is sung, is lighted with thirteen candles: twelve are put out one after another, indicating that the Apostles deserted Christ; one alone of white wax remains burning, being a symbol of the Virgin true to the last. A great picture of the descent from the cross in the principal vestry was considered, before the colours somewhat faded, so lifelike, that Pacheco was afraid to remain after dusk alone, and here Murillo used to stand watching, as he said, till those holy men should have finished taking down the Saviour, and before this picture he desired to be buried. Underneath this picture the relics of the church are kept. In the Capilla Real, over the high altar, is an image of the Virgin of life size, like a movable lay figure, having hair of spun gold and shoes ornamented with the lilies of France, and seated on a silver throne. The cathedral is always thronged, not only by the devout, but by idlers and beggars.

THE CATHEDRAL OF TOLEDO.

The cathedral of Toledo is said to have been erected by the Virgin herself while she was alive, and she is said to have often come down from heaven to it, accompanied by St. Peter, St. Paul, and St. James. The present cathedral was built in 1226. It excels in fine, rich furniture, picturesque effect, and artistic objects of every kind. The one tower which is finished is 325 feet high. The painted windows are superb, and at dusk light up and shine like rubies and emeralds. The choir is a museum of sculpture. The 116 reliquaries are of gold, silver, ivory, and rock crystal. The church plate rivals that of Loretto in quantity. The Queen of the Cathedral is the image of the Virgin carved of black wood. It was saved in 711 from the infidels by an Englishman, who hid it in a vault. It is seated on a silver throne under a silver-gilt canopy, supported by pillars. The superb crown and bracelets of precious stones, made in the sixteenth century, were stolen in 1865. In a wardrobe near the Custodia, the famous manto of the Virgin is kept, which was embroidered with pearls in 1615. There are 257 pearls used, 300 ozs. of gold thread, 160 ozs. of small pieces of enamelled gold, and 8 ozs. of emeralds and precious stones. Her rings, necklaces, and trinkets are countless.

THE CATHEDRAL OF CORDOVA.

The cathedral of Cordova occupies the site of a basilica which had been erected on a Roman temple. About 780 Abderrahman I. determined to build a temple which would compete with the finest in the East, and in 786 the building was begun. At first there were eleven naves, and eight more were added about 988, so that there are no less than nineteen in all. This structure is the finest type in Europe of a true temple of Islam. The forest of columns supporting the low roof are not uniform, nor are they of the same diameter. Some are of jasper, porphyry, verde-antique, and other choice marbles. In sanctity this ranked as the third of mosques, second only to Mecca and equal to Al Aska of Jerusalem. Some of the upper arches of the pillars are beautifully interlaced like ribands. Some of the decorations were introduced after it had been converted into a Christian temple in 1238. The choir was added in 1523. The cinquecento ornaments and roof are picked out in white and gold. The pulpits are splendid, and the fine brass balustrades very effective.

THE CATHEDRAL OF AMALFI.

The cathedral of Amalfi is dedicated to St. Andrew. The bronze doors were made about 1000, and the nave has its roof richly carved and gilded. Below is the crypt, containing the body of St. Andrew, which was brought from Constantinople with other relics about 1200. This circumstance has made Amalfi a place of pilgrimage. The head of the apostle was enclosed in a silver bust and removed to Rome, where it is still preserved among the relics in St. Peter’s. There is a handsome bell-tower of four storeys at this cathedral.

THE MISERERE AT VALENCIA.

In the chapel of the Colegia de Corpus, which is a museum of Ribaltas, a religious service of great interest is made one of the wonders. The chapel is purposely kept dark by the small windows, which allow only a dim, religious light. On a Friday morning the Miserere is a service which interests every stranger. Ladies must go in black, with a manto or some thick mantilla. At ten a.m. the blinds of all the windows are drawn and the doors shut, and a gloom is thrown over the building, the whole space above the high altar being covered with a purple pall, as if in mourning. The silent choristers alone stand near it. A priest is seen to approach and prostrate himself; then all kneel, and the solemn chant begins. At the first verse the picture above the altar descends noiselessly and almost imperceptibly, and the vacancy is filled with a lilac veil with yellow stripes. As the chant proceeds this is withdrawn, and discloses one of a faint grey, which is next removed, then another of deep black, and then after a pause another veil. The imagination of the audience is worked upon, and all are hushed with breathless curiosity while the penitential psalm is sung. At last the veil of the Temple appears to be rent asunder, and the Saviour on the cross appears resplendent, while silvery voices are heard in the distance, and the pall again closes over this great central figure. After the service and later in the day the public are allowed for a small fee to ascend a ladder and see behind the machinery of ropes and contrivances for moving the various scenes which make up the impressive representation.

THE CATHEDRAL OF OVIEDO.