Under the Porta Nova the fussy little train rushes, and up the narrow, picturesque street, the top-heavy stone scutcheon upon the eighteenth-century gate striking at the very entrance the dominant note of the ancient city. Here and everywhere the archiepiscopal insignia, the tasselled hat and mitre, and the Virgin and Child on the city arms, tell that the place from the earliest Christian times has been an ecclesiastical seignory. Churches, too, greet the eye at every turn; most of them massive seventeenth and eighteenth century structures in the peculiar style mentioned in the description of the Church of Mattosinhos in the last chapter: brownish grey granite outlines and salient points, with dazzling white plaster spaces between. Opposite one such church, in a tiny praça leading off from the main square of the city, the Largo da Lapa, I came across a picturesque scene worthy of the brush of John Philip. In a corner of the little square of San Francisco was an ancient recessed fountain in the wall, and around it, with water jars high and graceful like Roman amphoræ, there fluttered a group of women waiting their turn at the jet. Moving to and fro and clustering in the deep shadow contrasting with the blinding sunlight, these full-bosomed, black-haired women, with fine Roman heads and flashing eyes, were so many points of glaring colour, forming a brilliant giant kaleidoscope, whilst the chattering of many tongues, the jest and taunt thrown over the shoulder to rival or to swain, the careless laughter, seemed to blend and fill the languid air with a vague harmony to the ear, such as the mixed discordant colours in their aggregation produced to the eye. By the side of the gay fountain stood the contrast that heightened its effect. A frowning monastery with heavily grated windows high upon the wall, from which glowered evil faces and thrust thievish hands. For here, again, on this happy holiday afternoon in Braga, the gaol-birds held their levee. Beneath their bars stood their womenkind and children, consoling or grieving; and little bags hung down at the end of strings from the windows to receive the gifts it pleased their friends to send up to the sinister rascals, whose hoarse ribaldry or whining appeal broke in ever and anon upon the gay chatter of the fountain. As if in irony, the church that faced the monastery prison bore upon its front the name the “Temple of the Sacred Order of Penitence.” Of contrition one saw little sign on the part of those who from behind their bars looked for all their weary day upon the church commemorating the unmerited self-reproach of the “Seraphic Father St. Francis.”
THE AFTER-GLOW AT BRAGA.
There is one thing throughout Portugal that may be unhesitatingly condemned, and here in Braga the evil is as patent as elsewhere. The old traditional and, in many cases, historical names of the praças and streets have been changed wholesale and wantonly for those of passing and second-rate celebrities, political and otherwise. In Braga the ancient Largo da Lapa has been turned into Largo de Hintze Ribeiro, after the leader of the Liberal party in the Cortes, and there is hardly a town in Portugal in which the principal squares and thoroughfares do not bear the name of Hintze Ribeiro, or of his rival politician, Conselheiro João Franco. Serpa Pinto and Mouzinho de Albuquerque, two fire-eating African explorers, who in the jingo colonial fever of a few years ago, when the feeling against England ran high, were made heroes, are commemorated in streets innumerable throughout Portugal, to the exclusion of names which were often quaint and significant landmarks of long ago.
The palace of the Archbishops of Braga hardly corresponds in appearance with the high claims of the primate, for the church in Portugal is sadly shorn of its splendour, and part of the rambling palace is a ruin; but the cathedral offers many points of interest. Enthusiastic local antiquarians are confident that the first edifice was raised by Saint James himself in the lifetime of the Holy Virgin. But, however that may be, the present church certainly dates from the twelfth century; and though, as usual, the seventeenth century did its best to spoil and smother its primitive simplicity; yet, as in the case of Oporto Cathedral, which that of Braga much resembles, the stern solidity of the original work stands out clear from the frippery by which it is overlaid.
The narrow nave is divided from the aisles by massive low clustered granite pillars supporting slightly pointed arches, above which spring the simple groins that form the vaulted roof. At the west end the church is darkened by the gilt wooden ceiling that supports the choir and the great gilded organ with spread trumpet pipes that is the pride of the cathedral. The choir itself, raised upon a loft and occupying the whole west end of the church, is of surprising magnificence; carving and gilding have run wild; cupids, cherubim, angels, musicians, and fabulous monsters jostle each other exuberantly upon choir stalls, lecterns, and panels: all the caprice, skill, and invention of sixteenth and seventeenth century Portuguese art have been lavished upon the work. And the effect is rich in the extreme, but utterly incongruous with the sober early ogival of the church itself. Even in the nave the massive granite pillars have been crowned by later vandals with florid capitals of carved gilt wood. The walls, too, are much covered with pictorial blue and white tiles, and the effect of this, though inartistic, is quaint and not displeasing. From the tiny cloister of plain romanesque there opens the chapel of St. Luke, where in two splendid sepulchres lie the bodies of the Leonese princess, Teresa, and her Burgundian husband, Count Henrique, to whom she brought the county of Portugal in the late eleventh century. These are the progenitors of the Kings of Portugal, the parents of Affonso Henriques, of whom we shall hear much later; and to Donna Teresa is owing the re-foundation of the Cathedral of Braga. In the side chapels, in the cloisters, and in the sumptuous chapel of St. Gerald, the patron saint, there lie dead and mouldering archbishops not a few; one of them, it is said, incorrupt after eight centuries, though in consequence of the flesh having been varnished he has the appearance of a mulatto, and shows to this day the honourable scar across his cheek that the warrior archbishop gained whilst fighting valiantly by the side of the Master of Avis at the ever-memorable battle of Aljubarrota, that gave the regal crown of Portugal to the illegitimate scion of the House of Burgundy. Another coffin there is, just inside the west door, that has for most people a still more human interest. It is of gilt copper, apparently French in design, bearing upon its lid an effigy of a pretty boy of ten, the little Prince Affonso, whose bones lie within, and who died at Braga in the year 1400.
The exterior of the cathedral has, like the interior, been much spoilt by later builders, the little square towers having been crowned by a mean-looking balustrade and crockets; but the exterior of the sixteenth-century Lady Chapel is a favourable specimen of the peculiar florid Portuguese renaissance style called Manueline, of which I shall have more to say later. Here at the Lady Chapel at Braga it is more restrained and presents fewer daring departures from the Gothic canons than elsewhere, though the surprising intricacy of the parapet and pinnacles show that the new spirit was strongly moving when it was built. That the artists who executed the work were Spaniards from Biscay is probably the reason why in this instance the peculiar and more questionable features of the style are less conspicuous than in the productions of native Portuguese craftsmen of the same period. The other churches of Braga have little show. They are mostly rococo seventeenth-century structures, granite and plaster outside, and nightmares of carved gilt wood inside; but almost under the shadow of the overloaded rococo façade of Santa Cruz there is a lovely little early ogival votive chapel standing by itself, and containing a characteristically Portuguese group of the dead Christ, infinitely touching and beautiful.
And so through the quaint old streets the stranger finds his way, passing by a house here and there whose balconies and windows are covered with the intricate wooden jalousies that linger still as a tradition of oriental civilisation. The whole place is bathed and flooded with vivid sunlight, except where the lengthening shadows fall almost purple in their depth; and wandering without special aim, past the public garden called the Campo de Sant’ Anna, towards the outskirts of the city, I found myself at the foot of a steep hill rising suddenly on the left of the walk. Climbing it, I found a little plateau on the top with a tiny quaint seventeenth-century hermitage chapel, the Guadalupe I learned was its name, under a clump of shady planes and chestnut trees. Around the plateau was a dwarf parapet upon which two lovers were sitting, oblivious to all around save each other; but as I reached the parapet, and my eyes took in the prospect spread before me, a cry of wonderment at its marvellous beauty sprang involuntarily from me, and aroused for a moment the attention of the youth and the girl, who sat with their backs to the landscape, caring nothing for such things. It was but a glance they gave me, and I could enjoy thenceforward without interruption or notice the rapture I felt from the scene, the first of many such peculiarly Portuguese prospects of rolling valleys and soaring mountains to be gained from comparatively low elevations; scenes such as in other countries can only be attained after long and arduous climbs up high mountains. I soon found, it is true, that this view from the Guadalupe in Braga was but a trifle in comparison with many others to be encountered in the course of a few weeks’ travel; but when it first burst unexpectedly upon me it filled me with an ecstasy that no subsequent prospect, however fine, could produce.
Just below me was a tangle of vines, and then a mass of oaks, planes, cork-trees, and acacias, with their fluttering light foliage, descending in a gracious ocean of greenery of every shade across a broad valley till they climbed half up the glowing red mountains miles away. White houses gleamed amidst the trees, and upon every hill-top a hermitage or shrine stood out with its shining cross above it. But that which attracted the eye most was what looked like a giant white marble staircase of immense width, leading right up the side of a wooded mountain spur opposite, upon the summit of which, at the head of the stupendous stair, set deep in the verdure of woods, stood a huge white temple. Seen from the Guadalupe, the architectural approach up the mountain side to the place of pilgrimage above looked almost too vast to be made by man. Beyond, on the right, rose a majestic range of granite peaks, bare of vegetation, and scattered to the summit with tremendous boulders; and over all the setting sun threw a glow of golden light that tipped the grey granite with crimson, orange, and purple, and deepened the shadows of the climbing woods to umber and to black. The light fell, and by-and-by only the crests of the red and grey mountains glowed, for the woods across the vast plain lay in the black shadow of the peaks. But still, white and gleaming, like a stupendous staircase of shining silver, there shone, clear from the surrounding gloom, the great pilgrimage of Bom Jesus do Monte. And so in the gathering twilight, sated with the beauty of the inanimate world, I slowly wandered down into the pulsing city again, leaving the lad and his lass still whispering on the parapet, alone in their happy blindness.
From the door of the hotel in the Campo Sant’ Anna the tyrannical little street train that bullies Braga several times a day carries us to the foot of the Bom Jesus on the spur of Mount Espinho. For nearly two miles of continuous gentle ascent the road passes through a long stretching suburb of humble houses; and then a quarter of a mile through a close grove of shady trees brings us to the outer portico of the sanctuary, a white gateway at the head of a flight of steps, backed apparently by a dense luxuriant wood. Hard by the portico is the starting platform of an elevator railway, by which pilgrims may, if they please, dodge the rigours of the penance, and arrive at the summit without exertion. This course, on my arrival, commended itself to me, and I left until the next day a full exploration of the place. On the summit of the spur, by the side and behind the great church, white outlined by brown granite as usual, there lies a land of enchantment. Vegetation of surprising luxuriance is everywhere, giant trees full of verdure nearly all the year round, mosses, ferns, and flowers in every crevice. Gushing fountains and cascades, rustic bridges, and sweet winding paths through the woods, everything that can conduce to tranquil repose and comfort is here, with air so pure and exhilarating at this great elevation as to raise the most depressed to vivacity. On a picturesque little clearing on the summit there are two or three hotels, the principal of which, the Grand Hotel, a long one-storey wooden building overhung by great trees, I can vouch for as excellent.