Two magnificent crowns, those that on special occasions are worn by the effigies of the Virgin and the Holy Child, were also in that safe in company with other valuables too many to catalogue.
The Mass was still in progress. While we gazed from the face of the priest, which glowed with fervour, to the wondrous things he showed us with such tender veneration, came a sound of chanting, the music of boys' voices rising sweet and clear. There was still the first impression of having been admitted behind the scenes—an impression which the entrance of certain of the officiating clergy who came into the sacristy to change their vestments served to deepen.
Leaving an attendant to extinguish the lights and re-lock the great iron doors, the padre opened other cupboards and showed us a plethora of riches, valuable not only for the material but for the beauty and artistic skill of the workmanship. A crucifix bore an exquisitely carven ivory figure of the dead Christ, and in the hollow of the slender stem of a gold cup a craftsman of surprising ingenuity had contrived to mould a representation of the Last Supper, so minute in detail that it portrayed not only the table with the company seated around it but also the food that was placed before them. On the inner base of the vase, the executant of this triumph of the goldsmith's art had graven his name, which I forget, and his age, which at the date of the completion of this intricate and original piece of work was sixty-nine.
Our guide did not scamp his task. He appeared to take both pride and pleasure in it, and showed us everything, from the vestments, which were rigid with gold and embroidery, to the massive silver candelabra worth nearly seven thousand pounds, that are so heavy that when they are moved into the body of the Cathedral for use during special services, it takes four men to carry the top, and six men the base, of each.
At three different dates, when long-continued drought had induced privation, this silver has been sold for the relief of the poor; and three times has it been bought back again, and restored to its place in the Cathedral.
Until recently the embalmed body of King Jaime II. (who died in his palace of the Almudaina just across the road from the principal entrance to the Cathedral), which rested in a marble sarcophagus in front of the high altar, was shown to the public on the 31st of December, the anniversary of the day on which his father, the Conquistador, freed Palma from the Moors.
The mummified corpse is no longer publicly exhibited, and the coffin containing the remains has been removed to a recess behind and above the high altar, where it rests awaiting burial.
By special permission we were allowed to see the body of the monarch. The coffin, taken from the sarcophagus, had been placed on a stone bracket. An attendant, mounting a ladder that leant against the wall at the head of the coffin, slid back the lid. And in turn we climbed up and, bending over, peeped into the open coffin to see, through intervening glass—what? A royal robe of velvet and gold and ermine, the lace-trimmed sleeves crossed at the empty wrists, and above the neck of the garment a dark fleshless skull, with the brown skin tightened over it, closed eyes deep sunk in the sockets, and toothless jaws wide agape. A rose-pink velvet nightcap encased the shrunken head of the monarch who, six hundred years ago, reigned over Majorca.
The reign of this second Jaime, which extended over a period of more than thirty years, would appear to have been an exceptionally placid one for these warlike days. We know that he brought from Spain cunning workmen who converted for his use the castle of the Moorish Amir, the Almudaina, into a royal palace, and there a code of Court etiquette was formulated and put into practice by the new monarch.