The Picturesque Antiquities of Spain / Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.

by Nathaniel Armstrong Wells

It is a relief to take one's station on the shining mahogany benches adjoining the wall of the opposite chapel of San Ildefonzo; and to contemplate its chaste style and graceful proportions, and the handsome tombs which occupy its octagonally divided walls. The piece of sculpture in marble, placed over the principal altar, is undeserving of its conspicuous situation. It represents the Vision of San Ildefonzo, to which we shall shortly have occasion to direct our attention.

The adjoining chapel, as we proceed towards the northernmost nave, that of Santiago, or more generally called after its founder, Don Alvaro de Luna, is still finer. It is larger and loftier, and of a more ornamental design. It presents five sides of an octagon: the three remaining sides turning inwards to suit the form of the apse. This Alvaro de Luna, the Lord Essex of Juan the Second, having by the high favour he enjoyed in the intimacy of the monarch, given umbrage to the courtiers, was put to death by the King, who gave credit to the charges falsely brought against him. Don Juan, however, who did not long survive his friend, had justice done to his remains. Being found innocent by a posthumous trial at Valladolid, his body was conveyed with great pomp to Toledo, and placed in the centre of his chapel. The tomb of his Countess stands close to his own; and in the niches of the surrounding walls, those of his most distinguished relatives, one of whom, on the right of the altar, is represented in complete armour, with a turban on his head. The treasures bestowed on this favourite, flowed plentifully into the Cathedral of Toledo. Besides his chapel, the finest of all—the elaborately executed enclosure of the sanctuary, is one of his gifts: his arms are there recognised, frequently recurring among the various designs of the external tracery.

A narrow passage, leading from the apse between the chapel of Don Alvaro, and the entrance to the sacristy, communicates with the chapel of the kings. After passing through a simply designed anteroom of more recent date, the eye reposes with pleasure on a small interior in the pointed style of the latest period—of proportions, perhaps, not the less graceful from their being rather narrow for the length. Two richly ornamented arches, stretching across the interior, divide it into three parts, in the first of which is seen a gallery containing an elaborately wrought gilded confessional. The walls of the two other divisions are divided into six parts; the chapel having been constructed and endowed by Juan the First, for the reception of six monuments: those of himself and his Queen Isabella; those of his father Henry the Second, (natural son of Alonzo the Eleventh, and who dethroned and killed with his own hand his half-brother, Pedro the cruel,) and Doña Juana his wife; and those of Henry the Third, and Doña Catalina his wife.

Returning to the interior of the apse, and continuing in the direction of the north side, another small passage and anteroom lead to the principal sacristy, which communicates with the next chapel, called the Sagrario, and composed of three apartments. The great sacristy contains some good paintings, particularly the ceiling by Giordano—a modern tomb of the late archbishop, Cardinal de Bourbon, and a series of narrow doors, within which are recesses. The first of these contains the crown and bracelets of the Virgin of the Sagrario: in four others are preserved magnificent ornaments of silver, representing emblematically the four quarters of the globe. Each quarter is personified by a figure invested with the attributes which characterize the region she represents, seated on a large silver globe, on the front of which is traced the quarter represented. The globe is supported by figures of animals. In the last of these recesses is seen the sword of Alonzo the Sixth, who won Toledo from the Moors. It is small, and unornamented, except by a hilt of embossed silver, on which the arms are repeated four times. In the smaller sacristy within are several good pictures, but not so remarkable as to prevent their being eclipsed by the splendid robe of the Virgin of the neighbouring Sagrario, here exhibited, extended flat on a semicircular board, such being the form of the garment.

No one knows the value of this treasure. During the Peninsular War, the archbishop, in order to spare the French Generals too great a temptation, conveyed it, together with whatever else deserved the precaution, to Cadiz. It is embroidered almost entirely with pearls on a tissue of silver; but none of the silver is visible without separating the pearls, diamonds, &c., with the fingers. Most of the larger pearls possess the irregular sort of beaten shape often observed in the best specimens. Some are enormous. Numbers of diamonds, rubies, and other stones are admitted in the upper part, to vary and enliven the effect of the different designs of the embroidery. In another case is extended the front-piece, worn together with the robe, which is open in front. The robe sits nearly in the fashion of a lady's cloak, but perfectly stiff, and widening as it descends, so much as to make the figure assume the appearance of a triangle, of which the base is longer than the two other sides. The opening in front corresponds with the outline of the two sides, being wider below than above, although not in as great a degree. This opening is occupied by the front-piece, which is much smaller than the robe, but still more valuable, being principally worked in brilliants. It contains also every variety of precious stones, introduced as their colours may happen to accord with the design.

In addition to these is shown the dress of the Bambino, similar in materials to the two others; but the pearls and diamonds more equally distributed.

But the marvel of this costume is the crown. This ornament adds to the splendour of its materials, the most exquisite and elaborate workmanship. It would require hours to appreciate the labour and taste displayed in all its details. Marshal Soult, could he but see it, would order masses for the soul of the prelate who spared him such a temptation. The diamonds, especially those which compose a cross surmounting the centre, are of the purest water, and of immense size. But in the midst of the dazzling and harmonious intricacy of this gem of all colours, there is a centre of attraction, which took my fancy more than the rest. Immediately under the centre ball, an immense spherical emerald, which supports the diamond cross, is a small bird suspended on a hook within the crown. All the parts of this bird are composed of white enamel, except the body, around which the wings, legs, neck, and head, are attached, and which consists of a pearl of an oval form, about the size of a sparrow's egg. The movement of the statue during a procession, keeps the bird (hanging from its hook) in constant agitation, and produces the effect of a living bird enclosed in a cage of precious stones.[6]

A pair of bracelets, possessing no less magnificence than the crown, but rather too heavy and bulky to be graceful, are suspended in the same recess, and worn on the same occasions.

It should not be forgotten, as a proof of the judgment shown in the choice of ornaments, which, as far as regards the front, consist principally of diamonds, that the complexion of the Virgin of the Sagrario, is more than dark—in fact, quite black.[7] The innermost of the three apartments forming the chapel of the Sagrario is called the Ochavo, and is the deposit of a collection of relics of all kinds. It is an octagon, surmounted at an elevation of more than double its diameter by a dome ornamented with excellent painting. The walls are faced with the best Spanish marbles. Each of the eight sides contains an open recess reaching to the first cornice—an elevation of about twenty-five feet; and in these recesses are contained all the valuable relics belonging to the cathedral;—a rich display of silver statues, reliquaries, coffins, chests, and crosses of gold and silver, some containing jewels of great value. A silver statue of Saint Ferdinand wearing a golden crown is among the objects most worthy of remark; also a cross containing a portion of the true cross, presented to the cathedral by St. Louis. This and several other relics, such as a phial containing the Virgin's milk, a portion of our Saviour's purple garment, &c., were presented to the cathedral by St. Louis on his return from the east, and are here preserved, together with the letter in his own hand-writing, which accompanied them.

The Virgin of the Sagrario receives by far the greatest share of devotion brought to the numerous shrines of this vast temple, even greater than that offered at the high altar. More masses are performed at her altar than at all the others added together. The aisles facing her antechapel are constantly filled with a crowd of kneeling votaries. She stands in the second enclosure, turning her back to the Ochavo. An iron railing separates her apartment from the first chapel, which is usually open to the aisles. She stands consequently in full view, magnificently robed in a fac simile imitation of her pearl dress, the original being only worn on one or two occasions during the year.