These English expressions, which I had expected would come upon his ear, with the same familiarity as if they had been Ethiopian or Chinese, produced a sudden revolution in my favour. The Solomon became immediately sensible of the extreme tact he had been displaying. Addressing me in perfect English, he proceeded to throw the blame of my brutal reception on the unfortunate state of his country. "All the French," he said, "who come here, come with the intention of intriguing and doing us harm. You wrote to me in French, and that was the cause of my error. The monastery is now a prison; I will give you an order to view it, but you will not find it an agreeable scene, it is full of criminals in chains." And he proceeded to prepare the order.
Not having recovered the compliment of being taken for a conspirator; nor admiring the civilisation of the governor of a province, who supposed that all the thirty-four millions of French, must be intrigants, I received his civilities in silence, took the order, and my departure. The most curious part of the affair was, that I had no passport at the time, having lost it on the road. Had my suspicious interrogator ascertained this before making the discovery that I was English, I should inevitably have been treated to more of San Pablo than I desired, or than would have been required for drawing it in detail.
The adjoining building is smaller, and with less pretension to magnificence is filled with details far more elaborate and curious. The Gothic architecture, like the Greek, assumed as a base and principle of decoration the imitation of the supposed primitive abodes of rudest invention. The Greek version of the idea is characterised by all the grace and finished elegance peculiar to its inventors; while the same principle in the hands of the framers of Gothic architecture, gave birth to a style less pure and less refined; but bolder, more true to its origin, and capable of more varied application. In both cases may be traced the imitation of the trunks of trees; but it is only in the Gothic style that the branches are added, and that instances are found of the representation of the knots and the bark. In this architecture, the caverns of the interior of mountains are evidently intended by the deep, multiplied, and diminishing arches, which form the entrances of cathedrals; and the rugged exterior of the rocky mass, which might enclose such a primæval abode, is imaged in the uneven and pinnacled walls.
The façade of the college of San Gregorio, adjoining San Pablo, furnishes an example of the Gothic decoration brought back to its starting point. The tree is here in its state of nature; and contributes its trunk, branches, leaves, and its handfuls of twigs bound together. A grove is represented, composed of strippling stems, the branches of some of which, united and bound together, curve over, and form a broad arch, which encloses the door-way. At each side is a row of hairy savages, each holding in one hand a club resting on the ground, and in the other an armorial shield. The intervals of the sculpture are covered with tracery, representing entwined twigs, like basket-work. Over the door is a stone fourteen feet long by three in height, covered with fleurs-de-lis on a ground of wicker-work, producing the effect of muslin. Immediately over the arch is a large flower-pot, in which is planted a pomegranate tree. Its branches spread on either side and bear fruit, besides a quantity of little Cupids, which cling to them in all directions. In the upper part they enclose a large armorial escutcheon, with lions for supporters. The arms are those of the founder of the college, Alonzo de Burgos, Bishop of Palencia. On either side of this design, and separated respectively by steins of slight trees, are compartments containing armed warriors in niches, and armorial shields. All the ornaments I have enumerated cover the façade up to its summit, along which project entwined branches and sticks, represented as broken off at different lengths.
The court of this edifice is as elaborately ornamented as the façade, but it was executed at a much later period, and belongs to the renaissance. The pillars are extremely elegant and uncommon. The doorway of the library is well worthy of notice; also that of the refectory. The college of San Gregorio was, in its day, the most distinguished in Spain. Such was the reputation it had acquired, that the being announced as having studied there was a sufficient certificate for the proficiency of a professor in science and erudition. It is still a college, but no longer enjoys the same exclusive renown. In the centre of the chapel is the tomb of the founder, covered with excellent sculpture, representing the four virtues, and the figures of three saints and the Virgin. It is surrounded by a balustrade ornamented with elaborate carving. Berruguete is supposed to have been the sculptor, but in the uncertainty which exists on the subject, it would not be difficult to make a better guess, as it is very superior to all the works I have seen attributed to that artist. At the foot of the statue of the bishop is the following short inscription, "Operibus credite." To this prelate was due the façade of San Pablo; he was a Dominican monk at Burgos, where he founded several public works. He became confessor, chief chaplain, and preacher to Isabel the Catholic: afterwards Bishop of Cordova; and was ultimately translated to the see of Palencia. He received the sobriquet of Fray Mortero, as some say from the form of his face, added to the unpopularity which he shared with the two other favorites of Ferdinand and Isabella,—the Duke of Maqueda, and Cardinal Ximenes, with whom he figured in a popular triplet which at that period circulated throughout Spain,
| Cardenas, el Cardenal, |
| Con el padre Fray Mortero, |
| Fraen el reyno al retortero. |
which may be freely translated thus:
| What with his Grace the Cardinal, |
| With Cardenas, and Father Mortar,— |
| Spain calls aloud for quarter! quarter! |