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

No one but Murillo could ever have thus embodied his conception of a supernatural vision. On sitting down before this canvass, from which, as it extends across the whole chapel, no other object can draw off the attention, you speedily yield to the irresistible power of abstraction, and are lost in an ecstacy, nearly resembling that which the artist has sought to represent in the countenance and attitude of his Saint. The eye wanders in a sort of trance through the glorious assemblage of Heaven. The whole scene looks real: but it is only on taking time to study the details that you discover the prodigies of talent displayed in the drawing and finishing of this picture. An angel, suspended in front of the lower portion of the group, more especially attracts the attention. One leg is extended towards the spectator, the foreshortening of which is a marvel of execution.

Over the San Antonio, as it does not reach to the ceiling, there is a smaller picture, representing the Baptism of Christ, also by Murillo. In a chapel at the south-west angle of the church, there are several fine paintings by Luis de Vargas, one of the founders of the school of Seville.

In the choir, the collection of books for the chanting services is worth seeing. Of these immense folios, enclosed in massive covers, bound with a profusion of wrought metal mostly silver—may be counted upwards of a hundred. They are filled with paintings, infinite in minuteness and beauty. For the performances of the daily services and all duties, ordinary and extraordinary, within this edifice, more than eight hundred persons are employed. Five hundred masses are recited each day at the different altars: all of which taking place during the early part of the day, an idea may be formed of the business which goes on. Of the six or seven organs, I have heard three playing at the same time in different parts of the church; but so widely separated, as by no means to interfere with each other's harmony. One of them was one of the two great organs which face each other over the choir. These two play a duet once a year, on the day of the Corpus. The effect they produce is not so powerful as that produced at Toledo, but far more beautiful. At Toledo the two which correspond to these, are assisted on that occasion by a third, as powerful as both the others united, placed over the portal of the south transept, at an elevation of about seventy feet from the ground.

Among the ceremonies of the cathedral of Seville is one sufficiently unique to be deserving of notice. El baile de los seis (dance of the six), is performed by eight youths—probably by six originally—every evening during the feast of the Conception. It takes place in front of the high-altar, on which her statue is placed on that occasion. The service is one of especial solemnity; and, as such, accompanied, unfortunately as on all such occasions, by an orchestra of violins, to the exclusion of the organs. The singing commences at four o'clock in the afternoon, in the choir, and continues until half-past six, when all move in procession through the great railing, across the transept, and ascend the flight of steps which lead to the Capilla Mayor. Here they take their seats according to rank, on benches placed in rows from east to west, fronting a space which is left open down the centre, in front of the altar. The orchestra occupies a corner near the railing; and on the two front benches are seated—four facing four—the eight youths, dressed in the ancient Spanish costume, all sky blue silk and white muslin, and holding each his hat, also light blue, with a flowing white feather.

The chorus now recommences, but speedily drops; when the orchestra sounds a beautiful air in the waltz measure. This is played once by the instruments alone, and joined the second time by the voices of the eight boys, or youths of the age of sixteen to eighteen; who, after having accompanied a short time, start to their legs, and continue in the same strain. At the next reprise they all, as if by word of command, place their hats on their heads, and one or two minutes after, the chant still continuing, advance, and meet in the centre, then return each to his place; advance a second time, and turn round each other, using the waltz step.

After singing and dancing for about a quarter of an hour, the voices are exchanged for the sounds of castagnettes, which they have held all this time in their hands, and the measure becomes more animated; and thus they terminate the performance. The same ceremony is repeated each night of the seven; only varying the air of the waltz, of which they have two.

This ceremony, now belonging exclusively to the cathedral of Seville, was originally performed in some other cathedrals; but has been gradually laid aside in all the others, having been found to occasion irreverent behaviour among a portion of the spectators. It was originally introduced among the observances in honour of the anniversary of the Conception, as a natural manifestation of joy; and such a genuine Spanish bolero would have been: but the slow time of the music, and the measured movements, adopted for the purpose of suiting the performance to the solemnity of the place, have changed the nature of the dance, and deprived it of everything approaching to cheerfulness.

LETTER XX.

SPANISH BEGGARS. HAIRDRESSING. THE GIRALDA. CASA DE PILATOS. MONASTERIES. ITALICA.

Seville.