Not less pithily and elegantly did Rhetoric explain her thought in another stanza, of ten verses, as follows:
| “Yo enseñé lo figurado, y lo terso del estilo al Principe, aquiem el hilo cortò de la vida, el Hado Mas ya está desfigurado en aquesta tumba oscura: mirale sin hermosura; y desde tus tiernos años, Rhetoricos desengaños aprende en esta Figura.” | “I taught the figures and polish of style to the Prince, whose thread of life Fate cut short. But now already lies he disfigured in that dark tomb. Look at him, robbed of his beauty; and, from thy tender years, learn in that figure rhetorical errors.” |
The second structure was built upon the first, and it was no less grave and majestic. There symmetry and proportion vied with beauty and variety of colors, which the brush usurped from nature. It was composed of twelve columns, made in imitation of jasper, with their pedestals, architraves, and flying cornices; and these were closed above with a cupola, adorned with spirals and volutes, which happily completed the work. In the space between the columns of the facade or front, and occupying their own pedestals, were set majestic and pleasing figures of Arithmetic and Geometry, with their emblems. These statues faced each other, and corresponded to Grammar and Rhetoric who were in the first structure—in both their location and altitude, and in the proportions and excellence of their sculpture. It was a glorious blazon for our prince, who, although of so tender years, was able, having cast aside sloth and childish amusements, to give himself up to the exercise of branches of learning so useful, thus preparing for success in the monarchical government of his kingdoms. Arithmetic had an inscription on the placard of her pedestal, which read as follows:
| “A guarismo reducida la cuenta de Balthassar, no vino mas que a sumar diez y siete años de vida. Concluyóse la partida, y la cuenta rematada se hallò la muerte pagada: porque se ajustó de suerte, en la vida con la muerte, que no quedó a dever nada.” | “Reduced to a cipher is the account of Balthassar, who at last added up but seventeen years of life. The entry was concluded, and the account having been ended, death was found to be paid. For he so balanced his accounts with death in life that he did not remain at all indebted.” |
Geometry had a corresponding placard on her base, which read as follows:
| “Balthassar con mi medida el orbe entero midio: y no contento passó a medir la eterno vida. La indistancia conocida, que ay del vivir al morir; es mejor saber medir lo que eterno a de durar con regla del bien obrar, con compas del bien vivir.” | “Balthassar estimated the whole world with my measure, and, not content, he passed to measure eternal life. It is better to be able to measure the unknown distance between life and death (which must endure eternally) with the rule of good works and the compass of good living.” |
The space between the columns of this structure was occupied by the prince (or rather, our sovereign)—the glorious shoot from the Austrian trunk, and the beautiful flower which was the most brilliant ornament of the august lily of Francia—who, because he had no room in the entire sphere of his extensive monarchy, mounted gloriously, by means of the wings of his brilliant and heroic virtues, to rule in the heavens. His statue was so well conceived, and so commensurate with the beauty of the architecture, that one would think it had a soul, for it gave soul to the entire work. Not only did it take possession of the eyes but also of the hearts [of the people] who rendered humble adoration to the image of their prince. The prince was armed, with breastplate and shoulder-piece embroidered with beautiful edgings of gold, and his clothing was elegant and showy. In his right hand he held an imperial and Cæsarean crown. In his left hand was another and royal crown, indicating him as sworn prince of the kingdoms of España and of the empire of the Indias. On the base of the image was an inscription which read as follows:
| “Iurado Principe fui; y Rey, y Emperador fuera: mas ay que la Parca fiera, embidia tuvo de mi! Hiriome cruel, y perdi el ser Rey, y Emperador: mas orto Imperio mejor por el perdido he ganado: porque crece el embidiado, quanto la embidia es mayor.” | “I was the sworn prince, and would have been king and emperor, had it not been that savage Fate was envious of me. Cruelly did she wound me, and I lost the kingship and the empire. But I have gained another and better empire instead of the one that I lost; for greater does the envied one become when the envy is greater.” |
By way of a finial, there was displayed on the ball at the center of the cupola a proud and spirited figure of Monarchy—armed gracefully but heavily with breastplate, shoulder-plate, greaves, cuisses, gorgets, and bracelets; and wearing skirts of bronze color edged with gold. Her head was encased in a morion surmounted by waving plumes and beautiful crests. Over her breast was a rich sash that hung loosely with airy grace and splendor. She was clad in a military cloak, flowing in beautiful lines, and ornamented here and there with embroidery in silver. In her right hand she gracefully held a general’s baton subduing with it by the jaw a rampant lion of wonderful fierceness. With the left hand she clasped an escutcheon of the royal arms, bound about with many spirals of gold edging and beautiful ornaments. Massed about her feet were various military instruments, and at her side were the standards and devices of her glorious triumphs. All that variety composed a collection of beauties which was the crown of the entire work. Two finely carved pyramids arose gloriously at the two extremes of the socle, which they confronted. They were as high as the catafalque, and were painted in various colors, and spangled with bits of crystal, and on them were many rows of candle-sockets. There were, besides, other triumphal obelisks which were erected upon the cupola, and garlanded the upper structure, which accompanied Monarchy as glorious monuments. Many escutcheons of the royal arms and of the city were seen hanging at regular intervals—some of them embroidered and others in bas-relief, and all with much ornamentation of ribbons and resplendent in colors. The brilliant display of candles, (more than one thousand two hundred in number), enhanced all this splendor. Most of the lights were candles of two, three, four, five, or six libras, and were placed in their silver candlesticks, sockets, and holders. Besides, there were a great number of codales,[6] which were made for that purpose and filled the entire space of the plinth.
The funeral poems and eulogies with which all the royal chapel was crowned were a glorious acquittance of the Muses, in the happy death of their illustrious pupil. Some of these will be given in conclusion, and with them will end [the account of] what was done at the funeral ceremonies which this noble and loyal city of Manila performed for its august prince. The public demonstrations corresponded, not to the devotion with which so loyal vassals serve their Catholic sovereigns, but to the condition in which this community finds itself at present, worn out with so many calamities, oppressed by so many misfortunes, and even bloodless and exhausted by the so continual invasions of enemies; had not the divine hand been so favorable on its side, it would not now have any shoulders to support so heavy a burden. May our Catholic and invincible monarch accept these slight indications of the desire, and the proofs of the affection, which all this community offers as the obligation of its loyalty and in token of its grief, consecrated to the happy memories of their prince, in this public manifestation; if not suited to the grandeur of his person, it is to the generosity of his royal breast and august blood. May Heaven extend his life for the glory and increase of this monarchy, as we his humble and obedient vassals desire.[7]