The work was placed under the direct superintendence of the king’s brothers, each of whom had a particular part of the work allotted to him. One, for instance, relaid the marble pavement, and decorated the Obosot with pictures of the sacred elephant; while a second renewed the stone inscriptions inside the Obosot; a third laid down a brass pavement in the Obosot; a fourth undertook to restore all the inlaid pearl work; another undertook the work of repairing the ceiling, paving, and wall-decoration, and made three stands for the seals of the kingdom; another changed the decayed roof-beams; another covered the great phrachedee with gold tiles—the effect of which in the brilliant sunlight is marvellously beautiful—and repaired and gilded all the small phrachedees; another renewed and repaired and redecorated all the stone ornaments and flower-pots in the temple-grounds, and made the copper-plated and gilt figures of demons, and purchased many marble statues; two princes divided between them the repairs of the cloisters, renewing the roof where required, painting, gilding, paving with stone, and completing the capitals of columns, and so on. Thus, by division of labour, under the stimulus of devotion to the religion of the country, and of brotherly loyalty to the king, the great work was at length completed, after having been exactly one hundred years in course of construction. On the 21st of April, 1882, the ceremony of final dedication was performed, with the greatest pomp, and amid general rejoicings.
Under the name “Wat Phra Kao” are included various buildings covering a large area of ground, which is surrounded by walls decorated with elaborate frescoes. In the centre is a temple, called the Phra Marodop, built in the form of a cross, where on festive occasions the king goes to hear a sermon from the prince-high-priest. The walls of this building are richly decorated with inlaid work, and the ceiling painted with a chaste design in blue and gold. The most striking feature, however, is the beautiful work in the ebony doors, which are elaborately inlaid with mother-of-pearl figures representing Thewedas, bordered by a rich scroll. Behind this chapel-royal is the great phrachedee, called the Sri Ratana Phrachedee, entirely covered with gilt tiles, which are specially made for the purpose in Germany to the order of H. R. H. Krom Mun Aditson Udom Det.
There are several other large buildings in the temple-grounds, but the structure in which the interest of the place centres is the Obosot, which shelters the famous “Emerald Buddha,” a green jade figure of matchless beauty, which was found at Kiang Hai in A. D. 1436, and, after various vicissitudes of fortune, was at last placed in safety in the royal temple at Bangkok. This image is, according to the season of the year, differently attired in gold ornaments and robes. The Emerald Buddha is raised so high up, at the very summit of a high altar, that it is somewhat difficult to see it, especially as light is not over plentiful, the windows being generally kept closely shuttered. For the convenience of visitors, however, the attendants will for a small fee open one or two of the heavy shutters, which are decorated on the outside with gilt figures of Thewedas in contorted attitudes. When at last the sun’s rays are admitted through the “dim religious light,” and the beam of brightness shines on the resplendent figure—enthroned above a gorgeous array of coloured vases, with real flowers and their waxen imitations, of gold, silver, and bronze representations of Buddha, of Bohemian glassware, lamps, and candlesticks, with here and there a flickering taper still burning, and surrounded with a profusion of many-storied umbrellas, emblems of the esteem in which the gem is held—the scene is remarkably beautiful, and well calculated to have a lasting effect on the minds of those who are brought up to see in the calm, solemn, and dignified form of Buddha the representation of all that is good here, and the symbol of all happiness hereafter. The floor of the Obosot is of tessellated brass, and the walls are decorated with the usual perspectiveless frescoes, representing scenes in Siamese or Buddhist history.
It is in this Obosot that the semi-annual ceremony of Tunam, or drinking the water of allegiance, takes place, when the subjects of Siam, through their representatives, and the princes and high officers of state, renew or confirm their oath of allegiance. The ceremony consists of drinking water sanctified by the priests, and occurs twice a year—on the third day of the waxing of the Siamese fifth month (i. e., the 1st of April), and on the thirteenth day of the waning of the Siamese tenth month (i. e., the 21st of September).
The foregoing description gives but a faint idea of this sacred and historic edifice, which will henceforth be regarded as a symbol of the rule of the present Siamese dynasty, and the completion of which will mark an epoch in Siamese history.
Temples and Elephants (London, 1884).
THE CATHEDRAL OF TOLEDO.
THÉOPHILE GAUTIER.
The exterior of the Cathedral of Toledo is far less ornate than that of the Cathedral of Burgos: it has no efflorescence of ornaments, no arabesques, and no collarette of statues enlivening the porches; it has solid buttresses, bold and sharp angles, a thick facing of stone, a stolid tower, with no delicacies of the Gothic jewel-work, and it is covered entirely with a reddish tint, like that of a piece of toast, or the sunburnt skin of a pilgrim from Palestine; as if to make up the loss, the interior is hollowed and sculptured like a grotto of stalactites.
The door by which we entered is of bronze, and bears the following inscription: Antonio Zurreno del arte de oro y plata, faciebat esta media puerta. The first impression is most vivid and imposing; five naves divide the church: the middle one is of an immeasurable height, and the others beside it seem to bow their heads and kneel in token of admiration and respect; eighty-eight pillars, each as large as a tower and each composed of sixteen spindle-shaped columns bound together, sustain the enormous mass of the building; a transept cuts the large nave between the choir and the high altar, and forms the arms of the cross. The architecture of the entire building is homogeneous and perfect, a very rare virtue in Gothic cathedrals, which have generally been built at different periods; the original plan has been adhered to from one end to the other, with the exception of a few arrangements of the chapels, which, however, do not interfere with the harmony of the general effect. The windows, glittering with hues of emerald, sapphire, and ruby set in the ribs of stone, worked like rings, sift in a soft and mysterious light which inspires religious ecstasy; and, when the sun is too strong, blinds of spartium are let down over the windows, and through the building is then diffused that cool half-twilight which makes the churches of Spain so favourable for meditation and prayer.
The high altar, or retablo, alone might pass for a church; it is an enormous accumulation of small columns, niches, statues, foliage, and arabesques, of which the most minute description would give but a faint idea; all this sculpture, which extends up to the vaulted roof and all around the sanctuary, is painted and gilded with unimaginable wealth. The warm and tawny tones of the antique gold, illumined by the rays and patches of light interrupted in their passage by the tracery and projections of the ornaments, stand out superbly and produce the most admirable effects of grandeur and richness. The paintings, with their backgrounds of gold which adorn the panels of this altar, equal in richness of colour the most brilliant Venetian canvases; this union of colour with the severe and almost hieratic forms of mediæval art is rarely found; some of these paintings might be taken for Giorgione’s first manner.