The stalls are beautifully carved. Old choral books stand on the lecterns ready for service. The outer wall of the choir is covered with sculptures of the Renaissance representing the great mysteries of religion, of which we never tire. Though told in every church in Christendom, they always seem told in a new light, and strike us with new force, as something too deep for mortal ever to fathom fully. They are the alphabet of the faith, which we repeat and combine in a thousand different ways in order to obtain some faint idea of God’s manifestations to us who see here but darkly.
These mysteries are continued in the magnificent retable of the time of Ferdinand and Isabella in the Capilla Mayor, where they are richly painted on a gold ground by Berruguete and other famous artists of the day, and now glorious under the descending morning light. It is the same sweet Rosary of Love that seems to have caught new lights, more heavenly hues.
The interesting chapels around the apsis are lighted by small windows like mere loop-holes cut through walls of enormous thickness. In the ambulatory we come to the beautiful alabaster tomb of Alfonso de Madrigal, surnamed El Tostado, the tawny, from his complexion, and El Abulense, Abula being the Latin for Avila. He was a writer of such astonishing productiveness that he left behind him forty-eight volumes in folio, amounting to sixty thousand pages. It is to be feared we shall never get time to read them, at least in this world. He became so proverbial that Don Quixote mentions some book as large as all the works of El Tostado combined, as if human imagination could go no farther. Leigh Hunt
speaks of some Spanish bishop as probably writing his homilies in a room ninety feet long! He must have referred to El Tostado. He is represented on his tomb sitting in a chair, pen in hand, and eyes half closed, as if collecting his thoughts or listening to the divine inspiration. His jewelled cope, embroidered with scenes of the Passion, is beautifully carved. Below him are the Virtues in attendance, as in life, and above are scenes of Our Lord’s infancy, which he loved. This tomb is one of the finest works of Berruguete.
Further along we opened a door at a venture, and found ourselves in the chapel of San Segundo, the first apostle of Avila, covered with frescoes of his life. His crystal-covered shrine is in the centre, with an altar on each of the four sides, behind open-work doors of wrought brass. The chapel was quiet and dim and solemn, with burning lamps and people at prayer. Then, by another happy turn, we came into a large cloister with chapels and tombs, where the altar-boys were at play in their red cassocks and short white tunics. The church bells now began to ring, and they hurried away, leaving us alone to enjoy the cloistral shades.
When we went into the church again the service had been commenced, the Capilla Mayor was hung with crimson and gold, candles were distributed to the canons, who, in their purple robes, made the round of the church, the wax dripping on the tombstones that paved the aisles, and the arches resonant with the dying strains of the aged Simeon: Nunc dimittis servum tuum, Domine! For it was Candlemas-day.
The cathedral of San Salvador was begun in 1091, on the site of a
former church. The pope, at the request of Alonso VI., granted indulgences to all who would contribute to its erection. Contributions were sent, not only from the different provinces of Spain, but from France and Italy. More than a thousand stone-cutters and carpenters were employed under the architect Garcia de Estella, of Navarre, and the building was completed in less than sixteen years.
After breakfast we left the city walls and came out on the Square of San Pedro, where women were filling their jars at the well in true Oriental fashion, the air vocal with their gossip and laughter. Groups of peasant women had come up from the plains for a holiday, and were sauntering around the square or along the arcades in their gay stuff dresses, the skirts of which were generally drawn over their heads, as if to show the bright facings of another color. Yellow skirts were faced with red peaked with green; red ones faced with green and trimmed with yellow. When let down, they stood out, in their fulness, like a farthingale, short enough to show their blue stockings. Their hair, in flat basket-braids, was looped up behind with gay pins. We saw several just such glossy black plaits among the votive offerings in the oratory of St. Teresa’s Nativity.
We stopped awhile in the church of San Pedro, of the thirteenth century—like all of the churches of Avila, well worth visiting—and then kept on to the Dominican convent of St. Thomas, a mile distant, and quite in the country. This vast convent is still one of the finest monuments about Avila, though deserted, half ruined, and covered with the garment of sadness. It was here St. Teresa’s