The Mozarabic chapel, with its memories of Cardinal Ximenes, is very interesting. One side of it is entirely covered with a fresco of the battle of Oran, in which the cardinal took a leading part, full of animation and vigor. Here the Mozarabic rite which he re-established is still kept up.
What the primitive form of the Spanish liturgy was we have no certain knowledge, for it was superseded, or greatly modified, by the Goths. After the fourth Council of Toledo, presided over by St. Isidore of Seville, a uniform liturgy was established throughout the kingdom, to which was given the name of Mozarabic from that of the Christians who lived under the Moorish rule, and only had permission to maintain their own rites by the payment of an annual tribute. The Gregorian liturgy was introduced in the time of Alfonso VI. by the wish of the pope. The clergy and people were at first in consternation at the proposed change, but the archbishop, Bernard de Sédirac, was in favor of it, and he was sustained by the government. Six churches at Toledo were assigned to the Mozarabic rite, but by degrees the Gregorian acquired ascendency. Mozarabic books became more and more rare, and the rite was nearly abandoned when Cardinal Ximenes, in order to preserve a vestige of it, founded this chapel in the year 1500, and had the ancient service
printed at Alcala de Henares. One peculiarity of this rite is, the Host is divided into nine parts, which are placed on the paten in the form of a cross, in memory of the Incarnation, Nativity, Circumcision, Adoration of the Magi, Passion, Death, Resurrection, Ascension, and Eternal Reign.
The chapter-room of the cathedral is the richest in Spain. It is Moorish in style, and has a magnificent artesonado ceiling of gold and azure, rare carvings in oak, and a profusion of paintings, mostly portraits of the archbishops of Toledo, ninety-four in number, among which is that of Carranza, the confessor of Mary Tudor, and such a favorite of Charles V. that he summoned him to his death-bed at Yuste.
But the best paintings are in the sacristy. Here is the Santa Casulla on the ceiling, by Luca Giordano, the most productive painter that ever existed, and on the wall is El Greco’s chef d’œuvre—the casting of lots for Christ’s garment—in which the artist introduced his own portrait as one of the soldiers. There is also a beautiful Santa Leocadia rising from her tomb, by Orrente. St. Ildefonso is cutting off a portion of her veil, according to the legend, which says that while he was celebrating Mass at the tomb of this saint on her festival, Dec. 9, in presence of the king and a great crowd, the stone that covered the tomb, which it took thirty strong men to remove, was suddenly raised, to the amazement of the assembly, and St. Leocadia came forth shrouded in her veil. Going to St. Ildefonso, she took him by the hand and said: “Ildefonso, it is by thee the Queen we serve in heaven hath obtained victory over her enemies; by thee her memory
is kept alive in the hearts of the faithful.” She then returned to her tomb, but before it closed on her for ever the archbishop had presence of mind enough to commend the king and nation to her prayers, and, taking a knife from the king, cut off a corner of her veil, which is still preserved in the Ochavo and solemnly exhibited on her festival.
The Ochavo is a fine octagonal room entirely lined with precious marbles. Here are the silver shrines of St. Eugenius and St. Leocadia, with silver statues and reliquaries, and countless articles of great value. The riches of this church are still extraordinary, though the French carried off more than a ton of silver objects in their day. A dignitary who officiated in a procession while we were there wore a magnificent collar, which we afterwards examined. It was absolutely covered with pearls, rubies, sapphires, emeralds, etc. A man followed him with a mace, as if to guard it. The silver custodia for the Host, the largest in the world, weighs four hundred pounds, and is composed of eighty thousand pieces. It is of the florid Gothic style, and contains two hundred and sixty-six statuettes. Cardinal Ximenes ordered it to be made in 1515, but it took nine years to complete it. There is another of pure gold, weighing thirty-two pounds, which Isabella the Catholic had made of the first ingots from the New World, as a tribute to the divine Host. After her death Cardinal Ximenes bought it and presented it to his cathedral.
The vestments in the sacristy are perhaps unrivalled. Many of them are hundreds of years old, of rare embroidery that looks like painting, done on cloth of gold. We remember
one cope in particular, on which is the coronation of Mary, done by hands of fairy-like skill. All the crowns of the divine personages, as well as their garments, are edged with real pearls, and the whole scene, though wrought with silk, seemed to have caught something of the celestial beauty and calm rapture of Fra Angelico.
We have given only a faint idea of this magnificent cathedral, which must be seen to be fully appreciated. No wonder the proverb says: Dives Toledana. Leaving the church by the first door at hand, we saluted the huge San Christobalón, forty feet high, on the wall—saint of propitious omen, whom we always like to meet.