Good Friday was as solemn as the same day is at Rome or at Jerusalem. The adoration of the cross in the cathedral was very fine: but women were not allowed to kiss it as in the Holy City. After that was over, some of the party, by the kind invitation of the Duc and Duchesse de Montpensier, went to their private chapel, at St. Elmo, for the "Tre Ore d'Agonic," being from twelve to three o'clock, or the hours when our Saviour hung upon the cross. It was a most striking and impressive service. The beautiful chapel was entirely hung with black, and pitch dark. On entering, it was impossible to see one's way among the kneeling figures on the floor, all, of course, in deep mourning. The sole light was very powerfully thrown on a most beautiful picture of the crucifixion, in which the figures were the size of life. The sermon, or rather meditation on the seven words of our Lord on the cross, was preached by the superior of the oratory of S. Felippo Neri, a man of great eloquence and personal holiness. It would be impossible to exaggerate the beauty and pathos of two of these meditations; the one on the charity of our blessed Lord, the other on his desolation. A long low sob burst from the hearts of his hearers at the conclusion of the latter. The wailing minor music between was equally beautiful and appropriate; it was as the lament of the angels over the lost, in spite of the tremendous sacrifice! At half-past three, the party returned to the cathedral, where the services lasted till nine in the evening, and then came home in the state of mind and feeling so wonderfully represented by De la Roche, in the last portion of his "Good Friday" picture. Beautifully does Faber exclaim: "The hearts of the saints, like sea-shells, murmur of the passion evermore."
The holy Saturday functions began soon after five the next morning, and were as admirably conducted as all the rest. Immense praise was due to the "maestro de ceremonias," who had arranged services so varied and so complicated with such perfect order and precision: and the conduct of the black-veiled kneeling multitude throughout was equally admirable; one and all seemed absorbed by the devotions of the time and season.
That evening, the Vigil of Easter was spent in the cathedral by some of our party in much the same manner as they had done on a preceding one in the Holy City two years before. The night was lovely. The moon was streaming through the cloisters on the orange-trees of the beautiful "patio," across which the Giralda threw a deep sharp shadow, the silver light catching the tips of the arches, and shining with almost startling brightness on the "Pietà" in the little wayside chapel at the south entrance of the court. All spoke of beauty, and of peace, and of rest, and of stillness, and of the majesty of God. Inside the church were groups of black or veiled figures, mostly women, (were not women the first at the sepulchre?) kneeling before the tabernacle, or by the little lamps burning here and there in the side chapels. Each heart was pouring forth its secret burden of sorrow or of sin into the sacred heart which had been so lately pierced to receive it. At two in the morning matins began, "Haec dies quam fecit Dominus;" and after matins a magnificent Te Deum, pealed forth by those gigantic organs, and sung by the whole strength of the choir and by the whole body of voices of the crowd, which by that time had filled every available kneeling space in the vast cathedral. Then came a procession; all the choristers in red cassocks, with white cottas and little gold diadems. High mass followed, and then low masses at all the side altars, with hundreds of communicants, and the Russian salutation of "Christ is risen!" on every tongue. It was "a night to be remembered," as indeed was all this holy week: and now people seemed too happy to speak; joy says short words and few ones. Many have asked: "Is it equal to Jerusalem or Rome?" In point of services, "Yes;" in point of interest, "No;" for the presence of the Holy Father in the one place, and the vividness of recollection which the actual scenes of our blessed Lord's passion inspires in the other, must ever make the holy and eternal cities things apart and sacred from all besides. But nowhere else can "fonctions" be seen in such perfection or with such solemnity as at Seville. Everything is reverently and well done, and nothing has changed in the ceremonial for the last three hundred years.
A domestic sorrow had closed the palace of the Duc and Duchesse de Montpensier as far as their receptions were concerned; but they kindly gave our party permission to see both house and gardens, which well deserve a visit. The palace itself reminded them a little of the Duc d'Aumale's at Twickenham: not in point of architecture, but in its beautiful and interesting contents; in its choice collections of pictures, and books, and works of art, and in the general tone which pervaded the whole. There are two exquisite Murillos; a "St. Joseph" and a "Holy Family;" a "Divino Morales;" a "Pieta;" some beautiful "Zurbarans;" and some very clever and characteristic sketches by Goya. They have some curious historical portraits also, and some very pretty modern pictures. The rooms and passages abound in beautiful cabinets, rare china, sets of armor, African trappings, and oriental costumes. In the snug low rooms looking on the garden, and reminding one of Sion or of Chiswick, there are little fountains in the centre of each, combining oriental luxury and freshness with European comfort. The gardens are delicious. They contain a magnificent specimen of the "palma regis," and quantities of rare and beautiful shrubs; also an aviary of curious and scarce birds. You wander for ever through groves of orange, and palms, and aloes, and under trellises covered with luxuriant creepers and clustering roses, with a feeling of something like envy at the climate, which seems to produce everything with comparatively little trouble or culture. To be sure there is "le revers de la médaille," when the scorching July sun has burnt up all this lovely vegetation. But the spring in the garden of St. Elmo is a thing to dream about.
From this enjoyable palace our party went on to visit "Pilate's House," so called because built by Don Enrique de Ribera, of the exact proportions of the original, in commemoration of his pilgrimage to Jerusalem in 1519. It is now the property of the Duque de Medina Sidonia. Passing into a cool "patio," you see a black cross, marking the first of the stations of a very famous Via Crucis, which begins here and ends at the Cruz del Campo outside the town. There is a pretty little chapel opening out of the "patio," ornamented with Alhambra work, as is all the rest of this lovely little moresque palace. It is a thorough bit of Damascus, with its wonderful arabesqued ceilings, and lace-like carvings on the walls and staircases, and cloistered "patios," and marble floors and fountains. Behind is a little garden full of palms, orange-trees, and roses in full flower, and, at the time our travellers saw it, carpeted with Neapolitan violets; quaint low hedges, as in the Alcazar gardens, divided the beds, and broken sculpture lay here and there.
One of the great treasures of Seville had yet been unvisited by our party, and that was the Lonja, formerly the Exchange, a noble work of Herrera's. It stands between the cathedral and the Alcazar, and is built in the shape of a great quadrangle, each side being about two hundred feet wide. Ascending the fine marble staircase, they came to the long "sala" containing the famous "Indian Archives," that is, all the letters and papers concerning the discovery of South America. There are thousands of MS. letters, beautifully arranged and docketed; and among them the autographs of Fernando Cortes, Pizarro, Magellan, Americo Vespuzio, (who could not write his own name, and signed with a mark,) Fra Bartolomeo de las Cazas, and many others. There is also the original bull of the pope, granting the new South American discoveries to the Spaniards; and another, defining the rights between the Spaniards and the Portuguese in the matter of the conquered lands. The librarian, a very intelligent and good-natured personage, also showed them a curious list, sent home and signed by Fernando Cortes, of the silks, painted calabashes, feathers, and costumes presented by him to the king; and a quantity of autograph letters of Charles V., Ferdinand and Isabella, and of Philip IV. Fernando Cortes died at Castilleja, on December 3, 1547, and the following day his body was transported to the family vault of the Duque de Medina Sidonia, in the monastery of San Isidoro del Campo. The Duc de Montpensier has purchased the house, and made a collection of everything belonging to the great discoverer, including his books, his letters, various objects of natural history, and some very curious portraits, not only of Cortes himself, but of Christopher Columbus, Pizarro, Magellan, the Marques del Valle, (of the Sicilian family of Monteleone,) Bernal Diaz, Velasquez, of the historian of the conquest of Mexico, Don Antonio Solis, and many others.
In the afternoon, the Marques de P—— called for our travellers to take them to the university, and to introduce them to the rector and to the librarian, whose name was the well-deserved one of Don José Bueno, a most clever and agreeable man, whose pure Castilian accent made his Spanish perfectly intelligible to his English visitors. He very good-naturedly undertook to show them all the most interesting MSS. himself, together with some beautiful missals, rare first editions of various classical works, and some very clever etchings of Goya's of bull-fights and ladies—the latter of doubtful propriety. In the church belonging to the university are some fine pictures by Roelas and Alonso Cafio, some beautiful carvings by Montanés, and several very fine monuments. In the rector's own room is a magnificent "St. Jerome," by Lucas Kranach, the finest work of that artist that exists. There are 1,200 students in this university, which rivals that of Salamanca in importance.
Taking leave of the kind librarian, the Marques de P—— went on to show them a private collection of pictures belonging to the Marques Cessera. Amidst a quantity of rubbish were a magnificent "Crucifixion," by Alonso Caño; a Crucifix, painted on wood, by Murillo, for an infirmary, and concealed by a Franciscan during the French occupation in 1812; a Zurbaran, with his own signature in the corner; and, above all, a "Christ bound with the Crown of Thorns," by Murillo, which is the gem of the whole collection, and perfectly beautiful both in coloring and expression.
Coming home, they went to see the house to which Murillo was taken after his accident at Cadiz, and where he finally died; also the site of his original burial, before his body was removed to the cathedral where it now rests.