Proceeding onwards to the left, we follow a vaulted passage of the twelfth century, bearing the stamp of ancient simplicity, until we reach the Plaza San Martino, the north side of which is formed by the vast convent of St. Martin, where, on the centre of the front, are placed, mounted on their chargers, the two warrior saints of France and Spain. Here is the market-place, whither those should come who wish to study favorably the picturesque costumes of the peasants of Galicia, and, it might be added, to hear cries more shrill and louder vociferations than it would be supposed possible for ordinary human lungs to send forth. Before appearing at market the sellers of fruit and vegetables make an elaborate toilette, which must be not only neat but effective, those who are unable to comply with its requirements remaining at home. Side by side with the splendid fruits of Galicia, and fish from river and sea, rosaries, medals, and the scallop-shells of St. James are offered for sale.
The building forms a beautiful cross, of which the arms are nearly equal to the upright, the transepts having a great development. The arrangement follows that of most of the churches in Spain, the choir being in the nave and ending where the transept begins. The aspect of the latter is particularly grand, being less interrupted than the view along the nave, as the eye easily penetrates the light trellis-work which makes a passage across it from the choir to the Capilla Mayor. The rounded arches of the three roofs are evidently of the close of the eleventh or the commencement of the twelfth century. The pillars of the aisles, with their capitals sculptured in foliage, are light and graceful, contrasting pleasingly with the heavy mass of the edifice. The triforium, which runs round the nave, is composed of semi-circular arches, each containing two smaller ones which spring from a slender column in the centre. The east end remains as it was, with the chapels radiating from it, but the pillars and arches of the choir have undergone great alterations. The Silleria, or enclosure of the choir, is ornamented by a series of religious subjects carved by Gregorio Español in 1606. Many of the windows of the cathedral are very fine.
Beneath the Capilla Mayor is situated the great object of the pilgrimage—the subterranean chapel containing the tomb of St. James and those of two of his first disciples. The famous statue of the apostle is in the Capilla itself, above the great altar, which remains as it was in the time of Alman-Zour. This is a monumental altar of richly-wrought marble, ornamented with incrustations of silver, the working of which occupied no less than twenty years. It is surrounded by an enclosure of open metal-work, gilt, adorned with vine-branches and surmounted by an immense hojarasco, or canopy, which has little to recommend it in an artistic point of view, being carved and gilt in the height of the style churrigueresque. This serves as a dais to the statue, and is supported by four angels, about whose ponderous forms no remnant of celestial lightness lingers. Even the statue itself, before which kings and princes have knelt, is not free from the faults of style inevitable to the period. The apostle is seated, and holds in his right-hand the pilgrim’s staff, with a gilded gourd and wallet (cum baculo perâque), and in his left a scroll inscribed with the words, Hic est corpus Divi Jacobi Apostoli et Hispaniarum Patroni. He wears on his shoulders the pelerine, or pilgrim’s mantle, embroidered with gold and precious stones. This cape has the form of those worn by cardinals, and has replaced the ancient one of gold, which was carried off by Marshal Ney.
It is a high honor to be allowed to say Mass at the altar of the great patron. Bishops and canons only have the right. On grand occasions it is splendidly adorned; the four statues of kings which stand behind that of St. James then support another small image of the apostle of exceeding richness, having a nimbus of emeralds and rubies, and which is placed in a shrine of wrought gold and silver of wonderful delicacy. This beautiful custodia, which is nearly six feet high, was finished in 1544 by Antonio d’Arphe, and is in the style designated by the Spaniards Plateresque.
Pilgrims are admitted to pay their homage to St. James by mounting some steps behind the altar to kiss the cape or mantle of the apostle, as at Rome one kisses the foot of St. Peter. There is another resemblance also to St. Peter’s at Rome in the long range of confessionals, dedicated to different saints, and served by priests speaking different languages; for it is not until after confession and communion that the pilgrim can be allowed any right to the title, or receive his brevet or Compostella, which is a declaration written in Latin, and signed by the canon-administrator of the cathedral, that he has fulfilled all his duties. These documents are frequently found among family papers, and in certain cases constitute a title without which such or such possessions could not be claimed.
The treasures of St. James of Compostella were formerly renowned throughout the world; but there seems to have been some exaggeration respecting their immensity, as, from all the objects of which the French plundered the cathedral in 1809, they obtained no more than 300,000 francs. There still remain various rare and curious things—reliquaries, statues, sacred vessels, etc.—some of which are of great value and antiquity; amongst others a crucifix containing a fragment of the true cross, and which is of exquisite workmanship, being also one of the most ancient specimens of chasing known. The cross is wrought in gold filagree, enriched with jewels, and resembles that of Oviedo, which is said to be the work of angels. It bears the inscription: “Hoc opus perfectum est erâ LXOO. et duodecimâ. Hoc signo vincitur inimicus. Hoc signo tuetur pius. Hoc offerunt famuli Dei Adefonsus princeps et conjux.”
Among the chapels must be noticed the Capilla del Pilar, dedicated to Our Lady in memory of her apparition to St. James. This, which is behind the high altar, and rich in precious marbles and jasper, was founded by Arthur Monroy, a rich Mexican prelate, whose kneeling statue on his tomb has a fine and attractive expression. Many of the other chapels are also remarkable; that of the kings of France, of the Conception, of the Relics, etc.
Let us add to these riches of the old cathedral a large concourse of worshippers at all the services, a people profoundly religious, a magnificent ceremonial, the officiating archbishop surrounded by his clergy, grand and solemn music swelled by the multitudinous voices of the faithful; let us imagine a vast procession beneath these vaulted roofs, and the trembling light of the tapers illuminating the sombre walls as the seemingly interminable train of choristers, clergy, and people pass along, and we shall have evoked a scene which, though its like may be witnessed in other lands, still bears in Spain a peculiar stamp of gravity and fervor, and possesses the earnest features and the vigorous relief of which the Spanish artists knew the secret, and which they have reproduced on their canvas in warm shadows and golden lights.