The Shadow of the Cathedral

by Vicente Blasco Ibáñez

They parted, and Gabriel, after quietly digesting the milk his niece brought him, went down into the Cathedral without saying a word to anyone about the work he intended carrying out; he was afraid of his brother's objections.

In the lower cloister he again met Silver Stick, who was talking to the gardener's widow, showing her contemptuously a bunch of wheat ears tied with a red ribbon. He had found it in the holy water stoup by the Puerta del Alegria. Every year on the day of Corpus he had found the same offering in the same place; an unknown had thus dedicated to the Church the first wheat of the year.

"It must be a madman," said the priest. "What is the good of this? What does this bunch mean? If at least it had been a cart of sheaves as in the good old times of the tenths!"

And while he threw the ears with contempt into a flower border in the garden, Gabriel thought with delight of the atavic force which had resuscitated in a Catholic church, the pagan offering: the homage to the divinity of the firstfruits of the earth fertilised by the spring.

The choir was ended and the mass beginning when Gabriel entered the Cathedral, the lower servants were discussing at the door of the sacristy the great event of the day. His Eminence had not come down to the choir and would not assist at the procession. He said he was ill, but those of the household laughed at this excuse, remembering that the evening before he had walked as far as the Hermitage of the Virgin de la Vega. The truth was he would not meet his Chapter; he was furious with them, and showed his anger by refusing to preside over them in the choir.

Gabriel strolled through the naves. The congregation of the faithful was greater than on other days, but even so the Cathedral seemed deserted. In the crossways, kneeling between the choir and the high altar, were several nuns in starched linen bibs and pointed hoods, in charge of sundry groups of children dressed in black, with red or blue stripes according to the colleges to which they belonged; a few officials from the academy, fat and bald, listened to the mass standing, bending their heads over their cuirass. In this scattered assemblage, listening to the music, stood out the pupils from the school of noble ladies, some of them quite girls, others proud-looking young women in all the pride of their budding beauty, looking on with glowing eyes, all dressed in black silk, with mantillas of blonde mounted over high combs with bunches of roses—aristocratic ladies with "manolesca" grace, escaped from a picture by Goya.

Gabriel saw his nephew the Tato dressed in his scarlet robes like the noble Florentine, striking the pavement with his staff to scare the dogs. He was talking with a group of shepherds from the mountains, swarthy men twisted and gnarled as vine shoots, in brown jackets, leather sandals, and thonged leggings; women with red kerchiefs and greasy and mended garments that had descended through several generations. They had come down from their mountains to see the Corpus of Toledo, and they walked through the naves with wonder in their eyes, starting at the sound of their own footsteps, trembling each time the organ rolled, as though fearing to be turned out of that magic palace, which seemed to them like one in a fairy tale. The women pointed out with their fingers the coloured glass windows, the great rosettes on the porches, the gilded warriors on the clock of the Puerta de la Feria, the tubes of the organs, and finally remained open-mouthed in stupid wonder. The Perrero in his scarlet garments seemed like a prince to them, and overwhelmed with the respect they felt for him, they could not succeed in understanding what he said, but when the Tato threatened with his staff a mastiff following closely at his master's heels, those simple people decided to leave the church sooner than abandon the faithful companion of their wild mountain life.

Gabriel looked through the choir railings; both the upper and lower stalls were full. It was a great festival, and not only were all the canons and beneficiaries in their places, but all the priests of the chapel of the kings,[1] and the prebends of the Muzarabé chapel—those two small churches who live quite apart with traditional autonomy inside the Cathedral of Toledo.

[Footnote 1: The kings of Spain are canons of Toledo Cathedral, and are fined in case of absence on festival days.]

In the middle of the choir Luna saw his friend the Chapel-master in his crimped and pleated surplice, waving a small bâton. Around him were grouped about a dozen musicians and singers, whose voices and instruments were completely smothered each time the organ sounded from above, while the priest directed with a resigned look the music, which lost itself feeble and swamped in the solitude of the immense naves.