The Shadow of the Cathedral

by Vicente Blasco Ibáñez

At the High Altar, on its square car, stood the famous Custodia, executed by the celebrated master Villalpando. A Gothic shrine, exquisitely worked and chiselled, bright with the shimmering of its gold in the light of the wax tapers, and of such delicate and airy work that the slightest motion made it shiver, shaking its finials like ears of corn.

Those invited to the procession were arriving in the Cathedral. The town dignitaries in black robes, professors from the academy in full dress with all their decorations, officers of the Civil Guard, whose quaint uniform reminded one of that of the soldiers of the early part of the century. Through the naves with affectedly skipping steps came the children, dressed as angels—angels à la Pompadour, with brocaded coat, red-heeled shoes, blonde lace frills, tin wings fastened to their shoulders, and mitres with plumes on their white wigs. The Primacy got out for this festivity all its traditional vestments. The gala uniform of all the church attendants belonged to the eighteenth century, the time of its greatest prosperity. The two men who were to guide the car had powdered hair, black coats, and knee breeches, like the priests of the last century. The vergers and Wooden Staffs wore starched ruffs and perukes, and though they had scarcely enough to eat, brocade and velvet covered all the people from the Claverias; even the acolytes wore gold embroidered dalmatics.

The High Altar was decorated by the "Tanta Monta" tapestries—those famous hangings of the Catholic kings, with emblems and shields, given by Cisneros to the Cathedral. The auxiliary bishop said mass, and his attendant deacons were perspiring under the traditional mantles and chasubles covered with beautiful raised embroidery in high and splendid relief, as stiff and uncomfortable as ancient armour.

The surroundings of the Cathedral were disturbed by the gathering for the procession; the doors of the sacristies slammed, opened and shut hurriedly by the various officials and people employed. In that quiet and monotonous life the annual occurrence of a procession which had to pass through many streets caused as much confusion and disturbance as an adventurous expedition to a distant country.

When the mass ended the organ began to play a noisy and disorderly march, rather like a savage dance, while the procession was being marshalled in order. Outside the Cathedral the bells were ringing, the band of the academy had ceased playing its quick march, and the officers' words of command and the rattle of the muskets could be heard as the cadets drew up in companies by the Puerta Llana.

Don Antolin, with his great silver staff and a pluvial of white brocade, went from one place to another collecting the employees of the Church; Gabriel saw him approaching, red-faced and perspiring.

"To your post; it is time."

And he led him to the High Altar by the Custodia. Gabriel and eight other men crept inside the scaffolding, raising the cloth with which its sides were covered. They were obliged to bend themselves inside the erection, and their duty was to push it, so that it should move along on its hidden wheels. Their only duty was to push it; outside, the two servants in black clothes and white wigs were in charge of the front and back shaft or tiller, which guided the eucharistic car through the tortuous streets. Gabriel was placed by his companions in the centre; he was to warn them when to stop and when to recommence their march. The monumental Custodia was mounted on a platform with a great counterpoise, and between it and the framework of the car was about a hand's breadth of space, through which Gabriel looked, thus transmitting the orders of the front pilot.

"Attention! March!" shouted Gabriel, obeying an outside signal.

And the sacred car began to move slowly down the inclined wooden plane that covered the steps of the High Altar. It was obliged to stop on passing the railings. All the people knelt, and Don Antolin and the Wooden Staffs having opened a way between them, the canons advanced in their ample red robes, the auxiliary bishop with his gilded mitre, and the other dignitaries in white linen mitres without ornament whatsoever. They all knelt around the Custodia. The organ was silent, and, accompanied by the hoarse blare of a trombone, they intoned a hymn in adoration of the Sacrament; the incense rose in blue clouds around the Custodia, veiling the brilliancy of its gold. When the hymn ceased the organ began to play again, and the car once more resumed its march. The Custodia trembled from base to summit, and the motion made a quantity of little bells hanging on to its Gothic adornments tinkle like a cascade of silver. Gabriel walked along holding on to one of the crossbeams, with his eyes fixed on the pilots, feeling on his legs the movements of those who pushed this scaffolding, so similar to the cars of Indian idols.