Cathedral Cities of Spain

by W. W. Collins

There are in all twenty chapels, every one of which contains something worth study. The lofty retablo in the Capilla Mayor is of the richest Gothic. Above is a colossal Calvary of later workmanship. Cardinal Ximenes built this chapel, among the many monuments of which are the tombs of Spain's earliest kings. Separating it from the crucero is a magnificent Plateresque reja, on either side of which stands a gilded pulpit.

Behind the retablo is the transparente, much admired by Toledans, but the one jarring note in the finest of Spain's Cathedrals. This theatrical mass of marble figures, in the midst of which the Archangel Rafael kicks his feet high in the air and squeezes a gold fish in one hand! is lit from a window let into the roof of the apse.

The Capilla de Reyes Nuevos contains the tombs of the kings descended from Henry II. His tomb and that of his wife, as well as the spouse of Henry III., a daughter of John of Gaunt Duke of Lancaster, are among the many that crowd the walls.

The Capilla de San Ildefonso is an extremely beautiful example of early Gothic work. The much-mutilated tomb in the centre of Cardinal Albornoz is a masterpiece of the same style. Many other great Ecclesiastics rest in this elegant octagon, notably Inigo de Mendoza, Viceroy of Sardinia, who was killed at the siege of Granada.

The Capilla de Santiago was erected in 1435 by Alvaro de Luna, the man who saved Spain for Juan II. by repressing the turbulent nobles, and who for his fidelity was rewarded by disgrace and execution in the Plaza Mayor at Valladolid. The scallop shells which decorate the walls represent de Luna's office of Grand Master of the Order of Santiago.

Cardinal Ximenes re-established the Mozárabic Ritual, which is celebrated in the Capilla Mozárabe, as a reminder to the Pope that Spain did not owe implicit allegiance to Rome.

The small detached Capilla de la Descension de Nuestra Señora stands against the second pier in the north aisle. It marks the spot where the Virgin came down and presented San Ildefonso with the casulla or chausable.

The Salle Capitular is a grand example of early sixteenth-century work, with a Plateresque frieze and gilt artesonado ceiling by Francisco de Lara. It contains a series of portraits of the Cardinal Archbishops of Toledo, and frescoes by Juan de Borgoña. The work of this painter is to be met with throughout the Cathedral.

The coro occupies two bays of the nave and is a veritable museum of carving and sculpture. Its silleria are in two rows. The lower is of walnut and enriched with scenes representing the campaigns of Ferdinand and Isabella. The upper of the same wood is a perfect classical contrast and is inlaid not carved. Berruguete, whose work may be best studied in Valladolid, executed the seats on the south side, and Vigarney those on the north. A small figure of the Virgin in blackened stone looks really ancient. It stands in the middle of the coro on a pedestal. Nicolas de Vergara was responsible for the two reading desks, which are masterpieces of gilded metal work.