Cathedral Cities of Spain

by W. W. Collins

The reja of the Capilla Mayor is a grand example of an iron-gilt screen, and with those to the north and south, is due to the talent of the Dominican, Francisco de Salamanca.

The fine Gothic retablo of the High Altar surpasses all others in Spain in size and elaboration of detail. It was designed by Dancart and many artists were employed in its execution. When the sun finds his way through the magnificent coloured glass of the windows between noon and three o'clock, and glints across it, few "interior" subjects surpass the beautiful effect on this fine piece of work.

In front of the High Altar at the feast of Corpus Christi and on three other occasions, the Seises's dance takes place. This strange ceremony is performed by chorister boys who dance a sort of minuet with castanets. Their costume is of the time of Philip III., i.e., 1630, and they wear plumed hats. Of the numerous chapels the most interesting is the Capilla Real. It possesses a staff of clergy all to itself. Begun in 1514 by Martin de Gainza, it was finished fifty years later. Over the High Altar is the almost life-size figure of the Virgin de los Reyes, given by St. Louis of France to San Ferdinand. Its hair is of spun gold and its numerous vestments are marvellous examples of early embroidery. The throne on which the Virgin is seated is a thirteenth-century piece of silver work, with the arms of Castile and Leon, San Ferdinand's two kingdoms. Before it lies the King himself in a silver shrine. Three times a year, in May, August and November, a great military Mass takes place before this royal shrine, when the garrison of Seville marches through the chapel and colours are lowered in front of the altar. In the vault beneath are the coffins of Pedro the Cruel and Maria Padilla his mistress, the only living being who was humanly treated by this scourge of Spain. Their three sons rest close to them.

On the north and south sides of this remarkable chapel, within arched recesses, are the sarcophagi of Beatrice of Swabia and Alfonso the Learned. They are covered with cloth of gold emblazoned with coats-of-arms. A crown and sceptre rest on the cushion which lies on each tomb. In the dim light, high above and beyond mortal reach rest these two—it is very impressive.

Each of the remaining twenty-nine chapels contains something of interest. In the Capilla de Santiago is a beautiful painted window of the conversion of St. Paul. The retablo in the Capilla de San Pedro contains pictures by Zurbaran. In the north transept in a small chapel is a good Virgin and Child by Alonso Cano; in the south is the Altar de la Gamba, over which hangs the celebrated La Generacion of Louis de Vargas, known as La Gamba from the well-drawn leg of Adam. On the other side of this transept is the Altar de la Santa Cruz and between these two altars is the monument to Christopher Columbus. Erected in Havana it was brought to Spain after the late war and put up here.

Murillo's work outshines all other's in the Cathedral. The grand San Antonio de Padua, in the second chapel west of the north aisle, is difficult to see. The window which lights it is covered by a curtain, which, however, the silver key will pull aside. Over the Altar of Nuestra Señora del Consuelo is a beautiful Guardian Angel from the same brush. Close by is another, Santa Dorotea, a very choice little picture. In the Sacristy are two more, S.S. Isidore and Leander. In the Sala Capitular a Conception and a Mater Dolorosa in the small sacristy attached to the Capilla Real complete the list.

Besides these fine pictures there are others which one can include in the same category by Cano, Zurbaran, Morales, Vargas, Pedro Campaña and the Flemish painter Sturm, a veritable gallery! And when I went into the Treasury and saw the priceless relics which belong to Seville's Cathedral, priceless in value and interest, and priceless from my own art point of view, "Surely," thought I, "not only is it a picture gallery, it is a museum as well."

The original mosque of Abu Yusuf Yakub was used as a Cathedral until 1401, when it was pulled down, the present building, which took its place, being finished in 1506. The dome of this collapsed five years later and was re-erected by Juan Gil de Hontañon. Earthquake shocks and "jerry-building" were responsible for a second collapse in the August of 1888. The restoration has since been completed in a most satisfactory manner—let us hope it will last.