Cathedral Cities of Spain

by W. W. Collins

The chief entrance on the north is closed. It is on the street, and through it the descent into the north transept is by the well-known Escalada Dorada. The early Gothic portal—Puerta alta—is adorned by statues and with the whole of this façade is one of the earliest portions of the Cathedral. The door, which on this side leads into the Cathedral, is the Puerta de la Pellejeria and opens on to the north-east angle of the transept below the Golden Staircase.

On the south the Puerta del Sarmental is approached from the street by three tiers of steps, it is also part of the original Gothic and is decorated with statues and coats-of-arms. Above it rises a similar façade to that of the north transept. The arcading in both these façades is most beautiful and from some points, where the roof-line can be seen cutting the sky, they look like two towers surmounted by an elegant balustrade. Very probably the pitch of the roofs was intended to be higher, and the building of the central lantern has interfered with the original design.

The nave of pure early Gothic is lofty but sadly spoilt by the height of the coro. The aisles are low, but very beautiful. The cimborio runs up in double stages with windows in each and balustrades, it is a perfect maze of intricate design and fine carving. The walls are covered with the royal arms of Charles V. and the City of Burgos; there are figures of patriarchs and prophets standing in the niches, seraphim and angels occupy the recesses of the spandrils, and the beautiful groining of this superb octagon is quite unmatched anywhere in Spain. It all looks as if just finished, the stone is white and in perfect preservation. How my neck used to ache when looking aloft, unweaving the intricacies of that splendid interior! To strengthen the Cathedral and support the weight of this addition, the original piers were altered at the crossing, and the huge cylindrical columns, which are richly chased with Renaissance decoration, substituted. One can hardly say that Juan de Vallejo has spoilt the church by this octagon, for his work here would grace any building, but all the same I think the Gothic of the interior has suffered by the introduction of his designs, and I would sooner have seen the crossing in its original state.

The triforium is composed of wide bays with an uneven number of closed lights in each. A single arch, the mouldings of which are surmounted by carved heads, spans each group.

The clerestory contains a little modern glass, most of the old having been destroyed by a powder explosion in the fort on the hill above.

In the coro the silleria are exquisitely carved; the main panels represent subjects from the New Testament, the lower, which are divided by pilasters with arabesques, represent scenes of martyrdom. Philip Vigarni, who was responsible for this fine coro, surpassed himself in some of its decoration, which adds one more item to all that ought to be thoroughly studied in the great Cathedral.

On the north side of the High Altar, in front or which hangs a magnificent silver lamp, are the tombs of three of the Infantes of Castile. Behind this, the trassagrario is covered with well-executed reliefs in white stone, some of this is very soft and has crumbled away a good deal. Every morning a deposit of dust is swept up and it will soon be necessary to thoroughly restore these fine panels or the designs will be lost for ever. They represent the Agony in the Garden, our Lord bearing the Cross, the Crucifixion, the Descent, the Resurrection and the Ascension. The three centre are by Vigarni, and the others by Alfonso de los Rios.

Nearly all the chapels are replete with interest, be it architecture, tombs, pictures or relics, but of them all the Capilla del Condestable is the grandest. Built in 1487 by John of Cologne for the Hereditary Constable of Castile, Don Pedro Fernandez de Velasco, it is the private property of the Duque de Frias. The reja, the masterpiece of Cristobal Andino, bears date MDXXIII. and is certainly the finest in the Cathedral. It is a worthy entrance to this magnificent octagon, which, viewed from outside, rises detached from the main building with eight elaborate pinnacles pointing heavenwards. The tracery of the pierced ceiling of the Lantern with its gilded bosses, vies in intricacy with that of the Cathedral itself. There is a double clerestory with sculptured knights at the bases of the columns holding coloured metal banners. The undercutting of the mouldings in the arches is very marvellous, the lowest course is formed of detached figures hanging downwards and from a little distance off looks like a piece of lacework. In front of the retablo and High Altar are the superbly sculptured tombs of the Constable and his wife. He is in full armour, she lies by his side on a richly embroidered cushion with her little lap-dog nestling comfortably in the folds of her robe near her feet. The chapel teems with interest; the wealth of red marble from the quarries of Atapuerca and the very effective chequer arrangement of black and white steps leading to the High Altar give it just the note of colour its whiteness otherwise would lack.