The Story of Seville

by Walter M. Gallichan

Such was the enthusiasm that produced the rich designs of rose windows like that of San Pedro in Avila, the doors of Toledo Cathedral, the marvellous architecture of Burgos Cathedral, and that of León and many other sacred buildings in the Peninsula. When surveying with delight these examples of æsthetic inspiration, we must remember that the artists worked not only to charm men, but to show reverence to their God. Every curve, tracery and adornment was conceived in a spirit of pious homage and of religious duty.

It is only when faith is enfeebled that we may observe the touch of indifference in the hand of the ecclesiastical builder and artist. There is nothing 'cheap,' nothing hasty, nothing paltry in the scheme and construction of the temples dedicated by mediæval believers to the worship of God and the Holy Virgin Mother. We may have outgrown the taste in certain forms of decoration, but the work will not strike us as ill-considered and commonplace. It stands as a testimony to the influence of faith and devotion upon the imagination and the artistic spirit.

If the modern churches of Spain disappoint us, we must remember that in these days men have, to a marked extent, lost that tenacity of belief, which once urged them to expend a great share of their wealth upon the founding of splendid houses of worship. 'The temples made by hands' are to-day less beautiful than those of the age when creed ranked before country, and was the absorbing subject and the profoundest conviction of the Spanish mind.

But the ancient cathedrals and churches endure as solemn memorials. Atmospheric influences do not cause crumbling and speedy decay in this land of dry winds and sunshine. The edifices were built to stand, and they have stood well the wear and tear of the centuries.

Most of the Seville churches exhibit the art itself, or at least the artistic influence, of the Moorish designer. The reconciled and converted Morisco had to live among his conquerors. Why should he not set his hand to the building of their temples? The Christians were pleased to borrow from his designs, to imitate his half-orange cupolas, his graceful arches, his glazed tiles, ribbon decorations and ajimez windows. Why should he refuse to design churches, and erect and adorn them, for the good pay that the Christians offered? The Mudéjares, or 'reconciled' Moors, became, therefore, the chief and most lavishly-remunerated artisans of Seville. In building the churches and mansions of the city, they no doubt experienced a compensation for their subjection in the thought that they were permitted to labour with a free hand, and to design and embellish sacred or secular buildings after the manner of their own nation. They had no faith to inspire them; the religion foisted upon them was repugnant to their consciences and minds. But they possessed a potent stimulus to good execution—the love of art for art's sake. This was their inspiration, and we may see its effect in many details of ecclesiastic architecture in the Sevillian churches.

San Marcos.—This church is of exceptional interest on account of its tower, a fine example of Morisco architecture, and its beautiful Mudéjar portal. The tower is in the minaret form, and was no doubt built in imitation of the Giralda, which it resembles in miniature. It is seventy-five feet in height, and ten feet wide, the loftiest tower in the city, except, of course, the stupendous Giralda, which is reared over all other edifices. The church is of Gothic design, and dates from 1478, though the much older tower and the chief portal are Arabian. The interior is not of much importance. It is said that the love-sick Miguel Cervantes used to ascend the tower of San Marcos to gaze around for one Isabel, a Sevillian beauty, who had entranced him. The church of San Marcos is approached from the Feria by the Calle de Castellar.

The Church of the Convent of Santa Paula is behind San Marcos, and within a few steps of that church. The azulejos covering the walls are fine examples of sixteenth-century workmanship from the potteries of Triana. The reliefs of saints on the Gothic portal of the nunnery are from the design of Pedro Millan, a famous sculptor, and are the work of Niculoso of Pisa. From the convent we may retrace our steps to San Marcos, turn to the right, and follow the Calle San Luis to

Santa Marina. The handsome Gothic portal of this church has some notable sculptures. It is said that the tower and the chapels are the remains of a mosque.

San Gil is on the left-hand side of San Luis, close to the Church of Santa Marina. It was originally a Moorish mezquita. The doorways are Gothic. The effigies of the Saviour and the Virgin within the church are attributed to Roldan, one of the pupils of Montañez.