Cathedrals of Spain Part 2

West front]

Whereat he wondred much, and gan enquere What stately building durst so high extend Her lofty towres unto the starry sphere.

_The Faerie Queene_, book I, c. x, lvi.

I

The best view of the spires of Burgos is from the ruined walls of the Castillo high above the city. From these crumbling ramparts, pierced and gouged by a thousand years of a.s.sault and finally rent asunder by the powder of the Napoleonic armies, you look directly down upon the mistress of the city and the sad and ardent plain. A stubbly growth, more like cocoa matting than gra.s.s, covers the unroofed floor beneath your feet. From this Castle, Ferdinand Gonzales ruled Castile, and here the Cid led Dona Zimena, and Edward I of England Eleanor of Castile, to the altar. The only colors brightening the melancholy hillside are here and there the brilliant blood-stain of the poppy, the gold of the dandelion, and the episcopal purple of the thistle. Below and beyond, stretches a sea of shaded ochre, broken in the foreground by the corrugations of the many roofs turned by time to the brownish tint of the encircling hillocks and made to blend in one harmony with its monochrome bosom. Fillets of silver pierce the horizon, glittering as they wind nearer between over-hanging birches and poplars. The deep, guttural, roar of the great Cathedral's many voices rises in majestic and undisputed authority from the valley below, now and again joined by the weaker trebles of San Esteban and San Nicolas. Regiments of soldiers march with regular clattering step through holy precincts and up and down the crooked lanes and squares; barracks and parade-grounds occupy consecrated soil,--still Santa Maria la Mayor raises her voice to command obedience and proclaim her undivided dominion over the plains of drowsy, old Castile.

From this height, one does not notice the transformation of the Gothic into seventeenth-century edifices, nor the changes wrought by later centuries. In the glare of the dazzling sun, the tremulous atmosphere, and the lazy, curling smoke of the many chimneys, Burgos still seems Burgos of the Middle Ages, the royal city, mistress of the castles and sweeping plains, and the Cathedral is her stronghold.

She is very old,--tradition says, founded by Count Diego Rodriguez of Alava with the a.s.sistance of an Alfonso who ruled in Christian Oviedo towards the end of the ninth century. For many years his descendants, as well as the lords of the many castles strewn along the lonely hills north of the Sierra de Guadarrama, owed allegiance to Leon and the kingdom of the Asturias. Burgos finally threw off the yoke, and chose judges for rulers, until one of them, Ferdinand Gonzalez, a.s.sumed for himself and his successors the proud t.i.tle of "Conde of Castile." Under his great-grandson, Ferdinand I, Castile and Leon were united in 1037, thus laying the foundations of the later monarchy. Burgos became a capital city. Against the dark background of mediaeval history and interwoven with many romantic legends, there stands out that greatest of Spanish heroes, the Cid Campeador. This Rodrigo Diaz was born near Burgos. The lady Zimena whom he married was daughter of a Count Diego Rodriguez of Oviedo, probably a descendant of the founder of the city.

In the presence of the knights and n.o.bles of Burgos, the Cid forced Alfonso VI to swear that he had no part in the murder of King Sancho, and in the royal city he was then elected King of Castile by the Commons (1071). Alfonso never forgave the Cid this humiliation, and later exiled him. To the Burgalese of to-day, he seems as living and real as he was to mediaeval Castilians. Spanish histories and children will tell you of two things that make Burgos immortal--her Cathedral, and her motherhood to Rodrigo Diaz de Vivar.[4]

The importance of the city as a Christian centre becomes evident at the end of the eleventh century (1074), when it receives its own bishop, and shortly afterwards, fully equipped, convokes a church council to protest against the supplanting by the Latin of the earlier Mozarabic rite, so dear to the hearts of the people. The same Alfonso transferred his capital to the newly conquered Toledo and, contemporaneous with the great prosperity of Burgos during the twelfth and thirteenth centuries, there was endless jealousy as to precedence, first between Burgos and Toledo and afterwards between these and Valladolid. Burgos reaches the zenith of her power in the reign of Saint Ferdinand and the first half of the thirteenth century, though as late as 1349, Alfonso XI, in the a.s.sembled Cortes, still recognizes Burgos's claim as "first city" by calling on her to give her voice first,--"prima voce et fide," saying _he_ would then speak for Toledo. Not long after, Valladolid overshadows them both.

The greatness of Burgos is that of the old Castilian kingdom; with its extinction came hers. Her flowering and expansion were contemporaneous with the most splendid period of Gothic art. Her day was a glorious one, before bigotry had laid its withering hand upon the arts, and while the rich imagination and skilled hands of Moorish and Jewish citizens still enn.o.bled and embellished their capital city.

II

The present Cathedral is singularly picturesque and by far the most interesting of the three great Gothic Cathedrals of Spain,--Leon, Toledo, and Burgos. The interest is mainly due to her vigorous organism, an outcome of more essentially Spanish predilections (as well as a natural interpretation of the French importations) than we find in either of the sister churches. Later additions and ornamentation have naturally concealed and disfigured, but the old body is still there, admirable, fitting, and sane.

[Ill.u.s.tration: KEY OF PLAN OF BURGOS CATHEDRAL

A. Chapel of Santa Thecla.

B. Chapel of Santa Anna.

C. Chapel of the Holy Birth.

D. Chapel of the Annunciation.

E. Chapel of Saint Gregory.

F. Chapel of the Constable.

G. Chapel of the Parish of St. James.

H. Chapel of Saint John.

I. Chapel of Saint Catherine.

K. Chapel of Jean Cuchiller.

L. Chapter House.

M. Sacristy.

N. Minor Sacristy.

O. Chapel of Saint Henry.

P. Altar.

Q. Choir.

R. Chapel of the Presentation of the Virgin.

S. Choir.

T. Golden Staircase.

U. Door of the Pellegeria.

X. Door of the Sarmental.

Y. Door of the Perdon.

Z. Door of the Apostles.]

Burgos Cathedral is built upon a hillside, her walls hewn out of and climbing the sides of the mountain, making it necessary either from north or south to approach her through long flights of stairs. What she loses in freedom and access, she certainly gains in picturesqueness. She is flesh of the flesh and blood of the blood of the city, scaling its heights like a great mother and drawing after her the surrounding houses which nestle to her sides. She would not gain in majesty by standing free in an open square, nor by receiving the sunlight on all sides. And so, though many later additions hide much of the early fabric, they combine with it to form a picturesque whole, a wonderful jewelled casket, a sparkling diadem set high on the royal brow of the city, such as possibly no other city of its size in Christendom can boast.

It was King Alfonso VI who at the end of the eleventh century gave his palace-ground for the erection of a Cathedral for the new Episcopal See.

We know nothing of its design, nor whether it occupied exactly the same site as the later building. The early one must, however, have been a Romanesque Church;--what might not a later Romanesque Cathedral have been!--for the style had arrived at a point of vitally interesting promise and national development, when it was forced to recoil before the foreign invaders, the Benedictines and Cistercians.

Two great names are linked to the founding of the present Cathedral of Burgos, Saint Ferdinand and Bishop Maurice. The latter was bishop from 1213 to 1238, and probably an Englishman who came to Burgos in the train of the English Queen, Eleanor Plantagenet.[5] He was sent to Speyer as amba.s.sador from the Spanish Court to bring back the Princess Beatrice as bride for Saint Ferdinand. Maurice's mission took him through those parts of Germany and France where the enthusiasm for cathedral-building was at its height, and he had time to admire and study a forest of exquisite spires, newly reared, particularly while the young lady given him in charge was sumptuously entertained by King Philip Augustus.

Naturally he returned to his native city burning with ardor to begin a similar work there, and probably brought with him master-builders and skilful artists of long training in Gothic church-building.

Queen Berengaria and King Ferdinand met the Suabian Princess at the frontier of Castile. The first ceremony was the conference of the Order of Knighthood, in the presence of all the "ricos hombres" (ruling men), the cavaliers of the kingdom with their wives and the burgesses. The sword was taken from the altar and girded on by the right n.o.ble lady Berengaria. We read that the other arms had been blessed by Bishop Maurice and were donned by the King with his own hands, no one else being high enough for the office. Three days later Ferdinand was married to "dulcissimam Domicellam" in the old Cathedral by the Bishop of Burgos without protest from the Primate of Castile, Archbishop Rodrigo of Toledo. This took place in 1219, and two years after King and Bishop laid the corner-stone of the new edifice.

[Ill.u.s.tration: Photo by J. Lacoste, Madrid

CATHEDRAL OF BURGOS

View of the nave]

The work must have been spurred on by all the religious ardor which fired the first half of the thirteenth century, for only nine years later services were held in the eastern end of the building. The good Bishop was laid to rest in the old choir, where he still lies undisturbed, though to-day it is the Capilla Mayor. By the middle of the century, the great bulk of the old structure must have been well advanced. The lower portions of the towers and the eastern termination are fourteenth-century work; the spires themselves, fifteenth. A mult.i.tude of changes and additions, new chapels and buildings, gradually, as years went on, transformed the primitive plan from its first harmony and beauty to a confused ma.s.s of aisles, vaults, and chapels. When we compare the present fabric with the early plan, we see with what masterly skill and simplicity the original one was conceived.

All that is left or can be seen of this first structure is splendid.

Though built in the second period of the great northern style, it has none of the lightness of the French churches which were going up simultaneously, nor even that of Spanish Leon or Toledo. It has heavy supporting walls and is of the family of the early French with a magnificently powerful and efficient system of piers and b.u.t.tresses. It is not free from a certain Romanesque feeling in its general lines, its windows, and in many of its details. Though a splendid type of Gothic construction, this first church is a convincing proof that the nervous, subtle, fully developed system was foreign to Spanish taste. The complicated solutions, the intricate planning, were not in accordance with their temper nor predilections. Rheims may be said to express the radical temper of its French builders, Burgos, the conservative Spanish.

In Spain, construction and artistic principles did not go hand in hand in the glorious manner they were wont to in France. Burgos seems much more emotional than sensitive. Riotous excess and empty display take the place of restrained and appropriate decoration. The organic dependence which should exist between sculpture and architecture, so invariably present in the early French church, is lacking in Burgos. A careful a.n.a.lysis is interesting. It reveals the fusion of foreign elements, the severe monastic of the Cistercians and the later sumptuous secular style, the florid intricacy of the German, the glory of the Romanesque, the dryness of its revival and the bombast of the Plateresque, all more or less transformed by what Spaniards could and would do. In its construction and b.u.t.tresses, it recalls Sens and Saint-Denis; in its nave, Chartres; in its vaulting, the Angevine School. The symmetry of the early plan is fascinating, and Senor Lamperez y Romea's sincere and beautiful reconstruction must be a faithful reproduction. It makes the side aisles quite free, the broad transepts to consist of two bays, while the crossing is carried by piers heavy enough to support an ordinary vault but not a majestic lantern. Five perfectly formed radial chapels surround the polygonal ambulatory and are continued towards the crossing by three rectangular chapels on each side. The vaulting of nave and transepts is throughout s.e.xpart.i.te; that of the side aisles, quadripart.i.te. Most of this has, as will be seen, been profoundly modified.

The old structure is the kernel of the present church. It consists of a central nave of six bays up to a strongly marked crossing and three beyond, terminating in a pentagonal apse. The side aisles are decidedly lower and continue across the transept round the apse. These again are flanked on the west by the chapel churches of Santa Tecla, Santa Anna, and the Presentacion, as well as by a number of other smaller, vaulted compartments. Only two of the radial chapels outside the polygonal ambulatory remain, the others having been altered or supplanted by the great Chapels of the Constable, of Santiago, Santa Catarina, Corpus Christi, and the Cloisters. The western front is entered by a triple doorway corresponding to nave and side aisles; the southern transept, by an incline 40 feet wide, broken by 28 steps. On reaching the door of the northern transept, one finds the ground risen outside the church some 26 feet above the level of the inner pavement, and instead of descending by the interior staircase, one wanders far to the northeast, there to descend to a portal in the north of the eastern transept. The whole church is about 300 feet long, and in general 83 feet wide, the transepts, 194 feet.

The piers under the crossing, as well as those of the first bay inside the western entrance, are much larger than the others, in order to support the additional weight of crossing and towers, and the piers, ab.u.t.ting aisle and transept walls, are also unusually strong. The interior pillars are of ma.s.sive cylindrical plan, of well-developed French Gothic type, solid, but kept from any appearance of heaviness by their form and by eight engaged columns. The ornamented bases are high and of characteristic Gothic moldings. The finely carved capitals carry square abaci in the side aisles and circular ones in the nave. Both abaci and bases have been placed at right angles to the arches they support. The three engaged pier columns facing the nave carry the transverse and diagonal groining ribs, while the wall ribs are met by shafts on each side of the clerestory windows.

The four main supports at the angles of the crossing are rather towers than piers. In the original structure, they were probably counterparts of those supporting the inner angles of the tower between nave and side aisles, with a fully developed system of shafts for the support of the various groining ribs. With the collapse of the old crossing and the consequent erection of an even bulkier and far more weighty superstructure, tremendous circular supports upon octagonal bases were subst.i.tuted. They are thoroughly Plateresque in feeling, 50 feet in circ.u.mference and delicately fluted and ribbed as they descend, with Renaissance ornaments on the pedestals and similar statues under Gothic canopies, evidently inserted in their faces as a compromise to the surrounding earlier style.

Glancing up at the superstructure and vaulting, there is a great consciousness of light and joy,--a feeling that it would have been well-nigh perfect, if the choir and its rejas could only have remained in their old proper place east of the crossing, instead of sadlycongesting a nave magnificent in length and size. The brightness is due, partly to the stone itself, almost white when first quarried from Ontoria, and partly to the uncolored gla.s.s in the greater portion of the clerestory. Here and there the masonry has the mellow tones of meerschaum, shaded with pinkish and lava-gray tints, but the effect is rather that of ancient marble than of limestone. The interior, compared to Toledo, is a bride beside a nun. Granting the loss of original simplicity and a rather distressing mixture of two styles, the combination has been handled with a skill and genius peculiarly Spanish and therefore picturesque. The austerity of the French prototype has been replaced by joyousness and regal splendor. If we examine carefully the older portions of the interior structure and carving as well as the traces of parts that have disappeared, we feel how very French it is, and undoubtedly erected without a.s.sistance from Moorish hands. The vaulting is like some of the French, very rounded, especially in the side aisles. It is all plain excepting under the dome and the vaults immediately ab.u.t.ting, where additional ribs were evidently added at a later time. The vaulting ribs of the main arches start unusually low down, almost on a level with the top of the triforium windows, giving the church relatively a much lower effect than Leon or the French Rheims or Amiens.

Both triforium and clerestory are very fine, especially in the nave, where, although they have undergone alterations, these are less radical than in the Capilla Mayor. The triforium, which is early thirteenth-century work, is strikingly singular. Its narrow gallery is covered by a continuous barrel vault parallel to the nave. Six slender columns divide its seven arches, while above them are trefoil and quatrefoil penetrations contained within a segmental arch, broken by carved heads. The fine old shafts, separating the trefoiled or quatrefoiled arcade, are hidden by crocketed pinnacles and a traceried balcony. The triforium east of the crossing has only four arches, with much later traceried work above. The charming old simplicity is of course lost wherever gaudy carving has been added, but the oldest portions belong decidedly to the early Gothic work of northern France.

Above rises the clerestory in its early vigor, with comparatively small windows, consisting of two arches and a rose.

Probably the crossing had originally a vault somewhat more elaborate than the others, or, possibly, even a small lantern. To emphasize the crossing, both internally and externally, was always a peculiar delight to Spanish builders. This characteristic was admirably adapted to Romanesque churches and in the Gothic was still felt to be essential, but Burgos shared the fate of Seville and the new Cathedral of Salamanca. The old writer, Cean Bermudez, relates that "the same disaster befell the crossing of Burgos that had happened to Seville,--it collapsed entirely in the middle of the night on the 3d of March, 1539.

At that time the Bishop was the Cardinal D. Fray Juan Alvarez de Toledo, famous for the many edifices which he erected and among them S. Esteban of Salamanca. Owing to the zeal of the Prelate and the Chapter and the piety of the generous Burgalese, the rebuilding began the same year.

They called upon Maestro Felipe, who was a.s.sisted in the planning and construction by Juan de Vallejo and Juan de Castanela, architects of the Cathedral. Felipe died at Toledo, after completing the bas-reliefs of the choir stalls. The Chapter honored his memory in a worthy manner, for they placed in the same choir under the altar of the Descent from the Cross this epitaph: 'Philippus Burgundio statuarius, qui ut manu sanctorum effigies, ita mores animo exprimebat: subsellis chori struendis itentus, opere pene absoluto, immoritur.'"[6]

In place of the old dome rose one of the most marvelous and richest structures in Spain, a crowning glory to the heavenly shrine. It is at once a mountain of patience and a burst of Spanish pomp and pride. It is the labor of giants, daringly executed and lavishly decorated. "The work of angels," said Philip II. Nothing less could have called forth such an exclamation from those acrimonious lips and jaded eyes. The men who designed and erected it were the best known in Spain. There was Philip, the Burgundian sculptor with exquisite and indefatigable chisel, who had come to Spain in the train of the Emperor. Vallejo, one of the famous council that sat at Salamanca, had with Castanela erected the triumphal arch which appeased Charles's wrath kindled against the citizens of Burgos, and is even to-day, after the Cathedral, the city's most familiar landmark. In the year 1567, twenty-eight years after the falling of the first lantern, the new one towered completed in its place. It was a magnificent attempt at a blending, or rather a reconciliation, of the Renaissance and the Gothic. There is the character of one and the form of the other. Gothic trefoil arches and traceries are carried by cla.s.sical columns. Renaissance bal.u.s.trades and panels intermingle with crockets and bosses, and Florentine panels and statues with Gothic canopies. They are so interwoven that the careful student of architecture feels himself in a nightmare of styles and different centuries. It was of course an undertaking doomed to failure.

The outline is octagonal. Above the pendentives, forming the transition of the octagon, comes a double frieze of armorial bearings (those of Burgos and Charles V) and inscriptions, and a double clerestory, separated and supported by cla.s.sical bal.u.s.traded pa.s.sages; the window splays and heads are a complete ma.s.s of carving and decorations. The vaulting itself contains within its bold ribs and segments an infinite variety of stars, as if one should see the panes of heaven covered with frosty patterns of a clear winter morning.

Theophile Gautier's description of it is interesting as an expression of the effect it produced on a man of artistic emotions rather than trained architectural feeling: "En levant la tete," he says, "on apercoit une espece de dome forme par l'interieur de la tour,--c'est un groupe de sculpture, d'arabesques, de statues, de colonettes, de nervures, de lancettes, de pendentifs, a vous donner le vertige. On regarderait deux ans qu'on n'aurait pas tout vu. C'est touffu comme un chou, fenestre comme une truelle a poisson; c'est gigantesque comme une pyramide et delicat comme une boucle d'oreille de femme, et l'on ne peut comprendre qu'un semblable filigrane puisse se soutenir en l'air depuis des siecles."

[Ill.u.s.tration: Photo by J. Lacoste, Madrid

CATHEDRAL OF BURGOS

Lantern over crossing]