The Picturesque Antiquities of Spain. Wells Nathaniel Armstrong
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visit to Burgos, it was a Leonardo da Vinci; but, after a lapse of two years, the same sacristan informed me that it was uncertain whether the painting was executed by Raffaelle or Leonardo, although it was generally supposed to be by Raffaelle; and a notice, published since, gives the authority of an anonymous connaisseur, who asserts it to be far superior to Raffaelle's "Perle." It is now consequently decided that it cannot be a Leonardo, and is scarcely bad enough for a Raffaelle.
Without venturing tantas componere lites, I may be allowed to give my impression, on an inspection as complete as the studied darkness of the apartment, added to the glass and wooden case, would permit. It is a half-figure of the Magdalene. The execution is very elaborate and highly finished, but there are evident defects in the drawing. In colouring and manner it certainly reminds you of da Vinci—of one of whose works it may probably be a copy; but, whatever it is, it is easy to discover that it is not a Raffaelle.
This chapel does not occupy the precise centre of the apse. A line drawn from the middle of the western door through the nave would divide it into two unequal parts, passing at a distance of nearly two yards from its centre. An examination of the ground externally gives no clue to the cause of this irregularity, by which the external symmetry of the edifice is rendered imperfect, although in an almost imperceptible degree; it must therefore be accounted for by the situation of the adjoining parochial chapel, of more ancient construction, with which it was not allowable to interfere, and by the unwillingness of the founder to diminish the scale on which his chapel was planned.
Before we leave the Chapel del Condestable, one of its ceremonies deserves particular mention. I allude to the missa de los carneros (sheep-mass). At early mass on All Souls day, a feast celebrated in this chapel with extraordinary pomp, six sheep are introduced, and made to stand on a large block of unpolished marble, which has been left lying close to the tombs, almost in the centre of the chapel; near the six sheep are placed as many inflated skins of pigs, resembling those usually filled with the wine of the country; to these is added the quantity of bread produced from four bushels of wheat: and all remain in view during the performance of high mass. At the conclusion of the final response, the sheep are removed from their pedestal, and make for the chapel-gates, through which they issue; and urged by the voice of their driver, the peculiar shrill whistle of Spanish shepherds, and by the more material argument of the staff, proceed down the entire length of the cathedral to the music of the aforesaid whistle, accompanied by their own bleatings and bells, until they vanish through the great western portal.
Returning to the transepts, we find two objects worthy of notice. The cathedral having been erected on uneven ground, rising rapidly from south to north, the entrance to the north transept opens at an elevation of nearly thirty feet from the pavement. To reach this door there is an ornamental staircase, of a sort of white stone, richly carved in the renaissance style. This door is never open, a circumstance which causes no inconvenience; the steps being so steep as to render them less useful than ornamental, as long as any other exit exists.
A beautifully carved old door, of a wood become perfectly black, although not so originally, gives access to the cloister from the east side of the south transept. The interior of the arch which surmounts it is filled with sculpture. A plain moulding runs round the top, at the left-hand commencement of which is carved a head of the natural size, clothed in a cowl.
HEAD OF SAINT FRANCIS. 3
The attention is instantly rivetted by this head: it is not merely a masterpiece of execution. Added to the exquisite beauty and delicate moulding of the upper part of the face, the artist has succeeded in giving to the mouth an almost superhuman expression. This feature, in spite of a profusion of hair which almost covers it, lives and speaks. A smile, in which a barely perceptible but irresistible and, as it were, innate bitterness of satire and disdain modifies a wish of benevolence, unites with the piercing expression of the eyes in lighting up the stone with a degree of intellect which I had thought beyond the reach of sculpture until I saw this head. Tradition asserts it to be a portrait of Saint Francis, who was at Burgos at the period of the completion of the cathedral; and who, being in the habit of examining the progress of the works, afforded unconsciously a study to the sculptor.
The two sacristies are entered from the cloister: one of them contains the portraits of all the bishops and archbishops of Burgos. Communicating with this last is a room destined for the reception of useless lumber and broken ornaments. Here the cicerone directs your attention to an old half-rotten oaken chest, fixed against the wall at a considerable height. This relic is the famous Coffre del Cid, the self-same piece of furniture immortalised in the anecdote related of the hero respecting the loan of money obtained on security of the supposed treasure it enclosed. The lender of the money, satisfied by the weight of the trunk, and the chivalrous honour of its proprietor, never saw its contents until shown them by the latter on the repayment of the loan: they were then discovered to consist of stones and fragments of old iron.
One is disappointed on finding in this cathedral no more durable souvenir of the Cid than his rat-corroded wardrobe. His remains are preserved in the chapel of the Ayuntamiento; thither we will consequently bend our steps, not forgetting to enjoy, as we leave the church, a long gaze at its elegant and symmetrical proportions. It may be called an unique model of beauty of its particular sort, especially when contemplated without being drawn into comparison with other edifices of a different class. Catalani is said, on hearing Sontag's performance, to have remarked that she was "la première de son genre, mais que son genre n'était pas le premier." Could the cathedral of Seville see that of Burgos, it would probably pronounce a similar judgment on its smaller rival.
The profusion of ornament, the perfection of symmetry, the completeness of finish, produce an instantaneous impression that nothing is wanting in this charming edifice; but any one who should happen to have previously seen that of Seville cannot, after the first moments of enthusiasm, escape the comparison which forces itself on him, and which is not in favour of this cathedral. It is elegant, but deficient in grandeur; beautiful, but wanting in majesty. The stern and grand simplicity of the one, thrown into the scales against the light, airy, and diminutive, though graceful beauty of the other, recalls the contrast drawn by Milton between our first parents; a contrast which, applied to these churches, must be considered favourable to the more majestic, however the balance of preference may turn in the poem.
LETTER V.
TOMB OF THE CID. CITADEL
The Ayuntamiento, or Town-hall, presents one façade to the river, and the other to the Plaza Mayor, being built over the archway which forms the already mentioned entrance to the central portion of the city. The building, like other town-halls, possesses an airy staircase, a large public room, and a few other apartments, used for the various details of administration; but nothing remarkable until you arrive at a handsomely ornamented saloon, furnished with a canopied seat fronting a row of arm-chairs. This is the room in which the municipal body hold their juntas. It contains several portraits: two or three of kings, suspended opposite to an equal number of queens; the two likenesses of the celebrated judges Nuño Rasura and Lain Calvo, near which are seen the simple square oaken chairs from within the angular and hard embrace of which they administered the laws and government of Castile; a full-length of Fernan Gonzalez; and lastly, one of the Cid.
Owing to the singularity of this last portrait, it is the first to attract attention. The hero is represented in the most extraordinary of attitudes: the head is thrown back, and the face turned towards one side; the legs in a sort of studied posture; a drawn sword is in the right hand, the point somewhat raised. The general expression is that of a comic actor attempting an attitude of mock-heroic impertinence; and is probably the result of an unattained object in the mind of the artist, of producing that of fearless independence.
Beyond this apartment is the Chapel, a plain, not large room, containing but two objects besides its very simple altar, with its, almost black, silver candlesticks. Over the altar is a Conception, by Murillo; and, in the centre of the chapel, a highly polished and neatly ornamented funereal urn, composed of walnut-wood, contains the remains of the Cid: the urn stands on a pedestal. On its two ends
The above woodcut may, it is hoped, serve as a guide to future travellers in their search for this head, of which it has no pretension to give an adequate idea.