Chapter 13

I will only mention two more churches, and both of these converts from heathendom; both of them dedicated to San Cristo, for in the democracy of the calendar the Saviour is merely a saint, and reduced to the level of the rest. One is the old pretorian temple of the Romans, which was converted by King Sizebuto into a Christian church in the seventh century. It is a curious structure in brick and mortar, with an apsis and an odd arrangement of round arches sunken in the outer wall and still deeper pointed ones. It is famed as the resting-place of Saints Ildefonso and Leocadia, whom we have met before. The statue of the latter stands over the door graceful and pensive enough for a heathen muse. The little cloisters leading to the church are burial vaults. On one side lie the canonical dead and on the other the laity, with bright marble tablets and gilt inscriptions. In the court outside I noticed a flat stone marked _Ossuarium._ The sacristan told me this covered the pit where the nameless dead reposed, and when the genteel people in the gilt marble vaults neglected to pay their annual rent, they were taken out and tumbled in to moulder with the common clay.

This San Cristo de la Vega, St. Christ of the Plain, stands on the wide flat below the town, where you find the greater portion of the Roman remains. Heaps of crumbling composite stretched in an oval form over the meadow mark the site of the great circus. Green turf and fields of waving grain occupy the ground where once a Latin city stood. The Romans built on the plain. The Goths, following their instinct of isolation, fixed their dwelling on the steep and rugged rock. The rapid Tagus girdling the city like a horseshoe left only the declivity to the west to be defended, and the ruins of King Wamba's wall show with what jealous care that work was done. But the Moors, after they captured the city, apparently did little for its defence. A great suburb grew up in the course of ages outside the wall, and when the Christians recaptured Toledo in 1085, the first care of Alonso VI. was to build another wall, this time nearer the foot of the hill, taking inside all the accretion of these years. From that day to this that wall has held Toledo. The city has never reached, perhaps will never reach, the base of the steep rock on which it stands.

When King Alonso stormed the city, his first thought, in the busy half hour that follows victory, was to find some convenient place to say his prayers. Chance led him to a beautiful little Moorish mosque or oratory near the superb Puerta del Sol. He entered, gave thanks, and hung up his shield as a votive offering. This is the Church of San Cristo de la Luz. The shield of Alonso hangs there defying time for eight centuries,--a golden cross on a red field,--and the exquisite oratory, not much larger than a child's toy-house, is to-day one of the most charming specimens of Moorish art in Spain. Four square pillars support the roof, which is divided into five equal "half-orange" domes, each different from the others and each equally fascinating in its unexpected simplicity and grace. You cannot avoid a feeling of personal kindliness and respect for the refined and genial spirit who left this elegant legacy to an alien race and a hostile creed.

The Military College of Santa Cruz is one of the most precious specimens extant of those somewhat confused but beautiful results of the transition from florid Gothic to the Renaissance. The plateresque is young and modest, and seeks to please in this splendid monument by allying the innovating forms with the traditions of a school outgrown. There is an exquisite and touching reminiscence of the Gothic in the superb portal and the matchless group of the Invention of the Cross. All this fine facade is by that true and genuine artist, Enrique de Egas, the same who carved the grand Gate of the Lions, for which may the gate of paradise be open to him.

The inner court is surrounded by two stories of airy arcades, supported by slim Corinthian columns. In one corner is the most elaborate staircase in Spain. All the elegance and fancy of Arab and Renaissance art have been lavished upon this masterly work.

Santa Cruz was built for a hospital by that haughty Cardinal Mendoza, the Tertius Rex of Ferdinand and Isabella. It is now occupied by the military school, which receives six hundred cadets. They are under the charge of an inspector-general and a numerous staff of professors. They pay forty cents a day for their board. The instruction is gratuitous and comprehends a curriculum almost identical with that of West Point. It occupies, however, only three years.

The most considerable Renaissance structure in Toledo is the Royal Alcazar. It covers with its vast bulk the highest hilltop in the city. From the earliest antiquity this spot has been occupied by a royal palace or fortress. But the present structure was built by Charles V. and completed by Herrera for Philip II. Its north and south facades are very fine. The Alcazar seems to have been marked by fate. The Portuguese burned it in the last century, and Charles III. restored it just in time for the French to destroy it anew. Its indestructible walls alone remain. Now, after many years of ruinous neglect, the government has begun the work of restoration. The vast quadrangle is one mass of scaffolding and plaster dust. The grand staircase is almost finished again. In the course of a few years we may expect to see the Alcazar in a state worthy of its name and history. We would hope it might never again shelter a king. They have had their day there. Their line goes back so far into the mists of time that its beginning eludes our utmost search. The Roman drove out the unnamed chiefs of Iberia. The fair-haired Goth dispossessed the Italian. The Berber destroyed the Gothic monarchy. Castile and Leon fought their way down inch by inch through three centuries from Covadonga to Toledo, halfway in time and territory to Granada and the Midland Sea. And since then how many royal feet have trodden this breezy crest,--Sanchos and Henrys and Ferdinands,--the line broken now and then by a usurping uncle or a fratricide brother,--a red-handed bastard of Trastamara, a star-gazing Alonso, a plotting and praying Charles, and, after Philip, the dwindling scions of Austria and the nullities of Bourbon. This height has known as well the rustle of the trailing robes of queens,--Berenguela, Isabel the Catholic, and Juana,--Crazy Jane. It was the prison of the widow of Philip IV. and mother of Charles II. What wonder if her life left much to be desired? With such a husband and such a son, she had no memories nor hopes.

The kings have had a long day here. They did some good in their time. But the world has outgrown them, and the people, here as elsewhere, is coming of age. This Alcazar is built more strongly than any dynasty. It will make a glorious school-house when the repairs are finished and the Republic is established, and then may both last forever!

One morning at sunrise, I crossed the ancient bridge of Alcantara, and climbed the steep hill east of the river to the ruined castle of San Cervantes, perched on a high, bold rock, which guards the river and overlooks the valley. Near as it is to the city, it stands entirely alone. The instinct of aggregation is so powerful in this people that the old towns have no environs, no houses sprinkled in the outlying country, like modern cities. Every one must be huddled inside the walls. If a solitary house, like this castle, is built without, it must be in itself an impregnable fortress. This fine old ruin, in obedience to this instinct of jealous distrust, has but one entrance, and that so narrow that Sir John Falstaff would have been embarrassed to accept its hospitalities. In the shade of the broken walls, grass-grown and gay with scattered poppies, I looked at Toledo, fresh and clear in the early day. On the extreme right lay the new spick-and-span bull-ring, then the great hospice and Chapel of St. John the Baptist, the Convent of the Immaculate Conception, and next, the Latin cross of the Chapel of Santa Cruz, whose beautiful fagade lay soft in shadow; the huge arrogant bulk of the Alcazar loomed squarely before me, hiding half the view; to the left glittered the slender spire of the Cathedral, holding up in the pure air that emblem of august resignation, the triple crown of thorns; then a crowd of cupolas, ending at last near the river-banks with the sharp angular mass of San Cristobal. The field of vision was filled with churches and chapels, with the palaces of the king and the monk. Behind me the waste lands went rolling away untilled to the brown Toledo mountains. Below, the vigorous current of the Tagus brawled over its rocky bed, and the distant valley showed in its deep rich green what vitality there was in those waters if they were only used.

A quiet, as of a plague-stricken city, lay on Toledo. A few mules wound up the splendid roads with baskets of vegetables. A few listless fishermen were preparing their lines. The chimes of sleepy bells floated softly out on the morning air. They seemed like the requiem of municipal life and activity slain centuries ago by the crozier and the crown.

Thank Heaven, that double despotism is wounded to death. As Chesterfield predicted, before the first muttering of the thunders of '89, "the trades of king and priest have lost half their value." With the decay of this unrighteous power, the false, unwholesome activity it fostered has also disappeared. There must be years of toil and leanness, years perhaps of struggle and misery, before the new genuine life of the people springs up from beneath the dead and withered rubbish of temporal and spiritual tyranny. Freedom is an angel whose blessing is gained by wrestling.

THE ESCORIAL

The only battle in which Philip II. was ever engaged was that of St. Quentin, and the only part he took in that memorable fight was to listen to the thunder of the captains and the shouting afar off, and pray with great unction and fervor to various saints of his acquaintance and particularly to St. Lawrence of the Gridiron, who, being the celestial officer of the day, was supposed to have unlimited authority, and to whom he was therefore profuse in vows. While Egmont and his stout Flemings were capturing the Constable Montmorency and cutting his army in pieces, this young and chivalrous monarch was beating his breast and pattering his panic-stricken prayers. As soon as the victory was won, however, he lost his nervousness, and divided the entire credit of it between himself and his saints. He had his picture painted in full armor, as he appeared that day, and sent it to his doting spouse, Bloody Mary of England. He even thought he had gained glory enough, and while his father, the emperor-monk, was fiercely asking the messenger who brought the news of victory to Yuste, "Is my son at Paris?" the prudent Philip was making a treaty of peace, by which his son Don Carlos was to marry the Princess Elizabeth of France. But Mary obligingly died at this moment, and the stricken widower thought he needed consolation more than his boy, and so married the pretty princess himself.

He always prided himself greatly on the battle of St. Quentin, and probably soon came to believe he had done yeoman service there. The childlike credulity of the people is a great temptation to kings. It is very likely that after the coup-d'etat of December, the trembling puppet who had sat shivering over his fire in the palace of the Elysee while Morny and Fleury and St. Arnaud and the rest of the cool gamblers were playing their last desperate stake on that fatal night, really persuaded himself that the work was his, and that _he_ had saved society. That the fly should imagine he is moving the coach is natural enough; but that the horses, and the wooden lumbering machine, and the passengers should take it for granted that the light gilded insect is carrying them all,--there is the true miracle.

We must confess to a special fancy for Philip II. He was so true a king, so vain, so superstitious, so mean and cruel, it is probable so great a king never lived. Nothing could be more royal than the way he distributed his gratitude for the victory on St. Lawrence's day. To Count Egmont, whose splendid courage and loyalty gained him the battle, he gave ignominy and death on the scaffold; and to exhibit a gratitude to a myth which he was too mean to feel to a man, he built to San Lorenzo that stupendous mass of granite which is to-day the visible demonstration of the might and the weakness of Philip and his age.

He called it the Monastery of San Lorenzo el Real, but the nomenclature of the great has no authority with the people. It was built on a site once covered with cinder-heaps from a long abandoned iron-mine, and so it was called in common speech the Escorial. The royal seat of San Ildefonso can gain from the general public no higher name than La Granja, the Farm. The great palace of Catharine de Medici, the home of three dynasties, is simply the Tuileries, the Tile-fields. You cannot make people call the White House the Executive Mansion. A merchant named Pitti built a palace in Florence, and though kings and grand dukes have inhabited it since, it is still the Pitti. There is nothing so democratic as language. You may alter a name by trick when force is unavailing. A noble lord in Segovia, following the custom of the good old times, once murdered a Jew, and stole his house. It was a pretty residence, but the skeleton in his closet was that the stupid commons would not call it anything but "the Jew's house." He killed a few of them for it, but that did not serve. At last, by advice of his confessor, he had the facade ornamented with projecting knobs of stucco, and the work was done. It is called to this day "the knobby house."

The conscience of Philip did not permit a long delay in the accomplishment of his vow. Charles V. had charged him in his will to build a mausoleum for the kings of the Austrian race. He bound the two obligations in one, and added a third destination to the enormous pile he contemplated. It should be a palace as well as a monastery and a royal charnel-house. He chose the most appropriate spot in Spain for the erection of the most cheerless monument in existence. He had fixed his capital at Madrid because it was the dreariest town in Spain, and to envelop himself in a still profounder desolation, he built the Escorial out of sight of the city, on a bleak, bare hillside, swept by the glacial gales of the Guadarrama, parched by the vertical suns of summer, and cursed at all seasons with the curse of barrenness. Before it towers the great chain of mountains separating Old and New Castile. Behind it the chilled winds sweep down to the Madrid plateau, over rocky hillocks and involved ravines,--a scene in which probably no man ever took pleasure except the royal recluse who chose it for his home.

John Baptist of Toledo laid the corner-stone on an April day of 1563, and in the autumn of 1584 John of Herrera looked upon the finished work, so vast and so gloomy that it lay like an incubus upon the breast of earth. It is a parallelogram measuring from north to south seven hundred and forty-four feet, and five hundred and eighty feet from east to west. It is built, by order of the fantastic bigot, in the form of St. Lawrence's gridiron, the courts representing the interstices of the bars, and the towers at the corners sticking helpless in the air like the legs of the supine implement. It is composed of a clean gray granite, chiefly in the Doric order, with a severity of facade that degenerates into poverty, and defrauds the building of the effect its great bulk merits. The sheer monotonous walls are pierced with eleven thousand windows, which, though really large enough for the rooms, seem on that stupendous surface to shrink into musketry loopholes. In the centre of the parallelogram stands the great church, surmounted by its soaring dome. All around the principal building is stretched a circumscribing line of convents, in the same style of doleful yellowish-gray uniformity, so endless in extent that the inmates might easily despair of any world beyond them.

There are few scenes in the world so depressing as that which greets you as you enter into the wide court before the church, called El Templo. You are shut finally in by these iron-gray walls. The outside day has given you up. Your feet slip on the damp flags. An unhealthy fungus tinges the humid corners with a pallid green. You look in vain for any trace of human sympathy in those blank walls and that severe facade. There is a dismal attempt in that direction in the gilded garments and the painted faces of the colossal prophets and kings that are perched above the lofty doors. But they do not comfort you; they are tinselled stones, not statues.

Entering the vestibule of the church, and looking up, you observe with a sort of horror that the ceiling is of massive granite and flat. The sacristan has a story that when Philip saw this ceiling, which forms the floor of the high choir, he remonstrated against it as too audacious, and insisted on a strong pillar being built to support it. The architect complied, but when Philip came to see the improvement he burst into lamentation, as the enormous column destroyed the effect of the great altar. The canny architect, who had built the pillar of pasteboard, removed it with a touch, and his majesty was comforted. Walking forward to the edge of this shadowy vestibule, you recognize the skill and taste which presided at this unique and intelligent arrangement of the choir. If left, as usual, in the body of the church, it would have seriously impaired that solemn and simple grandeur which distinguishes this above all other temples. There is nothing to break the effect of the three great naves, divided by immense square-clustered columns, and surmounted by the vast dome that rises with all the easy majesty of a mountain more than three hundred feet from the decent black and white pavement. I know of nothing so simple and so imposing as this royal chapel, built purely for the glory of God and with no thought of mercy or consolation for human infirmity. The frescos of Luca Giordano show the attempt of a later and degenerate age to enliven with form and color the sombre dignity of this faultless pile. But there is something in the blue and vapory pictures which shows that even the unabashed Luca was not free from the impressive influence of the Escorial.

A flight of veined marble steps leads to the beautiful retable of the high altar. The screen, over ninety feet high, cost the Milanese Trezzo seven years of labor. The pictures illustrative of the life of our Lord are by Tibaldi and Zuccaro. The gilt bronze tabernacle of Trezzo and Herrera, which has been likened with the doors of the Baptistery of Florence as worthy to figure in the architecture of heaven, no longer exists. It furnished a half hour's amusement to the soldiers of France. On either side of the high altar are the oratories of the royal family, and above them are the kneeling effigies of Charles, with his wife, daughter, and sisters, and Philip with his successive harem of wives. One of the few luxuries this fierce bigot allowed himself was that of a new widowhood every few years. There are forty other altars with pictures good and bad. The best are by the wonderful deaf-mute, Navarrete, of Logrono, and by Sanchez Coello, the favorite of Philip.

To the right of the high altar in the transept you will find, if your tastes, unlike Miss Riderhood's, run in a bony direction, the most remarkable Reliquary in the world. With the exception perhaps of Cuvier, Philip could see more in a bone than any man who ever lived. In his long life of osseous enthusiasm he collected seven thousand four hundred and twenty-one genuine relics,--whole skeletons, odd shins, teeth, toe-nails, and skulls of martyrs,--sometimes by a miracle of special grace getting duplicate skeletons of the same saint. The prime jewels of this royal collection are the grilled bones of San Lorenzo himself, bearing dim traces of his sacred gridiron.

The sacristan will show you also the retable of the miraculous wafer, which bled when trampled on by Protestant heels at Gorcum in 1525. This has always been one of the chief treasures of the Spanish crown. The devil-haunted idiot Charles II. made a sort of idol of it, building it this superb altar, consecrated "in this miracle of earth to the miracle of heaven." When the atheist Frenchmen sacked the Escorial and stripped it of silver and gold, the pious monks thought most of hiding this wonderful wafer, and when the storm passed by, the booby Ferdinand VII. restored it with much burning of candles, swinging of censers, and chiming of bells. Worthless as it is, it has done one good work in the world. It inspired the altar-picture of Claudio Coello, the last best work of the last of the great school of Spanish painters. He finished it just before he died of shame and grief at seeing Giordano, the nimble Neapolitan, emptying his buckets of paint on the ceiling of the grand staircase, where St. Lawrence and an army of martyrs go sailing with a fair wind into glory.