Chapter 14

The great days of art in the Escorial are gone. Once in every nook and corner it concealed treasures of beauty that the world had nearly forgotten. The Perla of Raphael hung in the dark sacristy. The Cena of Titian dropped to pieces in the refectory. The Gloria, which had sunk into eclipse on the death of Charles V., was hidden here among unappreciative monks. But on the secularization of the monasteries, these superb canvases went to swell the riches of the Royal Museum. There are still enough left here, however, to vindicate the ancient fame of the collection. They are perhaps more impressive in their beauty and loneliness than if they were pranking among their kin in the glorious galleries and perfect light of that enchanted palace of Charles III. The inexhaustible old man of Cadora has the Prayer on Mount Olivet, an Ecce Homo, an Adoration of the Magi. Velazquez one of his rare scriptural pieces, Jacob and his Children. Tintoretto is rather injured at the Museo by the number and importance of his pictures left in this monkish twilight; among them is a lovely Esther, and a masterly Presentation of Christ to the People. Plenty of Giordanos and Bassanos and one or two by El Greco, with his weird plague-stricken faces, all chalk and charcoal. A sense of duty will take you into the crypt where the dead kings are sleeping in brass. This mausoleum, ordered by the great Charles, was slow in finishing. All of his line had a hand in it down to Philip IV., who completed it and gathered in the poor relics of royal mortality from many graves. The key of the vault is the stone where the priest stands when he elevates the Host in the temple above. The vault is a graceful octagon about forty feet high, with nearly the same diameter; the flickering light of your torches shows twenty-six sarcophagi, some occupied and some empty, filling the niches of the polished marble. On the right sleep the sovereigns, on the left their consorts. There is a coffin for Dona Isabel de Bourbon among the kings, and one for her amiable and lady-like husband among the queens. They were not lovely in their lives, and in their deaths they shall be divided. The quaint old church-mouse who showed me the crypt called my attention to the coffin where Maria Louisa, wife of Charles IV.,--the lady who so gallantly bestrides her war-horse, in the uniform of a colonel, in Goya's picture,--coming down those slippery steps with the sure footing of feverish insanity, during a severe illness, scratched _Luisa_ with the point of her scissors and marked the sarcophagus for her own. All there was good of her is interred with her bones. Her frailties live on in scandalized history.

Twice, it is said, the coffin of the emperor has been opened by curious hands,--by Philip IV., who found the corpse of his great ancestor intact, and observed to the courtier at his elbow, "An honest body, Don Luis!" and again by the Ministers of State and Fomento in the spring of 1870, who started back aghast when the coffin-lid was lifted and disclosed the grim face of the Burgess of Ghent, just as Titian painted him,--the keen, bold face of a world-stealer.

I do not know if Philip's funeral urn was ever opened. He stayed above ground too long as it was, and it is probable that people have never cared to look upon his face again. All that was human had died out of him years before his actual demise, and death seemed not to consider it worth while to carry off a vampire. Go into the little apartment where his last days were passed; a wooden table and book-shelf, one arm-chair and two stools--the one upholstered with cloth for winter, the other with tin for summer--on which he rested his gouty leg, and a low chair for a secretary,--this was all the furniture he used. The rooms are not larger than cupboards, low and dark. The little oratory where he died looks out upon the high altar of the Temple. In a living death, as if by an awful anticipation of the common lot it was ordained that in the flesh he should know corruption, he lay waiting his summons hourly for fifty-three days. What tremendous doubts and fears must have assailed him in that endless agony! He had done more for the Church than any living man. He was the author of that sublime utterance of uncalculating bigotry, "Better not reign than reign over heretics." He had pursued error with fire and sword. He had peopled limbo with myriads of rash thinkers. He had impoverished his kingdom in Catholic wars. Yet all this had not sufficed. He lay there like a leper smitten by the hand of the God he had so zealously served. Even in his mind there was no peace. He held in his clenched hand his father's crucifix, which Charles had held in his exultant death at Yuste. Yet in his waking hours he was never free from the horrible suggestion that he had not done enough for salvation. He would start in horror from a sleep that was peopled with shapes from torment. Humanity was avenged at last.

So powerful is the influence of a great personality that in the Escorial you can think of no one but Philip II. He lived here only fourteen years, but every corridor and cloister seems to preserve the souvenir of his sombre and imperious genius. For two and a half centuries his feeble successors have trod these granite halls; but they flit through your mind pale and unsubstantial as dreams. The only tradition they preserved of their great descent was their magnificence and their bigotry. There has never been one utterance of liberty or free thought inspired by this haunted ground. The king has always been absolute here, and the monk has been the conscience-keeper of the king. The whole life of the Escorial has been unwholesomely pervaded by a flavor of holy water and burial vaults. There was enough of the repressive influence of that savage Spanish piety to spoil the freshness and vigor of a natural life, but not enough to lead the court and the courtiers to a moral walk and conversation. It was as profligate a court in reality, with all its masses and monks, as the gay and atheist circle of the Regent of Orleans. Even Philip, the Inquisitor King, did not confine his royal favor to his series of wives. A more reckless and profligate young prodigal than Don Carlos, the hope of Spain and Rome, it would be hard to find to-day at Mabille or Cremorne. But he was a deeply religious lad for all that, and asked absolution from his confessors before attempting to put in practice his intention of killing his father. Philip, forewarned, shut him up until he died, in an edifying frame of mind, and then calmly superintended the funeral arrangements from a window of the palace. The same mingling of vice and superstition is seen in the lessening line down to our day. The last true king of the old school was Philip IV. Amid the ruins of his tumbling kingdom he lived royally here among his priests and his painters and his ladies. There was one jealous exigency of Spanish etiquette that made his favor fatal. The object of his adoration, when his errant fancy strayed to another, must go into a convent and nevermore be seen of lesser men. Madame Daunoy, who lodged at court, heard one night an august footstep in the hall and a kingly rap on the bolted door of a lady of honor. But we are happy to say she heard also the spirited reply from within, "May your grace go with God! I do not wish to be a nun!"

There is little in these frivolous lives that is worth knowing,--the long inglorious reigns of the dwindling Austrians and the parody of greater days played by the scions of Bourbon, relieved for a few creditable years by the heroic struggle of Charles III. against the hopeless decadence. You may walk for an hour through the dismal line of drawing-rooms in the cheerless palace that forms the gridiron's handle, and not a spirit is evoked from memory among all the tapestry and panelling and gilding.

The only cheerful room in this granite wilderness is the library, still in good and careful keeping. A long, beautiful room, two hundred feet of bookcases, and tasteful frescos by Tibaldi and Carducho, representing the march of the liberal sciences. Most of the older folios are bound in vellum, with their gilded edges, on which the title is stamped, turned to the front. A precious collection of old books and older manuscripts, useless to the world as the hoard of a miser. Along the wall are hung the portraits of the Escorial kings and builders. The hall is furnished with marble and porphyry tables, and elaborate glass cases display some of the curiosities of the library,--a copy of the Gospels that belonged to the Emperor Conrad, the Suabian Kurz; a richly illuminated Apocalypse; a gorgeous missal of Charles V.; a Greek Bible, which once belonged to Mrs. Phoebus's ancestor Cantacuzene; Persian and Chinese sacred books; and a Koran, which is said to be the one captured by Don Juan at Lepanto. Mr. Ford says it is spurious; Mr. Madoz says it is genuine. The ladies with whom I had the happiness to visit the library inclined to the latter opinion for two very good reasons,--the book is a very pretty one, and Mr. Madoz's head is much balder than Mr. Ford's. Wandering aimlessly through the frescoed cloisters and looking in at all the open doors, over each of which a cunning little gridiron is inlaid in the woodwork, we heard the startling and unexpected sound of boyish voices and laughter. We approached the scene of such agreeable tumult, and found the theatre of the monastery full of young students rehearsing a play for the coming holidays. A clever-looking priest was directing the drama, and one juvenile Thespis was denouncing tyrants and dying for his country in hexameters of a shrill treble. His friends were applauding more than was necessary or kind, and flourishing their wooden swords with much ferocity of action. All that is left of the once extensive establishment of the monastery is a boys' school, where some two hundred youths are trained in the humanities, and a college where an almost equal number are educated for the priesthood.

So depressing is the effect of the Escorial's gloom and its memories, that when you issue at last from its massive doors, the trim and terraced gardens seem gay and heartsome, and the bleak wild scene is full of comfort. For here at least there is light and air and boundless space. You have emerged from the twilight of the past into the present day. The sky above you bends over Paris and Cheyenne. By this light Darwin is writing, and the merchants are meeting in the Chicago Board of Trade. Just below you winds the railway which will take you in two hours to Madrid,--to the city of Philip II., where the nineteenth century has arrived; where there are five Protestant churches and fifteen hundred evangelical communicants. Our young crusader, Professor Knapp, holds night schools and day schools and prayer meetings, with an active devotion, a practical and American fervor, that is leavening a great lump of apathy and death. These Anglo-Saxon missionaries have a larger and more tolerant spirit of propaganda than has been hitherto seen. They can differ about the best shape for the cup and the platter, but they use what they find to their hand. They are giving a tangible direction and purpose to the vague impulse of reform that was stirring, before they came, in many devout hearts. A little while longer of this state of freedom and inquiry, and the shock of controversy will come, and Spain will be brought to life.

Already the signs are full of promise. The ancient barriers of superstition have already given way in many places. A Protestant can not only live in Spain, but, what was once a more important matter, he can die and be buried there. This is one of the conquests of the revolution. So delicate has been the susceptibility of the Spanish mind in regard to the pollution of its soil by heretic corpses that even Charles I. of England, when he came a-wooing to Spain, could hardly gain permission to bury his page by night in the garden of the embassy; and in later days the Prussian Minister was compelled to smuggle his dead child out of the kingdom among his luggage to give it Christian burial. Even since the days of September the clergy has fought manfully against giving sepulture to Protestants; but Rivero, alcalde of Madrid and president of the Cortes, was not inclined to waste time in dialectics, and sent a police force to protect the heretic funerals and to arrest any priest who disturbed them. There is freedom of speech and printing. The humorous journals are full of blasphemous caricatures that would be impossible out of a Catholic country, for superstition and blasphemy always run in couples. It was the Duke de Guise, commanding the pope's army at Civitella, who cried in his rage at a rain which favored Alva, "God has turned Spaniard;" like Quashee, who burns his fetish when the weather is foul. The liberal Spanish papers overflowed with wit at the proclamation of infallibility. They announced that his holiness was now going into the lottery business with brilliant prospects of success; that he could now tell what Father Manterola had done with the thirty thousand dollars' worth of bulls he sold last year and punctually neglects to account for, and other levities of the sort, which seemed greatly relished, and which would have burned the facetious author two centuries before, and fined and imprisoned him before the fight at Alcolea. The minister having charge of the public instruction has promised to present a law for the prohibition of dogmatic doctrine in the national schools. The law of civil registry and civil marriage, after a desperate struggle in the Cortes, has gone into operation with general assent. There is a large party which actively favors the entire separation of the spiritual from the temporal power, making religion voluntary, and free, and breaking its long concubinage with the crown. The old superstition, it is true, still hangs like a malarial fog over Spain. But it is invaded by flashes and rays of progress. It cannot resist much longer the sunshine of this tolerant age.

Far up the mountain-side, in the shade of a cluster of chestnuts, is a rude block of stone, called the "King's Chair," where Philip used to sit in silent revery, watching as from an eyry the progress of the enormous work below. If you go there, you will see the same scene upon which his basilisk glance reposed,--in a changed world, the same unchanging scene,--the stricken waste, the shaggy horror of the mountains, the fixed plain wrinkled like a frozen sea, and in the centre of the perfect picture the vast chill bulk of that granite pile, rising cold, colorless, and stupendous, as if carved from an iceberg by the hand of Northern gnomes. It is the palace of vanished royalty, the temple of a religion which is dead. There are kings and priests still, and will be for many coming years. But never again can a power exist which shall rear to the glory of the sceptre and the cowl a monument like this. It is a page of history deserving to be well pondered, for it never will be repeated. The world which Philip ruled from the foot of the Guadarrama has passed away. A new heaven and a new earth came in with the thunders of 1776 and 1789. There will be no more Pyramids, no more Versailles, no more Escoriais. The unpublished fiat has gone forth that man is worth more than the glory of princes. The better religion of the future has no need of these massive dungeon-temples of superstition and fear. Yet there is a store of precious teachings in this mass of stone. It is one of the results of that mysterious law to which the genius of history has subjected the caprices of kings, to the end that we might not be left without a witness of the past for our warning and example,--the law which induces a judged and sentenced dynasty to build for posterity some monument of its power, which hastens and commemorates its ruin. By virtue of this law we read on the plains of Egypt the pride and the fall of the Pharaohs. Before the fagade of Versailles we see at a glance the grandeur of the Capetian kings and the necessity of the Revolution. And the most vivid picture of that fierce and gloomy religion of the sixteenth century, compounded of a base alloy of worship for an absolute king and a vengeful God, is to be found in this colossal hermitage in the flinty heart of the mountains of Castile.

A MIRACLE PLAY

In the windy month of March a sudden gloom falls upon Madrid,--the reaction after the _folie gaiete_ of the Carnival. The theatres are at their gayest in February until Prince Carnival and his jolly train assault the town, and convert the temples of the drama into ball-rooms. They have not yet arrived at the wonderful expedition and despatch observed in Paris, where a half hour is enough to convert the grand opera into the masked ball. The invention of this process of flooring the orchestra flush with the stage and making a vast dancing-hall out of both is due to an ingenious courtier of the regency, bearing the great name of De Bouillon, who got much credit and a pension by it. In Madrid they take the afternoon leisurely to the transformation, and the evening's performance is of course sacrificed. So the sock and buskin, not being adapted to the cancan, yielded with February, and the theatres were closed finally on Ash Wednesday.

Going by the pleasant little theatre of Lope de Rueda, in the Calle Barquillo, I saw the office-doors open, the posters up, and an unmistakable air of animation among the loungers who mark with a seal so peculiar the entrance of places of amusement. Struck by this apparent levity in the midst of the general mortification, I went over to look at the bills and found the subject announced serious enough for the most Lenten entertainment,--Los Siete Dolores de Maria,--The Seven Sorrows of Mary,--the old mediaeval Miracle of the Life of the Saviour.

This was bringing suddenly home to me the fact that I was really in a Catholic country. I had never thought of going to Ammergau, and so, when reading of these shows, I had entertained no more hope of seeing one than of assisting at an auto-da-fe or a witch-burning. I went to the box-office to buy seats. But they were all sold. The forestallers had swept the board. I was never able to determine whether I most pitied or despised these pests of the theatre. Whenever a popular play is presented, a dozen ragged and garlic-odorous vagabonds go early in the day and buy as many of the best places as they can pay for. They hang about the door of the theatre all day, and generally manage to dispose of their purchases at an advance. But it happens very often that they are disappointed; that the play does not draw, or that the evening threatens rain, and the Spaniard is devoted to his hat. He would keep out of a revolution if it rained. So that, at the pleasant hour when the orchestra are giving the last tweak to the key of their fiddles, you may see these woebegone wretches rushing distractedly from the Piamonte to the Alcala, offering their tickets at a price which falls rapidly from double to even, and tumbles headlong to half-price at the first note of the opening overture. When I see the forestaller luxuriously basking at the office-door in the warm sunshine, and scornfully refusing to treat for less than twice the treasurer's figures, I feel a divided indignation against the nuisance and the management that permits it. But when in the evening I meet him haggard and feverish, hawking his unsold places in desperate panic on the sidewalk, I cannot but remember that probably a half dozen dirty and tawny descendants of Pelayo will eat no beans to-morrow for those unfortunate tickets, and my wrath melts, and I buy his crumpled papers, moist with the sweat of anxiety, and add a slight propina, which I fear will be spent in aguardiente to calm his shattered nerves.

This day the sky looked threatening, and my shabby hidalgo listened to reason, and sold me my places at their price and a _petit verre._

As we entered in the evening the play had just begun. The scene was the interior of the Temple at Jerusalem, rather well done,--two ranges of superimposed porphyry columns with a good effect of oblique perspective, which is very common in the Spanish theatres. St. Simeon, in a dress suspiciously resembling that of the modern bishop, was talking with a fiery young Hebrew who turns out to be Demas, the Penitent Thief, and who is destined to play a very noticeable part in the evening's entertainment. He has received some slight from the government authorities and does not propose to submit to it. The aged and cooler-blooded Simeon advises him to do nothing rash. Here at the very outset is a most characteristic Spanish touch. You are expected to be interested in Demas, and the only crime which could appeal to the sympathies of a Castilian crowd would be one committed at the promptings of injured dignity.

There is a soft, gentle strain of music played pianissimo by the orchestra, and, surrounded by a chorus of mothers and maidens, the Virgin Mother enters with the Divine Child in her arms. The Madonna is a strapping young girl named Gutierrez, a very clever actress; and the Child has been bought in the neighboring toy-shop, a most palpable and cynical wax-doll. The doll is handed to Simeon, and the solemn ceremony of the Presentation is performed to fine and thoughtful music. St. Joseph has come in sheepishly by the flies with his inseparable staff crowned with a garland of lilies, which remain miraculously fresh during thirty years or so, and kneels at the altar, on the side opposite to Miss Gutierrez.

As the music ceases, Simeon starts as from a trance and predicts in a few rapid couplets the sufferings and the crucifixion of the child. Mary falls overwhelmed into the arms of her attendants, and Simeon exclaims, "Most blessed and most unfortunate among women! thy heart is to be pierced with Seven Sorrows, and this is the first." Demas rushes in and announces the massacre of the innocents, concluding with the appropriate reflection, "Perish the kings! always the murderers of the people." This sentiment is so much to the taste of the gamins of the paraiso that they vociferously demand an encore; but the Roman soldiers come in and commence the pleasing task of prodding the dolls in the arms of the chorus.

The next act is the Flight into Egypt. The curtain rises on a rocky ravine with a tinsel torrent in the background and a group of robbers on the stage. Gestas, the impenitent thief, stands sulky and glum in a corner, fingering his dagger as you might be sure he would, and informing himself in a growling soliloquy that his heart is consumed with envy and hate because he is not captain. The captain, one Issachar, comes in, a superbly handsome young fellow, named Mario, to my thinking the first comedian in Spain, dressed in a flashy suit of leopard hides, and announces the arrival of a stranger. Enters Demas, who says he hates the world and would fain drink its foul blood. He is made politely welcome. No! he will be captain or nothing. Issachar laughs scornfully and says _he_ is in the way of that modest aspiration. But Demas speedily puts him out of the way with an Albacete knife, and becomes captain, to the profound disgust of the impenitent Gestas, who exclaims, just as the profane villains do nowadays on every well-conducted stage, "Damnation! foiled again!"