The Picturesque Antiquities of Spain - Wells Nathaniel Armstrong

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screen, which, crossing the principal nave at the third or fourth pillar, forms the western limit of the choir; the eastern boundary being the west side of the transept, where there is an iron railing. The space between the opposite side of the transept and the apse is the capilla mayor (chief chapel), in which is placed the high altar. There are two lower lateral naves, from east to west, and beyond them a series of chapels. The transept has no lateral naves. Some of the chapels are richly ornamented. The first or westernmost, on the north side, in particular, would be in itself a magnificent church. It is called the "Chapel of Santa Tecla." Its dimensions are ninety-six feet in length, by sixty-three in width, and sixty high. The ceiling, and different altars, are covered with a dazzling profusion of gilded sculpture. The ceiling, in particular, is entirely hidden beneath the innumerable figures and ornaments of every sort of form, although of questionable taste, which the ravings of the extravagant style, called in Spain "Churriguesco" (after the architect who brought it into fashion), could invent.

      The next chapel—that of Santa Ana—is not so large, but designed in far better taste. It is Gothic, and dates from the fifteenth century. Here are some beautiful tombs, particularly that of the founder of the chapel. But the most attractive object is a picture, placed at an elevation which renders difficult the appreciation of its merits without the aid of a glass,—a Holy Family, by Andrea del Sarto. It is an admirable picture; possessing all the grace and simplicity, combined with the fineness of execution, of that artist. The chapel immediately opposite (on the south side) contains some handsome tombs, and another picture, representing the Virgin, attributed by the cicerone of the place to Michael Angelo. We next arrive at the newer part, or centre of the building, where four cylindrical piers of about twelve feet diameter, with octagonal bases, form a quadrangle, and support the centre tower, designed by Felipe de Borgoña. These pillars are connected with each other by magnificent wrought brass railings, which give entrance respectively, westward to the choir,—on the east to the sanctuary, or capilla mayor,—and north and south to the two ends of the transept. Above is seen the interior of the tower, covered with a profusion of ornament, but discordant with every other object within view.

TRANSEPT OF THE CATHEDRAL, BURGOS.

      TRANSEPT OF THE CATHEDRAL, BURGOS.

      The high altar at the back of the great chapel is also the work of Herrera. It is composed of a series of rows of saints and apostles, superposed one over the other, until they reach the roof. All are placed in niches adorned with gilding, of which only partial traces remain. The material of the whole is wood. Returning to either side-nave, a few smaller chapels on the outside, and opposite them the railings of the sanctuary, conduct us to the back of the high altar, opposite which is the eastern chapel, called "of the Duke de Frias," or "Capilla del Condestable."

      All this part of the edifice—I mean, from the transept eastward—is admirable, both with regard to detail and to general effect. The pillars are carved all round into niches, containing statues or groups; and the intervals between the six last, turning round the apse, are occupied by excellent designs, sculptured in a hard white stone. The subjects are, the Agony in the Garden, Jesus bearing the Cross, the Crucifixion, the Resurrection, and the Ascension. The centre piece, representing the Crucifixion, is the most striking. The upper part contains the three sufferers in front; and in the background a variety of buildings, trees, and other smaller objects, supposed to be at a great distance. In the foreground of the lower part are seen the officers and soldiers employed in the execution; a group of females, with St. John supporting the Virgin, and a few spectators. The costumes, the expression, the symmetry of the figures, all contribute to the excellence of this piece of sculpture. It would be difficult to surpass the exquisite grace displayed in the attitudes, and flow of the drapery, of the female group; and the Herculean limbs of the right-hand robber, as he writhes in his torments, and seems ready to snap the cords which retain his feet and arms,—the figure projecting in its entire contour from the surface of the background,—present an admirable model of corporeal expression and anatomical detail.

SCULPTURE IN THE APSE.

      SCULPTURE IN THE APSE.

      In clearing the space to make room for these sculptures, the artist had to remove the tomb of a bishop, whose career, if the ancient chronique is to be depended on, must have been rather singular. The information, it must be owned, bears the appearance of having been transmitted by some contemporary annalist, whose impartiality may have perhaps been biassed by some of the numerous incitements which operate upon courtiers.

      Don Pedro Fernandez de Frias, Cardinal of Spain, Bishop of Osma and Cuenca, was, it is affirmed, of low parentage, of base and licentious habits of life, and of a covetous and niggardly disposition. These defects, however, by no means diminished the high favour he enjoyed at the successive courts of Henry the Third and Juan the Second. The Bishop of Segovia, Don Juan de Tordesillas, happened by an unlucky coincidence to visit Burgos during his residence there. The characters of the two prelates were not of a nature to harmonise in the smallest degree, and, being thrown necessarily much in each other's way, they gave loose occasionally to expressions more than bordering on the irreverent. It was on one of these occasions, that, the eloquence of the Cardinal Bishop here interred being at default, a lacquey of his followers came to his assistance, and being provided with a palo, or staff, inflicted on the rival dignitary certain arguments ad humeros—in fact, gave the Bishop of Segovia a severe drubbing. The Cardinal was on this occasion compelled to retire to Italy.

      Turning our backs to the centre piece of sculpture last described, we enter the Capilla del Condestable through a superb bronze railing. In these railings the Cathedral of Burgos rivals that of Seville, compensating by number for the superior size and height of those contained in the latter church. That of the chapel we are now entering entirely fills the entrance arch, a height of about forty feet; the helmet of a mounted knight in full armour, intended to represent St. Andrew, which crowns its summit, nearly touching the keystone of the arch. This chapel must be noticed in detail. Occupying at the extremity of the church a position answering to that of Henry the Seventh's Chapel at Westminster Abbey, it forms a tower of itself, which on the outside harmonises with peculiar felicity with the three others, and contributes to the apparent grandeur and real beauty of the exterior view. The interior is magnificent, although its plan and style, being entirely different from those of Henry the Seventh's Chapel, prevent the comparison from going further. Its form is octagonal, measuring about fifty feet in diameter, by rather more than a hundred in height. Its style florid Gothic of the fourteenth century. The effect of its first view is enhanced by its being filled, unlike the rest of the church, with a blaze of light introduced through two rows of windows in the upper part.

      Two of the sides are furnished with recesses, which form lesser chapels, and in one of which there is a fine organ. Between the centre of the pavement and the principal altar, a large square block of mixed marble covers the remains of the founders of the chapel, and bears on its surface their recumbent figures executed in great perfection.2 This is the finest tomb in the cathedral. The embroidery of the cushions, the ornaments on the count's armour, the gloves of the countess, are among the details which merit particular notice amidst the beautiful execution of the whole. The high altar of this chapel does not accord with the general effect, being designed in the style of the renascimiento. In the centre of it is nevertheless fixed a treasure that would compensate for worse defects. A small circular medallion represents the Virgin and Child, in an attitude very similar to that of the Madonna della Seggiola, executed on porphyry. This delicious little work, of about nine inches in diameter, forms the centre of attraction, and is the most precious ornament of the chapel. On the right hand, near the altar, a small doorway admits to the sacristy.

      This contains several relics of the founders. A small portable altar of ivory, forming the base of a crucifix of about eighteen inches in height, is an exquisite model of delicate workmanship. Here also has been treasured up a picture, behind a glass, and in a sort of wooden case; a bequest likewise of the founders. Unfortunately they neglected to impart the name of its author. The nebulous sort of uncertainty thus made to surround this relic has magnified its merits, which might otherwise perhaps not have claimed particular notice, to the most colossal dimensions. They scarcely at last know what to say of it. At the period of

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The following inscriptions are placed at the feet of the respective statues:

"Aqui yace el muy Ilustre Señor Don Pedro Hernandez de Velasco, Condestable de Castilla, Señor del estado, y gran casa de Velasco, hijo de Don Pedro Hernandez de Velasco, y de Doña Beatriz Manrique, Condes de Haro. Murio de setenta y siete años, anno de mil cuatro cientos y noventa y dos, siendo solo Virey de estos reynos por los Reyes Catolicos."

"Aqui yace la muy Ilustre Señora Doña Mencia de Mendoza, Condesa de Haro, muger del Condestable Don Pedro Hernandez de Velasco, hija de Don Inigo Lopez de Mendoza, y de Doña Catalina de Figueroa, Marqueses de Santillana. Murio de setenta y nueve annos, anno de mil y quiniento."