I

The peace of death is over Toledo, unbroken by any invasion of modern thought or new architecture since her last deep sighs mingled with the distant echoes of the middle ages. But she still wears the mantle of her imperial glory. She sleeps in the fierce, beating sunlight of the twentieth century like the enchanted princess of fairy tales, undisturbed by, and unconscious of, the world around her.

The atmosphere is transparent; the sky spreads from lapis-lazuli to a cobalt field back of the snow-capped, turquoise Sierra de Gredo mountains, while a clear streak of lemon color throws out the sharp silhouette of the battlements and towers.

There is sadness and desolation in the decay, a pathetically forlorn and tragical widowhood, strangely affecting to the senses.

A blackened ruin, lonely and forsaken, Already wrapt in winding-sheets of sand; So lies Toledo till the dead awaken,-- A royal spoil of Time's resistless hand.

Toledo! The name rings with history, romance and legend. Enthralling images of the past rise before one and vanish like the ghosts of Macbeth. Capital of Goth, of Moslem, and of Christian; mightiest of hierarchical seats,[8] city of monarch and priest, she has worn a double diadem. Gautier says, "Jamais reine antique, pas meme Cleopatre, qui buvait des perles, jamais courtisane Venitienne du temps de t.i.tien n'eut un ecrin plus etincelant, un trousseau plus riche que Notre Dame de Tolede." But the flame of life which once burned warm and bright is now extinct and all her glory has vanished. Neglected churches, convents, palaces, and ruins lie huddled together, a stern and solemn vision of the past, waiting with the silence of the tomb, broken only by the continual tolling of her hoa.r.s.e bells.

The city has a superb situation. Once seen, it is forever impressed upon the memory. The hills on which it stands rise abruptly from the surrounding campagna, which bakes brown and barren and crisp under the scorching rays of the sun, and stretches away to the distant mountains, vast and uninterrupted in its solitude and dreariness. It is "pobre de solemnidad,"--solemnly poor, as runs the touching phrase in Spanish.

There is no joy and freshness of vegetation, no glistening of wet leaves, no scent of flowers. You read thirst in the plains, hunger in the soil-denuded hills. All is naked and bare, without a softening line or gentler shadow, lying fallow in spring, unwatered in drought, and ungarnered at harvest time.

The Tagus rushes round the city in the shape of a horseshoe, confining and protecting it as the Wear does the towers of Durham. It boils and eddies 'twixt its narrow, rocky confines, hurrying from the gloomy shadows to the sunshine below, through which it slowly sweeps, murky and coffee-colored, to the horizon, no life between its flat banks, no commerce to mark it as a highway.

You pa.s.s over the high-arched Alcantara Bridge, which the Campeador and his kinsman, Alvar Fanez, crossed with twelve hundred hors.e.m.e.n at their back, to demand justice from their sovereign. A broad terrace crawls like a serpent up the steep incline to the city gates. A forest of soaring steeples rises above you, topped by the square bulk of the Alcazar.

The city smells sleepy. The narrow streets, or rather alleys, of the town wind tortuously around the stucco facades, with no apparent starting-point or destination, as confused as a skein of worsted after a kitten has played with it. Thus were they laid out by the wise Arabs, to afford shade at all hours of the day. At every corner, one runs into some detail of historical or artistic interest,--history and architecture here wander hand in hand.

Huge, wooden doors, closely studded with scallop nails as big as a man's fist, proud escutcheons of n.o.ble races lost to all save Spain's history; charming glimpses of interior courtyards and gardens glittering fresh in their emerald coloring, and sweet with the scent of orange blossoms; Gothic crenelations, Renaissance ironwork and railing, and Moorish capitals and ornamentation, all pell-mell, the styles of six centuries often appearing in the same building. More than a hundred churches and chapels and forty monasteries crumble side by side within the small radius of the city. Half of its area was once covered by religious buildings or mortmain property.

II

The church, be it a grand cathedral or the humble steeple of some little hamlet, is always the connecting link between past and present. It has been the highest artistic expression of the people, and it remains an eloquent witness to continuity and tradition. It is what makes later ages most forcibly "remember," for it seeks to embody and satisfy the greatest need of the human heart.

The history of a great cathedral church of Spain is so closely connected with the civil life of its city that one cannot be thoroughly studied without some familiarity with the other. Spanish cathedrals differ in this respect from their great English and French sisters. In England, cathedrals were built and owned by the clergy, they belonged to the priests, they were surrounded and hedged in from the outside world by their extensive lawns and cloisters, refectories, chapter houses, bishops' palaces, and numerous monastic buildings. They were shut off from the rest of the world by high walls. In France, the cathedrals were the centre of civic life; their organs were the heart-throbs of the people; their bells were notes of warning. The very houses of the artisans climbed up to their sides and nestled for protection between the b.u.t.tresses of the great Mother Church. Notre Dame d'Amiens, for instance, was the church of a commune, what Walter Pater calls a "people's church." They belonged to the people more than to the clergy.

They were a civil rather than an ecclesiastical growth, essentially the layman's glory.

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

A. Chapel of Saint Blase.

B. Chapel of the Parish of Saint Peter.

C. Octagon.

D. Chapel of the Virgin of the Sanctuary.

E. Large Sacristy.

F. Court of the Hall of Accounts.

G. Chapel of the New Kings.

H. Chapel of the Master of Santiago, D. Alvaro de Luna.

I. Chapel of Saint Ildefonso.

K. Chapter House.

L. Chapel of the Old Kings or of the Holy Cross.

M. Capilla Mayor.

N. Chapel of the Tower or of the Dean.

O. Mozarabic Chapel.

P. Choir.

Q. Portal of the Lions.

R. Portal of the Olive, or Gate of La Llana.

S. Portal of the Choir.

T. Portal of the Little Bread.

V. Portal of the Visitation.

W. Portal of the Tower or Gate of h.e.l.l.

X. Portal of the Scriveners or of Judgment.]

In Spain, the church belonged to both. Munic.i.p.al and ecclesiastical history were one and the same, going hand in hand in b.l.o.o.d.y strife or peaceful union,--the city was the body, the cathedral its animating soul. The cathedrals were meant, not for prayer alone, but to live in,--they were for festivals, meetings, thanksgivings, for surging, excited crowds. The church was an _imperium in imperio_. It was the rallying place in all great undertakings or excitements. Here the Cortes often met, the great church conclaves a.s.sembled, the mystical Autos or sacred plays were performed, in them soldiers gathered, prepared for battle, edicts were published, sovereigns were first proclaimed, and allegiance was sworn; kings were christened, anointed, and buried. The troubled murmurings of the lower cla.s.ses were here first voiced. They were the art galleries; here were displayed their finest paintings, statues and tapestries; they were even museums of natural history, and exhibited the finest examples of their wood-carving and gla.s.s-work, and the iron and silversmith's arts. It is thus easy to see that the political history of Toledo becomes vital in connection with its Cathedral church.

The history of Toledo dates back to Roman days,--we find Pliny referring to the city as the metropolis of Carpentania. She was among the first cities of Spain to embrace Christianity. All the barbarians, with the exception of the Franks, were Arians, but the last Gothic ruler in Spain to withstand the Roman faith was Leovgild, who reigned in the last half of the sixth century. He was also their first able administrator, the first who consistently strove to bring order out of the chaos of warring tribes and conflicting authorities. Contemporaries describe his palace at Toledo, his throne and apparel, and his council chamber, as of truly royal magnificence. It was reserved to his son Reccared to change the history of Spain by publicly announcing his conversion to the Roman faith before a council of Roman and Arian bishops held in Toledo in 587, at the same time inviting them to exchange their views fearlessly and, as many as would, to follow him. The Goths were never difficult to convert, and many of the bishops and of the lords who were present embraced the Catholic faith, to which a majority of the people already belonged. Gregory the Great, hearing of the success of Reccared's gentle and liberal proselytism, wrote to him: "What shall I do at the Last Judgment when I arrive with empty hands, and your Excellency followed by a flock of faithful souls, converted by persuasion?" He summoned a third council at Toledo in 589, and in concert with nearly seventy bishops, regulated the rites and discipline of the Church, at the same time excluding the Jews from all employments. In royal Toledo Reccared was anointed with holy oil, and he subst.i.tuted the Latin for the Gothic tongue in divine service, where Isidore was the first to use it. In daily life Latin soon replaced Gothic. King Wamba built the great walls round the city, and King Roderick held his glorious tournament inside them.

Greater than any fame of Gothic monarch was that of the Church Councils which met here to determine the course of early dogma and shape the destinies of the larger part of Christendom.

The most salient figure during the rule of the Gothic kings was Saint Ildefonso, who quite overshadows his royal contemporaries. In 711 the Moors conquered the city, which then became a dependency of the Caliphs of Damascus and Bagdad until a Moorish prince shook off the foreign yoke. Independent Arab princes ruled, with Toledo as capital of their empire, until Alfonso VI, King of Castile and Leon, in 1085, finally conquered it for himself and his successors.

During the reigns of the early Castilian kings, we find names connected with the city's history which became famous all over Spain. The Cid was the city's first Alcaide. Alfonso el Batallador and Pedro el Cruel stand out in sombre relief, and Toledo was the cradle of the dramatic Comunidades' rising, and the scene of the n.o.ble death of their patriotic leader Padella. The streets ran with blood, and the walls spoke of glorious resistance before the Flemish emperor had crushed the liberties of the people.

We have a description of the brilliant pageant of Ferdinand and Isabella's entry after defeating the king of Portugal. "The Prince of Aragon was in full armour on his war horse and Isabella riding a beautiful mule, splendidly caparisoned, the bridle being held by two n.o.ble pages. Followed by their gorgeous retinue they rode slowly towards the Cathedral, while the highest dignitaries of the Church, the archbishop, himself a mitred king, the canons, and the clergy, in their pontifical garments, preceded by the Cross, came forth from the Puerta del Perdon to receive them. On each side of the arch above the doorway were two angels, and in the centre a young maiden richly clothed, with a golden crown on her head, to represent the image of 'La Bendita Madre de Dios, nuestra Senora.' When Ferdinand and Isabella and all the company had gathered around, the angels began to sing. The following day the trophies of war were presented to the Cathedral."

During the period immediately following the reign of the Catholic Kings, Toledo reached her highest prosperity. She numbered as many as 200,000 inhabitants;--to-day she has only 20,000. Glorious processions swept through her streets, the proud knights of the military orders of Alcantara, Calatrava, and Santiago, black-robed Dominican inquisitors, executioners, royal chaplains and major-domos, the Councils of the Indies, Castilian grandees, Roman princes and cardinals, brawling Flemish and Burgundian n.o.bles, German landsknechts, and great Catholic amba.s.sadors.

Toledo received her death-blow when Philip II, unable to brook the haughty claims of the Toledan archbishops, and feeling his power second to theirs, finally, in 1560, moved the capital of his realm to Madrid.

Toledo's annals grew dark. So merciless was the Tribunal of the Inquisition that under its vigilant eye 3327 processes were disposed of in little more than a year. So Toledo fell from her former greatness.

The site of the Cathedral in the very heart of the city is by no means dominant. The church lies so low that even the spire is inconspicuous in the landscape. On three sides adjacent buildings completely bar all view or approach. The only free perspective is on the fourth side, from the steps of the Ayuntamiento across the square.

The inscription above the door of the city hall, with its trenchant advice to the magistrates, is well worth notice:--

n.o.bles discretos varones, Qui gobernais a Toledo En aquatos escalones Codicia, temor y miedo.

Por los comunes provechos Deschad los particulares Puez vos hezo Dios pilares De tan requisimos lechos Estat vermes y derechos.[9]

In the streets, the _alcazerias_ which wind around the sides of the Cathedral, the rich silk guild traded. Here were shipped the goods that freighted vessels sailing for the American colonies.

During the Visigothic reign in Toledo, the Cathedral site was occupied by a Christian temple. It was transformed by the Moors after their occupancy of the city into their princ.i.p.al mosque; there they were still permitted to carry on their worship, according to the terms of the treaty made on their surrender of the city to King Alfonso IV in 1085. A year afterwards King Alfonso went off on a campaign, leaving the capital in charge of his French queen, Constance, and the Archbishop Bernard, recently sent to Toledo at the King's request by the Abbot of Cluny. No sooner was King Alfonso outside the city walls than the regents turned the Moors out of the church. The Archbishop arrived with a throng of Christian citizens, battered down the main entrance, threw the Moslem objects of worship into the gutters, and set in their place the Cross and the Virgin Mary. When the news of this outrage reached the ears of the King, he returned in wrath to Toledo, swearing he would burn both wife and prelate who had dared to break the oath he had so solemnly sworn. The Moslems, sagely fearing later vengeance would be wreaked upon them should they permit matters to take their course, besought the returning sovereign to restrain his wrath while they released him from his oath,--"Whereat he had great joy, and, riding on into the city, the matter ended peacefully."

The appearance of this fanatic Cluny monk is of the greatest importance as heralding a new influence in the development and history of Spanish ecclesiastical architecture. His coming marks the introduction of a foreign style of building and a revolution in the previous national methods, known as "obra de los G.o.dos," or work of the Goths. Further, with the gradual arrival of French ecclesiastics from Cluny and Citeaux, came also a greater interference from Rome in the management of the Spanish Church, and a radical limitation of the former power of the Peninsula's arrogant prelates. Owing to the new influence, the Italian ma.s.s-book was soon presented in place of the ancient Gothic ritual and breviary. The foreign churchmen likewise aided in uniting sovereign, clergy, and n.o.bility in common cause against the Saracen infidels now so firmly ensconced in the Peninsula. Spanish art had previously felt only national influences; now, through the door opened by the monks, it received potent foreign elements.

Spain had been far too much occupied with internal strife and political dissension to have had breathing spell or opportunity for the development of the fine arts and the building of churches. The pa.s.sion for building which the French monks brought with them awoke entirely dormant qualities in the Spaniard, which in the early Romanesque, but especially in the Gothic edifices, produced beautiful, but essentially exotic fruits. First in the days of the Renaissance the architecture showed features which might be termed original and national. With the Cluniacs came not only French artisans but Flemish, German, and Italian, all taking a hand in, and lending their influences to the great works of the new art.

Nothing remains of the old Moorish-Christian house of worship. It was torn down by order of Saint Ferdinand (he had laid the foundation stone of Burgos as early as 1221), who laid the corner stone of the present edifice with great ceremony, a.s.sisted by the Archbishop, in the month of August, 1227 (seven years prior to the commencement of Salisbury and Amiens). The building was practically completed in 1493, during the reign of Ferdinand and Isabella, the most ill.u.s.trious epoch of Spanish history. Additions and alterations injurious to the harmony and symmetry of the building were made till the end of the seventeenth century, and again continued during the eighteenth. It thus represents the architectural inspiration and decadence of nearly six hundred years.

In style it belongs to the group of three great churches, Burgos, Toledo and Leon, which were based upon the constructional principles and decorative features termed Gothic. In some respects these churches embodied to a highly developed extent the organic principles of the style, in others, they fell far short of a clear comprehension of them.

None of them had the beauty or the purity of the greatest of their French sisters. Burgos may be said to be most consistently Gothic in all its details, but neither Toledo nor Leon was free from the influence of Moorish art, which was indeed developing and flowering under Moslem rule in the south of the Peninsula, at the time when Gothic churches were lifting their spires into the blue of northern skies under the guidance and inspiration of the French masters. In many respects the Gothic could not express itself similarly in Spain and France,--climatic conditions differed, and, consequently, the architecture which was to suit their needs. In France, Gothic building tended towards a steadily increasing elimination of all wall surfaces. The weight and thrusts, previously carried by walls, were met by a more and more skillfully developed framework of piers and flying b.u.t.tresses. Such a development was not practical for Spain nor was it understood. The widely developed fields for gla.s.s would have admitted the heat of the sun too freely, whereas the broad surfaces of wall-masonry gave coolness and shade. Nor were the sharply sloping roofs for the easy shedding of snow necessary in Spain.

In French and English Gothic churches, the light, pointed spire is the ornamental feature of the composition, whereas in the Spanish, with a few exceptions, the towers become heavy and square.

None of the three Cathedrals in question impresses us as the outcome of Spanish architectural growth, but seems rather a direct importation.

They have the main features of a style with which their architects were familiar and in which they had long since taken the initial steps. They are working with a practically developed system, whose infancy and early growth had been followed elsewhere.

While in the twelfth, and the early portion of the thirteenth century, Frenchmen were gradually evolving the new system of ecclesiastical architecture, the Spaniards, destined to surpa.s.s them, were to all purposes still producing nothing but Romanesque buildings, borrowing certain ornamental or constructional features of the new style, but in so slight and illogical a degree, that their style remained based upon its old principles. They employed the pointed arch between arcades and vaulting, and unlike the French, threw a dome or cimborio over the intersection of nave and transepts. In some instances we find a regular French quadripart.i.te vault at the crossing, but such changes are not sufficient to term the cathedrals of the period (Tudela, Tarragona, Zamora, and Lerida) Gothic. They remain historically, rather than artistically, interesting. With the second quarter of the thirteenth century, comes the change.

In style Toledo corresponds most closely to the early Gothic of the north of France. Its plan reminds one forcibly of Bourges, though it is far more ambitious in size. Owing to the long period of its building, it bears late Gothic, Renaissance, and Baroque features, while traces of Moorish influence are not wanting.