"Anno: ab: Incarnatione: Dai: M. C. Lx.x.xVIIIvo: Era I CCXXh. VI.: Die K-L. Aprilis: supra liniharia: Princ.i.p.alium: portalium."

"Ecclesiae: Beati: Jacobi: sunt collocata: Per: Magistrum: Matheum: qui: a: fundamentis: ipsorum: portalium: gessit: magisterium."[152]

In addition to these evidences, there are two others in the church itself; one, to which I shall refer again, a date which I take to be A.D. 1078, on the jamb of the south transept doorway; and the other, an inscription which, with some modifications, is repeated several times round the margins of circles let into the aisle walls, in the centre of which are the dedication crosses. The date on one of these over the west side of the transept, as well as I could read it, appeared to me to be A.D. 1154;[153] but as the inscriptions vary somewhat round the different crosses, it is possible that the dates may vary also with the time of completion of the various parts of the building; and I regret therefore that I did not make accurate copies of all of them. The dedication crosses are all floriated at the ends, and have in the spandrels between the arms of the cross--above, the sun and moon, and below, the letters A and O. Three of these remain on each side of the nave, two in each transept, and two in the choir aisle, twelve in all. I saw none on the exterior; but so little of the old external walls can now be seen that this is not to be wondered at.

It is now time to describe the building itself, the age of its various parts having been pretty accurately defined by the doc.u.mentary evidence which I have quoted.

This cathedral is of singular interest, not only on account of its unusual completeness, and the general unity of style which marks it, but still more because it is both in plan and design a very curiously exact repet.i.tion of the church of S. Sernin at Toulouse.[154] But S. Sernin is earlier in date by several years, having been commenced by S. Raymond in A.D. 1060, and consecrated by Pope Urban II. in A.D. 1096; and the cathedral at Santiago can only be regarded, therefore, as to a great extent a copy of S. Sernin, the materials being, however, different, since granite was used in its construction in place of the brick and stone with which its prototype was constructed.

The dimensions of the two churches do not differ very much; Santiago has one bay less in its nave, but one bay more in each transept; it has only one aisle, whilst S. Sernin has two on each side of the nave; and its two towers are placed north and south of the west front, instead of to the west of it, as they are at S. Sernin. The arrangement of the chevet and of the chapels on the east of the transepts was the same in both churches. Here they still exist in the chevet, but in the transepts traces of them are only to be found after careful examination. Three of them, indeed are quite destroyed, though slight traces still exist of the arches which opened into them from the aisles, but the fourth has been preserved by a piece of vandalism for which one must be grateful.

It has been converted into a pa.s.sage-way to a small church which once stood detached to the north-east of the cathedral, and the access to which was by a western doorway. The erection of a modern chapel blocked up the access to this doorway, and an opening was then made through the northern chapel of the north transept, which has thus been saved from the fate which has befallen the others. The position and size of these chapels are indicated in the ground-plan.

The proportions of the several parts of the plans of the two churches are also nearly identical; and owing in part to the arrangement of the groining piers of the transepts, in which the aisles are returned round the north and south ends, the transept fronts in both churches have the very unusual arrangement of two doorways side by side--a central single doorway being impossible. The triforium galleries surround the whole church, being carried across the west end and the ends of the transepts, so that a procession might easily ascend from the west end, by the tower staircases--which are unusually broad and s.p.a.cious--and make the entire circuit of the church. Finally, the sections of both these great churches are as nearly as possible the same; their naves being covered with barrel-vaults, their aisles with quadripart.i.te vaults, and the triforia over the aisles with quadrant vaults, ab.u.t.ting against and sustaining as with a continuous flying b.u.t.tress the great waggon-vaults of their naves.[155]

[Ill.u.s.tration: No. 17

SANTIAGO CATHEDRAL p. 147.

INTERIOR OF LOWER CHURCH]

The exterior of the cathedral at Santiago--to a more detailed description of which I must now devote myself--is almost completely obscured and overlaid by modern additions. The two old western steeples shown on the plan are old only about as high as the side walls of the church, and have been raised to a very considerable height, and finished externally with a lavish display of pilasters, bal.u.s.trades, vases, and what not, till they finish in a sort of pepper-box fashion with small cupolas. Between them is a lofty niche over the west front, which contains a statue of the tutelar.[156] Fortunately the whole of the facade between the steeples was built on in front of, and without destroying, Master Matthew's great work, the western porch. The ground falls considerably to the west, and a rather picturesque quadruple flight of steps, arranged in a complicated fashion, leads up from the Plaza to the doors. There are two great and two lesser flights of steps, so that a procession going up might be divided into four lines; a doorway in the centre of the western wall below these steps leads into a chapel constructed below the western porch. This is now called the Chapel of St. Joseph, but seems to have been known of old as Santiago la Vajo. The arrangement of its plan is very peculiar.[157] There are two large central piers east and west of a sort of transept; to the west of this are two old arches, and then the modern pa.s.sage leading to the doorway at the foot of the steps. To the east of the transept is an apse consisting of an aisle formed round the great central pier, with small recesses for altars round it. The aisle is covered with a round-arched waggon-vault; it has five recesses for altars; the easternmost _seems_ to have a square east end, the next to it on either side have apses, and the others are very shallow recesses hardly large enough for altars.

There can be no doubt whatever, I think, that this is the work on which Master Matthew was first employed; it is exactly under the porch and doorway, on which, as we know by the inscription on the lintel of the door, he wrought; and as he was first at work here in A.D. 1168, and finished the doors in A.D. 1188, we may safely put down this chapel as having been begun and finished circa A.D. 1168-1175. In this the bases are some of them square, some circular in plan; the sculpture of the capitals is elaborate and similar in character to most of the later work in the cathedral. The favourite device of pairs of animals regarding each other is frequently repeated; and there are moulded and spiral shafts in the jambs of the western arches. My view of the interior of this interesting little chapel will best explain its general character and peculiarities, and it will be felt, I think, that it is certainly not earlier than the date I have a.s.signed, and therefore, like the great western door, of later date than the church in connection with which it was built. Behind the eastern altar there is an arcade of three arches forming a kind of reredos, but I am not at all sure whether they are in their old places, and I am inclined to think it more likely that there is an eastern apse behind them. There is nothing to prove whether there were any western doors to this chapel, and as all the light must originally have come through the western arches, it would seem to be most probable that there were none. The chapel is now kept locked, and is but seldom used for service.[158]

To return to the west front. This is the centre only of a vast architectural facade; to the right of the church being the chapter-house and other rooms on the west side of the cloister, and to the left another long line of dependent buildings. The Plaza is bounded by public buildings on its other three sides;[159] and beyond, to the west, the ground falling very rapidly affords a fine view across the valley to the picturesque mountain-like ranges which bound the landscape. This is the Plaza Mayor or "del Hospital."

Going northward from the west entrance, and turning presently to the east, a low groined gateway is reached, which leads into another Plaza fronting the north transept. This gateway is a work of the twelfth century, but of the simplest kind. The Plaza de San Martin, to the north of the cathedral, is picturesquely irregular; its north side is occupied by a vast convent of St. Martin, and the ground slopes down steeply from it to the cathedral. Here is the gayest and busiest market-place of the town, and the best spot for studying the noisy cries and the bright dresses of the Gallegan peasantry. They are to be seen on a Sunday, especially, in all their finery,--bright, picturesque, and happy looking, for those who can afford to dress smartly are happy, and those who cannot don't seem to come--selling and buying every possible kind of ware, save, perhaps, the large stock of scallop-sh.e.l.ls, which, though they are kept for sale with due regard to the genius loci, seemed to me never to attract any one to become a purchaser, and to adopt the badge of St. James!

The whole of the northern front of the transept and church is modernized. But to the east of it lies the little church used as the Parroquia, and which will be better described when I go to the interior, as externally it has no old feature save a simple little window in its north wall.

[Ill.u.s.tration: Exterior of Chevet.]

A narrow pa.s.sage from the Plaza de San Martin leads to the upper side of a third Plaza opposite the east end; and here, though the cathedral has been enclosed within square modern walls, there is fortunately just enough left of the exterior of the eastern chapel and part of the apse enclosed in a small court to explain its whole original design. The entrance to this court is garnished with a number of statues, evidently, I think, taken from a doorway, and perhaps from the destroyed north doorway.[160] From this fragment of the chevet, it seems that the eastern chapel was surrounded with a deeply recessed arcading, within which were broad, round-arched windows with moulded archivolts carried on shafts with sculptured capitals. The smaller chapels have three-quarter shafts running up to the cornices placed between the windows, and the corbel-tables at the eaves are simple and bold. The bay between the chapels has a window occupying the whole s.p.a.ce in width, and above it is a small circular window, a feature which occurs in almost exactly the same position in S. Sernin, Toulouse.[161] A string-course is carried round the aisle wall above the roofs of the chapels, and the wall is continued up to the same level as the walls of the aisles of the church, and has alternately windows and arcading in its outer elevation.

This is perhaps the only serious difference between the design of this church and that of S. Sernin. There the triforia are not carried round the chevet, and consequently the aisle walls are not so lofty, and the clerestory of the apse is shown in the usual way.

Continuing the circuit of the cathedral, we now reach the Plaza de los Plateros, in front of the south transept. This is bounded on the west side by the outer walls of the cloisters, and a broad flight of steps all across the Plaza leads up to the transept. This has been to some extent damaged by the erection of a lofty clock-tower projecting at its south-east angle, in which are the clock and the bells. The rest of the old facade is fortunately preserved. It has two doorways in the centre division, and two grand and deeply recessed windows above them. The ends of the aisles seem to have been similarly treated above. The finish of the transept wall is modern, but there still remain two canopies in it, under one of which is a figure of the Blessed Virgin, no doubt part of a sculpture of the Annunciation.

The detail of the work in this front is of great interest, inasmuch as it is clearly by another and an earlier workman than that of the western part of the church. There are three shafts in each jamb of the doors, whereof the outer are of marble, the rest of stone. These marble shafts are carved with extreme delicacy with a series of figures in niches, the niches having round arches, which rest upon carved and twisted columns separating the figures. The work is so characteristic as to deserve ill.u.s.tration. It is executed almost everywhere with that admirable delicacy so conspicuous in early Romanesque sculpture. The other shafts are twisted and carved in very bold fashion.

[Ill.u.s.tration: No. 18.

SANTIAGO CATHEDRAL p. 150.

SHAFTS IN SOUTH DOORWAY]

The jamb of this door retains an inscription deeply cut in large letters, which appears to give the same date--Era 1116, 5 Ides of July--that I have already quoted from the 'Historia Compostellana.' But as the reading of this inscription is open to doubt, I think it well to engrave it. This Era would make the date of these doors agree with the commencement of the works. Figures on either side support the ends of the lintels of the doors, but the tympana and the wall above for some feet are covered with pieces of sculpture, evidently taken down and refixed where they are now seen. They are arranged, in short, like the casts at the Crystal Palace, as if the wall were part of a museum. One of the stones in the tympanum of the eastern door has the Crowning with Thorns and the Scourging; and on other stones above are portions of a Descent into Hades, in which a.s.ses with wings are shown kneeling to our Lord. a.s.ses and other beasts are carved elsewhere, and altogether the whole work has a rude barbaric splendour characteristic of its age.

[Ill.u.s.tration: Inscription on South Door.]

The windows above deserve special notice. Their shafts and archivolts are very richly twisted and carved, and the cusping of the inner arch is of a rare kind. It consists of five complete foils, so that the points of the lowest cusp rest on the capital, and, to a certain extent, the effect of a horseshoe arch is produced. This might be hastily a.s.sumed to be a feature borrowed from the Moors; but the curious fact is that this very rare form of cusping is seen in many, if not most, of the churches of the Auvergnat type, to which reference has already been made, and it must be regarded here, therefore, as another proof of the foreign origin of most of the work at Santiago, rather than of any Moorish influence. I have omitted to say that in addition to the other steeples there is a modern dome over the crossing. The lower part of the lantern is old, and the four piers which support it are somewhat larger than the rest.

The exterior of the cloister is rather Renaissance than Gothic in its character, and has some picturesque small towers at the angles.

Altogether the impression which is first given here is of a church which has been completely altered by Renaissance architects of rather a more picturesque turn of mind than is usual; and the generally similar character of the work in the Plazas on the several sides of the church gives certainly a rather stately, though to me it was a very disappointing, _tout ensemble_.

With such feelings about the exterior, the complete change in the character of the work as one goes through the door is more than usually striking, for you are at once transferred from what is all modern, to what is almost all very old, uniform, and but little disturbed. The interior of the transepts is very impressive; their length is not far from equal to that of the nave, and the view is less interrupted than in it, as the rails between the Coro and the Capilla mayor are very light, and the stalls are all to the west of the crossing. The whole detail of the design is extremely simple. The piers are alternated throughout the church of the two sections given on my ground-plan. The capitals are all carved, generally with foliage, but sometimes with pairs of birds and beasts. Engaged columns run up from the floor to the vault, and carry transverse ribs or arches below the great waggon-vault. The triforium opens to the nave with a round arch, subdivided with two arches, carried on a detached shaft. I have already described the construction, and I need only add here that the b.u.t.tresses, which appear on the ground-plan, are all connected by arches thrown from one to the other, so that the eaves of the roof project in front of their outside face. There is consequently an enormous thickness of wall to resist the weight and thrust of the continuous vault of the triforium, these arches between the b.u.t.tresses having been contrived in order to render the whole wall as rigid and uniform in its resistance to the thrust as possible. The height of the interior, from the floor to the centre of the barrel-vault of the nave, is a little over seventy feet. This dimension is, of course, insignificant if compared with the height of many later churches; but it must be borne in mind that here there is no clerestory, and that, owing to its absence, there is much less light in the upper part of the church than is usual, and one consequence of this partial gloom is a great apparent increase in the size of every part of the building. The original windows remain throughout the greater part of the church. In the aisles they have jamb-shafts inside, and in both aisles and triforia there are jamb-shafts outside. Occasionally at the angles of the aisles, and elsewhere where it was impossible to pierce the walls for windows, sunk arcading, corresponding with them in outline and detail, is subst.i.tuted for them.

The chevet has been a good deal altered; most of the chapels remain, but the columns and arches round the choir have all been destroyed, or, at any rate, so covered over with modern work as to be no longer visible. A thirteenth-century chapel has been added on the north of the apse, and a small chapel of the fifteenth century and a large one of the Renaissance period on its south-west side. The other alterations are clearly indicated on the engraving of the ground-plan.

[Ill.u.s.tration: No. 19

SANTIAGO CATHEDRAL. p. 152.

INTERIOR OF SOUTH TRANSEPT, LOOKING NORTH-EAST]

I have already said that the existing Renaissance steeples at the west end are built upon the lower portions of the original Romanesque towers.

The only peculiarity about these is the planning of their staircases.

The steps are carried all round the steeple in the thickness of the wall, and the central s.p.a.ce is made use of for a succession of small chambers one over the other. These staircases are unusually wide and good, and their mode of construction is obviously very strong.

The only other part of the church of the same age as the original fabric is the detached chapel to the north-east of it. This seems to have had originally no connexion whatever with the cathedral, the pa.s.sage which now leads to its western doorway from the north transept being quite modern, and made for the reason already mentioned. Its western door is a good late Romanesque work, with shafts in the jambs, and carved capitals. The church itself consists of a nave and aisles of two bays in length, and a chancel with an aisle on either side. The columns are cylindrical, with carved capitals. The aisles have quadrant vaults, and the nave a semi-circular ceiling, but I could not ascertain certainly whether this was of plaster or stone. If the latter, then this little church affords a very interesting example of the adaptation of precisely the same mode of construction that we see in the great cathedral by its side, viz. the waggon-vault in the nave supported on either side by the quadrant vaults of the aisles.

[Ill.u.s.tration: Central Shaft of Western Doorway.]

It is now necessary to say something about what is to an architect the chief glory of this n.o.ble church--its grand western entrance, fitly called the Portico de la Gloria. On the whole, with no small experience to warrant my speaking, and yet with a due sense of the rashness of too general an approval, I cannot avoid p.r.o.nouncing this effort of Master Matthew's at Santiago to be one of the greatest glories of Christian art.[162] Its scale is not very grand, but in every other respect it is quite admirable, and there is a freshness and originality about the whole of the detail which cannot be praised too much. If we consider the facts with which we are acquainted, we may understand how it is that it has these great merits. Let us a.s.sume that Master Matthew was, as he no doubt was, extremely skilled when the king sent him to Santiago with his special warrant and recommendation. From that time until the happy day came, after twenty years of anxious labour, when he was able to write his inscription on the lintel of the door, it is probable that this same man wrought on slowly but systematically on this great work.

During all this time he had but a very moderate opportunity of studying similar works in his own neighbourhood, or of receiving incitement by the compet.i.tion of others of his craft; and I think the whole work bears about it evidence that this was its history. There is up to a certain point a conformity to common custom and precedent, and yet at the same time a constant freshness and originality about it which seems to me to show that its sculptor was not in the habit of seeing other similar works during its progress. The figures are almost all placed in att.i.tudes evidently selected with a view to giving them life and piquancy. But these att.i.tudes are singularly unconventional; and though they are by no means always successful to an eye educated in the nineteenth century, they have all of them graces and merits which are almost entirely unseen in the productions of nineteenth century sculptors; whilst, again, in strong contrast to what is now almost the invariable rule, there is no doubt that here we have the absolute handiwork of the sculptor, and not a design only, the execution of which has been relegated to a band of unknown and unrewarded a.s.sistants! The detail of some of the smaller portions, as _e.g._ of the sculptured shafts, is exquisitely refined and delicate, beautifully executed, and with a singular appreciation, in some respects, of the good points of cla.s.sic sculpture.

The doorways are three in number, of which that in the centre opens into the nave, and those on either side into the aisles. In front of these doors is a western porch, of three groined divisions in width, the outer face of which has been built up and concealed by the modern western facade. The groining ribs of this porch are very richly decorated with sculpture of foliage in their mouldings. The general design of the doors will be best understood by reference to the engraving which I give of them. The bases are all very bold, and rest generally on monsters. That under the central shaft has a figure of a man with his arms round the necks of two open-mouthed winged monsters;[163] whilst on the other side is a figure of a person kneeling towards the east, in prayer, and about life-size. The central shaft is of marble, and carved all over with the tree of Jesse. The detail of this shaft is so delicate and characteristic of the whole work, that I give an engraving of a portion of it; nothing can be prettier or more graceful than the design, and the execution is admirable. The corresponding shaft in either jamb is also sculptured, but in these there is no story, the shafts being twisted with carving of foliage and figures in the alternate members. The capital of the central shaft has the figures of the Holy Trinity, with angels on either side censing; and above is a grand sitting figure of St. James, with a scroll in his right hand, and a palmer's staff in the other. His nimbus is studded with large crystals; but as none of the other figures throughout the door have nimbi, I suspect it has been added in his case. The main capital of the central shaft, above the saint's head, has on three sides the Temptation of our Lord, and on its fourth side angels coming and ministering to Him.

The tympanum of this central door has a central seated figure of our Lord, holding up His open hands. Around Him are the four Evangelists, three of them with their emblematic beasts standing up on their hind legs, with their paws in the Evangelists' laps. Beyond them are angels holding the various instruments of the pa.s.sion, and above these angels a mult.i.tude of small figures worshipping--the hundred and forty-four thousand, many of them naked, _i.e._ free from sin. The archivolt is perhaps the most striking feature in the whole work, having sitting figures of the four-and-twenty elders arranged around its circ.u.mference, in a manner at once quite original and singularly effective. The skill and fancy shown in the treatment of this crowd of figures is beyond praise, and there is a certain degree of barbaric splendour about the profuse richness of the work which is wonderfully attractive. Traces everywhere remain of the old delicate colouring with which the sculpture was covered, and this just suffices to give a beautiful tone to the whole work.

The side jambs have standing figures on a level with that of St. James.

On the north jamb are Jeremiah, Daniel, Isaiah, and Moses, and on the opposite side St. Paul, and, I suppose, other New Testament saints, though I could not tell which. The side doorways, though there is no sculpture in their tympana, have figures corresponding with the others in their jambs. Under the groining against the north wall is an angel blowing a trumpet, and there are other angels against the springing of the groining ribs holding children in their hands.

The whole scheme is, in fact, a Last Judgment, treated in a very unconventional manner; the point which most invites hostile criticism being the kind of equality which the sculptor has given to the figures of our Lord and St. James, both being seated, and both in the central position; and though the figure of the apostle is below that of his Lord, it is still the more conspicuous of the two.

The design of the interior of the west end is peculiar. The doorway occupies the same s.p.a.ce in height as the nave arches; above it the triforium is carried across over the porch, opening into the nave with two divisions of the same arcade as in the side galleries. Above this is a large circular window, with sixteen small cusps and a small pierced quatrefoil on either side. These openings now all communicate with the western triforium gallery; and I found it impossible to make out, to my own satisfaction, what the original scheme of the west end could have been. It does not appear clear whether there ever were any doors hung in the doorways, but I think there never were; and, perhaps, as we are told that the first church built over the body of the saint was of two stages in height, and open at the ends[164] (somewhat like the curious church still remaining at Naranco, near Oviedo), we may be safe in a.s.suming that this western porch was in the same way open to the air. Above it the vault of the nave may have been prolonged between the towers, and under this the circular window would have been seen from the outside as it is still from the inside. Whether there was any direct access to this western porch from the ground, may admit of question; but it seems difficult to see how it would have been contrived without blocking up the chapel below the porch, which I have already described.

The only remaining work of any importance is the cloister, with its adjacent buildings,--the sacristies, chapter-room, library, &c. The present erections show no relics whatever of the work which, as we have seen, the Archbishop Diego Gelmirez undertook in the twelfth century. It is uncertain, indeed, whether his constructions were on this side of the church, for there are still remains of walls which seem to be coeval with the church round a courtyard on the north side of the nave. The cloisters now in existence are the work of Fonseca, afterwards Archbishop of Toledo, and were commenced in A.D. 1533. As might be expected by the date, there is very little Gothic character in their design; they have the common late many-ribbed Spanish groining; and if they have ever had traceries in the arches, these are now all destroyed.

The festival of St. James is celebrated with special solemnity whenever it happens to fall upon a Sunday. Then the people, I was told, ascend a staircase behind the altar, pa.s.s in front of some of his relics, and descend by another staircase[165] on the other side. The body of the saint is said to be contained in a stone tomb below the high altar, which lies north and south, with a modern sarcophagus over it, and there is a rather good old statue of him on horseback against the west wall of the south transept.

The ritual arrangements here are the same as they usually are in Spain.

The Coro occupies four bays of the nave, and there is a pa.s.sage railed off between the Reja of the Coro and that of the Capilla mayor, and there are not many altars now in use, but the number of clergy is very great, and the church is constantly crowded with worshippers.

On a Sunday morning during my stay the Archbishop said Ma.s.s, and there was a procession with tapers all round the church. As the slow chant rose from among the dense crowd of worshippers, and the flickering lights of the tapers struck here and there on the walls of the dark old church, one of those pictures was produced which one must, I suppose, go to Spain to see really in perfection. The number of communicants seemed to be extremely small, but the number of those at confession unusually large. The penitents have a way of kneeling with their cloaks held up over them against the confessional, so that their heads are quite concealed. Spanish women are fond of squatting on the floor, fanning themselves, before an altar; but here they often kneel, with their arms stretched out as in wild entreaty, for a long time together, and with rather striking effect. I think I am within bounds in saying that fifty or sixty priests are to be seen in this church at one time, some at the altars, some hearing confessions, and others with a large staff of singing men and boys in the choir.

I have but little more to say about Santiago. The churches seemed everywhere to be modern, and, though some of them are very large, extremely uninteresting. The streets are narrow, picturesque, and winding, but with far fewer traces of any antiquity in the houses than might have been expected. The only Gothic domestic building that I saw is the great hospital, close to the cathedral, which has four fine courts, and the princ.i.p.al entrance through a chapel or oratory, with an altar in it. The detail of this work is, however, extremely late and poor; it was founded in A.D. 1504 by Ferdinand and Isabella, Henrique de Egas being the architect.

The interest which, as an architect, one must feel in a building which is--as I have shown the cathedral here to be--a close copy of another church in another country, is very great. And the only regret I feel is that I am unable to give any evidence as to the nationality of the men who wrought the exquisite work in the western porch. My feeling is certainly strong that they must have been Frenchmen, and from the district of Toulouse. This I infer from the execution of their work.