The Story of Seville

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we were mad.' So said the pious originators of Seville Cathedral, in the year 1401. After one h

aith. It was used for Catholic worship until its disrepair became a reproach. Then the Chapter decided to erect a worthier fane, one which would astonish posterity. The Cathedral should be hu

. It is the largest Gothic cathedral in the world, larger than Cologne

s 230,000

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110,

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anca (1513). The original architects are supposed to have been of German nationality.[B] Earthquake shocks endangered a part of the structure at a later date, and Casanova, who restored the Giral

writing of this spl

n scooped out, a valley turned topsy-turvy; Notre Dame at Paris might walk erect in the middle nave, which is of frightful height; pillars as large round as

from aisle to nave, as the jets of a cascade from cliff to cliff; the slender pinnacles that cap them, the proportions of the arms of the transept and of the buttresses supporting the side walls; the large pointed windows that open between them, one above another, just as the aisle

and clergy forfeited one half of their stipends to meet the heavy charges of architects, artists, stained glass designers, masons, carvers, and innumerable craftsmen and labourers. An army of artists and mechanics was employed upon the vast wor

ated Giralda Tower is distinctly Morisco, and much older in style. Within the consecrated precincts, w

aret, the Columbus Library, offices of the Chapter, and the Church of the Sagrario. There are nine doors to t

OR OF THE

best to begin our inspection of the doors from this side. Here we shall find three entrances, or puertas. The chief door is in the centre. It is elabora

DOOR OF TH

. The third doorway is the Puerta del Nacimiento, or San Miguel. This is also adorned by the sculpture of Pedro Mi

les of the roof. The effect is impressive and bewildering. Centuries of labour are here represented in noble form and beauty of outline. The flying buttresses are especially graceful and the gr

re are three entrances on the north side. That leading from the Court of the Oranges is named the Puerta del Lagarto, from the stuffed crocodile which hangs from the ceiling. The Puer

olic Church in Spain. It was no half-hearted belief that urged men of all ranks of society to deny themselves

icient for the public offices of devotion.' But there was no question of restricting the number of ministers and confessors in these days of perfervid devotion. It was considered heretical to even speak of stinting the wealth that was freely poured into the coffers of the hierarchy. To this devotion and liberality we owe the great treasure-house of art beneath w

agnificence of the mezquitas, and to show mankind that God is honoured most devoutly by those who spare neither wealth nor industry in the setting up of fanes dedicated to His worship. We cannot grasp the Spanish character until we

e during divine services. But the Spanish temperament has remained religious through all the stress of heretical days and the changing fortunes of its dynasties. It is not only

mps like lights

e voices of dr

ams the face of p

t festivals. The smoke of incense mounts in the lofty naves and aisles; the altars glow with candle-lights, and the sweet, rich voices of the boys hover under the vault

before eight in the morning. It is an early hour; but the light is then fairly good, and the chapels are usually quiet. I advise the visitor to spend several hours in the Cathedral, if he desires to study the inner architecture, carvings, pictures and statues. A mere ramble through

maining part of this chapter. The account is not to be taken as exhaustive. A thorough treatise on the architecture of the building alone would require mo

or of the

ude and the 'frightful height,' which struck Théophile Gautier. The length, exclusive of the Capilla Real, is three hundred and eight

of vastness possesses us as we gaze upwards. The floor

in nine parts, the work of Hernando de Sturmio, containing a picture of the ancient Giralda. The p

clear, but somewhat dark in tone, and the light is not favourable for viewing the picture. On the other side of the doorway the light is better. The altar is adorned by a painting of the Virgin, from the brush of the famous Alonso Cano. It is a rather conventio

ect. He was forced to leave the city after wounding an antagonist in a duel. In 1651 he was appointed a Canon of Granada, and during his residence in the old Moorish city, Cano painted works for the church

in Italy, his fine feeling for form, and the natural charm and simplicity of his composition, suggest the st

s Leal. Herrera's picture is not of value. He was a much less capable artist than his father, Francisco Herrera el Viejo (the elder), from whose roof the mozo ran away to Italy. Upon his return to Seville, the

Lorenzo) by Valdés Leal. Roelas was painting in Seville at the time of Herrera the Elder. He is said to have studied art in Venice. The finest work of this

in character, drawing, and colour. Over the tomb of Bishop Baltasar del Rio, w

ove this painting. In this chapel is the font of holy oil, which is consecrated in Holy Week. This pila, or monument, was made by Antonio Florentin in 1545-1546. It is used for the exposition of the Host, and is exhibited near the Puerta Mayor in Easter Week. Originally the pila was a tall construction of three storeys on columns, with a large cross. Between the columns were coloured figures of saints. Some of the effigies were m

del Consuelo, with a painting by one of Murillo's pupils, Alonso Miguel de Tobar. Close to the Puerta del Nacimiento we shall find some fine works by Luis de Vargas, the celebrated fresco artist. There are

miento we reach the so

with a tomb of Archbishop Alo

ide. Here there is an interesting old altar, with several

work by Juan Valdés Leal, the Marriage of t

the saint by Monta?ez, and the tomb of Archbishop Juan de Cerva

ted in 1509 by the Italian Miguel. The figures are very quaint. Adjoining this chapel is the Altar de la Gamba, with the Generacion by Luis de Vargas, a

hose, and the figure is gigantic. Sir Stirling Maxwell draws attention to the fine colouring of t

to 1537. Diego de Ria?o, sculptor and designer, was often employed by the Cathedral authorities. He delighted in lavish and fantastic embellishment, and introduced t

to the Cathedral by the Capuchins in 1814. It is one of the best of Murillo's works. Borrow much admired the Guarda, and Sir Stirling Maxwell describes the diaphanous drapery

orothy by Murillo; a painting of Fernando de Contreras by Luis de Vargas; Pietà and Deat

unlike that of Murillo, who represents the two maidens with halos around their heads. We have the figures of two charming potter-girls in Goya's picture, two creatures of earth, lovely, but not

de los Cálices about the year 1532. Campa?a's admirable Descent from the Cross is here, but the

an d'Arphe's was chosen as one unequalled in Spain. The custodia is about twelve feet high, round in form, with four storeys, each one supported by twenty-four columns. Some of the columns are Ionic; the rest are Corinthian and composite in design. Between the columns are a number of statuettes, and the base and cornices are profusely adorned with bas-reliefs. In the first storey there was originally seated a figur

Crosses, plate and sacerdotal vestments are among the treasures. The canonical robes date from the fourtee

piece of Pedro Campa?a, restored in 1880. The work is in ten parts, representing scenes

llions, and the pavement. Murillo's Conception is here, and the Four Virtues of Pablo de Céspedes. There is a picture of San Fernando by Pacheco, the father-in-law and instructor of

monument to Cardinal Cienfuego, a modern work. T

es by Zurbaran, well worthy of notice, and a t

he decorations are luxuriant and there is a high dome. Gainza began to build the chapel in 1541, and his wor

o San Fernando by St. Louis of France. The fair hair is real; the crown that adorned the head was stolen in 1873.

ria de Padilla, the Princes Fadrique, Alonso and Pedro, and others. Over San Fernando's coffin is the ivory figure of the Virgin

of this capilla. There are portraits of St.

for the articulations and curious, lavish adornment of the Royal Chapel of the Cathedral. The sacristy of the capilla was built and decorated by Gainza after plans by Ria?o. We may now inspect the stained-glass windows, in which we shall find the influence of Italian artists. It must be noted that art in Spain has been profoundly

ir Stirling Maxwell states that in 1538 the Church paid Arnao of Flanders, Carlos of Bruges, and other artists the sum of ninety thousand ducats for staining the windows of Seville Cathedral. The work was not completed until twen

from the Scriptures. Crowning the retablo are a crucifix and large statues of the Virgin and St. John. Dancart, the desi

culptor. The structure is twenty-six feet high, and it is ornamented with several small images. During the imposing celebrations of Semana Santa, the candelabrum is lit by thirteen candles. Twelve of these light

served in the choir is the facistol, or choristers' desk, of Bartolomé Morel, adorned with highly-finished carvings. The choir stalls were d

, and a picture said to be from the brush of Francisco Pacheco, the artist, author and inquisitor. The white marble frontage is adorned with bas-relief

of Cristobal Colón (Columbus). The slab is engraved with pictures of the discoverer's vessels. An inscripti

exterior and interior of the immense Cathedral. The art of the Mudéjar, the Fleming, the Italian, the German and the Spaniard are here represented in masonry, decoration, stained glass, and upon canvas. Wandering designers and craftsmen of the Middle Ages looked upon Spain as a la

For twenty years he studied in Italy, and his Purification of the Virgin shows the Italian influence. Sturmio was probably a German named Stur

f the Italian method. Vargas was a man of profound piety. He was born in Seville in 1502. After his death, scourges used for self-inflicted

artinez Monta?ez, or Monta?es, the sculptor, was a zealous Catholic. In his coloured statues we perceive a melancholy reflection of his sombre mind, a pathos expressing itself in realistic conceptions of a s

of art for the Inquisition, and in his writings we find precise counsels upon the fitting method of painting sacred pictures.

d completed in 1662 by Lorenzo Fernandez. The vaulted roof is remarkable. Pedro Roldan painted the retablo, which was formerly in the Francisan Convent. The convent stood in the Plaza de San Fernando, or Plaza Nueva

erra-cotta altar is exceedingly decorative. In the sacristy there ar