_The Cathedral_
'How reverend is the face of this tall pile,
Whose ancient pillars rear their marble heads
To bear aloft its arched and ponderous roof,
By its own weight made steadfast and immovable,
Looking tranquillity.'--WILLIAM CONGREVE.
'Let us build such a huge and splendid temple that succeeding
generations of men will say that we were mad.' So said the pious
originators of Seville Cathedral, in the year 1401. After one hundred
years, the temple was still unfinished, and to this day masons are at
work upon the dome.
When San Fernando captured the city of Seville from the Moors, and made
it his capital, the Mosque, which stood on the site of the Cathedral,
was consecrated to the service of the Christian faith. 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 huge and magnificent, rivalling in its area all
the other cathedrals of Spain. Toledo Cathedral is 'rich'; Salamanca,
'strong'; León, 'beautiful.' The Cathedral of Seville is called the
'great.'
In point of size the edifice ranks third among the cathedrals of Europe.
It is the largest Gothic cathedral in the world, larger than Cologne and
Milan. The superficial areas of the great cathedrals are as follows:--
St. Peter's 230,000 feet square
Córdova 160,000
Seville 125,000
Milan 110,000
St. Paul's 84,000
In 1511, five years after the practical completion of the building, the
dome gave way. It was re-erected by Juan Gil de Hontañon, an architect
who subsequently designed the new Cathedral of Salamanca (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 Giralda Tower, superintended the
renovation, which was begun in 1882. Six years after Casanova's
restoration, the dome again collapsed, and from that time until to-day
the work of repair has proceeded.
Théophile Gautier, writing of this splendid pile, states:
'The most extravagant and most monstrously prodigious Hindoo pagodas are
not to be mentioned in the same century as the Cathedral of Seville. It
is a mountain 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 towers, and which appear so slender that they
make you shudder, rise out of the ground or descend from the vaulted
roof, like stalactites in a giant's grotto.'
In Caveda's description of the Cathedral, we read: 'The general effect
is truly majestic. The open-work parapets which crown the roofs; the
graceful lanterns of the eight winding stairs that ascend in the
corners to the vaults and galleries; the flying buttresses that spring
lightly 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 aisles and chapels to which they belong rise over each other; the
pointed portals and entrances--all these combine in an almost miraculous
manner, although these are lacking the wealth of detail, the airy grace,
and the delicate elegance that characterise the cathedrals of León and
Burgos.'
[Illustration: Pinnacle of the Cathedral]
It was during the long and exhausting endeavours of the Castilian Kings
to expel the Moors from Spain, that gold and treasure was paid into the
coffers of the Chapter for the cost of erecting the marvellous
Cathedral of Seville. Bishops, deans 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
work. During the century of construction, the Catholic kings who resided
in the Alcázar, showed great interest in the undertaking, while the
noble families subscribed liberally towards the cost, and the poor gave
of their slender store of pesetas.
The exterior of the Cathedral is a type of the finest Spanish Gothic
architecture, though the incorporated Giralda Tower is distinctly
Morisco, and much older in style. Within the consecrated precincts, we
may see traces of the _Mudéjar_ handicraftsmen amid early Gothic and
Renaissance architectural details.
The Cathedral consecrated ground contains within its confines the
Moorish Patio de los Naranjas, the high minaret, the Columbus Library,
offices of the Chapter, and the Church of the Sagrario. There are nine
doors to the Cathedral proper, and a gateway with doors, leading to the
Patio de los Naranjas, or Court of the Oranges.
THE EXTERIOR OF THE CATHEDRAL.
From the Calle del Gran Capitan, on the west side of the Cathedral, one
may gain a conception of the extent and the magnificence of the
building. It is 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 elaborately decorated, and is in fine
preservation. Thirty-two figures stand in niches. Over the door is a
beautiful relief of the Assumption by Ricardo Bellver.
[Illustration: Puerta Mayor.
THE CENTRAL DOOR OF THE CATHEDRAL]
Puerta del Bautismo, or San Juan, is embellished with sculptures by
Pedro Millan, which deserve careful inspection. The third doorway is the
Puerta del Nacimiento, or San Miguel. This is also adorned by the
sculpture of Pedro Millan. The upper part of the Cathedral viewed from
this side is not of much beauty. It is modern, dating from 1827.
[Illustration: Pinnacle of the Cathedral]
At the south side of the Cathedral is the Puerta de San Cristóbal, or de
la Lonja, added by Casanova in 1887. As we make the circuit of the
edifice, we shall see the turrets and numerous pinnacles 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 great dome is majestic in its
proportions. Cean Bermudez compares the Cathedral with 'a high-pooped
and beflagged ship, rising over the sea with harmonious grouping of
sails, pennons and banners.'
In the east façade are the Puerta de los Campanillas and the Puerta de
los Palos. These doors are magnificently decorated with sculptures by
Lope Marin, executed in the year 1548. There 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 Puerta de los Naranjas is in the centre of the court. This
door is kept closed except on days of festival. The third door is the
unfinished one bearing the name of the Puerta del Sagrario.
* * * * *
As we survey this immense monument of the Christian faith, we are led to
muse upon the power of the early Catholic Church in Spain. It was no
half-hearted belief that urged men of all ranks of society to deny
themselves in contributing to the huge outlay that went to the planning,
erection and decoration of this mighty Cathedral.
The dictates of the Chapter ruled the councils of the State and the
conferences of kings and courtiers. When the throne lost power, the
bishop's chair gained in authority. In the reign of Philip III. the
Cathedral of Seville had no less than one hundred clergy on its staff.
Dunham, in his _History of Spain_, states that 'half a dozen could
assuredly have been sufficient 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 whose broad shadow we stand.
The painters, sculptors and craftsmen were under the patronage of the
Church; they could not have subsisted without such patronage. And in
most cases they gave their services gladly, for their heart was in their
labours, and devotion inspired them. Few desired any other kind of
employment; the highest service was that of holy religion.
A great faith, such as the Romish, inspires its devotees to the building
of resplendent temples. The Christians would not merely imitate the
Moors in the beauty and richness of their churches. They pledged
themselves to excel the magnificence 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 realise that its keynote
in the past was profound piety and deep loyalty towards the Church and
the Crown. The cathedrals of Spain are testimony to this devotion to the
Christian creed. They are solemn historic memorials of faith.
Worshippers in the Seville Cathedral are reverential; there is no
apparent insincerity in their responses and genuflexions. In Italy and
France there is a less manifest reverence 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 the women who are devout, for many men are present at the
celebrations in the cathedrals and churches. Very imposing are these
Spanish services in the half-light of the _capillas_:
'Dim burn the lamps like lights on vaporous seas;
Drowsed are the voices of droned litanies;
Blurred as in dreams the face of priest and friar.'
The organ music is often superb, and the choristers are highly trained.
Besides the organ, reed and string instruments are used to accompany the
singing during important 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 vaulted roofs. Rich and
poor alike sit or stand upon the flagged floors. The preachers are often
very eloquent, and they preach in the purest form of the Castilian
language.
The dim light of the interior of the Cathedral is a hindrance to the
full enjoyment of the very numerous works of art that adorn the chapels.
This gloom is characteristic of the Spanish cathedrals and churches. The
best time in the day to inspect the pictures in Seville Cathedral is
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 the
naves and a peep into one or two of the _capillas_ will not suffice. It
is well to select a portion of the interior for each day's inspection.
Shun the loafers who offer their services as guides. They have no
knowledge of the art treasures, and they possess a faculty of invention.
I trust that my description will assist the stranger in his tour of the
Cathedral. The chief objects of art are indicated, or briefly described,
in the remaining 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 more space than I have at my command, and it might
prove somewhat tedious to the reader who is not acquainted with the
technical terminology of architecture.
THE INTERIOR OF THE CATHEDRAL.
Enter by the Puerta del Lagarto, in the Patio de los Naranjas. One's
first impression when within the Cathedral is that of its magnitude and
the 'frightful height,' which struck Théophile Gautier. The length,
exclusive of the Capilla Real, is three hundred and eighty feet; the
width is two hundred and fifty feet. The nave is one hundred and
thirty-two feet in height, and over fifty feet in width.
There is great dignity in the lofty columns, and a sense of vastness
possesses us as we gaze upwards. The floor is of fine marble. It was
laid in the years 1787 to 1795.
_The Capilla de los Evangelistas_ is the first chapel near to the
_puerta_. It has a fine altar piece in nine parts, the work of Hernando
de Sturmio, containing a picture of the ancient Giralda. The paintings
are on panel, and the brown tints are characteristic of the early
Sevillian School of Art.
By the Puerta de los Naranjas, the great door on this side of the
Cathedral, there are two altars. One is the Altar de la Asunción, and
the other is dedicated to La Virgen de Belén. The Assumption picture as
executed by Carlo Maratta. The face of the Virgin is 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 conventional presentment of Holy Mother, but the
features are not without beauty. On the whole, the painting is not
equal in merit to most of the works of the last Andalusian master. The
hands and feet of the figure are finished with the care characteristic
of Cano's art.
Alonso Cano has been called the 'Michelangelo of Spain.' He studied in
Seville under Pacheco and Juan de Castillo, and painted pictures for
some of the religious houses. Cano was also a sculptor and architect. 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 churches. The artist
was of an irritable disposition; but he spent the latter part of his
life in religious exercises, and gave freely to the poor. He died in
poverty, in 1667, and received alms from the Church.
Writing of Alonso Cano, in his _Spanish and French Painters_, Mr Gerard
W. Smith says: 'Although he was never in Italy, his fine feeling for
form, and the natural charm and simplicity of his composition, suggest
the study of the antique, while in painting, the richness and variety of
his colouring could hardly be surpassed.'
_The Capilla de San Francisco_ is next to the altar of Alonso Cano. Here
we may try to see a painting of the Glorification of St. Francis by
Herrera el Mozo, and one of the Virgin and San Ildefonso, by Juan Valdés
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
young man was so conceited and affected in his painting that he failed
to produce any fine work. The Glorification of St. Francis and the
picture by Leal can be scarcely seen in the sombre shadows of the
chapel.
[Illustration: Interior of the cathedral]
_The Capilla de Santiago_ adjoins the last chapel. There are two
paintings here; one by Juan de las Roelas of St. James (Santiago) and
one of St. Lawrence (San 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 artist is to be seen in the Church of
San Isidoro.[C] In the Capilla de Santiago there is a dilapidated tomb
of Archbishop Gonzalo de Mena, who died in 1401.
_The Capilla de Escalas_ contains two pictures of note by Luca Giordano,
strong in character, drawing, and colour. Over the tomb of Bishop
Baltasar del Rio, who died in 1540, is an altar relief of the Day of
Pentecost by a Genoese artist.
_The Capilla del Bautisterio_ has one of Murillo's finest works,
representing St. Anthony of Padua's Vision of the Child Jesus. Part of
this picture was cut out and stolen in 1874. It was traced to New York,
and restored to the Cathedral a few months later. The picture was
originally painted for the Capuchin Convent in 1656, and afterwards came
into the possession of the Chapter. A Baptism of Christ, also the work
of Murillo, is above 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 modelled in clay, and others were
carved from wood. They were beautifully designed. In 1624 the building
was altered and spoiled by the addition of another storey of the
composite order. 'Its effect in the midnight service is superb,' writes
Sir Stirling Maxwell, 'when blazing with church plate and myriads of
waxen tapers it seems a mountain of light, of which the silver crest is
lost in the impenetrable gloom of the vaults above.'
On the west side of the Cathedral, which we have now reached, is the
Altar de la Visitación, with pictures by Marmolejo and Jerónimo
Hernandez. By the principal door is another altar, that of Nuestra
Señora 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
three _capillas_ on this side of the building, called the Capilla de los
Jácomes, the Capilla de San Leandro, and the Capilla de San Isidoro.
They may be passed by, as they contain no important works of art.
At the Puerta del Nacimiento we reach the south aisle, and come to
_The Capilla de San Laureano_, with a tomb of Archbishop Alonso de Exea,
who died in 1417.
_The Capilla de Santa Ana_ is the next chapel on the south side. Here
there is an interesting old altar, with several pictures painted in the
early part of the fifteenth century.
_The Capilla de San José_ contains a notable work by Juan Valdés Leal,
the Marriage of the Virgin, and a poor picture by Antolinez.
_The Capilla de San Hermenegildo_ is noteworthy for the image of the
saint by Montañez, and the tomb of Archbishop Juan de Cervantes by
Lorenzo de Bretaña. The marble of the tomb is much worn.
_The Capilla de la Antigua_ is a larger chapel, with fourteenth-century
decorations of the altar. There is also a fine monument to Cardinal
Mendoza, executed 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 famous picture described in the art
chapters of this book. The immense painting opposite is St. Christopher,
by Mateo Perez de Alesio, painted in 1584.
For painting the San Cristobal Alesio received four thousand ducats. The
saint is quaintly clad in hose, and the figure is gigantic. Sir Stirling
Maxwell draws attention to the fine colouring of the parrot seen in the
distance. Mateo de Alesio, who was an Italian by birth, died in the year
1600.
Passing through the _Capilla de los Dolores_, which is unimportant, we
come to the splendid _Sacristía de los Cálices_, built by Riaño and
Gainza in the years from 1530 to 1537. Diego de Riaño, sculptor and
designer, was often employed by the Cathedral authorities. He delighted
in lavish and fantastic embellishment, and introduced the Italian
methods of ornamentation. Martin Gainza was of the same school. He was
an architect and sculptor of great repute, and he assisted Riaño in much
of his work.
The Crucifix is the work of Montañez. It was removed from the Cartuja
Convent. Murillo's _Angel de la Guarda_, or Guardian Angel, is in this
sacristy. This picture was presented 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
of the child's dress in terms of praise. The angel holds a child by the
hand, and points to heaven. Notice the rich colouring of purple and
yellow in the vesture of the angel.
On the same wall are the _Ecce Homo_, the Virgin, and St. John, the work
of Morales; St. Dorothy by Murillo; a painting of Fernando de Contreras
by Luis de Vargas; Pietà and Death of the Virgin by a German artist, and
a picture by Juan Nuñez of the fifteenth century.
Goya's fine painting of St. Justa and St. Rufina is here. Elsewhere in
this book I have told the legend of these guardian saints of the
Giralda. Goya's conception of them is unconventional, and 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 ethereal. The Holy Trinity of 'El
Greco' (the Greek) is one of the interesting examples of this great
Toledan artist's work. Zurbaran is represented in the Sacristía by his
painting of St. John.
_The Sacristía Mayor_ is in the Renaissance style. It was built by the
designers of the Sacristía de los Cálices about the year 1532. Campaña's
admirable Descent from the Cross is here, but the picture has been
indifferently restored. There is also a work of Murillo, SS. Leandro and
Isidoro.
The Cathedral Treasury is in this sacristy. One of the principal objects
of interest is the splendid _custodia_, used for carrying the Host. It
is the work of Juan d'Arphe, a celebrated gold-worker, who was born in
Avila in 1535. In 1564 he constructed the _custodia_ of that city, and
in 1580 began a work of a similar character for Seville Cathedral. Many
designs were submitted for the inspection of the Chapter, but Juan
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 figure of
Faith, but it was changed in 1668 for one of the Virgin of the
Conception, when the _custodia_ was restored by Juan Segura. The second
storey is the repository of the Host, and in the third and fourth
storeys are figures of the Church Triumphant and the Holy Trinity.
Crowning the edifice was a small dome and cross, which was replaced in
1668 by a statue of the Faith. The _custodia_ is of beautiful and simple
design.
The _Tablas Alfonsinas_, a reliquary, given to the Church in 1274 by
Alfonso el Sabio, are in the Treasury. Crosses, plate and sacerdotal
vestments are among the treasures. The canonical robes date from the
fourteenth century. The keys of Seville, yielded to Fernando el Santo on
the day of conquest, are also shown here.
_The Capilla del Mariscal_ adjoins the Sacristía Mayor. In this chapel
is the great altar-piece of Pedro Campaña, restored in 1880. The work is
in ten parts, representing scenes in the life of Christ, and containing
portraits of Marshal Pedro Caballero and his family.
_The Sala Capitular_ was the work of Riaño and Gainza. It was begun in
1530 and finished in 1582. The plateresque decorations are very
beautiful. Note the fine ceiling, the marble medallions, 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 Velazquez. The ovals between the windows
were the work of Murillo. This _sala_ is close to the Puerta de los
Campanillas, and beyond this entrance, on the east side of the
Cathedral, is
_The Capilla de la Concepción Grande_, containing a monument to
Cardinal Cienfuego, a modern work. The other small chapel on this side
is that known as
_The Capilla de San Pedro_. Here are nine pictures by Zurbaran, well
worthy of notice, and a tomb of Archbishop Diego Deza, restored in 1893.
_The Capilla Real_ is between the two smaller chapels of the east end.
In design this chapel is Renaissance. The decorations are luxuriant and
there is a high dome. Gainza began to build the chapel in 1541, and his
work was carried on by Hernan Ruiz, who planned the choir of Córdova
Cathedral, and afterwards by Juan de Maeda.
On the chief altar is a figure of the Virgin of the Kings, dating from
the thirteenth century. It was presented to San Fernando by St. Louis of
France. The fair hair is real; the crown that adorned the head was
stolen in 1873. On each side of the doorway are tombs. One is that of
Alfonso el Sabio, and the other is the tomb of his mother.
The shrine of the adored San Fernando is in front of an altar. In the
Panteón are the coffins of Pedro el Cruel, his mistress Maria de
Padilla, the Princes Fadrique, Alonso and Pedro, and others. Over San
Fernando's coffin is the ivory figure of the Virgin of Battles, which
the King carried upon his saddle when he went to the wars. The monarch's
pennant and sword are also displayed.
Murillo's Mater Dolorosa is in the sacristy of this _capilla_. There are
portraits of St. Ignatius and St. Francis Xavier, by Pacheco.
In the later styles of the Capilla Real we may see examples of the
Grotesque, or _Estilo Monstruoso_, with which the buildings of Seville
abound. Diego de Riaño's work in the Ayuntamiento, or City Hall, is full
of instances of this development of fanciful design and bizarre effect.
Gainza, the collaborator of Riaño, is responsible 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 Riaño. 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 influenced by Italy. Michelangelo is
reverenced by Spanish artists. Many of the early Spanish painters went
to Italy to study, and brought back with them new ideas and fresh
methods of painting. 'Spanish artists,' writes Professor Carl Justi,
'did their best to Italianize themselves in the studios of Roman and
Florentine masters.'
Cristobal Micer Aleman was the first to introduce the art of staining
glass into Seville. Until 1504 stained glass windows had not been seen
in the city, and Aleman was the designer of the first painted window of
the Cathedral. Sir 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 twenty years later. The chief window pictures
are the Ascension, Jesus and Mary Magdalen, the Awakening of Lazarus,
and the Entry into Jerusalem. The Resurrection is the work of Carlos,
and other pictures are by the two brothers Arnao.
The isolated _Capilla Mayor_ has an altar-piece of wood, and a silver
image of the Virgin by Alfaro. The painted scenes are from the
Scriptures. Crowning the retablo are a crucifix and large statues of the
Virgin and St. John. Dancart, the designer of the retablo, was of the
Flemish school of decorative carvers. The work was begun about 1482 and
finished in 1526.
Between the _Coro_ (choir) and the Chief Chapel an enormous candelabrum
is displayed during Semana Santa, or Holy Week. It is called the
Tenebrario, and it was constructed by Bartolomé Morel, a
sixteenth-century sculptor. 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 lights represent the apostles who deserted
their Master; the thirteenth candle stands for the Virgin, and when the
twelve have been extinguished, the thirteenth still burns as a symbol of
Mary's fealty to the Saviour.
_The Coro_ was much injured by the collapse of the dome. Two grand
organs were destroyed at this time. One of the most interesting objects
preserved in the choir is the facistol, or choristers' desk, of
Bartolomé Morel, adorned with highly-finished carvings. The choir stalls
were decorated by Nufro Sanchez, a sculptor of the fifteenth century,
whose work suggests German influence. They are beautiful examples of
carving.
_The Coro_ is entered by either of the two doors of the front or
_Trascoro_. There is a handsome marble façade; a painting of the Virgin
by an unknown hand, 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-reliefs of the Genoese school, exhibiting fine feeling.
Italian influence is manifest in the picture of the Holy Mother, which
is highly decorative in style.
Close to the _Coro_, near the chief entrance on that side of the
Cathedral, is the tomb of Fernando Colón, son of Cristobal Colón
(Columbus). The slab is engraved with pictures of the discoverer's
vessels. An inscription runs: '_Á Castilla y á León mundo nuebo dié
Colon:_' _i.e._, 'To Castile and León Columbus gave the New World.'
The student of architecture and painting will find ample examples of
varied styles of art in this great repository of sculpture, frescoes and
panel pictures. He will be able to trace the development of
architectural design from the fifteenth to the nineteenth century, both
in the 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 land of plenty. They came from Flanders, Italy and Genoa, and found
favour with the wealthy Chapter of Seville. The artists employed to
adorn the Cathedral range from Juan Sanchez de Castro, 'the morning star
of Andalusia,' in 1454, to Francisco Goya, the last great painter of
Spain.
Many of the so-called Spanish school of artists were aliens who settled
in the country. Pedro Campaña was, for example, a native of Brussels.
For twenty years he studied in Italy, and his Purification of the Virgin
shows the Italian influence. Sturmio was probably a German named Sturm.
Doménico Theotocópuli, called '_El Greco_,' was a Greek. Mateo Perez de
Alesio was an Italian, who lived in Seville, and died at Rome in 1600.
Luis de Vargas, the painter of the Nativity picture in the Cathedral,
whose fresco work is to be seen elsewhere in the city, was a student of
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
penance were found in his room, and by his bed was a coffin in which
the ascetic painter used to lie in order to meditate seriously upon
life.
The religious devotion of Luis de Vargas is exhibited in the spirit of
his work. This reverential treatment of sacred subjects is
characteristic of all the Sevillian painters. In their art they
worshipped. Martinez Montañez, or Montañes, 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 suffering Christ and a sorrowful St. Francis Xavier. These tinted
statues appeal powerfully to the imagination of the Sevillian populace.
Many of the images were made for the solemn processions of Semana Santa.
Among the artists employed in adorning the Cathedral there was not one
more devoted to the Church than Pacheco. He was censor of art for the
Inquisition, and in his writings we find precise counsels upon the
fitting method of painting sacred pictures. To Pacheco the faith was of
far greater moment than art. He was a close friend of Montañez, whose
statues he sometimes coloured.
_The Sagrario_ adjoins the Cathedral, and may be entered from the Court
of the Oranges. The building serves as a parish church, and occupies the
ground of the old _Sagrario_. It was begun in 1618 by Miguel Zumárraga,
and 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, as it is sometimes called. Roldan was a contemporary and
follower of Montañez. There is an important image of St. Clement by
Pedro Duque Cornejo. The statue of the Virgin is the work of the devout
Martinez Montañez.
Beneath the church is the vault of the Archbishops of Seville. The
terra-cotta altar is exceedingly decorative. In the sacristy there are
some splendid _azulejos_, which formed part of the old Morisco mosque.