and modest air that is generally given to the statues and paintings of the Blessed Virgin, the sculptor has represented her with a mixed expression of voluptuousness and ecstasy, and intoxicated with all the pleasure of a woman in the act of conceiving a God. She is standing up with her head thrown backwards, and seems to be inhaling with her whole soul and body, and also with the most original union of passion and purity, the ray of flame which is breathed upon her by the symbolical dove. It was a difficult task to produce any novelty in the treatment of a subject that had been so often used, but for genius nothing is too common.
A detailed description of these cloisters would require a whole chapter to itself; but, on account of my limited space and the short time that was at my disposal, the reader will excuse me for merely mentioning them in this cursory manner, and re-entering the church, where we will take at hazard, without choice or preference, the first chefs-d'œuvre we may happen to see on our right and left; for they are all beautiful and all admirable, and those which we do not mention are at the least quite as valuable as the rest.
We will first stop before this "Passion of our Lord," carved in stone by Philip of Burgundy, who, unfortunately, was not a French artist, as his name or rather his nickname might lead us to suppose. This bas-relief is one of the largest in the world. According to the usual custom in Gothic art, it is divided into several compartments,—namely, the Mount of Olives, the Bearing of the Cross, and the Crucifixion of the Saviour between the two Thieves; an immense composition which, for the fineness of the heads, and the minute accuracy of the details, is equal to the most delicate and lovely things that Albert Dürer, Hemlinck, or Holbein ever produced with their miniature-painters' pencils. This stone epic is terminated by a magnificent "Descent to the Tomb." The groups of sleeping apostles which occupy the lower compartments of the Garden of Olives possess almost the same beauty and purity of style as the prophets and saints of Fra Bartholomew; the heads of the women at the foot of the cross are remarkable for that pathetic and mournful look which Gothic art alone could convey, and which in this instance is united to an uncommon beauty of outline. The soldiers attract attention by the singularity and savage style of their apparel, which is that usually employed during the middle ages in all representations of the Ancients, the Orientals, or the Jews, whose true costume was then not known; the various postures in which they are placed are stamped with a bold swaggering air, which contrasts most happily with the ideality and melancholy of the other figures. The whole is surrounded by carving as delicate as the finest jewellery, and of the most incredible good taste and lightness. This splendid production of the sculptor's art was finished in 1536.
Since we are on the subject of sculpture, we may as well seize the opportunity to speak of the stalls in the choir, which, as a piece of admirable joinery, have not, perhaps, their equals in the world. The stalls are so many marvels. They represent subjects in bas-relief from the Old Testament, and are separated from each other by monsters and fantastic animals shaped like the arms of a chair. The flat portions are covered with incrustations, the effect of which is heightened by black hatching, like inlaid enamel-work on metal. It is impossible for arabesques or caprice to be carried to a greater length. These stalls contain an inexhaustible mine, an unheard-of abundance, a never-ending novelty, both of ideas and forms: they are a new world, a creation of themselves, marvellously rich and complete; a world in which the plants live, the men bud forth, a branch ends in a hand, and a leg terminates in foliage; a world in which the cunning-eyed monster spreads out his taloned wings, and the monstrous dolphin spouts the water through its nostrils. They form one inextricable entwining of buds and boughs, acanthuses, water-lilies, flowers, with chalices ornamented with tufts and tendrils, of serrated and twisted foliage, fabulous birds, impossible fish, and extravagant sirens and dragons, of which no tongue could ever give an idea. The wildest fancy reigns unrestrained in all these incrustations, whose yellow tone causes them to stand out from the sombre background of the wood, and gives them the appearance of the paintings on Etruscan vases; an appearance which is fully justified by the boldness and primitive accent of their lines. These designs, from which the pagan spirit of the Renaissance peeps out, have nothing in common with the destination of the stalls themselves; in fact, the subject selected very frequently shows an entire forgetfulness of the sacred character of the place. They represent either children playing with masks, women dancing, gladiators wrestling, peasants engaged in the vintage, young girls teasing or caressing some fanciful monster, animals playing the harp, or even little boys, in the basin of a fountain imitating the famous statue at Brussels. Were they but a little more slender in their proportions, these figures would be equal to the purest productions of Etruscan art. Unity in the general appearance, and infinite variety in the details, was the difficult problem which the artists of the Middle Ages generally succeeded in solving. Five or six paces farther on, this mass of woodwork, so remarkable for the wildness of its execution, becomes grave, solemn, architectural, brown in its tones, and altogether worthy of serving as a frame to the pale and austere faces of the canons.
The Chapel of the Constable (Capilla del Condestable) forms of itself a complete church. The tomb of Don Pedro Fernandez Velasco, Constable of Castile, and that of his wife, occupy the middle of the building, and are far from being its least attractive feature: they are of white marble, magnificently sculptured. The constable is lying in his war armour, enriched with the chastest arabesques, from which the sacristans take papier-maché casts, to sell to visitors. The constable's wife has her little dog by her side, while her gloves, and the brocaded flowers on her gown, are rendered with the utmost delicacy. Both their heads repose upon marble cushions, ornamented with their coronets and armorial bearings. The walls of the chapel are covered with gigantic coats of arms, while figures placed upon the entablature hold stone staves for supporting banners and standards. The retablo (which is the name given to the architectural façade before the altar) is sculptured, painted, gilt, and covered with a profusion of arabesques, varied by columns; it represents the Circumcision of our Saviour, with figures the size of life. To the right, on the same side as the portrait of Doña Mencia de Mendoza, Countess of Haro, is a small Gothic altar, coloured, gilt, carved, and embellished with an infinity of little figures, so light in appearance, and so graceful in form, that any one might mistake them for the work of Antonin Moine. On this altar there is a Christ, carved in jet. The high altar is ornamented with silver rays and crystal suns, which produce a singularly brilliant flickering effect. Carved on the roof is a rose of incredible delicacy.
Enclosed in the wainscoting of the sacristy, near the chapel, is a Magdalen, said to be by Leonardo da Vinci. The mildness of the brown half-tints, merging into the light by imperceptible gradations, the lightness of touch remarkable in the hair, and the perfect rounding of the arms, render this supposition extremely probable. In this chapel, also, is preserved the ivory diptych that the constable used to take with him to the army, and before which he was accustomed to recite his prayers. The Capilla del Condestable belongs to the Duke de Frias. Cast a glance, as you pass, on that statue of Saint Bruno, in coloured wood,—it is by Pereida, a Portuguese sculptor,—and on that epitaph, which is that of Villegas, the translator of Dante.
A magnificent and most finely-built staircase, with splendidly-sculptured monsters, kept us for some minutes riveted with admiration. I am ignorant whither it leads, or into what room the small door at its extremity opens, but it is worthy of the most splendid palace. The high altar in the chapel of the Duke d'Abrantes is one of the most singular productions of the imagination which it is possible to behold. It represents the genealogical tree of Jesus Christ. This strange idea is carried out in the following manner:—The patriarch Abraham is lying at the bottom of the composition, and in his fertile breast are placed the spreading roots of an immense tree, each branch of which bears an ancestor of Jesus, and is subdivided into as many branches as that ancestor had descendants. The summit is occupied by the Virgin Mary on a throne of clouds, while the sun, the moon, and a multitude of gold and silver stars, shine through the foliage. It is impossible to think without a shudder at the immense amount of patience which must have been required to cut out all these leaves, chisel all these folds, and make all these personages stand out so prominently. This retablo, carved in the manner we have described, is as high as the façade of a house, that is to say, at least thirty feet, if we include the three stories, the second of which represents the crowning of the Virgin, and the third
