XX
The Cathedral of Seville
Your first impression when you walk round the cathedral of Seville, noting with dismay the crushed cupolas and unsightly excrescences, the dinginess of colour, is not enthusiastic. It was built by German architects without a thought for the surrounding houses, brilliantly whitewashed, and the blue sky, and it proves the incongruity of northern art in a southern country; but even lowering clouds and mist could lend no charm to the late Gothic of Santa Maria de la Sede.
The interior fortunately is very different. Notwithstanding the Gothic groining, as you enter from the splendid heat of noonday, (in the Plaza del Triunfo the sun beats down and the houses are more dazzling than snow,) the effect is thoroughly and delightfully Spanish. Light is very fatal to devotion and the Spaniards have been so wise as to make their churches extremely dark. At first you can see nothing. Incense floats heavily about you, filling the air, and the coolness is like a draught of fresh, perfumed water. But gradually the church detaches itself from the obscurity and you see great columns, immensely lofty. The spaces are large and simple, giving an impression of vast room; and the choir, walled up on three sides, in the middle of the nave as in all Spanish cathedrals, by obstructing the view gives an appearance of almost unlimited extent. To me it seems that in such a place it is easier to comprehend the majesty wherewith man has equipped himself. Science offers only thoughts of human insignificance; the vastness of the sea, the terror of the mountains, emphasise the fact that man is of no account, ephemeral as the leaves of summer. But in those bold aisles, by the pillars rising with such a confident pride towards heaven, it is almost impossible not to feel that man indeed is god-like, lord of the earth; and that the great array of nature is builded for his purpose.
Typically Spanish also is the decoration, and very rich. The choir-stalls are of carved wood, florid and exuberant like the Spanish imagination; the altars gleam with gold; pictures of saints are framed by golden pillars carved with huge bunches of grapes and fruit and fantastic leaves. I was astounded at the opulence of the treasure; there were gorgeous altars of precious metal, great saints of silver, caskets of gold, monstrances studded with rare stones, crosses and crucifixes. The vestments were of unimaginable splendour: there were two hundred copes of all ages and of every variety, fifty of each colour, white for Christmas and Easter, red for Corpus Christi, blue for the Immaculate Conception, violet for Holy Week; there were the special copes of the Primate, copes for officiating bishops, copes for dignitaries from other countries and dioceses. They were of the richest velvet and satin, heavily embroidered with gold, many with saints worked in silk, so heavy that it seemed hardly possible for a man to bear them.
In the Baptistery, filling it with warm light, is the San Antonio of Murillo, than which no picture gives more intensely the religious emotion. The saint, tall and meagre, beautiful of face, looks at the Divine Child hovering in a golden mist with an ecstasy that is no longer human.
It is interesting to consider whether an artist need feel the sentiment he desires to convey. Certainly many pictures have been painted under the influence of profound feeling which leave the spectator entirely cold, and it is probable enough that the early Italians felt few of the emotions which their pictures call forth. We know that the masterpieces of Perugino, so moving, so instinct with religious tenderness, were very much a matter of pounds, shillings and pence. But Luis de Vargas, on the other hand, daily humbled himself by scourging and by wearing a hair shirt, and Vicente Joanes prepared himself for a new picture by communion and confession; so that it is impossible to wonder at the rude and savage ardour of their work. And the impression that may be gathered of Murillo from his pictures is borne out by the study of his grave and simple life. He had not the turbulent piety of the other two, but a calm and sweet devotion, which led him to spend long hours in church, meditating. He, at any rate, felt all that he expressed.
I do not know a church that gives the religious sentiment more completely than Seville Cathedral. The worship of the Spaniards is sombre, full-blooded, a thing of dark rich colours; it requires the heaviness of incense and that overloading of rococo decoration. It is curious that notwithstanding their extreme similarity to the Neapolitans, the Andalusians should in their faith differ so entirely. Of course, in Southern Italy religion is as full of superstition — an adoration of images in which all symbolism is lost and only the gross idol remains; but it is a gayer and a lighter thing than in Spain. Most characteristic of this is the difference between the churches; and with Santa Maria de la Sede may well be contrasted the Neapolitan Santa Chiara, with its great windows, so airy and spacious, sparkling with white and gold. The paintings are almost frolicsome. It is like a ballroom, a typical place of worship for a generation that had no desire to pray, but strutted in gaudy silks and ogled over pretty fans, pretending to discuss the latest audacity of Monsieur Arouet de Voltaire.
XXI
The Hospital of Charity
The Spaniards possess to the fullest degree the art of evoking devout emotions, and in their various churches may be experienced every phase of religious feeling. After the majestic size and the solemn mystery of the Cathedral, nothing can come as a greater contrast than the Church of the Hermandad de la Caredad. It was built by don Miguel de Mañara, who rests in the chancel, with the inscription over him: ‘Aqui jacen los huesos y ceñizas del peor hombre que ha habido en el mundo; ruegan por el’— ‘Here lie the bones and ashes of the worst man that has ever been in the world; pray for him.’ But like all Andalusians he was a braggart; for a love of chocolate, which appears to have been his besetting sin, is insufficient foundation for such a vaunt: a vice of that order is adequately punished by the corpulence it must occasion. However, legend, representing don Miguel as the most dissolute of libertines, is more friendly. The grave sister who escorts the visitor relates that one day in church don Miguel saw a beautiful nun, and undaunted by her habit, made amorous proposals. She did not speak, but turned to look at him, whereupon he saw the side of her face which had been hidden from his gaze, and it was eaten away by a foul and loathsome disease, so that it seemed more horrible than the face of death. The gallant was so terrified that he fainted, and afterwards the face haunted him, the face of matchless beauty and of revolting decay, so that he turned from the world. He devoted his fortune to rebuilding the hospital and church of the Brotherhood of Charity, whose chief office it was to administer the sacraments to those condemned to death and provide for their burial, and was eventually received into their Order.
It was in the seventeenth century that Mañara built his church, and consequently rococo holds sway with all its fantasies. It is small, without aisles or chapels, and the morbid opulence of the decoration gives it a peculiar character. The walls are lined with red damask, and the floor carpeted with a heavy crimson carpet; it gives the sensation of a hothouse, or, with its close odours, of a bedchamber transformed into a chapel for the administration of the last sacrament. The atmosphere is unhealthy: one pants for breath.
At one end, taking up the entire wall, is a reredos by Pedro Roldan, of which the centrepiece is an elaborate ‘Deposition in the Tomb,’ with numerous figures coloured to the life. It is very fine in its mingling of soft, rich hues and flamboyant realism. The artist has revelled in the opportunity for anguish of expression that his subject afforded, but has treated it with such a passionate seriousness that, in his grim, fierce way, he does not fail to be impressive. The frame is of twisted golden pillars, supported by little naked angels, and decorated with grapes and vine-leaves. Above and at the sides are great saints in carved wood, and angels with floating drapery.
Murillo was on terms of intimacy with don Miguel de Mañara, and like him a member of the Hermandad. For his friend he painted some of his most famous pictures, which by the subdued ardour of their colour, by their opulent tones, harmonise most exquisitely with the church. Marshal Soult, with a fine love of art that was profitable, carried off several of them, and the
ir empty frames stare at one still. But before that, when they were all in place, the effect must have been of unique magnificence.
It must be an extraordinary religion that flourishes in such a place, an artificial faith that needs heat like tropical plants, that desires unnatural vows. It breathes of neurotic emotions with its damask-covered walls, with its carpet that deadens the footfall, its sombre, gorgeous pictures. The sweet breeze of heaven never enters there, nor the sunlight; the air is languid with incense; one is oppressed by a strange, heavy silence. In such a church sins must be fostered for the morbid pleasure of confession. One can imagine that the worshippers in that overloaded atmosphere would see strange visions, voluptuous and mystical; the Blessed Mary and the Saints might gain visible and palpable flesh, and the devil would not be far off. There the gruesome imaginings of Valdes Leal are a fitting decoration. Every one knows that grim picture of a bishop in episcopal robes, eaten by worms, his flesh putrefying, which led Murillo to say: ‘Leal, you make me hold my nose,’ and the other answered: ‘You have taken all the flesh and left me nought but the bones.’ Elsewhere, by the same master, there is a painting that suggests, with greater poignancy to my mind because less brutally, the thoughts evoked by the more celebrated work, and since it seems to complete the ideas awakened by this curious chapel, I mention it here.
It represents a priest at the altar, saying his mass, and the altar after the Spanish fashion is sumptuous with gilt and florid carving. He wears a magnificent cope and a surplice of exquisite lace, but he wears them as though their weight were more than he could bear; and in the meagre, trembling hands, and in the white, ashen face, in the dark hollowness of the eyes and in the sunken cheeks, there is a bodily corruption that is terrifying. The priest seems to hold together with difficulty the bonds of the flesh, but with no eager yearning of the soul to burst its prison, only with despair; it is as if the Lord Almighty had forsaken him, and the high heavens were empty of their solace. All the beauty of life appears forgotten, and there is nothing in the world but decay. A ghastly putrefaction has attacked already the living man; the worms of the grave, the piteous horror of mortality, and the darkness before him offer nought but fear, and what soul is there to rise again! Beyond, dark night is seen and a turbulent sea, the dark night of the soul of which the mystics write, and the troublous sea of life whereon there is no refuge for the weary and the sick at heart.
Then, if you would study yet another phase of the religious sentiment, go to the Museo, where are the fine pictures that Murillo painted for the Capuchin Monastery. You will see all the sombreness of Spanish piety, the savage faith, dissolved into ineffable love. Religion has become a wonderful tenderness, in which passionate human affection is inextricably mingled with god-like adoration. Murillo, these sensual forms quivering with life, brought the Eternal down to earth, and gave terrestrial ardour to the apathy of an impersonal devotion; that, perhaps, is why to women he has always been the most fascinating of painters. In the Madonna de la Servilleta — painted on a napkin for the cook of the monastery — the child is a simple, earthly infant, fresh and rosy, with wide-open, wondering eyes and not a trace of immortality. I myself saw a common woman of the streets stand before this picture with tears running down her cheeks.
‘Corazon de mi alma!’ she said, ‘Heart of my soul! I could cover his little body with kisses.’
She smiled, but could hardly restrain her sobs. The engrossing love of a mother for her child seemed joined in miraculous union with the worship of a mortal for his God.
Murillo had neither the power nor the desire to idealise his models. The saints of these great pictures, St. Francis of Assisi, St. Felix of Cantalicio, St. Thomas of Villanueva, are monks and beggars such as may to this day be seen in the streets of Seville. St. Felix is merely an old man with hollow cheeks and a grey, ragged beard; but yet as he clasps the child in his arms with eager tenderness, he is transfigured by a divine ecstasy: his face is radiant with the most touching emotion. And St. Antony of Padua, in another picture, worships the infant God with a mystic adoration, which, notwithstanding the realism of the presentment, lifts him far, far above the earth.
XXII
Gaol
I was curious to see the prison in Seville. Gruesome tales had been told me of its filth and horror, and the wretched condition of the prisoners; I had even heard that from the street you might see them pressing against the barred windows with arms thrust through, begging the passer-by for money or bread. Mediæval stories recurred to my mind and the clank of chains trailed through my imagination.
I arranged to be conducted by the prison doctor, and one morning soon after five set out to meet him. My guide informed me by a significant gesture that his tendencies were — bibulous, and our meeting-place was a tavern; but when we arrived they told us that don Felipe — such was his name — had been taken his morning dram and gone; however, if we went to another inn we should doubtless find him. But there we heard he had not yet arrived, he was not due till half-past five. To pass the time we drank a mouthful of aguardiente and smoked a cigarette, and eventually the medico was espied in the distance. We went towards him — a round, fat person with a red face and a redder nose, somewhat shabbily dressed.
He looked at me pointedly and said:
‘I’m dry. Vengo seco.’
It was a hint not to be neglected, and we returned to the tavern where don Felipe had his nip.
‘It’s very good for the stomach,’ he assured me.
We sallied forth together, and as we walked he told me the number of prisoners, the sort of crimes for which they were detained — ranging from man-slaughter to petty larceny — and finally, details of his own career. He was an intelligent man, and when we came to the prison door insisted on drinking my health.
The prison is an old convent, and it is a little startling to see the church façade, with a statue of the Madonna over the central porch. At the steps a number of women stood waiting with pots and jars and handkerchiefs full of food for their relatives within; and when the doctor appeared several rushed up to ask about a father or a son that lay sick. We went in and there was a melodramatic tinkling of keys and an unlocking of heavy doors.
The male prisoners, the adults, were in the patio of the convent, where in olden days the nuns had wandered on summer evenings, watering their roses. The iron door was opened and shut behind us; there was a movement of curiosity at the sight of a stranger, and many turned to look at me. Such as had illnesses came to the doctor, and he looked at their tongues and felt their pulse, giving directions to an assistant who stood beside him with a note-book. Don Felipe was on excellent terms with his patients, laughing and joking; a malingerer asked if he could not have a little wine because his throat was sore; the doctor jeered and the man began to laugh; they bandied repartees with one another.
There were about two hundred in the patio, and really they did not seem to have so bad a time. There was one large group gathered round a man who read a newspaper aloud; it was Monday morning, and all listened intently to the account of a bull-fight on the previous day, bursting into a little cry of surprise and admiration on hearing that the matador had been caught and tossed. Others lay by a pillar playing draughts for matches, while half a dozen more eagerly watched, giving unsolicited advice with much gesticulation. The draught-board consisted of little squares drawn on the pavement with chalk, and the pieces were scraps of white and yellow paper. One man sat cross-legged by a column busily rolling cigarettes; he had piles of them by his side arranged in packets, which he sold at one penny each; it was certainly an illegal offence, because the sale of tobacco is a government monopoly, but if you cannot break the laws in prison where can you break them? Others occupied themselves by making baskets or nets. But the majority did nothing at all, standing about, sitting when they could, with the eternal cigarette between their lips; and the more energetic watched the blue smoke curl into the air. Altogether a very happy family!
Nor did they seem really very cr
iminal, more especially as they wore no prison uniform, but their own clothes. I saw no difference between them and the people I met casually in the street. They were just very ordinary citizens, countrymen smelling of the soil, labouring men, artisans. Their misfortune had been only to make too free a use of their long curved knives or to be discovered taking something over which another had prior claims. But in Andalusia every one is potentially as criminal, which is the same as saying that these jail-birds were estimable persons whom an unkind fate and a mistaken idea of justice had separated for a little while from their wives and families.
I saw two only whose aspect was distinctly vicious. One was a tall fellow with shifty eyes, a hard thin mouth, a cruel smile, and his face was really horrible. I asked the doctor why he was there. Don Felipe, without speaking, made the peculiar motion of the fingers which signifies robbery, and the man seeing him repeated it with a leer. I have seldom seen a face that was so utterly repellent, so depraved and wicked: I could not get it out of my head, and for a long time saw before me the crafty eyes and the grinning mouth. Obviously the man was a criminal born who would start thieving as soon as he was out of prison, hopelessly and utterly corrupt. But it was curious that his character should be marked so plainly on his face; it was a danger-signal to his fellows, and one would have thought the suspicion it aroused must necessarily keep him virtuous. It was a countenance that would make a man instinctively clap his hand to his pocket.
Delphi Collected Works of W. Somerset Maugham (Illustrated) Page 434