The Shadow of the Cathedral

If they spoke of the preceding archbishop, these people, so used to grumbling, like all those who live in solitude, would loose their tongues and comment on his history and his defects. There was nothing to fear from a dead prelate, and besides, it was an indirect praise to the living archbishop and his favourites to speak ill of the defunct. But if during the conversation the name of His reigning Eminence arose, they were all silent, raising their hands to their caps to salute, as though the prince of the church were able to see them from the neighbouring palace.

Gabriel, listening to his companions of the upper cloister, remembered the funeral judgment of the Egyptians. In the Primacy no one dared to speak the truth about the prelates, or to discuss their faults till death had taken possession of them.

The most that they dared to do was to comment on the disagreements among the canons, to compare their lists of those who saluted one another in the choir, or who glared at one another between versicle and antiphon like mad dogs ready to fly at one another, or to speak with wonder about a certain polemic discussed by the Doctoral and the Obrero in the Catholic papers in Madrid, which had lasted for three years, as to whether the deluge was partial or universal; answering each other's articles with an interval of four months.

A group of friends had collected round Gabriel. They sought him, feeling the necessity of his presence, experiencing that attraction exercised by those who are born to be leaders of men even though they remain silent. In the evenings they would meet in the dwelling of the bell-ringer, or when it was fine weather they would go out into the gallery above the Puerta del Perdon. In the mornings the assembly would be in the house of the shoemaker who mended the giants, a yellow little man, who suffered from continual pains in his head, which obliged him to wear sundry coloured handkerchiefs tied round his head in the fashion of a turban.

He was the poorest in all the Claverias; he had no appointment, and mended the giants without any remuneration in the hopes of succeeding to the first vacant place, feeling very grateful to those gentlemen of the Chapter who gave him his house rent free, on account of his wife being the daughter of a former old servant of the church. The smell of the paste and of the damp floor infected his house with the rank atmosphere of poverty. A hopeless fecundity aggravated this poverty; his sad, placid wife with her big yellow eyes appeared every year with a new baby tugging at her flabby breast, and several children crept along the cloister walls, dull and inert with hunger, with enormous heads and thin necks, always sickly, though none of them managed to die; afflicted by all the pains of anaemia, by boils that arose and vanished on their faces, and watery eruptions covering their hands. The shoemaker worked for the shops in the town, without, however, earning much money. From the rising of the sun one could hear the sound of his hammer in the cloister. This sole evidence of profane work attracted all the unoccupied to the miserable and evil-smelling dwelling. Mariano, the Tato, and a verger who also lived in the cloister, were those who most frequently met Gabriel, seated on the shoemaker's ragged and broken chairs, so low that one could touch the floor of red and dusty bricks with one's hands.

Often the bell-ringer would run to his tower to ring the usual bells, but his vacant place would be immediately occupied by an old organ-blower, or some of the servants from the sacristy, all attracted by what they heard of these meetings of the lower servants of the Primacy. The object of the assembly was to listen to Gabriel. The revolutionary wished to keep silence, and listened absently to their grumblings at the daily round of worship; but his friends longed to hear about those countries in which he had travelled, with all the curiosity of people who lived confined and isolated; listening to his descriptions of the beauties of Paris and the grandeur of London they would open their eyes like children listening to a fairy tale.

The shoemaker with his head bent, never ceasing his work, listened attentively to the recital of such marvels; when Gabriel was silent they all agreed on one point, those cities must be far more beautiful than Madrid; and just think how beautiful Madrid was! Even the shoemaker's wife, standing in the corner forgetful of her sickly children, would listen to Luna with wonder, her face enlivened by a feeble smile, which showed the woman through the animal resigned to misery, when Luna described the luxury of the women in foreign parts.

All these servants of the church felt their narrowed and dulled minds stirred by these descriptions of a distant world that they were never likely to see; the splendours of modern civilisation touched them much more nearly than the beauties of heaven as described in the sermons, and in the pungent and dusty atmosphere of the dirty little house they would see unrolled before their mind's eye beautiful and fantastic cities, and they would ask questions in all innocence as to the food and habits of those distant people, as though they believed them beings of a different species.

Towards evening, at the hour of the choir, when the shoemaker was working alone, Gabriel, tired of the monotonous silence of the cloister, would go down into the church.

His brother, in a woollen cloak with a white neck band, and a staff as long as an ancient alguacil's, stood as sentry in the crossways, to prevent the inquisitive passing between the choir and the high altar.

Two tablets of old gold with Gothic letters, hung on to one of the pilasters, set forth that anyone talking in a loud voice or making signs in the church would be excommunicated; but this menace of former centuries failed to impress the few people who came to vespers and gossiped behind one of the pillars with some of the church servants. The evening light, filtering through the stained glass, threw on the pavement great patches of colour, and the priests as they walked over this carpet of light would appear green or red according to the colours flashed from the windows.

In the choir the canons sang for themselves only in the emptiness of the church; the shutting of the iron gates of the screen, opened to admit some late-coming priest, echoed like explosions throughout the building, and above the choir the organ joined in at times between the plain song, but it sounded lazily, timidly, as though from necessity, and seemed to lament its feebleness in the gathering twilight.

Gabriel had not completed the round of the Cathedral before he was joined by his nephew, the Perrero, who left his conversation with the servers and acolytes, and with the errand boy belonging to the Secretary of the Chapter, whose fixed seat was at the door of the Chapter-house. Luna was always very much diverted by the pranks of the Tato, and the confidence and carelessness with which he moved about the temple, as though having been born in it deprived him of all feeling of respect The entry of a dog into the nave caused great excitement.

"Uncle," said he to Luna, "you shall see how I can open my cloak."

Seizing the two ends of his garment he advanced towards the dog with the contortions and bounds of a wrestler; the animal, knowing this of old, endeavoured to escape through the nearest door, but the Tato, cutting off his retreat, drove him into the nave, and, pretending to pursue him, drove him from chapel to chapel, finally rounding him up where he could give him some good sound whacks. The dismal howlings disturbed the singing of the canons, and the Tato laughed more than ever to see behind the iron railing of the choir, the angry gesture of the good Esteban threatening him with his wooden staff.

"Uncle," said the depraved Perrero one evening, "you, who think you know the Cathedral so well, have you ever seen the lively things in it?"

The wink of his eye, and the gesture accompanying the words showed that the things might very well be more than lively.

"I am always very much interested," he went on, "with the jokes the ancients allowed themselves. Come along, uncle, it will amuse you for a little; you, like all those who think they know the Cathedral, will have passed many times by these things without noticing them."

Going along the outside of the choir, the Tato led Gabriel to the front opposite the door del Perdon. Under the great medallion, which serves as a back to the Mount Tabor, the work of Berruguete, opens the little chapel of the Virgin of the Star. "Look well at that image, uncle. Is there another like it in all the world? She is a courtezan, a siren who would drive men mad if she only fluttered her eyelids."

For Gabriel this was no new discovery; from his childhood he had known that beautiful and sensual figure, with its worldly smile, its rounded outlines, and its eyes with their expression of wanton gaiety as though she were just going to dance.

The child in her arms was also laughing and placing his hand on the bosom of the beautiful woman, as though he intended to tear the covering from her breast. The image of painted stone, stuffed and gilt, wore a blue mantle strewn with stars, from whence its name.

"Even you, who have read so much, uncle, may possibly not know the history of this chapel, which is far more ancient than the Cathedral. The woolstaplers, carders, and weavers of Toledo had their patroness here long before the church was built, and they only gave up their right to the ground on the condition that they should be entire masters of the chapel, and do in it whatever they pleased and in all this piece of the Cathedral as far as those nearest pillars. Oh! the trouble this wrought! On the days they held their feasts to the Virgin they never paid any heed to the canons in the choir, and they greatly disturbed all the offices with 'rabeles,'22 lutes and disorderly songs. If the canons begged them to be silent, they replied that it was they in the choir who ought to keep silence, considering that they were in their own chapel, which was far more ancient than the Cathedral. Did you know this, uncle?"

"Yes, I remember it now. The Archbishop Valero Loza brought a suit against them at the beginning of the eighteenth century; you can see his tomb at the foot of the altar. He lost his suit, and died from disappointment. He desired to be buried in that place, so that the insolent wool merchants should trample on him in death, even as they had vanquished him in his lifetime. The haughtiness of these ecclesiastical princes drove them to the proudest humility. But is this all you wished to show me?"

"You shall see better things than this. Let us say good-bye to the Virgin. But do look at her! What a face! What alluring eyes! The beautiful woman! I spend hours looking at her; she is my sweetheart.

Oh! the many nights I have dreamt of her."

They walked on a little towards the great doorway of the Cathedral, so as to obtain a better view of the exterior face of the choir. Above the three hollows or chapels that pierce it runs a frieze of ancient relievos, the work of some obscure mediaeval artist. Gabriel recognised these coarse sculptures as being contemporaneous with the Puerta del Reloj, and by far the most ancient work in the Cathedral.

"Look you, in the first medallion Adam and Eve are as naked as worms; but the Lord drives them out of Paradise, and they are obliged to dress themselves to appear in the world; and see what they do directly they get their clothes. But look at the fifth medallion on our right hand; the old gossip who cut that had a lively turn of mind."

Gabriel looked for the first time attentively at these forgotten sculptures. They were carved with all the naturalistic simplicity of the Middle Ages, with all the directness with which the artists represented their profane conceptions, with the desire to perpetuate the triumph of the flesh in some ignored corner of the mystical buildings, in order to testify that human life was not dead.

The Tato was delighted at the surprise on his uncle's face.

"Eh! what do you think of that? I discovered it wandering about the church. The canons sing every day on the other side of this wall without ever suspecting what gay doings they have over their heads. And the stained glass, uncle, look at it well. At first so many colours blind one and the forms are indistinct; besides, the lead cuts the figures and it is difficult to make out anything, but I know them to my fingers' ends. They are stories, things of their own times, that these glass-workers painted; the intrigues have been forgotten, and no one has disentangled them."

He pointed to the windows of the second nave, through which the evening light was shining with a ruddy glow.

"Look up there," went on the Perrero. "A gallant in a red cape and sword mounts by a rope ladder; at the window a nun is waiting for him. It seems something like the Don Juan Tenorio that they represent at All Saints'. Further on, you see those two in bed, and people knocking at the door. They must be the same pair of birds with the family surprising them. Then in the next window—look well at it—lovers, with scarcely any clothes beyond bare skin. These things belong to the days when people had no shame, when they went with their heads covered and the rest of their flesh bare."

Gabriel smiled at the whimsical ideas with which ancient art inspired the Perrero.

"But in the choir, uncle, there is also something to see. Let us go there; the service is over and the canons are coming out."

Luna felt overpowered by admiration as he always did on entering the choir. Those magnificent stalls, the work on one side of Philip of Burgundy, and on the other side of Berruguete, bewildered him with their profusion of marbles, jaspers, gildings, statues and medallions. It was the genius of Michael Angelo reviving in the Toledan Cathedral.

The Perrero examined the lower stalls, ferreting out among the Gothic relievos the discoveries enjoyed by his unwholesome curiosity. This first row of stalls, almost on a level with the ground, were occupied by the inferior clergy, and were anterior by half a century to the upper stalls; but in those fifty years art had made a great stride, from the hard and rigid Gothic to the flowing lines and good taste of the Renaissance. They had been carved by Maestre Rodrigo at the time when Christian Spain, roused to enthusiasm, was helping the Catholic kings with all its strength to complete the reconquest. On the backs of the stalls, and on the entablature of the frieze fifty-four carved pictures represented the principal incidents of the conquest of Granada.

The Tato did not look at these carvings of walnut or oak, with troops of horsemen and companies of soldiers scaling the walls of Moorish towns. What interested him most were the arms of the stalls, the handrails of the steps leading to the upper seats, and the salients dividing the stalls which served to rest the head, all covered with animals, grotesque beings, dogs, monkeys, big birds, friars, and little birds, all in difficult postures, some beautiful, some obscene. Hogs and frogs wound themselves up together in inextricable tangles, monkeys with ignoble gestures were mixed up with interlaced birds in never ending variety—it was a world of caricatures of voluptuousness, of monkey-like actions and satirical suggestions, in which appeared carnal passion with the most grotesque animal grimaces.

"Look here, uncle. Is not this capital—it is far the best."

And the Tato showed Gabriel the little chubby figure of a preaching friar with enormous donkey's ears.

When they came out of the choir Gabriel spied the Chapel-master close to the fresco of Saint Christopher. He had just emerged from a little door close to the giant, which led by a circular staircase to the musical archives. He was carrying under his arm a big book with dusty pages which he showed to Gabriel.

"I am taking it upstairs. You shall hear something out of it; it is worth the trouble."

And turning his eyes from the book to the little door close by he exclaimed:

"Ay! these archives, Gabriel, how it pains one! Each time I visit them I come out sadder. The vandals have been at work there; nearly all the music books have pages torn out, pieces cut out wherever there was an illuminated letter, a vignette or anything pretty. The señor canons do not care for music, neither do they understand it, and they are incapable of devoting a few pesetas so that it might be heard on festival days. It is quite enough for them to walk in procession to some piece of Rossini's; and as far as regards the organ, all they care about is that it must play slowly, very slowly. The slower it plays, the more religious they think it, even though the organist may be playing a Habanera."

He continued looking at the little door with melancholy eyes as though he were ready to weep over the decay of music.

"In there, Gabriel, are many beautiful works, that ought not to be forgotten as long as art lives in the world. In profane music we have not been great, but believe me that Spain has been far otherwise with religious authors. That is, provided that profane music and religious music really exist, which I doubt; for me there is only—music—and I think he will be a clever man who draws the line where one ends and where the other begins. Behind this wall of Saint Christopher's, the works of all the great Spanish musicians sleep, mutilated and covered with dust. Perhaps it is better they do sleep, when you hear what is sung in this choir! Here you will find Christobal Morales, who three hundred years ago was Chapel-master here, and began the reform of music twenty years before Palestrina. In Rome he shares the glory with the famous master; his portrait is in the Vatican, and his lamentations, his motets, and his Magnificat rest here, forgotten for centuries. And Victoria? Do you know him? Another of the same period; his jealous contemporaries called him 'Palestrina's monkey' taking all his works to be imitations, in consequence of his long sojourn in Rome; but, believe me, instead of being plagiarisms from the Italian, they are far superior. Here also is Rivera, a Toledan master who no one remembers, but in the archives there is a whole volume of his masses, and Romero de Avila, who more than anyone had studied the Muzarabé chants, and Ramos de Pareja, not the least musician of the fifteenth century, who wrote in Bologna his book 'De Musica Tractatus,' and destroyed the ancient system of Guido de Arezzo, discovering the tonality of sound; and the Monk Urena, who added the note 'si' to the scale, and Javier Garcia, who in the last century reformed music, leading it towards Italy (God forgive him!), a beaten track from which we have not yet emerged; and Nebra, the great organist of Carlos III., who, a century before Wagner was born, used musical discords. When he wrote the Requiem for the funeral of Dona Barbara di Braganza, foreseeing the surprise and difficulties that the musicians and singers would meet with in the innovations in his score, he wrote on the margin, 'This is to give notice that there are no mistakes in the score.' His Litany became so celebrated that it was forbidden to copy it, under pain of excommunication; but I think to-day the persons who remember it would be the excommunicated. Believe me, Gabriel, these archives are a pantheon of great men, but a pantheon, unluckily, from which no one emerges."

Then he added, lowering his voice:

"The Church has never been a great lover of music. To feel and understand it you must be born a musician, and you know well enough that these gentlemen who are paid to sing in the choir know nothing about music. When I see you, Gabriel, smiling at religious things, I guess by your manner how much you conceal, and I am sure you are right. I was interested to know the history of music in the Church. I have followed step by step the long Calvary of this unhappy art, carrying the cross of worship uphill through the long centuries. You have heard people often talk of religious music, as if it were a thing apart, believed in by the Church; but it is all a lie, for religious music does not exist."

The Perrero had moved off when he heard that the Chapel-master, whose loquacity was indefatigable when he spoke of his art, had started on the theme of music. He had formed his own opinion of Don Luis and told it to everyone in the upper cloister. He was a simpleton who only knew how to play melancholy ditties on his harmonium, without ever thinking of enlivening the poor people in the Claverias by playing something to which they could dance, as the niece of Silver Stick had asked him.

The priest and Gabriel walked slowly through the silent naves talking the while; the only people to be seen were a group of the household at the door of the sacristy, and two women kneeling before the railing of the high altar praying aloud. The early twilight of the winter evenings was beginning to darken the Cathedral, and the first bats were coming down from the vaulting and fluttering through the columns.

"Ecclesiastical music," said the artist, "is a real anarchy; but in the Church everything is anarchy. I believe there is a great deal to be said for the unity of the Catholic worship throughout the world. When Christianity began to form itself into a religion it did not invent even a single bad melody; it borrowed its hymns and the manner of singing them from the Jews, a primitive and barbarous music that would shock our ears if we heard it now. Out of Palestine, and where there were no Jews, the earliest Christian poets—Saint Ambrose, Prudencio and others—adopted their new hymns and psalms to the popular songs that were then in vogue in the Roman world, or possibly to Greek music. It seems as though that word 'Greek music' ought to mean a great deal; is it not so, Gabriel? The Greeks were so great in their poetry and in the plastic arts that anything that bears their name would seem to be surrounded by an atmosphere of undying beauty. But it is not so: the march of the arts has not been parallel in human life; when sculpture had its Phidias, and had reached its climax, painting had hardly passed that rudimentary stage that we see in Pompeii, and music was only a childish babbling. Writing could not perpetuate music, for there seemed as many musical styles as there were peoples, and everything was left to the judgment of the executant. You could not fix on parchment what mouths and instruments played, and so progress was impossible. For this reason, though there was a Renaissance for sculpture, for painting, for architecture, at the revival of the arts after the Middle Ages, music was found in the same elementary stage in which it was at the break-up of the ancient world."

Gabriel nodded his head assenting to the words of the Chapel-master.

"This was the first Christian music," continued Don Luis. "Confided to tradition and transmitted orally, the religious songs soon became disfigured and corrupt. In every church they sang in a different way, and religious music became a hotch-potch. The mystics leaned to rigid unity, and in the sixth century Saint Gregory published his 'Antifonario,' a collection of all liturgic melodies, purifying them according to his ideas. They were a mixture of two elements: the Greek, rather oriental and florid, very much like the present debased style; and the grave and rough Roman. The notes were expressed by letters, the Phrygian and Lydian styles followed, and so the intricacies of Greek music continued though much altered, with fioriture, rests, and breathing pauses. The collection became lost, and many who think a return to the old style would be best, much regret it. To judge by the fragments that remain, if such music was now executed it would have very little that was religious about it, as we understand religion in art to-day; it would more resemble the songs of the Moors, or the Chinese, or those of some schismatic Greeks who still use the ancient liturgies. The harp was the principal instrument in the churches till the organ appeared in the tenth century, a rough and barbarous instrument that had to be played with blows, and was supplied with wind from inflated skins. Guido di Arezzo made a musical rule on the basis of Gregory's collection, and this was sufficient for the invention of the pentagramma23 to be assigned to the Benedictine. They continued to use the letters of Boccio and Saint Gregory as notes, but they placed them on lines of three different colours. The imbroglio continued; to learn music badly took twelve years, and then they could not manage that singers from different towns could read from the same score. Saint Bernard, dry and austere as his times, ridiculed this music as not being solemn enough; he was a man antagonistic to all art; he would have liked to see the churches dismantled and without any architectural adornments; and the slower the music was, the better it seemed to him. He was the father of plain song, and he maintained that the more drawn out the music was, the more religious it became. But in the thirteenth century Christians found this chant most wearisome. The cathedrals in those days were the point of attraction: the theatre, the centre of all life. People went to the church to pray to God and to amuse themselves, forgetting for the moment all the wars and the violence and confusion outside. Once again popular music came into the churches, and you could hear intoned in the cathedrals all the songs most in vogue, and which were often obscene. The people took part in the religious music, singing in different tones, each one as seemed best to him, and these were the first beginnings of concerted singing. In those days religion was joyful, popular—democratic as you would say, Gabriel; there was no Inquisition, nor suspicion of heresy to embitter the soul with fanaticism and fear. All the coarse wind and stringed instruments that the artisans had in the towns, or the labourers in the fields, came into the churches, and the organ was accompanied by violas, violins, bagpipes, flutes, guitars and lutes. The plain song was the established liturgy almost throughout Europe; but the people disliked it, and interspersed it with songs, and at the great festivals, religious hymns were sung, adapted to the popular melodies then in fashion, such as 'The song of the armed man,' 'Morencia, give me a kiss,' 'I know not what confuses me,' 'Weep for me, lady,' 'Bad luck to him who married you,' and others in the same style. And Rome, you will ask, and the Church? What did it say about such disorders? The Church lived without artistic perception: it never had any. What are the boundaries between religious and profane music? From the sixteenth to the seventeenth century all critics have asked themselves this question, but the Church let them talk, accepting everything without remark. Now and again Rome made itself heard by a Papal bull, to which no one paid any attention, because the Pontiff was incapable of saying this is religious art, and the other is profane. Palestrina was entrusted with the task of reforming church music; the Pope showed himself disposed not to leave anything but plain song, and to suppress even that if necessary. The mass of Papa Marcelo and other melodies was the result of this, but things did not advance much. It was necessary in order that music should be purified inside the Church that the great secular musical movement should begin with the Italian Monteverde, with the Frenchman Rameau, and with the Germans Sebastian Bach and Handel; what splendid times, Gabriel! And just think what genius followed: Gluck, Haydn, Mozart, Mehül, Boieldieu, and, above all, our good friend Beethoven."