Retablo

“ The retablo is of wood and{115} divided into five compartments by gorgeous columns. The subjects are from the New Testament, and are worked out with immense and ornate elaboration. The whole is crowned with a colossal Calvary. Behind the High Altar is placed that extraordinary example of eighteenth-century bad taste, the too famous Transparente. The whole architecture, painting, statues, carving and bronze is the work of the same person, Narciso Thomé who completed it in 1734. ”

“ There are also many Retablos, and some of them ancient. That behind the high altar is a grand work, of so great height that it rises quite from the floor to the roof, being filled with subjects from our Lord’s life, arranged with the most complete disregard to their chronology, and, so far as I could see, without any other better system of arrangement. ”

“ And those myriads of statues, which peopled all the spaces between the columns of the nave and the choir, kneeling, standing, equestrian, men, women, children, kings, bishops, gendarmes, in stone, in marble, in gold, in silver, in copper, in wax even,—who has brutally swept them away? It is not time.
And who substituted for the ancient gothic altar, splendidly encumbered with shrines and reliquaries, that heavy marble sarcophagus, with angels’ heads and clouds, which seems a specimen pillaged from the Val-de-Grâce or the Invalides? ”

“ The superb elegance of the exterior seems but a veil for mystery and humility within; the blatant hymn of marble makes you lower your voice and speak in a hushed tone: the exterior, by reason of its lightness and whiteness, is, perhaps, Pagan; the interior is, most assuredly, Christian.
In the corner of a nave, just before ascending the dome, we glance at a tomb filled with allegorical figures cast in bronze by the Cavalier Aretin after Michael Angelo in a bold and superb style. ”

“ Many an evening stroll I have had round this relic of the past, treading upon the soft green grass that grew over innumerable graves, reading the inscriptions on quaint tombstones, or wandering through the ruins of the venerable cathedral, with its nave, transepts, and choir, admiring the beautiful decorations of Cormac’s Chapel; or watching the strange effect of the outward light falling through the apertures at the top of the lofty round tower as I looked upwards through the mysterious pile. ”

“ Sooner the stars, torn from their spheres, shall hiss, Extinguished in the bottom of the sea, Than the dear memory, and love of you, Shall suffer loss, or injury. Your tomb an altar is; the mothers here Shall come, unto their little ones to show The lovely traces of your blood. Behold, Ye blessed, myself upon the ground I throw, And kiss these stones, these clods Whose fame, unto the end of time, Shall sacred be in every clime. ”

“ In the dimness of the cave-like church built to serve the purpose of a tomb and keep men's ideas familiar with the thought of death, these frescoes are glimpses into the heaven of the blest. Watch them at all hours of the day and there will be some new wonder to be noted, a face among the crowd which seems fairer than the rest, or, as the sunshine moves across, a flash of colours in an angel's wing like the sudden coming of a rainbow in a cloudy sky. ”

“ The tomb rests on superb marble lions, and angels as usual hold the shields, in Gothic fashion. The ample folds of the dead girl’s garments are charmingly graceful, and to the beauty of art is added the mystery of romance. Bride or mistress, this fair girl, asleep for six centuries, holds in the stillness of her delicate sculptured visage the enigma of her broken destiny. Sorrow or remorse built her splendid monument. ”

“ As you approach the Chapel of the Virgin, you pass by an ancient monument, to the left, of a recumbent Bishop, reposing behind a thin pillar, within a pretty ornamented Gothic arch.45 To the eye of a tasteful antiquary this cannot fail to have its due attraction. While however we are treading upon hallowed ground, rendered if possible more sacred by the ashes of the illustrious dead, let us move gently onwards towards the Chapel of the Virgin, behind the choir. See, what bold and brilliant monumental figures are yonder, to the right of the altar! ”

“ In the death-like stillness of the church, the visitor who, for the first time, contemplates this tomb and its gloomy guard, is struck by a feeling of awe, approaching to terror. The statues, with life-like individuality of attitude and expression—each solemn, mournful, dignified, and graceful; and all seeming to dilate before the eye into enormous dimensions, and, as if framed to scare intruders, endowed by [Pg 591] a power more than mortal, to keep watch and ward round the mighty dead. ”

“ Behind the aerial grace of the façade with its bewildering embroidery of yellowing marbles, rarely carved, its jewelled canopies of mosaic, its Lombard colonnades and soaring pinnacles, not even Time, the great artist who puts the crown of beauty upon all the works of man, can veil the ugly nudity of nave and transept. ”

“ I think it is best to be one’s self a little sleepy,—when the barefooted friar at the altar (if it is in the church of the Scalzi, say) has a habit of getting several centuries back from you, and of saying mass to the patrician ghosts from the tombs under your feet and there is nothing at all impossible in the Renaissance angels and cherubs in marble, floating and fatly tumbling about on the broken arches of the altars. ”

“ Underneath this picture the relics of the church are kept. In the Capilla Real, over the high altar, is an image of the Virgin of life size, like a movable lay figure, having hair of spun gold and shoes ornamented with the lilies of France, and seated on a silver throne. The cathedral is always thronged, not only by the devout, but by idlers and beggars. ”

“ Those dark and silent aisles are fill'd with night,
There breathes no murmur, and there shines no light;
The graves beneath the pavement yield their gloom,
'Till the cathedral seems one mighty tomb. ”

“ Now let us consider how many relics of the true cross there are in the world. An account of those merely with which I am acquainted would fill a whole volume, for there is not a church, from a cathedral to the most miserable abbey or parish church, that does not contain a piece. Large splinters of it are preserved in various places, as for instance in the Holy Chapel at Paris, whilst at Rome they show a crucifix of considerable size made entirely, they say, from this wood. ”

“ Lat. retrotabulum (modernized retabulum) was applied to an architectural feature set up at the back of an altar, and generally taking the form of a screen framing a picture, carved or sculptured work in wood or stone, or mosaic, or of a movable feature such as the famous Pala d’ Oro in St Mark’s, Venice, of gold, jewels and enamels. The foreign “rétable” is, therefore, what should in English be called a “reredos” (q.v.) , though that is not in modern usage a movable feature. ”

“ Two of the sides are furnished with recesses, which form lesser chapels, and in one of which there is a fine organ. Between the centre of the pavement and the principal altar, a large square block of mixed marble covers the remains of the founders of the chapel, and bears on its surface their recumbent figures executed in great perfection. [2] This is the finest tomb in the cathedral. The embroidery of the cushions, the ornaments on the count's armour, the gloves of the countess, are among the details which merit particular notice amidst the beautiful execution of the whole. ”

“ To move the unrelenting gloom,
For short surcease of pain.
The font, the altar, and the tomb!
Accept frail nature’s dower;—
To thee, to all, an equal doom,—
The inevitable hour!
106The font, the altar, and the tomb!
Faint not at “Dust to Dust;”—
The love of God leaves ample room
For deathless hope and trust. ”

“ At the rear of the cathedral rises the Necropolis, a bold, semicircular eminence, some three hundred feet in height, and formed in regular terraces, which are divided into walks, and crowded with elegant and costly modern monuments; too crowded, in fact, and reminding one more of a sculpture gallery than a cemetery. ”

“ The great boast of this church is its MONUMENTS; which, it must be confessed, are upon the whole exceedingly interesting. As to their antiquity, I noticed two or three of the thirteenth century; but they pretend to run up as high as the tenth. Indeed I saw one inscription of the eleventh century--executed in gothic letters, such as we observe of the latter end of the sixteenth. This could not be a coeval inscription; for I doubt whether there exist, any where, a monumental tablet of the eleventh century executed in coeval gothic letters. ”

“ He led the way through a labyrinth of cloisters, gloomy as the grave; till ordering a grated door to be thrown open, the light of our flambeaux fell upon a flight of most beautiful marble steps, polished as a mirror, leading down between walls of the rarest jaspers to a portal of no great size, but enriched with balusters of rich bronze, sculptured architraves, and tablets of inscriptions, in a style of the greatest magnificence. ”

“ As the fifteenth century treats the architectural detail of Græco-Roman art, so likewise does it proceed with its sculptured ornament; all meaning vanishes before the absorbing interest in pattern. For there is in antique architectural ornament a much larger proportion of significance than can strike us at first. Thus the garlands of ivy and fruit had actually hung round the tomb before being carved on its sides; before ornamenting its corners the rams' heads and skulls of oxen had lain for centuries on the altar. ”

“ How steeped now in the stillness of moonlight are all those pale, pillared Churches, Courts and Cloisters, Shrines and Altars, with here and there a Statue standing in the shade, or Monument sacred to the memory of the pious—the immortal dead. ”

“ The treasury of the cathedral has a rich collection of relics in shrines of great beauty. There is a locket of the Virgin’s hair; a piece of the true cross; the leathern girdle of Christ (bearing Constantine’s seal) ; a nail of the cross; the cord which bound the rod that smote Him; the sponge which was filled with vinegar; that arm of Simeon on which he bore the infant Jesus; some blood and bones of St. Stephen; some manna from the wilderness; and some bits of Aaron’s rod. These relics were presented to Charlemagne by the Patriarch of Jerusalem and the Caliph Haroun Al Raschid. ”

“ I want to take you to a deserted abbey, more lonely than our Hermitage, beautiful as a cathedral, full of very old memories, where there is a great candelabra of white marble, a marvellous work of art by some unknown artist. ”

“ Easily imagined is the hallowed aspect of the lofty fane when the last rays of the sun shot redly within, suffused the altar in a crimson haze, and glowed upon the burnished ornaments and the carvings of veined marble and whitest stone ”

“ Old fragments of tapestry, torn from the walls of other apartments, had been hastily and partially disposed around those of the chapel, and mingled inconsistently with scutcheons and funeral emblems of the dead, which they elsewhere exhibited. On each side of the stone altar was a monument, the appearance of which formed an equally strange contrast. ”

“ Sacred vessels, reliquaries containing the finest early workmanship, books with glorious jewelled covers, mitres of all degrees of richness, tapestries from the earliest periods, altar coverings both of embroidery and linen of early periods, and exquisite works of every class we can imagine are to be found in that charmed enclosure. ”

“ There are quaint old paintings on gold grounds in the nave. In the N. aisle lovely tombs that served as memorials of the dead, and likewise as altar-pieces. [1]
[Footnote 1: Christ on the cross is between kneeling figures of a knight and a lady; S. Anne and the B. V. Mary are also represented. This reredos is so excellent, so beautiful, that of course it did not suit the taste for tawdriness that sprang up in the eighteenth century, and a vulgar reredos has been erected, and the altar moved before that.] ”

“ EXTERIOR OF LANTERN
There are some fine monuments in the south transept, all of them adorned with elaborate bas-reliefs of scriptural subjects. One, of the thirteenth century, has a tomb supported on lions, and a death-bed represented on its side; a little apsidal recess above is groined with a semi-dome, with ribs. Another has sculptures of the Crucifixion, the Entombment, the Maries going to the Sepulchre, and the “Noli me tangere;” and a third has another representation of a death-bed. The effigies are all slightly tilted outwards, and those in the east wall have their feet to the north. ”

“ Statues of angels in an attitude of worship on each side of the altar, as if adoring the sacrifice—or bearing in triumph the instruments of Christ’s passion, the cross, the nails, the spear, the crown of thorns—or carrying tapers—are more common, and must be regarded not merely as decoration, but as a presence in the high solemnity. ”

“ These relics are very desultory, but they are still abundant, and they testify to the great scale and the stately beauty of the abbey. You may lie upon the grass at the base of an ivied fragment, measure the girth of the great stumps of the central columns, half-smothered in soft creepers, and think how strange it is that in this quiet hollow, in the midst of lonely hills, so exquisite and elaborate a work of art should have risen. It is but an hour’s walk to another great ruin, which has held together more completely. ”

“ In the south wall of the church, under a low pointed arch, is the recumbent figure of a female, carved in stone, of a very remote date, with the feet resting against an animal, (probably a dog,) the head of which is much damaged: there is also an angel’s head, which has been broken off from some part of the monument, and is of course loose; from what part it came I was unable to discover.
In the chancel affixed to the north wall is the following inscription on a handsome white marble monument; it is surmounted by a crown of glory, and at the bottom is a death’s head:—
Vive ut Vivas. ”