The Cathedrals of Northern Spain Part 7

The nave shows decided affinity to early Gothic, as shown by the ogival arches and vaulting. The presence of the ogival arches (as well as those of the handsome triforium, perhaps the most elegant in Galicia) shows this church to be the first in Galicia to have submitted to the infiltration of Gothic elements. This peculiarity is explained by the fact that, in 1129, the erection of the cathedral was entrusted to one Maestro Raimundo, who stipulated that, in the case of his death before the completion of the church, his son should be commissioned to carry on the work. He died, and his son, a generation younger and imbued with the newer architectural theories, even went so far as to alter his father's plans; he built the nave higher than was customary in Romanesque churches, and gave elegance to the whole structure by employing the pointed arch even in the triforium, otherwise a copy of that of Santiago.

The most curious and impressive part of the building is that constructed by Maestro Raimundo, father, namely the aisles, especially that part of them to the right and left of the choir; they are, with the _croisee_, the best interior remains of the primitive Romanesque plans: short, even stumpy, rather dark it is true, for the light that comes in by the narrow windows is but poor at its best, they are, nevertheless, rich in decorative designs. The wealth of sculptural ornaments of pure Romanesque in these aisles is perhaps the cathedral's best claim to the tourist's admiration, and puts it in a prominent place among the Romanesque cathedrals of Spain.

Not the same favourable opinion can be emitted when it is a question of the exterior. The towers are comparatively new; the apse--with the peculiar and salient addition of an octagonal body revealing Renaissance influence--is picturesque, it is true, but at the same time it has spoilt the architectural value of the cathedral as a Romanesque edifice.

The northern facade, preceded by an ogival porch so common in Galicia, contains a portal of greater beauty than the Puerta de la Plateria in Santiago, and stands forth in greater prominence than the other named example of twelfth-century art, by not being lost among or depressed by flanking bodies of greater height and ma.s.s. As regards the sculptural ornamentation of the door itself, it is felt and not only portrayed: the Christ standing between the immense valves of the _vesica piscis_ which crowns the portal is an example of twelfth-century sculpture. The iron-studded panels of the doors have already been praised by Street, who placed their execution likewise in the twelfth century.

Excepting this portal--a marvel in its cla.s.s with its rounded tympanum richly ornamented--the portion of the building doubtless more strongly imbued than any other with the general spirit of the edifice is that part of the apse independent of the octagonal addition previously mentioned, and which is dedicated to "_La Virgen de los Ojos Grandes_"--the Virgin of the Large Eyes. (She must have been Andalusian!) Of the true apse, the lower part has ogival arched windows of singular elegance; the upper body, also semicircular in form, but slightly smaller, has round-headed windows. Both the ogival windows of the first and the Romanesque windows of the second harmonize wonderfully, thanks to the lesser height and width of the upper row. The b.u.t.tresses, simple, and yet alive with a gently curving line, are well worth noticing. It is strange, nevertheless, that they should not reach the ground, but only support the upper body, and unite it with the lower, forming thus a sort of crown for the latter's benefit.

Personally--and the author must be excused if he emit his opinion--he considers the old apse of the cathedral in Lugo to be one of the finest pieces of architecture to be met with in Galicia. It belongs to what has been called the period of Transition (compare previous remarks in another chapter concerning this style), and yet it has a character of its own not to be found elsewhere, and the harmony of ogival and Romanesque has been so artfully revealed that it cannot fail to appeal to the tourist who contemplates it carefully.

V

ORENSE

Coming by rail from Lugo or Monforte toward Tuy and Vigo, the train suddenly escapes from the savage canon where the picturesque Mino rushes and boils beside the road, and emerges into a broad and fertile valley where figs, grapes, and olives grow in profusion. This valley is broad, its soil is of golden hue, and the sky above it is as brilliantly blue as a sapphire. In its centre Orense, heavy Orense, which claims as its founder a Greek hero fresh from the pages of the Iliad, basks in the sun beside the beautiful Mino; the while its cathedral looms up above the roofs of the surrounding houses.

The history of the town is as agitated as any in Galicia and shows the same general happenings. The Romans appreciated it for its sulphur baths and called it Auria (golden) from the colour of the soil, of the water, and perhaps also on account of certain grains of gold discovered in the sands of the Mino.

The Suevos, who dominated Galicia and proved so beneficial to Tuy, did not ignore the importance of Orense: one of the first bishoprics, if not _the_ first historical one in Galicia, was that of Orense, dating from before the fourth century, at least such is the opinion of to-day.

More than any other Galician city, excepting Tuy, it suffered from the Arab invasions. Entirely destroyed, razed to the ground upon two occasions, it was ever being rebuilt by the returning inhabitants who had fled. Previous to these Arab incursions the cathedral had been dedicated to St. Martin de Tours (France), and yearly pilgrimages took place to the Galician shrine, where some relics belonging to the saint were revered. But with the infidels these relics, or whatever they were, were dispersed, and the next century (the eleventh) saw the new cathedral dedicated to the Virgin Mother (?). Besides, the inhabitants seemed to have forgotten the patronage of St. Martin, he who protects the vine-grower's _metier_--and this in spite of the fact that the valley of Orense is and was famous above all Galician regions for the cultivation of vines. Even Froissart, the French historian, could not speak of the town without mentioning its wine. He pa.s.sed a season in the valley, accompanying, I believe, the Duke of Lancaster and his English soldiers. The wine was so good and strong, wrote the historian, that the soldiers clamoured for it; after they had drunk a little they toppled over like ninepins.

The Arabs defeated and thrown out of the peninsula, the vikings' last business trip to Galicia over, and the Portuguese arms driven to the valley of Braga beyond the Mino, Orense settled down to a peaceful life, the monotony of which was broken now and again--as it usually was in this part of the country--by squabbles between n.o.blemen, prelates, and the _bons bourgeois_. If no prince of the Church was killed here, as happened in Lugo, one at least died mysteriously in the hands of his enemies. Not that it seemed to have mattered much, for said bishop appears to have been a peculiar sort of spiritual shepherd, full of vice, and devoid of virtue, some of whose doings have been caricatured--according to the popular belief--in the cornices and friezes of the convent of San Francisco.

Otherwise, peace reigned in the land, and Orense pa.s.sed a quiet existence, a circ.u.mstance that did not in the slightest add to its importance, either as an art, commercial, or industrial centre. To-day, full of strangers in summer, who visit the sulphurous baths as did the Romans, and empty in winter, it exists without living, as does so many a Spanish town.

Nevertheless, with Vigo and Corunna, it is one of the cities with a future still before it. At least, its situation is bound to call attention as soon as ever the country is opened up to progress and commerce.

The cathedral of Orense, like those of Tuy, Santiago, and Lugo, was erected in a _castro_. These _castros_ were circular dips in the ground, surrounded by a low wall, which served the druids as their place of worship. The erection of Christian churches in these sacred spots proves beyond a doubt that the new religion became amalgamated with the old, and even laid its foundations on the latter's most hallowed _castros_.

Perhaps the question presents itself as to why a cathedral was erected in Orense previous to any other city. From a legend it would appear that the king of the Suevos, Carrarick, had a son who was dying; thanks to the advice of a Christian monk, a disciple of St. Martin, and, one is inclined to think, fresh from Tours, the king dipped his son in the baths of Orense, invoking at the same time the help of St. Martin. Upon pulling his offspring out of the water, he discovered that he had been miraculously cured. The grateful monarch immediately became a stout Christian, and erected a basilica--destroyed and rebuilt many a time during the dark ages of feudalism and Arab invasion--in honour of his son's saviour. What is more wonderful still is that, soon afterward, the relics of the French saint were cherished in Orense without its being positively known whence they came!

The present cathedral, the date of the erection of which is a point of discussion to-day, is generally believed to have been built on the spot occupied by the primitive basilica. It is dedicated to Santa Maria la Madre according to the official (doubtful?) statement, and to St. Martin of Tours, Apostle of Gaul, according to the popular version.

The general appearance of the cathedral proclaims it to have been begun, or at least planned, in the twelfth century, and not, as Baedeker states, in 1220. As a twelfth-century church we are not obliged to consider it for more reasons than one, and especially because, as we have seen, the twelfth century was the great period of Galician church-building. It was in this century that the northwest shone forth in the history of Spain as it had not done before, nor has done since.

The church is another Romanesque specimen, but less pure in its style than any of the others mentioned so far: the ogival arch is prevalent, but rather as a decorative than as an essentially constructive element.

As it is, it was commenced at least fifty years after the cathedral of Lugo, and though both are twelfth-century churches, the one is an early and the other presumably a late one; the employment of the ogival arch to a greater degree in Orense than in Lugo is thus easily explained.

In short, the cathedral of Orense is another example of the peculiar Romanesque of Galicia, which, withstanding the invasion of Gothic, created a school of its own, pretty in details, bold in harmony, though it be a hybrid school after all.

The influence of the cathedral of Santiago is self-evident in the cathedral of Orense. How could it be otherwise, when the bishop Don Diego, who sat on the chair, was a great friend and a continual visitor of that other Don Diego in Santiago who erected the primate cathedral of Galicia?

This influence is above all to be seen in the Portico del Paraiso, an interior narthex leading from the western front to the body of the church. It is a handsome area of Romanesque sculpture covered by an ogival vaulting, and would be an important monument if its rival and prototype in Santiago were not greater, both as regards its perfection of design, and the grand idea which inspired it.

Of the three doors which lead into the cathedral, the western is crowned by three rounded arches reposing on simple columns. The tympanum as a decorative element is lacking, as is also the low relief, which is usually superimposed above the upper arches. The latter are, however, carved in the most elaborate manner. As regards the other two portals, the northern and southern, their composition, as far as generalities are concerned, is the same as the western, excepting that they are surrounded by a depressed semicircular arch in relief, the whole of a primitive design.

[Ill.u.s.tration: NORTHERN PORTAL OF ORENSE CATHEDRAL]

The towers of the cathedral are not old. The general impression of the building from the outside--unluckily it cannot be contemplated from any distance, as the surrounding houses impede it--is agreeable. To be especially observed are some fine fourteenth-century (?) windows which show ogival pattern, but either of timid execution or else of a bold endeavour on the artist's part to subdue solemn Gothic to the Romanesque traditions of the country.

The interior has been restored and changed many a time. In its original plan it consisted of two aisles and a nave with a one-aisled transept, and, just as in Lugo, an apse formed by three semicircles, of which the central was the largest, and contained the high altar. To-day, though the general appearance or disposition of the church (Roman cruciform with exceedingly short lateral arms) is the same, an ambulatory walk surrounds the high altar, which has been moved nearer the transept in the princ.i.p.al nave. The vaulting is ogival, reposing on solid and severe shafts; the aisles are slightly lower than the central nave, and the _croisee_ is surmounted, as in Santiago, by a handsome cupola similar in construction to that of Valencia, though more reduced in size, and of a less elegant pattern.

The lack of triforium is to be noted, and its want is felt.

The northern aisle has no chapels let into its exterior wall, but a long row of sepulchres and sepulchral reliefs to replace them. Some of them are severe and beautiful. The choir has finely carved stalls, and the Gothic _retablo_ is the only one of its kind in Galicia, and one of the best in Spain.

Many more details could be given concerning the worthy cathedral of Orense, second only in richness of certain elements to that of Santiago.

The additions, both in Romanesque and ogival styles, are better than in most other cathedrals in Galicia, though, as far as Renaissance is concerned, Galicia showed but little love for Italia's art. This was due to the regional Celtic taste of the inhabitants, or else to the marked signs of art decadence in this part of Spain, when the Renaissance was introduced into the country.

As regards the cloister,--small and rather compact in its composition,--it is held by many to be a jewel of the fifteenth century in the ogival style, handsome in its general outlines, and beautiful in its wealth of sculptural decoration.

VI

TUY

The last Spanish city on the Mino, the Rhine of Galicia, as beautiful as its German rival, and as rich in architectural remains, both military and ecclesiastical, is Tuy, the Castellum Tude of the Romans, lying half-way on the main road from Braga (Portugal) to Lugo and Astorga in Spain.

The approach to the city by rail from Orense is simply superb. The valley of the Mino is broad and luxuriant, with ruins of castles to the right and to the left, ahead and behind; in the distance, time-old Tuy, the city of a hundred misfortunes, is seated on an isolated hill, the summit of which is crowned by a fortress-cathedral of the twelfth century.

Tuy sits on her hill, and gazes across the river at Valenca do Minho, the rival fortress opposite, and the first town in Portugal. A handsome bridge unites the enemies--friends to-day. Nevertheless, the cannons'

mouths of the glaring strongholds are for ever pointed toward each other, as though wishing to recall those days of the middle ages when Tuy was the goal of Portuguese ambitions and the last Spanish town in Galicia.

Before the Romans conquered Iberia, Tuy, which is evidently a Celtic name, was a most important town. This is easily explained by its position, a sort of inland Gibraltar, backed by the Sierra to the rear, and crowning the river which brought ships from the ocean to its wharves. The city's future was brilliant.

Matters changed soon, however. The Romans drew away much of its power to cities further inland, as was their wont. The castle remained standing, as did the walls, which reached on the northern sh.o.r.es of the river down to Guardia, situated in the delta about thirty miles away. Remains of the cyclopean walls which crown the mountain chain on the Spanish side of the Mino are still to be seen to-day, yet they give but a feeble idea of the city's former strength.

After the Romans had been defeated by the invasion of savage tribes from the north, Tuy became the capital of the Suevos, a tribe opposed to the Visigoths, who settled in the rest of Spain, and for centuries waged a cruel war against the kings whose subjects had settled princ.i.p.ally in Galicia and in the north of Portugal.

The power of the Suevos, who were seated firmly in Tuy, was at last completely broken, and the capital, its inhabitants fighting energetically to the end, was at length conquered. It was the last stronghold to fall into the hands of the conquerors. A century later Witiza, the sovereign of the Visigoths, made Tuy his capital for some length of time, and the district round about is full of the traditions of the doings of this monarch. Most of these legends denigrate his character, and make him appear cruel, wilful, and false. One of them, concerning Duke Favila and Dona Luz, is perhaps the most popular.

According to it, Witiza fell in love with the former's wife, Dona Luz, and, to remove the husband, he heartlessly had his eyes put out, on the charge of being ambitious, and of having conspired against the throne.

The fate that awaited Dona Luz, who defended her honour, was no better, according to this legend.

After the return of Witiza to Toledo, the city slowly lost its importance, and since then she has never recovered her ancient fame.

Like the remaining seaports of Galicia,--or such cities as were situated near the ocean,--Tuy was sacked and pillaged by Arabs and vikings alike.

The times were extremely warlike, and Galicia, from her position, and on account of the independent spirit of the n.o.blemen, was called upon to suffer more than any other region, and Tuy, near the ocean, and a frontier town to boot, underwent greater hardships than any other Galician city. Of an admirable natural position, it would have been able to resist the attacks of Gudroed and Olaf, of the Portuguese n.o.blemen and of Arab armies, had it been but decently fortified. The lack of such fortifications, however, and the neglect and indifference with which it was, as a rule, regarded by the kings of Asturias, easily account for its having fallen into the hands of enemies, of having been razed more than once to the ground, of having been the seat of ambitious and conspiring n.o.blemen who were only bent on thrashing their neighbours, Christians and infidels alike.

In the sixth century Tuy had already been raised to the dignity of a city, but until after the eleventh century the prelates of the church, tyrants when the times were propitious, but cowardly when danger was at hand, were continually removing their see to the neighbouring villages and mountains to the rear. They left their church with surprising alacrity and ease to the mercy of warriors and enemies, to such an extent, in fact, that neither are doc.u.ments at hand to tell us what happened exactly in the darker ages of mediaeval history, nor are the existing monuments in themselves sufficient to convince us of the vicissitudes which befell the city, its see, and the latter's flocks.