Before leaving Burgos, we paid a visit to the Cartuja de Miraflores, situated at half a league from the town. A few poor old decrepit monks have been allowed to await their death there. Spain has lost a great deal of its romantic character by the suppression of the monks, and I do not see that it has gained much in other respects. A number of magnificent edifices, which can never be replaced, and which were formerly preserved in all their integrity, will fall into a state of dilapidation, and crumble to the ground, adding their ruins to those which are already so common in this unhappy country; and thus unheard-of treasures in the way of statues, pictures, and objects of art of all kinds, will be lost, without any one deriving the least advantage. It strikes me that our Revolution might be imitated in other things than its stupid Vandalism. Murder each other if you will, for the ideas you imagine that you possess; fatten with your bodies the meagre plains ravaged by war—that is all very well; but the stone, the marble and the bronze touched by genius, are sacred—at least spare them. In two thousand years your civil dissensions will all be forgotten, and the future will only know that you were once a great people by some marvellous fragments dug from out a heap of ruins.
The Cartuja is situated upon a hill. Its exterior is austere and simple, consisting of grey stones and a tile roof, that says nothing to the eyes, but everything to the imagination. In the interior are long, cool, silent cloisters, with whitewashed walls, and a number of doors leading to the various cells, and windows with leaden casements, containing different religious subjects on stained glass, especially a remarkable composition representing the Ascension. The body of our Saviour has already disappeared; there is nothing left but his feet, the marks of which are seen on a rock which is surrounded by pious personages lost in admiration.
The prior's garden is situated within a little courtyard, in the midst of which is a fountain, from which the water, clear as crystal, runs out drop by drop. A few stray sprigs of the vine somewhat enliven the melancholy aspect of the walls, while a few tufts of flowers and clusters of plants are seen springing up here and there, in picturesque disorder, pretty much as they were sown by the hand of Chance. The prior, an old man, with a noble, venerable face, and dressed in a garment resembling as much as possible a gown (for monks are not allowed to preserve their costume), received us very politely, and, as it was not very warm, made us sit around the brazero, and offered us cigarettes and azucarillos, with cool spring water. An open book was lying on the table: I took the liberty to glance into it. It was the "Bibliotheca Cartuxiana," a collection of all the passages of the various authors who have written in praise of the order and lives of the Carthusian monks. The margin was covered with annotations, written in that stiff, formal, priest-like hand, rather large, which appeals so strongly to the imagination, but says nothing to the hasty and offhand man of the world. This poor old monk, left thus, out of pity, in a deserted convent, the vaults of which will soon fall over his unknown grave, was still dreaming of the glory of his order, and inscribing with a trembling hand, in the blank spaces of the book, some passage or other that had either been forgotten, or recently been found.
The cemetery is shaded by two or three large yew-trees, like those in the Turkish cemeteries. It contains four hundred and nineteen monks, who have died since the foundation of the convent. The ground is covered by thick luxuriant grass, and neither tomb, cross, nor inscription, is to be seen. There do the good monks all lie together, as humble in death as they were in life. This cemetery, without a single name, has something calm and silent about it that is refreshing to the soul. A fountain situated in the midst of it sheds a stream of limpid tears, as bright as silver, for these poor creatures, all dead and forgotten. I took a draught of the water, filtered through the ashes of so many holy persons; it was pure, and icy as death.
But though the dwelling of man is poor, that of God is rich. In the middle of the nave are placed the tombs of Don Juan II. and Queen Isabella, his wife. The spectator is lost in astonishment at the fact of human patience ever having completed such a work. Sixteen lions, two at each angle, support eight shields with the royal arms, and serve as base to the structure. Add to these a proportionate number of virtues, allegorical figures, apostles, and evangelists, imagine a countless number of branches, birds, animals, scrolls of arabesque and foliage, twisting and twining in every direction, and you will yet have but a feeble notion of this prodigious masterpiece. The crowned statues of the king and queen are lying at full length on the top of the tomb. The king is holding his sceptre in his hand, and is enveloped in a long robe, guilloched and figured with the most incredible delicacy.
The tomb of the Infante Alonzo is on the left-hand side of the altar. The Infante is represented kneeling before a fall-stool. A vine, with open spaces, in which little children gathering grapes are suspended, creeps, in festoons of the most capricious and endless variety around the Gothic arch that serves as a framework to the composition, half buried in the thickness of the wall. These marvellous monuments are in alabaster, and are due to the chisel of Gil de Siloe, who also executed the sculptures for the high altar. To the right and left of the latter, which is a most beautiful work of art, are two open doors, through which you perceive two Carthusian friars in the white robe of their order, standing motionless before you. At first sight you are inclined to take these two figures, which are probably by Diego de Leyva, for living beings. The general decoration of the building is completed by stalls in the Berruguete style, and it is a matter of astonishment for the visitor to find all these wonders in so deserted a spot.
From the top of the hill we were shown, in the distance, San Pedro de Cardeña, which contains the tomb of the Cid and of his wife, Doña Ximena. By the way, in connexion with this tomb there is a strange anecdote told, which I will here relate, without, however, answering for the truth of it.
During the French invasion, General Thibaut conceived the idea of having the Cid's bones removed from San Pedro de Cardeña to Burgos. His intention was to place them in a sarcophagus on the public promenade, in order that the presence of these illustrious remains might inspire the people with sentiments of heroism and chivalry. It is added, that the gallant general, in a fit of warlike enthusiasm, placed the hero's bones in his own bed, in order that he might elevate his courage by this glorious proximity, a precaution of which he had no need. The project was not put into execution, and the Cid returned to Doña Ximena's side, at San Pedro de Cardeña, where he has since remained; but one of his teeth, which had fallen out, and which had been put away in a drawer, had disappeared, without any one being able to find out what had become of it. The only thing that was wanting to complete the Cid's glory, was that he should be canonized, which he would have been, had he not, before his death, expressed the Arabo-heretical and suspicious wish that his famous steed, Barbieca, should be buried with him. This caused his orthodoxy to be doubted. Talking of the Cid, I must remark to Monsieur Casimir Delavigne that the name of the hero's sword is Tizona, and not Tizonade, which rhymes rather too closely with lemonade. I say this, however, without any desire of damaging the Cid's fame, who, to his merit as a hero, added that of inspiring so poetically the unknown author of the Romancero, as well as Guilhen de Castro, Diamante, and Pierre Corneille.
CHAPTER V.
FROM BURGOS TO MADRID.
El Correo Real; the Galeras—Valladolid—San Pablo—A Representation of Hernani—Santa Maria—Madrid.
El Correo Real in which we quitted Burgos merits a particular description. Just fancy an antediluvian vehicle, of which I should say that the model, long since discarded, could at present only be found in the fossil remains of Spain; immense bell-shaped wheels, with very thin spokes, placed considerably behind the frame, which had been painted red, somewhere about the time of Isabella the Catholic; an extravagant body, full of all sorts of crooked windows, and lined in the inside with small satin cushions, which may, at some remote period, have been rose-coloured; and the whole interior quilted and decorated with a kind of silk that was once, probably, of various colours. This respectable conveyance was suspended by the aid of ropes, and bound together in several suspicious-looking places with thin