Although Burgos was long the first city of Castile, there is nothing peculiarly Gothic in its general appearance. With the exception of one street, in which there are a few windows and door-ways of the time of the Renaissance, and ornamented with coats of arms and their supporters, the houses do not date further back than the commencement of the seventeenth century, and merely strike the observer by their very commonplace look; they are old, but they are not ancient. Burgos, however, can boast of its Cathedral, which is one of the finest in the world; but, unfortunately, like all Gothic cathedrals, it is hemmed in by a number of ignoble structures, which prevent the eye from appreciating the general disposition of the building and seizing the whole mass at one glance. The principal entrance looks out upon a large square, in the middle of which is a handsome fountain, surmounted by a delicious statue of Our Saviour in white marble. This fountain serves as a target to all the idle vagabonds of the town who can find no more amusing occupation than to throw stones at it. The entrance, which I have just mentioned is magnificent, being worked and covered with a thousand different patterns like a piece of lace. Unfortunately it has been rubbed and scraped down to the outer frieze by some Italian prelates or other, who were great admirers of architectural simplicity, of plain walls and ornaments in "good taste," and wished to arrange the cathedral in the Roman style, pitying very much the poor, barbarous architects, for not employing the Corinthian order, and not appearing to have been alive to Attic beauty and the charm of triangular frontons.
There are still many people of this way of thinking in Spain, where the so-called Messidor style flourishes in all its purity. These persons prefer to the richest and most profusely carved specimens of Gothic architecture, all sorts of abominable edifices riddled with windows, and ornamented with Pæstumian columns, exactly as was the case in France before the disciples of the Romantic School had caused the public to appreciate once more the style of the Middle Ages, and understand the meaning and the beauty of their cathedrals. Two pointed spires, carved in zigzag, and pierced as if with a punch, festooned, embroidered, and sculptured with most delicate minuteness, like the bezel of a ring, spring upwards towards Heaven with all the ardour and impetuosity of unshakable conviction. It is very certain that the campaniles of our incredulous times would never dare to rise thus into the air with nothing to support them, save so much stone lacework and nerves as thin as a spider's web. Another tower, which is also adorned with an unheard-of profusion of sculpture, but which is not so high, marks the spot where the arms of the cross join, and completes the magnificence of the outline. A countless number of statues, representing saints, archangels, kings, and monks, ornament the whole; and this population of stone is so numerous, so crowded, so multitudinous, that it must most certainly exceed the population in flesh and blood that inhabit the town.
Thanks to the charming politeness of the political chief, Don Enrico de Vedia, we were enabled to visit the cathedral most minutely. An octavo volume of description, a folio of two thousand plates, and twenty rooms filled with plaster casts would not be sufficient to convey a complete idea of this prodigious production of Gothic art with its immense mass of sculptures, more thick and more complicated than a virgin forest in Brazil. Such being the case, we shall, perhaps, be pardoned for some few slight omissions and instances of seeming negligence, having been obliged to scribble these lines hastily and from recollection, on the table of a posada.
The moment the visitor enters the church, he is forcibly arrested by a chef-d'œuvre of incomparable beauty, namely, the carved wooden door leading to the cloisters. Among the other bas-reliefs upon it, there is one representing our Saviour's entry into Jerusalem: the jambs and crosspieces are covered with delicious little figures, so elegant in their form, and of such extreme delicacy, that it is difficult to understand how so heavy and solid a substance as wood could ever be made to lend itself to so capricious and ethereal a production of the imagination. It is certainly the most beautiful door in the whole world, if we except that executed by Ghiberti, at Florence, and which Michael Angelo, who understood something about these matters, pronounced worthy of being the door of Paradise. There certainly ought to be a bronze copy taken of this admirable work of art, so that it might at least live as long as the work of men's hands can live.
CLOISTERS, BURGOS CATHEDRAL.
The choir, in which are the stalls, called in Spanish silleria, is enclosed by gates of wrought iron of the most wonderful workmanship; the pavement, as is the custom in Spain, is covered with immense mats made of spartum, besides which, each stall has its own little carpet of dry grass or reeds. On looking up, you perceive a kind of dome formed by the interior of the tower to which I have before alluded. It is one mass of sculptures, arabesques, statues, columns, nerves, and pendentives, sufficient to make your brain turn giddy. Were a person to gaze for two years, he still would not be able to see everything in it. The various objects are as densely crowded together as the leaves of a cabbage; there is as much open work as in a fish-slice; it is as gigantic as a pyramid, and as delicate as a woman's earring. How such a piece of filigree work can have remained erect during two centuries surpasses human comprehension! What kind of men could those have been who raised these marvellous buildings, which not even a fairy palace could ever surpass in profuse magnificence? Is the race extinct? Are not we, who are always boasting of our high state of civilization, but decrepit barbarians in comparison? I am always oppressed with a profound sentiment of melancholy whenever I visit any of these prodigious edifices of the past; my heart is overwhelmed by a feeling of utter discouragement, and the only wish I have is to withdraw to some retired spot, to place a stone upon my head, and, in the immovability of contemplation, to await death, which is immovability itself. Why should I work? Why should I exert myself? The most mighty effort of which man is capable will never produce anything more magnificent than what I have just described; and yet we do not even know the name of the divine artists to whom we owe it; and, if we wish to obtain the slightest information concerning them, we are obliged to seek it in the dusty leaves of the monastical archives. When I think that I have spent the best part of my life in making ten or twelve thousand verses, in writing six or seven wretched octavo volumes, and three or four hundred bad articles for the newspapers, and that I feel fatigued with my exertions, I am ashamed of myself and of the times in which I live, when so much exertion is required in order to produce so little. What is a thin sheet of paper compared to a mountain of granite?
If the reader will take a turn with me in this immense madrepore, constructed by the prodigious human polypi of the fourteenth and fifteenth centuries, we will commence by visiting the little sacristy, which, notwithstanding its name, is a very good-sized room, and contains an "Ecce Homo" and a "Christ on the Cross" by Murillo, as well as a "Nativity" by Jordäens. It is lined with the most beautifully carved woodwork. In the middle is placed a large brazero, which serves to light the censers, and perhaps the cigarettes also, for many of the Spanish priests smoke, a practice that does not strike me as being more unbecoming than that of taking snuff, in which the French clergy indulge, without the slightest scruple. The brazero is a large copper vessel, placed upon a tripod, and filled with burning embers, or little fruitstones covered with fine cinders, which produce a gentle heat. In Spain, the brazeros are used instead of fireplaces, which are very rare.
In the great sacristy, which is next to the little one, the visitor remarks a "Christ on the Cross" by Domenico Theotocopuli, surnamed El Greco, an extravagant and singular painter, whose pictures might be mistaken for sketches by Titian, if there were not a certain affectation of sharp and hastily-painted forms about them, which causes them to be immediately recognised. In order that his works may appear to have been painted with great boldness, he throws in, here and there, touches of the most inconceivable petulance and brutality, and thin sharp lights which traverse the portions of the picture which are in shadow, like so many sword-blades. All this, however, does not prevent El Greco from being a fine painter. The good specimens of his second style greatly resemble the romantic pictures of Eugène Delacroix.
The reader has seen, no doubt, in the Spanish Gallery at Paris, the portrait of El Greco's daughter; a magnificent head that no master would disown. It enables us to