Part 6
In the disused church of San Juan de los Caballeros are buried the founders of the two great houses of Segovia, Fernán Garcia and Dia Sanz, averred by tradition to have been the conquerors of Madrid.
The finest specimen of these early Romanesque churches is to be seen outside the south wall. San Millán is said to have been founded by the Counts of Castile in the tenth century, but the present fabric dates from the twelfth. The church consists of a nave, aisles, and external cloisters on each side, all ending in eastern apses. There is a low, square lantern over the crossing, and a modern square tower at the east end of the north cloister. The west front is very simple and pierced with a round-arched door and four windows. The arches of the cloister spring from finely sculptured capitals on double shafts. Street calls attention to a local peculiarity in the design of the north and south doors. ‘Their jambs consist of shafts set within very bold, square recesses; and the number of orders in the arch is double that of those in the jamb, they being alternately carried on the capitals of the shafts, and upon the square order of the jambs. The effect is good....’ The interior is well preserved, but daubed all over with whitewash and plaster. The church is barrel-vaulted, but may once have had a flat timber roof. The capitals of the massive columns are carved with very large and striking figures of men and animals. The corbels are adorned with masks and caprices, very skilfully chiselled.
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Two other exceedingly interesting churches are also outside the city wall, in the valley of the Eresma. Descending by a very steep path from the Alcazar to the junction of the two streams, and passing an arch in the baroque style, we reach Fuencisla--the bubbling rock, from which water filters. Here a cypress marks the spot where Maria del Salto alighted uninjured from the crag above. The neighbouring church, built in 1613, contains the shrine of the wonder-working Virgin of the Fuencisla. It possesses a fine reredos and iron pulpit. In the convent of the Discalced Carmelites are preserved the head and body of the famous St. John of the Cross, the spiritual guide of St. Teresa, and one of the world’s greatest mystics. You may also see the pictured Christ which, it is alleged, spoke to the saint, bidding him ask a favour; John asked, as a devout Spaniard of that time might have been expected to do, for more suffering and humiliation. The cave in which he retired to pray may also be visited.
Proceeding up the valley of the Eresma, we notice the old Casa de Moneda, or Mint, built in 1586, which down to 1730 coined all the money of Spain. Above it lies the curious little church of Vera Cruz, built in 1204 by the Knights Templars, more or less on the model of the church of the Holy Sepulchre at Jerusalem. It would be difficult to convey a clearer idea of the peculiar conformation of this structure than by Street’s description: ‘The nave is dodecagonal, and has a small central chamber enclosed with solid walls, round which the vaulted nave forms a kind of aisle. This central chamber is of two stories in height, the lower entered by archways in the cardinal sides, and the upper by a double flight of steps leading to a door in its western side. The upper room is vaulted with a domical roof which has below it four ribs, two parallel north and south, and two parallel east and west, and it retains the original stone altar arcaded on its sides with a delicately wrought chevron enrichment and chevroned shafts. The upper chapel is lighted by seven little windows opening into the aisle around it. A slab indicates the position of the supposed sepulchre. The room below the chapel has also a dome, with ribs on its under side. On the east side of the building are the chancel and two chapels, forming parallel apses, to the south of which is a low steeple, the bottom stage of which is also converted into a chapel. The chapel in the centre of the nave is carried up and finished externally with a pointed roof, whilst the aisle is roofed with a lean-to abutting against its walls. There are pilasters at the angles outside, small windows high up in the walls, and a fine round-arched doorway on the western side.’ The sepulchre is placed on the upper story, as at Jerusalem, where the hill of Calvary has been included within the church. Note the red crosses recalling the original owners, and the fast disappearing paintings on the retablo in the chancel. The portion of the True Cross formerly preserved here was removed to Zamarramala in 1663, when the old Templars’ Church was abandoned so far as religious rites were concerned.
Not far off, in a desolate spot once described as a terrestrial paradise, stands the church of El Parral, the chapel of a suppressed monastery of the Hermits of St. Jerome. It was founded in 1447 by the famous Juan Pacheco, Marquis of Villena, on the ground where he had defeated three antagonists in a protracted duel. The architects were Juan Gallego and the brothers Guas of Toledo. The plan of the church is unusual. The transept is very broad from east to west, and projects but little beyond the nave. The chancel is shallow, and its lateral walls run slant-wise to the eastern angles of the transept. Most churches of the Order of St. Jerome, according to a Spanish writer, were built this way. The effect is good. The nave is practically covered by a western gallery, and has but few windows; whereas the transept and chancel are flooded with light through six tall lancet windows with statues of the Twelve Apostles in their jambs. The contrast of light and shadow is very striking and beautiful. The choir or western gallery is carried on graceful arches and is handsomely panelled. Over the north-western chapel of the transept is the organ loft. The reredos behind the High Altar, in five stages separated by columns, was painted in 1553 by Diego de Urbina. The tombs of the founder and his wife lie on either side of the chancel. Their kneeling effigies, though sadly damaged and defaced, remain among the most beautiful examples of Spanish sculpture. Equally deserving of praise is the tomb of the Marquis’s natural daughter, the Countess de Medellin, in the south transept. The exterior of this church is not remarkable. The west front is pierced by a good double door, and ‘adorned’ with two huge square coats-of-arms; it is flanked by a square tower pierced by rounded windows in the belfry story.
Near to a cave where St. Dominic was accustomed to mortify the flesh, the Catholic Sovereigns built the church and convent of Santa Cruz, on the site of the first monastery of the order. The church has been truly described as a debased copy of El Parral. The western doorway is elaborate. Over the door, enclosed within a trefoil arch, is a Deposition from the Cross, with Ferdinand and Isabel kneeling on either side. Above, their escutcheons are displayed on either side of the crucifix. The retablo by Herrera, with which Philip II. endowed the church, was burnt in 1809, the fire irretrievably damaging the whole interior. Santa Cruz has now been converted into a charitable asylum.
Following the line of the city wall, we pass the church of San Lorenzo--a good example of the local style--once surrounded by thriving looms, and re-enter the town by the Plaza del Azoguejo, a picturesque space where the citizens love to forgather in the shadow of the mighty aqueduct.
IV
ZAMORA
Zamora on the Duero is one of the most picturesque towns in Spain, and one of the most celebrated in its annals. It is not well known to foreigners, probably on account of it being so difficult of approach. Few places bring back so vividly the stirring past of Castile.
The town stands above the Duero on a rocky ridge, the castle and cathedral occupying the western extremity. The river is spanned by a bridge of seventeen arches, defended near either end by a high gate-tower. If the approach is quaint and mediæval, the view from this point is even more so. Towards sundown, the spirit of the Middle Ages seems to inform the town--all is sombre, fierce, strong, and venerable. The country round seems little better than a desert. From the walls above eyes seem to be scanning the horizon for the first gleam of hostile lances. Zamora belongs to the days when towns, like men, always wore armour. To-day she is broken and war-worn and old; but if her sword is rusted and her shield broken, she may well boast it was in the service of Spain.
As we jolt over the old bridge, above the weirs of the Duero, and climb the steep street that leads into the town, we need no consultation of the records to tell us that we are here in the old Castile of the knightly days, that we shall find few memories of artists and poets, few of statesmen and great rulers, but many of hard fighters and holy priests. Zamora is constantly mentioned in the _Romancero_. We can imagine that it was a town towards which Don Quixote would have been drawn, but he only spoke of it as famous for bagpipes. Like Burgos and Valladolid and Salamanca, it was the creation of the mediæval time, and we hear first of it in the ninth century. Alfonso I., or his son Froila, took the town from the Moors. Thereafter, for many years, it continued to change hands. The Day of Zamora, famous in Spanish song and story (July 9, 901), when nearly seventy thousand Moors were slain or captured, assured the possession of the town to the Christians. In this terrific engagement Bernardo del Carpio is supposed to have won his spurs, though (if he ever existed, or the battle really took place) he must have been a hundred years old at the time! Soon after this victory the citizens clamoured for a spiritual shepherd, and a hermit named Atilanus was given them as bishop. Certain episodes of his youth began to trouble the prelate’s mind, and at the end of ten years he laid aside the pastoral staff, and declared himself unworthy of his office. He went on a pilgrimage, having thrown his episcopal ring into the Duero, proclaiming that he would not return till it was restored to him as a sign that God had pardoned him. All in the least familiar with folklore will, of course, know what happened next. Like the ring of Polycrates, like the ring in the arms of Glasgow, the bishop’s amulet was found in the body of a fish served up to him at supper. The relief of the good man at this unmistakable evidence of the Divine forgiveness, his return to his See, and the rejoicings of the inhabitants may be inferred and imagined. Atilanus was canonised by Urban II. in the eleventh century.
Of another tremendous victory said to have been won before the walls of Zamora in 939 over the pertinacious Moors we need not speak further, for it is more than probable that the fight never occurred here at all, but at Simancas. There can, however, be no doubt that the place fell before the irresistible Al Mansûr in 981, in spite of the brave resistance of the commandant, Domingo Sarracino. The Moors repeopled the town, which was governed by one Abu-l-Was el Tojibita. It was labour wasted so far as they were concerned, for Zamora was soon, and finally, recovered by the Spaniards. And now we come to the episode which has secured the town so prominent a place in the annals and legendary lore of the country.
Fernando I., King of Leon and Castile, in response to the importunities of his children, on his deathbed divided his dominions between them. To his eldest daughter, Urraca, he gave Zamora, to her sister, Toro. The disposition of his estates made, the dying king invoked the vengeance of Heaven on whomsoever should disturb it; and all present, except his eldest son Sancho, responded, Amen. It was not long before this prince (now King of Leon and Castile) showed his dissatisfaction with what Ford, with a touching faith in the sanctity of primogeniture, calls this unjust division. Toro was soon surrendered by Doña Elvira, and, very shortly after, the stout-hearted Urraca beheld from these walls the hosts of Castile beleaguering her little principality. With Sancho’s army was the Cid. With him, the chroniclers assure us, the Infanta was in love. If so, these tender sentiments were not allowed to interfere with the vigour of the attack and defence, which were both conducted with ferocious determination. The siege had lasted seven months when a personage called Bellido Dolfos, the son, delightfully enough, of Dolfos Bellido, sought an audience of the king. He had fled from Zamora, he said, to escape the vengeance of Urraca’s minister, Arias Gonzalo; and he would show the king the secret postern in the walls by which he had escaped, and by means of which the town could be taken. This audience appears to have taken place very close to the walls, for we are told that the citizens cried out to Sancho, adjuring him to have nothing to do with Dolfos, who had committed four acts of treason already. These well-meant hints, naturally enough, confirmed Sancho’s confidence in the stranger. On the morning of the 7th October 1072 the two went forth to reconnoitre the walls. Dolfos took advantage of the king in an unguarded moment, and stabbed him in the back. He then promptly ran towards the postern. The Cid, seeing him run, suspected something amiss, and mounting Babieca gave chase; but alas! he had forgotten his spurs, and the assassin made good his escape. Sancho was carried back to the camp, and before he expired attributed his destruction to his father’s curse. The siege was prosecuted with greater vigour than ever by his captains. Don Diego Ordoñez denounced the citizens, without exception of persons, as felon knaves. Arias Gonzalo and his four sons took it upon themselves to vindicate the honour of the town in five successive duels with the Castilian. Three of the Zamoran champions were slain by Ordoñez, but he was jerked out of his saddle by his dead adversary’s wounded horse, and the combat was declared by the judges to be at an end. The venerable Arias Gonzalo thus preserved one of his sons, and Castile her champion. The accession of Alfonso VI. to his murdered brother’s throne restored peace to the distracted kingdom, and left the Infanta in enjoyment of her little state.
Zamora is still encircled with massive walls, strengthened with numerous round towers. The name of Urraca’s Palace is given to a house, old enough to all seeming, close to one of the gates opening near the northern end of the Paseo de Valorio; this gateway is flanked by two bastions, and above it may be seen the bust of Princess Urraca, with the inscription much defaced--
‘Afuera, afuera Rodrigo El soberbio castellano! Acordórsete debiera De aquel buen tiempo pasado,’ etc.
These verses from the _Romancero_ are supposed to have been addressed by the Princess to the Cid, and allude, presumably, to the love-passages between them. The postern through which Dolfos escaped may be seen in the wall farther towards the west. The site of the Cid’s house is also pointed out. The tiny hermitage of Santiago in the Vega marks the spot of the assassination, and a battered cross on a pillar some distance outside the town commemorates Sancho’s exclamation that he would never be king till he was lord of Zamora.
The castle from which perhaps Urraca and Arias Gonzalo looked across at Sancho’s camp is at the western extremity of the town. During the civil wars that disturbed the reign of Alfonso el Sabio, it was held for the king by Doña Teresa Gomez, wife of Garci Perez Chirino. Her youngest child was captured by the rebels, and to save his life she surrendered the fortress. At the time of the disputed succession following the demise of Enrique IV., the castle was held by the Portuguese in the interests of Juana ‘la Beltraneja,’ who held her court here for a brief season. The garrison resisted many determined assaults, and capitulated on honourable terms only after the battle of Toro, February 1476. In after years, and especially during the Peninsular War, the stronghold was adapted to the requirements of modern warfare, and has lost, in consequence, much of its mediæval character.
Hard by is the cathedral, far away from the centre of the town. When the See was restored by Alfonso VI., Gerónimo, the Cid’s confessor, was appointed to it; but he was soon translated to Salamanca (or else Zamora was carved out of that See), and was succeeded by another Frenchman, Bernard, a namesake and countryman of Bernard, Archbishop of Toledo. These foreigners introduced the Romanesque style, of which Zamora must, in its primitive state, have been a noble example. The building was completed in 1174. To that period belongs the grand square tower at the west end of the north aisle--the most conspicuous landmark of the vicinity--with its three upper stories pierced on each side with one, two, and three windows respectively. The tower was designed for defence as well as ornament. Over the crossing rises a dome of beautiful construction, very Oriental in character, with turrets surmounted by smaller cupolas and pierced with rounded windows at its angles. Seen from within, this dome is of the ‘half-orange’ type, the ribbing of the vault giving it very much the appearance of the sections of the fruit. In the sharp fringe of ornament at the angles, Street saw the very earliest kind of suggestion of a crocket, and was of opinion that ‘we have in England no monument of the middle ages which is one whit more precious.’
The cathedral has no west front, and its exterior is, it must be confessed, a veritable patchwork of different styles. The Puerta del Obispo, facing the Episcopal Palace, in the south transept probably dates from the twelfth century. The main entrance is through a four-ordered arch with three shafts in each jamb. The capitals are roughly moulded and have abaci. Over the lateral doorways (now closed up) are rudely-carved reliefs, with dragons and floral devices introduced into the decoration. The two odd-looking rosette-like ornaments above seem to be models of the interior of the dome. Above the three doors runs a gallery of five recessed arches, and over this again a blocked-up window.
The northern entrance, surmounted by a modern clock-tower, is, incongruously enough, in the classical style, with a rounded arch. The interior of this interesting little cathedral is impressive. We are at once struck with the width of the piers (seven feet across) as compared with that of the nave, which is only twenty-three feet. The arches here are in the Pointed style. The aisles are lower than the nave, and supported by broad massive buttresses. There being no western portal, that end of the church is occupied by chapels, which give a very singular effect to the building.
The High Altar and chancel are in the Gothic style, and owe their construction to the absentee bishop Diego Meléndez Valdés, who ruled the See between 1496 and 1506. His arms, five fleurs-de-lys, may be seen on the railings. The retablo, with its jasper columns and gilded capitals, is modern. The subject is the Transfiguration. In the precinct of the High Altar is buried Count Ponce de Cabrera, one of the Emperor Alfonso’s most distinguished lieutenants. The Altar is in the late Gothic style, and must have been erected three centuries after the Count’s death. There are good wrought-iron pulpits on each side of the chancel.
The choir was also the work of Bishop Valdés. It occupies the bays west of the crossing as usual in Spanish churches, but the bad effect of that position is here greatly relieved by the piercing of the western screen or _trascoro_ with two elliptical doorways, between which is a painting representing Christ surrounded by the Blessed. The fittings of the choir are very interesting, and of the same age as the screens. The backs of the lower range of stalls are carved with low reliefs of thirty-eight personages of the Old Dispensation, from Abel to Nebuchadnezzar, Caiaphas, and the Centurion. In their hands are scrolls containing texts, very cleverly chosen, of which a list is given in Neal’s _Ecclesiologist_, and reprinted in Street’s _Gothic Architecture in Spain_. The execution is rude, but expressive and painstaking. The upper stalls are adorned with full-length reliefs of saints, confessors, and martyrs of the New Dispensation, which are more delicately designed and finished. Above runs a canopy, sculptured with animal forms. The enormous metal lectern and the Bishop’s Throne, with its tapering spire, are fine examples of Gothic work.
The chapels are not of special interest. That on the middle of the western wall is dedicated to San Ildefonso, but is more generally known as the Capilla del Cardenal, after its founder, Don Juan de Mella, who died in 1467. This prelate’s brother, Alonso de Mella, was the founder of a sect which seems to have resembled the Anabaptists of Westphalia; he was expelled from Castile, and took refuge at Granada, where he was put to death by the Moors. The retablo, by Gallegos, is in six divisions, the subjects being: San Ildefonso receiving at Toledo the chasuble from the hands of the Blessed Virgin, the Discovery of the Relics of St. Leocadia, the Veneration of the Relics, and (above) the Crucifixion, the Baptism of Christ, and the death of John the Baptist. This chapel contains the tombs of the Romero family. In the adjoining sacristy are some interesting battle-scenes from Old Testament history.
The chapel of San Juan Evangelista was built with funds bequeathed by Canon Juan de Grado (1507), whose fine alabaster tomb is surmounted by his recumbent effigy, accompanied by a priest and an angel. Above the canopy is an exquisitely chiselled composition representing the Crucifixion, with expressive statues of the Apostles Peter and Paul; within is a curious but admirable genealogy of the Blessed Virgin, at the base of which is the recumbent figure of an old man, wearing a crown, and representing possibly one of the early patriarchs. The Capilla de San Miguel is of less interest. It contains the sixteenth-century tombs of the canons de Balbas. Of the side-chapels, the most notable is that of San Bernardo, rebuilt in the sixteenth century.
In the sacristy is preserved a remarkable silver monstrance, six feet high, attributed by Ford to Enrique de Arfe. The stand is of later construction, and dates from 1598. On the upper part the local saint, Atilanus, may be seen, seated with the Saviour and the Virgin.
The original cloisters were burnt in 1591, and rebuilt in the present Doric style in 1621 by Juan de Mora.
Under the town walls, close to the cathedral, is the little Romanesque church of San Isidoro, noticeable for its extremely narrow windows, some mere slits in the masonry.