This splendid production of the sculptor's art was finished in 1536.
Since we are on the subject of sculpture, we may as well seize the opportunity to speak of the stalls in the choir, which, as a piece of admirable joinery, have not, perhaps, their equals in the world. The stalls are so many marvels. They represent subjects in bas-relief from the Old Testament, and are separated from each other by monsters and fantastic animals shaped like the arms of a chair. The flat portions are covered with incrustations, the effect of which is heightened by black hatching, like inlaid enamel-work on metal. It is impossible for arabesques or caprice to be carried to a greater length. These stalls contain an inexhaustible mine, an unheard-of abundance, a never-ending novelty, both of ideas and forms: they are a new world, a creation of themselves, marvellously rich and complete; a world in which the plants live, the men bud forth, a branch ends in a hand, and a leg terminates in foliage; a world in which the cunning-eyed monster spreads out his taloned wings, and the monstrous dolphin spouts the water through its nostrils. They form one inextricable entwining of buds and boughs, acanthuses, water-lilies, flowers, with chalices ornamented with tufts and tendrils, of serrated and twisted foliage, fabulous birds, impossible fish, and extravagant sirens and dragons, of which no tongue could ever give an idea. The wildest fancy reigns unrestrained in all these incrustations, whose yellow tone causes them to stand out from the sombre background of the wood, and gives them the appearance of the paintings on Etruscan vases; an appearance which is fully justified by the boldness and primitive accent of their lines. These designs, from which the pagan spirit of the Renaissance peeps out, have nothing in common with the destination of the stalls themselves; in fact, the subject selected very frequently shows an entire forgetfulness of the sacred character of the place. They represent either children playing with masks, women dancing, gladiators wrestling, peasants engaged in the vintage, young girls teasing or caressing some fanciful monster, animals playing the harp, or even little boys, in the basin of a fountain imitating the famous statue at Brussels. Were they but a little more slender in their proportions, these figures would be equal to the purest productions of Etruscan art. Unity in the general appearance, and infinite variety in the details, was the difficult problem which the artists of the Middle Ages generally succeeded in solving. Five or six paces farther on, this mass of woodwork, so remarkable for the wildness of its execution, becomes grave, solemn, architectural, brown in its tones, and altogether worthy of serving as a frame to the pale and austere faces of the canons.
The Chapel of the Constable (Capilla del Condestable) forms of itself a complete church. The tomb of Don Pedro Fernandez Velasco, Constable of Castile, and that of his wife, occupy the middle of the building, and are far from being its least attractive feature: they are of white marble, magnificently sculptured. The constable is lying in his war armour, enriched with the chastest arabesques, from which the sacristans take papier-maché casts, to sell to visitors. The constable's wife has her little dog by her side, while her gloves, and the brocaded flowers on her gown, are rendered with the utmost delicacy. Both their heads repose upon marble cushions, ornamented with their coronets and armorial bearings. The walls of the chapel are covered with gigantic coats of arms, while figures placed upon the entablature hold stone staves for supporting banners and standards. The retablo (which is the name given to the architectural façade before the altar) is sculptured, painted, gilt, and covered with a profusion of arabesques, varied by columns; it represents the Circumcision of our Saviour, with figures the size of life. To the right, on the same side as the portrait of Doña Mencia de Mendoza, Countess of Haro, is a small Gothic altar, coloured, gilt, carved, and embellished with an infinity of little figures, so light in appearance, and so graceful in form, that any one might mistake them for the work of Antonin Moine. On this altar there is a Christ, carved in jet. The high altar is ornamented with silver rays and crystal suns, which produce a singularly brilliant flickering effect. Carved on the roof is a rose of incredible delicacy.
Enclosed in the wainscoting of the sacristy, near the chapel, is a Magdalen, said to be by Leonardo da Vinci. The mildness of the brown half-tints, merging into the light by imperceptible gradations, the lightness of touch remarkable in the hair, and the perfect rounding of the arms, render this supposition extremely probable. In this chapel, also, is preserved the ivory diptych that the constable used to take with him to the army, and before which he was accustomed to recite his prayers. The Capilla del Condestable belongs to the Duke de Frias. Cast a glance, as you pass, on that statue of Saint Bruno, in coloured wood,—it is by Pereida, a Portuguese sculptor,—and on that epitaph, which is that of Villegas, the translator of Dante.
A magnificent and most finely-built staircase, with splendidly-sculptured monsters, kept us for some minutes riveted with admiration. I am ignorant whither it leads, or into what room the small door at its extremity opens, but it is worthy of the most splendid palace. The high altar in the chapel of the Duke d'Abrantes is one of the most singular productions of the imagination which it is possible to behold. It represents the genealogical tree of Jesus Christ. This strange idea is carried out in the following manner:—The patriarch Abraham is lying at the bottom of the composition, and in his fertile breast are placed the spreading roots of an immense tree, each branch of which bears an ancestor of Jesus, and is subdivided into as many branches as that ancestor had descendants. The summit is occupied by the Virgin Mary on a throne of clouds, while the sun, the moon, and a multitude of gold and silver stars, shine through the foliage. It is impossible to think without a shudder at the immense amount of patience which must have been required to cut out all these leaves, chisel all these folds, and make all these personages stand out so prominently. This retablo, carved in the manner we have described, is as high as the façade of a house, that is to say, at least thirty feet, if we include the three stories, the second of which represents the crowning of the Virgin, and the third the Crucifixion, with St. John and the Virgin. The sculptor is Rodrigo del Haya, who lived in the middle of the sixteenth century.
The Chapel of Santa Tecla is the strangest structure imaginable. The object both of architect and sculptor seems to have been to crowd as many ornaments as possible into the least space, and they have completely succeeded; for I defy the greatest advocate of ornament to find space enough in the whole chapel for a single rose or a single flower more. It is the most wonderful and most charming specimen of the richest description of bad taste. It is one mass of twisted spiral columns, surrounded by vine-shoots, of endless volutes, of cherubim's heads and shoulders with a pair of wings sticking out like the ends of a neck-tie, of large masses of clouds, of flames rising from censers and blown about by the wind, of rays spread out in the shape of a fan, and of endive-plants in full bloom and most luxuriant growth, all gilt and painted in natural colours with the pencil of a miniature-painter. The flower-work of the drapery is imitated thread for thread, and point for point, with frightful accuracy. Santa Tecla, who is tied to the stake with the flames rising around her on all sides, and a number of Saracens in extravagant costumes exciting them, is represented as raising towards Heaven her beautiful enamel eyes, and holding in her flesh-coloured hand a large holly-branch, twisted after the usual Spanish fashion. The roof is ornamented in the same style. The rest of the chapel is occupied by other altars, which, although smaller, are quite as elaborate as that which we have described. But the whole fabric is deficient in the peculiar delicacy of Gothic art, as well as in the charming characteristics of the period of the Renaissance; richness is substituted for purity of outline; it is still very beautiful, however, like everything carried to excess, but yet complete in its own peculiar style.
The organs, which are of a formidable size, have rows of pipes laid transversely, like so many cannon with their muzzles pointed at you; they look very menacing and warlike. The private chapels have each an organ, only of a smaller size. In the retablo of one of these chapels we beheld a painting of such exceeding beauty, that I am even now at a loss to what master to ascribe it, unless it be to Michael Angelo. This magnificent work of art possesses, most undeniably, all the characteristic marks of the Florentine school, when in its most flourishing state, and would form the principal attraction in any gallery however rich. Michael Angelo, however, hardly ever painted in oil colours, and his pictures are fabulously scarce; I am inclined to think that it was painted by Sebastian del Piombo, after a cartoon, and on a drawing of this sublime artist. It is well known that Michael Angelo was jealous of Raphael's success, and that he sometimes employed Sebastian del Piombo, in order to unite colouring