Spanish Highways and Byways

'Adios!' dicen los demás."

But now the closed coffin of many colors is in vogue. In the Santiago market we met a cheerful dame with one of these balanced on her head, crying for a purchaser, and up the broad flights of steps to the Bilbao cemetery we saw a stolid-faced young peasant-woman swinging along with a child's white coffin, apparently heavy with the weight of death, poised on the glossy black coils of hair, about which she had twisted a carmine handkerchief.

Very strange is the look of a Spanish cemetery, with its ranges of high, deep walls, wherein the coffins are thrust end-wise, each above each, to the altitude of perhaps a dozen layers. These cells are sometimes purchased outright, sometimes rented for ten years, or five, or one. When the friends of the quiet tenant pay his dues no longer, forth he goes to the general ditch, osario común, and leaves his room for another. Such wall graves are characteristically Spanish, this mode of burial in the Peninsula being of long antiquity. Yet the rich prefer their own pantheons, sculptured like little chapels, or their own vaults, over which rise tall marbles of every device, the shaft, the pyramid, the broken column; while a poor family, or two or three neighboring households, often make shift to pay for one large earth grave, in which their dead may at least find themselves among kith and kin. Spanish cemeteries are truly silent cities, with streets upon streets enclosed between these solemn walls, which open out, at intervals, now for the ornamented patios of the rich, now for the dreary squares peopled by the poor. Here in a most aristocratic quarter, shaded by willows, set with marbles, paved with flower beds, sleeps a duke in stately pantheon, which is carved all over with angels, texts, and sacred symbols, still leaving room for medallions boasting his ancestral dignities. A double row of lamps, with gilded, fantastically moulded stands, and with dangling crystals of all colors, leads to the massive iron door. What enemy has he now to guard against with that array of bolts and bars? Here are a poet's palms petrified to granite, and here a monument all muffled in fresh flowers. Here the magnificent bronze figure of a knight, with sword half drawn, keeps watch beside a tomb, while the grave beyond a rose bush guards as well. And here an imaged Sandalphon holds out open hands, this legend written across his marble scarf, "The tear falleth; the flower fadeth; but God treasureth the prayer."

There is a certain high-bred reserve about these costly sepulchres, but turning to the walls one comes so face to face with grief as to experience a sense of intrusion. Each cell shows on its sealed door of slate or other stone the name and age of its occupant, and perhaps a sentiment, lettered in gilt or black, as these: "We bear our loss – God knows how heavily." "Son of my soul." "For thee, that land of larger love; for me, until I find thee there, only the valley of sorrow and the hard hill of hope."

Most of the cells have, too, a glassed or grated recess in front of this inscription wall, holding tributes or memorials – dried flowers, colored images of saints and angels, crucifixes, and the like. Sometimes the resurrection symbol of the butterfly appears. In the little cemetery at Vigo we noticed that the flower-vases were in form of great blue butterflies with scarlet splashes on their wings. Sometimes there are locks of hair, personal trinkets, and often card or cabinet photographs, whose living look startles the beholder. Out from a wreath of yellow immortelles peeps the plump smile of an old gentleman in modern dress coat; a coquettish lady in tiara and earrings laughs from behind her fan; and a grove of paper shrubbery, where tissue fairies dressed in rose petals dance on the blossoms, half hides the eager face of a Spanish midshipman. Where the photographs have faded and dimmed with time, the effect is less incongruous, if not less pathetic.

The niches of children contain the gayest possible little figures. Here are china angels in blue frocks, with pink sleeves and saffron pantalets, pink-tipped plumes, and even pink bows in their goldy hair. Here is a company of tiny Hamlets, quaint dollikins set up in a circle about a small green grave, each with finger on lip, "The rest is silence." Here are two elegant and lazy cherubs, their alabaster chubbiness comfortably bestowed in toy chairs of crimson velvet on each side of an ivory crucifix. And here is a Bethlehem, and here a Calvary, and here the Good Shepherd bearing the lamb in His bosom; and here, in simple, but artistic wood carving, the Christ with open arms, calling to a child on sick-bed to come unto Him, while the mother, prostrate before the holy feet, kisses their shadow. One cannot look for long. It is well to lift the eyes from the niche graves of Granada to the glory of the Sierra Nevada that soars beyond, and turn from the patios of San Isidro to the cheerful picture of Madrid across the Manzanares, even though, prominent in the vista, rises the cupola of San Francisco el Grande. This is the National Pantheon, and within, beneath the frescoed dome, all aglow with blue and gold, masses are chanted for the dead whom Spain decrees to honor, as, so recently, for Castelar.

Near this church a viaduct, seventy-five feet high, crosses the Calle de Segovia; and, despite the tall crooked railings and a constant police patrol, Madrileños bent on suicide often succeed in leaping over and bruising out their breath on the stones of the street below. It is a desperate exit. The Seine and Thames lure their daily victims with murmuring sound and the soft, enfolding look of water, but Spaniards who spring from this fatal viaduct see beneath them only the cruel pavement. That life should be harder than stone! And yet the best vigilance of Madrid cannot prevent fresh bloodstains on the Calle de Segovia.

Near the cemetery of San Isidro, across the Manzanares, are two other large Catholic burial grounds, and the Cementério Inglés.

"But murderers, atheists, and Protestants are buried way off in the east," said the pretty Spanish girl beside me.

"Oh, let's go there!" I responded, with heretic enthusiasm; but I had reckoned without the cabman, who promptly and emphatically protested.

"That's not a pleasant place for ladies to see. You would better drive in the Prado and Recoletos, or in the Buen Retiro."

We told him laughingly that he was speaking against his own interests, for the Civil Cemetery was much farther off than the parks. He consulted his dignity and decided to laugh in return.

"It is not of the pesetas I think first when I am driving ladies. But" (with suave indulgence) "you shall go just where you like."

So in kindness he gathered up his reins and away we clattered sheer across the city. Presently we had left the fountain-cooled squares and animated streets behind, had passed even the ugly, sinister Plaza de Toros, and outstripped the trolley track; but still the road stretched on, enlivened only by herds of goats and an occasional venta, where drivers of mule trains were pausing to wet their dusty throats. We met few vehicles now save the gay-colored hearses, and few people except groups of returning mourners, walking in bewildered wise, with stumbling feet.

"The Cemetery of the Poor is opposite the Civil Cemetery," said our cabman, "and they have from thirty to fifty burials a day. The keeper is a friend of mine. He shall show you all about."

A bare Castilian ridge rose before us, where a farmer, leaning on his scythe, was outlined against the sky like a silhouette of Death. And at last our cheery driver, humming bars from a popular light opera, checked his mettlesome old mare, – who plunged down hills and scrambled up as if she were running away from the bull-ring, where she must soon fulfil her martyrdom, – between two dismal graveyards. From the larger, on our right, tiptoed out a furtive man and peered into the cab as if he thought we had a coffin under the seat.

He proved a blood-curdling conductor, always speaking in a hoarse whisper and glancing over his shoulder in a way to make the stoutest nerves feel ghosts, but he showed us, under that sunset sky, memorable sights – ranks upon ranks of gritty mounds marked with black, wooden crosses, a scanty grace for which the living often pay the price of their own bread that the dead they love may pass a year or two out of that hideous general fosse. Then the sexton reluctantly led us to the unblessed, untended hollow across the way, where rows of brick sepulchres await the poor babies who die before the holy water touches them, where recumbent marbles press upon the dead who knew no upward reach of hope, and where defiant monuments, erected by popular subscription and often bearing the blazonry of a giant quill, denote the resting-places of freethinkers and the agitators of new ideas. There were some Christian inscriptions, whether for Protestants or not I do not know, but to my two companions there was no distinction of persons in this unhallowed limbo.

Our dusty guide led us hurriedly from plot to plot.

"They say the mothers cheat the priests, and there are babies over yonder that ought to be here, for the breath was out of them before ever they were baptized. They say the priests had this man done to death one night, because he wrote against religion. He was only twenty-two. The club he belonged to put up that stone. They say there are evil words on it. But I don't know myself. I can't read, thanks to God. They say it was through reading and writing that most of these came here."

"But those are not evil words," I answered. "They are, 'Believe in Jesus and thou shalt be saved.'"

He hastily crossed himself, "Do me the favor not to read such words out loud. Here is another, where they say the words are words of hell."

I held my peace this time, musing on that broad marble with its one deep-cut line, "The Death of God."

"And over there," he croaked, pointing with his clay-colored thumb, "is Whiskers."

The señorita, whose black eyes had been getting larger and larger, gave a little scream and fairly ran for the gate.

Spaniards have usually great sympathy for criminals, newspaper accounts of executions often closing with an entreaty for God's mercy on "this poor man's soul," but Whiskers, the Madrid sensation of a fortnight since, was a threefold murderer. Passion-mad, he had shot dead in the open street a neighbor's youthful wife, held the public at bay with his revolver, and mortally wounded two Civil Guards, before he turned the fatal barrel on himself.

"His family wanted him laid over the way," continued that scared undertone at my ear, "but the bishop said no. A murderer like that was just as bad as infidels and Protestants, and should be buried out of grace."

I felt as if Superstition incarnate were walking by my side, and after one more look at that strangely peopled patch of unconsecrated ground, with its few untrimmed cypresses and straggling rose bushes, hillside slopes about and glory-flooded skies above, I gave Superstition a peseta, which he devoutly kissed, and returned to the cab, followed by the carol of a solitary bird.

I remember a similar experience in Cadiz. I had driven out with one of my Spanish hostesses to the large seaside cemetery, a mile beyond the gate. This is arranged in nine successive patios, planted with palms and cypresses. In the niches, seashells play a prominent part. The little angel images, as gay as ever, with their pink girdles and their purple wings, may be seen swinging in shells, sleeping in shells, and balancing on the edge of shells to play their golden flutes. Near by is an English and German cemetery, with green-turfed mounds and a profusion of blossoming shrubs and flower beds. Not sure of the direction, as we were leaving the Catholic enclosure I asked a bandy-legged, leather-visaged old sexton, who might have been the very one that dug Ophelia's grave, if the "Protestant cemetery" was at our right. He laid down his mattock, peered about among the mausolea to see if we were quite alone, winked prodigiously, and, drawing a bunch of keys from the folds of his black sash, started briskly down a by-path and signed to us to follow. He led us through stony passages out beyond the sanctified ground into a dreary, oblong space, a patch of weeds and sand, enclosed by the lofty sepulchral walls, but with a blessed strip of blue sky overhead.

"Here they are!" he chuckled. "They wouldn't confess, they died without the sacraments, and here they are."

Some names lettered on the wall seemed to be those of Dutch and Norwegian sailors, who had perhaps died friendless in this foreign port. There were pebble-strewn graves of Jews, and upright marbles from which the dead still seemed to utter voice: "I refuse the prayers of all the saints, and ask the prayers of honest human souls. I believe in God." And another, "God is knowledge." And another, "God is All that works for Wisdom and for Love."

"Are there burial services for these?" I inquired.

If the Church of England could have seen that crooked old sexton go through his gleeful pantomime!

"There's one that comes with some, and they call him Pastor! And he scrapes up a handful of dirt – so! And he flings it at the coffin – so! And then he stands up straight and says, 'Dust to dust!' I've heard him say it myself."

"God of my soul!" cried the Spanish lady in horror, and to express her detestation of such a heathenish rite, she spat upon the ground.

The monarchs of Spain do not mingle their ashes. Who knows where Roderick sleeps? Or does that deathless culprit still lurk in mountain caverns, as tradition has it, wringing his wasted hands and tearing his white beard in unavailing penitence? The "Catholic kings," Ferdinand and Isabella, lie, not where they had planned, in that beautiful Gothic church of Toledo, San Juan de los Reyes, on whose outer walls yet hang the Moorish chains struck from the limbs of Christian captives, but in Granada, the city of their conquest, where they slumber proudly, although their coffins are of plainest lead and their last royal chamber a small and dusky vault. Pedro the Cruel is thrust away in a narrow wall-grave beneath the Capilla Real of Seville cathedral. His brother, the Master of Santiago, whom he treacherously slew in one of the loveliest halls of the Alcázar, is packed closely in on his left, and Maria de Padilla, for whose sake he cut short the hapless life of Queen Blanche, on his right. Pleasant family discussions they must have at the witching hour of night, when they drag their numb bones out of those pigeon-holes for a brief respite of elbow room! San Fernando, the Castilian conqueror of Castile, canonized "because he carried fagots with his own hands for the burning of heretics," is more commodiously accommodated in a silver sarcophagus in the chapel above, where Alfonso the Learned also has long leisure for thought. Another Alfonso and another Fernando, with another wife of Pedro the Cruel, keep their state in Santiago de Compostela, and still another Alfonso and two Sanchos have their splendid tombs in the Capilla Mayor of Toledo cathedral, while in its Capilla de los Reyes Nuevos, a line descended from that brother whom Pedro murdered, sleeps the first John, with the second and third Henrys.

Cordova cathedral, although this lovely mosque recks little of Christian majesties, has the ordinary equipment of an Alfonso and a Fernando, and the Royal Monastery of Las Huelgas in Burgos shelters Alfonso VIII, with his queen, Eleanor of England. In less noted churches, one continually chances on them, rey or reina, infante or infanta, dreaming the centuries away in rich recesses of fretted marble and alabaster, with the shadow of great arches over them and the deep-voiced chant around.

But since Philip II created, in his own sombre likeness, the monastery of the Escorial, rising in angular austerity from a spur of the bleak Guadarrama Mountains, the royal houses of Austria and Bourbon have sought burial there. The first and chief in the dank series of sepulchral vaults, the celebrated Panteón de los Reyes, is an octagon of black marble, placed precisely under the high altar, and gloomily magnificent with jasper, porphyry, and gold. It has an altar of its own, on whose left are three recesses, each with four long shelves placed one above another for the sarcophagi of the kings of Spain, and on whose right are corresponding recesses for the queens. As the guide holds his torch, we read the successive names of the great Charles I, founder of the Austrian line; the three Philips, in whom his genius dwindled more and more; and the half-witted Charles II, in whom it ignobly perished. The coffin lid of Charles I has twice been lifted, once as late as 1871, in compliment to the visiting Emperor of Brazil, and even then that imperial body lay intact, with blackened face and open, staring eyes. The gilded bronze coffin of Philip II was brought to his bedside for his inspection in his last hour of life. After a critical survey he ordered a white satin lining and more gilt nails – a remarkable sense of detail in a man who had sent some ten thousand heretics to the torture.

Looking for the Bourbons, we miss the first of them all, the melancholy Philip V, who would not lay him down among these Austrians, but sleeps with his second queen, the strong-willed Elizabeth Farnese, in his cloudy retreat of San Ildefonso, within hearing of the fountains of La Granja. His eldest son, Luis the Well-Beloved, who died after a reign of seven months, rests here in the Escorial, but Fernando VI, also the son of Philip's first queen – that gallant little Savoyarde who died so young – was buried in Madrid. Charles III, best and greatest of the Spanish Bourbons, is here, the weak Charles IV, Fernando VII, "The Desired" and the Disgraceful, and Alfonso XII, while a stately sarcophagus is already reserved for Alfonso XIII.

To the cold society of these five Austrian and five Bourbon sovereigns are admitted nine royal ladies. Of these, the first three are in good and regular standing – the queen of Charles I and mother of Philip II, the fourth queen of Philip II and mother of Philip III, the queen of Philip III and mother of Philip IV. But here is an intruder. Philip IV, who had an especial liking for this grewsome vault, and used often to clamber into his own niche to hear mass, insisted on having both his French and Austrian queens interred here, although the first, Isabel of Bourbon, is not the mother of a Spanish king, the promising little Baltasar having died in boyhood. The brave girl-queen of Philip V is here, in double right as mother both of Luis and Fernando VI, and here is the wife of Charles III and mother of Charles IV. But of sorry repute are the last two queens, the wife of Charles IV and mother of Fernando VII, she who came hurrying down those slippery marble stairs in feverish delirium to scratch Luisa with scissors on her selected coffin, and this other, Maria Cristina, wife of Fernando VII and mother of the dethroned Isabel, a daughter who did not mend the story. It will not be long before she returns from her French exile to enter into possession of the sarcophagus that expects her here, even as another sumptuous coffin awaits the present regent. Pity it is for Isabel, whose name is still a byword in the Madrid cafés! But she always enjoyed hearing midnight mass in this dim and dreadful crypt, and will doubtless be glad to come back to her ancestors, such as they were, and take up her royal residence with them in "dust of human nullity and ashes of mortality."

XVIII

CORPUS CHRISTI IN TOLEDO

"A blackened ruin, lonely and forsaken,
Already wrapt in winding-sheets of sand,
So lies Toledo till the dead awaken,
A royal spoil of Time's resistless hand."

    – Zorrilla: Toledo.
In the thirteenth century the doctrine of transubstantiation assumed especial importance. Miracle plays and cathedral glass told thrilling stories of attacks made by Jews on the sacred Wafer, which bled under their poniards or sprang from their caldrons and ovens in complete figure of the Christ. The festival of Corpus Christi, then established by Rome, was devoutly accepted in Spain and used to be celebrated with supreme magnificence in Madrid. Early in the reign of Philip IV, Prince Charles of England, who, with the adventurous Buckingham, had come in romantic fashion to the Spanish capital, hoping to carry by storm the heart of the Infanta, stood for hours in a balcony of the Alcázar, gazing silently on the glittering procession. How they swept by through the herb-strewn, tapestried streets – musicians, standard-bearers, cross-bearers, files of orphans from the asylums, six and thirty religious brotherhoods, monks of all the orders, barefoot friars, ranks of secular clergy and brothers of charity, the proud military orders of Alcántara, Calatrava, and Santiago, the Councils of the Indies, of Aragon, of Portugal, the Supreme Council of Castile, the City Fathers of Madrid, the Governmental Ministers of Spain and Spanish Italy, the Tribunal of the Holy Office, preceded by a long array of cloaked and hooded Familiars, bishops upon bishops in splendid, gold-enwoven vestments, priests of the royal chapel displaying the royal banner, bearers of the crosier and the sacramental vessels, the Archbishop of Santiago, royal chaplains and royal majordomos, royal pages with tall wax tapers, incense burners, the canopied mystery of the Eucharist, the king, the prince, cardinals, nuncio, the inquisitor general, the Catholic ambassadors, the patriarch of the Indies, the all-powerful Count-Duke Olivares, grandees, lesser nobility, gentlemen, and a display of Spanish and German troops, closed by a great company of archers. So overwhelming was that solemn progress, with its brilliant variety of sacerdotal vestments, knightly habits, robes of state and military trappings, its maces, standards, crosses, the flash of steel, gold, jewels, and finally the sheen of candles, the clouds of incense, the tinkling of silver bells before the Santisimo Corpus, that the heretic prince and his reckless companion fell to their knees. One Spanish author pauses to remark that for these, who could even then reject the open arms of the Mother Church, the assassin's blow and the Whitehall block were naturally waiting.

Such a pomp would have been worth the seeing, but we had arrived at Madrid almost three centuries too late. Catholic friends shrugged shoulder at mention of the Corpus procession, "Vale poco." And as for the famous autos sacramentales, which used to be celebrated at various times during the eight days of the Corpus solemnity, they may be read in musty volumes, but can be seen in the city squares no more. Calderon is said to have written the trifling number of seventy-two, and Lope de Vega, whose fingers must have been tipped with pens, some four hundred.

If only our train, which then would not have been a train, had brought us, who then would not have come, to Madrid in season for a Corpus celebration under the Austrian dynasty, we could have attended an open-air theatre of a very curious sort. All the way to the Plaza, we would have seen festivity at its height, pantomimic dances, merry music, struttings of giants and antics of dwarfs, and perhaps groups of boys insulting cheap effigies of snakes, modelled after the monstrous Tarasca, carried in the Corpus parade in token of Christ's victory over the Devil. At intervals along the route, adorned with flowers and draperies, and reserved for the procession and the dramatic cars, would have been altars hung with rich stuffs from the Alcázar and the aristocratic palaces; silks and cloth of gold, brocades, velvets, and shimmering wefts of the Indies. The one-act play itself might be after the general fashion of the mediæval Miracles, – verse dialogue, tuned to piety with chords of fun, for the setting forth of Biblical stories. Abraham's sacrifice of Isaac, Moses feeding the Israelites with manna, the patience of Job, the trials of Joseph, David, and Daniel, were thus represented.

More frequently, the auto sacramental belonged to the so-called Morality type of early Christian drama, being an allegorical presentation of human experience or exposition of church doctrine. Such were "The Fountain of Grace," "The Journey of the Soul," "The Dance of Death," "The Pilgrim." Sometimes a Gospel parable, as the "Lost Sheep" or the "Prodigal Son," gave the dramatic suggestion. But these Spanish spectacles sought to associate themselves, as closely as might be, with the Corpus worship, and many of them bear directly, in one way or another, upon this sacrament.

If, for instance, we had chanced on the Madrid festival in 1681, we could have witnessed in the decorated Plaza, with its thronged balconies, the entrance of four scenic platforms or cars. The first, painted over with battles, bears a Gothic castle; the second, with pictures of the sea, a gallant ship; the third, a starry globe; the fourth, a grove and garden, whose central fountain is so shaped as to form, above, the semblance of an altar. In the complicated action of the play, when the Soul, besieged in her fortress by the Devil, whose allies are the World and the Flesh, calls upon Christ for succor, the hollow sphere of the third car opens, revealing the Lord enthroned in glory amid cherubim and seraphim; but the climax of the triumph is not yet. That stout old general, the Devil, rallies fresh forces to the attack, such subtle foes as Atheism, Judaism, and Apostasy, and whereas, before, the Senses bore the brunt of the conflict, it is the Understanding that girds on armor now. Yet in the final outcome not the Understanding, but Faith draws the veil from before the altar of the fourth car, and there, in the consecrated vessel for the holding of the Wafer, appears the "Passion Child," the white bread from Heaven, "very flesh and very blood that are the price of the soul's salvation."

That is the way Spain kept her Corpus fiesta in the good old times of Charles the Bewitched; but not now. After the procession, the bull-fight; and after the bull-fight, the latest vaudeville or ballet. Last year it rained on Corpus Thursday, which fell on the first of June, and Madrid gave up the procession altogether. Some of the Opposition papers started the cry that this was shockingly irreligious in Silvela, but when the Government organs haughtily explained that it was the decision of the archbishop and Señor Silvela was not even consulted, the righteous indignation of the Liberals straightway subsided. The procession, which was to have been a matter of kettledrums and clarionets, soldiery, "coaches of respect" from the palace and the city corporation, and a full showing of the parochial clergy, did not seem to be missed by the people. Corpus has long ceased to be a chief event in the Capital.