Historic buildings : $b as seen and described by great writers
History
Historic buildings : $b as seen and described by great writers
Architecture -- History; Art -- Study and teaching; Historic buildings
In every part of the structure reigned the most death-like calm: no
sound reached my ears but the “minute drops from off the eaves.” I sat
down in a niche of the cloister, and fell into a profound reverie, from
which I was recalled by the return of our conductor, who, I believe,
was almost tempted to imagine from the cast of my countenance, that I
was deliberating whether I should not remain with them for ever.
But I soon roused myself, and testified some impatience to see the
great chapel, at which we at length arrived after traversing another
labyrinth of cloisters. The gallery immediately before its entrance
appeared quite gay, in comparison with the others I had passed, and
owes its cheerfulness to a large window (ornamented with slabs of
polished marble) that admits the view of a lovely wood, and allows a
full blaze of light to dart on the chapel door, which is also adorned
with marble, in a plain but noble style of architecture.
The father sacristan stood ready on the steps of the portal to grant
us admittance; and, throwing open the valves, we entered the chapel
and were struck by the justness of its proportions, the solemn majesty
of the arched roof and the mild solemn light equally diffused over
every part of the edifice. No tawdry ornaments, no glaring pictures
disgraced the sanctity of the place. The high altar, standing distinct
from the walls which were hung with a rich velvet, was the only object
on which many ornaments were lavished; and, it being a high festival,
was clustered with statues of gold, shrines, and candelabra of the
stateliest shape and most delicate execution. Four of the latter, of a
gigantic size, were placed on the steps; which, together with part of
the inlaid floor within the choir, were spread with beautiful carpets.
The illumination of so many tapers striking on the shrines, censers
and pillars of polished jasper, sustaining the canopy of the altar,
produced a wonderful effect; and, as the rest of the chapel was visible
only by the faint external light admitted from above, the splendour and
dignity of the altar was enhanced by contrast. I retired a moment from
it, and seating myself in one of the furthermost stalls of the choir,
looked towards it, and fancied the whole structure had risen by “subtle
magic,” like an exhalation.
Here I remained several minutes breathing nothing but incense, and
should not have quitted my station soon, had I not been apprehensive
of disturbing the devotions of two aged fathers who had just entered,
and were prostrating themselves before the steps of the altar. These
venerable figures added greatly to the solemnity of the scene; which as
the day declined increased every moment in splendour; for the sparkling
of several lamps of chased silver that hung from the roofs, and the
gleaming of nine huge tapers which I had not before noticed, began to
be visible just as I left the chapel.
Public-domain text, read in full here on John Shaqi.
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