This description of the Seville tenebrarium is translated from Cean Bermudez, and is the one most commonly quoted, though Amador complains that it is not precise, and fails to dwell upon the symbolism of this mighty mass of bronze.[97] Thus, what Cean affirms to be the bust of a king is declared by Amador to be the head of a pope, probably Saint Gregory the Great. Metal, as Cean remarks, is not employed throughout. In order to preserve its balance, the upper part of the tenebrarium, containing the triangle which is said by some to symbolize "the divinity of Jesus as God the triple and the one," is merely wood bronzed over. Amador adds that the foot and stem are intended to represent "the people of Israel in their perfidy and ingratitude." He also says that the statue in the centre of the triangle is that of Faith, and that which crowns the entire tenebrarium, of the Virgin Mary. [97] The English rendering of Cean's description inserted by Riaño is inaccurate throughout. [Illustration: XXXVII THE _PUERTA DEL PERDÓN_ (_Seville Cathedral_)] Morel, like Brunelleschi, was an architect as well as a craftsman in bronze.[98] He completed this tenebrarium in 1562, and the chapter of the cathedral were so contented with it that instead of paying him the stipulated price, namely, eight hundred ducats, they added of their own accord a further two hundred and fifty. They also commissioned him to make a handsome case to keep it in; but the case has disappeared, and the naked tenebrarium now stands in the Sacristy of Chalices of the cathedral.[99] It is still used at the Matin service during the last three days of Holy Week, and still, in the _Oficio de Tinieblas_, the custom is observed of extinguishing the fifteen tapers, one by one, at the conclusion of each psalm. [98] As architect, he made a monument (which exists no longer) for the festivals of Holy Week at Seville. [99] In 1565 Juan del Pozo, an ironsmith, received one hundred _reales_ "on account of an engine which he made of iron for moving the tenebrarium of the cathedral, and other heavy things."--Gestoso, _Diccionario de Artífices Sevillanos_, vol. i. p. 313. The title of the object which surmounts the famed Giralda tower of Seville is properly "the Statue of Faith, the triumph of the Church" (Pl. xxxviii.); but it is known in common language as the Giraldillo (weathercock), which name has passed into the word Giralda, now applied to all the tower. The populace of Seville also call it, in the _argot_ of their cheerful town, the _muñeco_ or "doll," the "Victory," and the "Santa Juana." [Illustration: XXXVIII THE WEATHERCOCK OF THE GIRALDA TOWER (_16th Century. Seville Cathedral_)]