The Bible in Spain, Vol. 2 [of 2]: Or, the Journeys, Adventures, and Imprisonments of an Englishman in an Attempt to Circulate the Scriptures in the PeninsulaBorrow, George
Religion
The Bible in Spain, Vol. 2 [of 2]: Or, the Journeys, Adventures, and Imprisonments of an Englishman in an Attempt to Circulate the Scriptures in the Peninsula
Borrow, George
Borrow, George, 1803-1881 -- Travel -- Spain; Spain -- Description and travel; Spain -- History -- 19th century
Oviedo contains about fifteen thousand inhabitants. It is picturesquely
situated between two mountains, Morcin and Naranco; the former is very
high and rugged, and during the greater part of the year is covered with
snow; the sides of the latter are cultivated and planted with vines. The
principal ornament of the town is the cathedral, {79a} the tower of which
is exceedingly lofty, and is perhaps one of the purest specimens of
Gothic architecture at present in existence. The interior of the
cathedral is neat and appropriate, but simple and unadorned. I observed
but one picture, the Conversion of Saint Paul. One of the chapels is a
cemetery, in which rest the bones of eleven Gothic kings; to whose souls
be peace.
I bore a letter of recommendation from Corunna to a merchant of Oviedo.
This person received me very courteously, and generally devoted some
portion of every day to showing me the remarkable things of Oviedo.
One morning he thus addressed me: “You have doubtless heard of Feijoo,
{79b} the celebrated philosophic monk of the order of Saint Benedict,
whose writings have so much tended to remove the popular fallacies and
superstitions so long cherished in Spain; he is buried in one of our
convents, where he passed a considerable portion of his life. Come with
me and I will show you his portrait. Carlos Tercero, {80} our great
king, sent his own painter from Madrid to execute it. It is now in the
possession of a friend of mine, Don Ramon Valdez, an advocate.”
Thereupon he led me to the house of Don Ramon Valdez, who very politely
exhibited the portrait of Feijoo. It was circular in shape, about a foot
in diameter, and was surrounded by a little brass frame, something like
the rim of a barber’s basin. The countenance was large and massive, but
fine, the eyebrows knit, the eyes sharp and penetrating, nose aquiline.
On the head was a silken skull-cap; the collar of the coat or vest was
just perceptible. The painting was decidedly good, and struck me as
being one of the very best specimens of modern Spanish art which I had
hitherto seen.
A day or two after this I said to Benedict Mol, “To-morrow I start from
hence for Santander. It is therefore high time that you decide upon some
course, whether to return to Madrid or to make the best of your way to
France, and from thence proceed to your own country.”
Public-domain text, read in full here on John Shaqi.
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