The Picturesque Antiquities of Spain: Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.Wells, Nathaniel Armstrong
Islamic
The Picturesque Antiquities of Spain: Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.
The procession, headed by a band of music, and accompanied by the
dignitaries of the diocese, and civil authorities of the province,
bearing _cierges_, winds through the principal streets, and re-enters
the church to the sound of the two magnificent organs, never heard in
unison except on this anniversary. The exterior of the principal portal
is ornamented on this occasion with a sort of curtain, which is said to
contain upwards of three thousand yards of crimson velvet, bordered with
gold lace. The columns of the centre nave are also completely attired
from top to bottom with coverings of the same material. The value of the
velvet employed, is stated at nearly ten thousand pounds.
Christmas-day is also solemnized at Seville, with much zeal; but the
manner of doing it honour presents more of novelty than splendour. At
the early hour of seven the parish churches are completely filled. The
organ pours forth, from that time until the termination of the service,
an uninterrupted succession of airs, called _seguidillas_, from the
dance to which they are adapted. On the gallery, which adjoins the
organ-loft of each church, are established five or six muscular youths,
selected for their untiring activity. They are provided each with a
tambourine, and their duty consists in drawing from it as much, and as
varied sound as it will render without coming to pieces. With this view
they enter upon the amiable contest, and try, during three or four
hours, which of their number, employing hands, knees, feet, and elbows
in succession, can produce the most racking intonations. On the pavement
immediately below, there is generally a group, composed of the friends
of the performers, as may be discerned from the smiles of intelligence
directed upwards and downwards. Some of these appear, from the animated
signs of approbation and encouragement, with which they reward each more
than usually violent concussion, to be backers of favourite heroes.
During all this time one or two priests are engaged before the altar in
the performance of a series of noiseless ceremonies; and the pavement of
the body of the church is pressed by the knees of a dense crowd of
devotees.
Public-domain text, read in full here on John Shaqi.
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