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.
Before we leave the Chapel del Condestable, one of its ceremonies
deserves particular mention. I allude to the _missa de los carneros_
(sheep-mass). At early mass on All Souls day, a feast celebrated in this
chapel with extraordinary pomp, six sheep are introduced, and made to
stand on a large block of unpolished marble, which has been left lying
close to the tombs, almost in the centre of the chapel; near the six
sheep are placed as many inflated skins of pigs, resembling those
usually filled with the wine of the country; to these is added the
quantity of bread produced from four bushels of wheat: and all remain in
view during the performance of high mass. At the conclusion of the final
response, the sheep are removed from their pedestal, and make for the
chapel-gates, through which they issue; and urged by the voice of their
driver, the peculiar shrill whistle of Spanish shepherds, and by the
more material argument of the staff, proceed down the entire length of
the cathedral to the music of the aforesaid whistle, accompanied by
their own bleatings and bells, until they vanish through the great
western portal.
Returning to the transepts, we find two objects worthy of notice. The
cathedral having been erected on uneven ground, rising rapidly from
south to north, the entrance to the north transept opens at an elevation
of nearly thirty feet from the pavement. To reach this door there is an
ornamental staircase, of a sort of white stone, richly carved in the
_renaissance_ style. This door is never open, a circumstance which
causes no inconvenience; the steps being so steep as to render them less
useful than ornamental, as long as any other exit exists.
A beautifully carved old door, of a wood become perfectly black,
although not so originally, gives access to the cloister from the east
side of the south transept. The interior of the arch which surmounts it
is filled with sculpture. A plain moulding runs round the top, at the
left-hand commencement of which is carved a head of the natural size,
clothed in a cowl.
[Illustration: HEAD OF SAINT FRANCIS.][3]
Public-domain text, read in full here on John Shaqi.
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