The Shadow of the Cathedral

He continued looking at the little door with melancholy eyes as though he were ready to weep over the decay of music.

"In there, Gabriel, are many beautiful works, that ought not to be forgotten as long as art lives in the world. In profane music we have not been great, but believe me that Spain has been far otherwise with religious authors. That is, provided that profane music and religious music really exist, which I doubt; for me there is only—music—and I think he will be a clever man who draws the line where one ends and where the other begins. Behind this wall of Saint Christopher's, the works of all the great Spanish musicians sleep, mutilated and covered with dust. Perhaps it is better they do sleep, when you hear what is sung in this choir! Here you will find Christobal Morales, who three hundred years ago was Chapel-master here, and began the reform of music twenty years before Palestrina. In Rome he shares the glory with the famous master; his portrait is in the Vatican, and his lamentations, his motets, and his Magnificat rest here, forgotten for centuries. And Victoria? Do you know him? Another of the same period; his jealous contemporaries called him 'Palestrina's monkey' taking all his works to be imitations, in consequence of his long sojourn in Rome; but, believe me, instead of being plagiarisms from the Italian, they are far superior. Here also is Rivera, a Toledan master who no one remembers, but in the archives there is a whole volume of his masses, and Romero de Avila, who more than anyone had studied the Muzarabé chants, and Ramos de Pareja, not the least musician of the fifteenth century, who wrote in Bologna his book 'De Musica Tractatus,' and destroyed the ancient system of Guido de Arezzo, discovering the tonality of sound; and the Monk Urena, who added the note 'si' to the scale, and Javier Garcia, who in the last century reformed music, leading it towards Italy (God forgive him!), a beaten track from which we have not yet emerged; and Nebra, the great organist of Carlos III., who, a century before Wagner was born, used musical discords. When he wrote the Requiem for the funeral of Dona Barbara di Braganza, foreseeing the surprise and difficulties that the musicians and singers would meet with in the innovations in his score, he wrote on the margin, 'This is to give notice that there are no mistakes in the score.' His Litany became so celebrated that it was forbidden to copy it, under pain of excommunication; but I think to-day the persons who remember it would be the excommunicated. Believe me, Gabriel, these archives are a pantheon of great men, but a pantheon, unluckily, from which no one emerges."

Then he added, lowering his voice:

"The Church has never been a great lover of music. To feel and understand it you must be born a musician, and you know well enough that these gentlemen who are paid to sing in the choir know nothing about music. When I see you, Gabriel, smiling at religious things, I guess by your manner how much you conceal, and I am sure you are right. I was interested to know the history of music in the Church. I have followed step by step the long Calvary of this unhappy art, carrying the cross of worship uphill through the long centuries. You have heard people often talk of religious music, as if it were a thing apart, believed in by the Church; but it is all a lie, for religious music does not exist."

The Perrero had moved off when he heard that the Chapel-master, whose loquacity was indefatigable when he spoke of his art, had started on the theme of music. He had formed his own opinion of Don Luis and told it to everyone in the upper cloister. He was a simpleton who only knew how to play melancholy ditties on his harmonium, without ever thinking of enlivening the poor people in the Claverias by playing something to which they could dance, as the niece of Silver Stick had asked him.

The priest and Gabriel walked slowly through the silent naves talking the while; the only people to be seen were a group of the household at the door of the sacristy, and two women kneeling before the railing of the high altar praying aloud. The early twilight of the winter evenings was beginning to darken the Cathedral, and the first bats were coming down from the vaulting and fluttering through the columns.

"Ecclesiastical music," said the artist, "is a real anarchy; but in the Church everything is anarchy. I believe there is a great deal to be said for the unity of the Catholic worship throughout the world. When Christianity began to form itself into a religion it did not invent even a single bad melody; it borrowed its hymns and the manner of singing them from the Jews, a primitive and barbarous music that would shock our ears if we heard it now. Out of Palestine, and where there were no Jews, the earliest Christian poets—Saint Ambrose, Prudencio and others—adopted their new hymns and psalms to the popular songs that were then in vogue in the Roman world, or possibly to Greek music. It seems as though that word 'Greek music' ought to mean a great deal; is it not so, Gabriel? The Greeks were so great in their poetry and in the plastic arts that anything that bears their name would seem to be surrounded by an atmosphere of undying beauty. But it is not so: the march of the arts has not been parallel in human life; when sculpture had its Phidias, and had reached its climax, painting had hardly passed that rudimentary stage that we see in Pompeii, and music was only a childish babbling. Writing could not perpetuate music, for there seemed as many musical styles as there were peoples, and everything was left to the judgment of the executant. You could not fix on parchment what mouths and instruments played, and so progress was impossible. For this reason, though there was a Renaissance for sculpture, for painting, for architecture, at the revival of the arts after the Middle Ages, music was found in the same elementary stage in which it was at the break-up of the ancient world."

Gabriel nodded his head assenting to the words of the Chapel-master.

"This was the first Christian music," continued Don Luis. "Confided to tradition and transmitted orally, the religious songs soon became disfigured and corrupt. In every church they sang in a different way, and religious music became a hotch-potch. The mystics leaned to rigid unity, and in the sixth century Saint Gregory published his 'Antifonario,' a collection of all liturgic melodies, purifying them according to his ideas. They were a mixture of two elements: the Greek, rather oriental and florid, very much like the present debased style; and the grave and rough Roman. The notes were expressed by letters, the Phrygian and Lydian styles followed, and so the intricacies of Greek music continued though much altered, with fioriture, rests, and breathing pauses. The collection became lost, and many who think a return to the old style would be best, much regret it. To judge by the fragments that remain, if such music was now executed it would have very little that was religious about it, as we understand religion in art to-day; it would more resemble the songs of the Moors, or the Chinese, or those of some schismatic Greeks who still use the ancient liturgies. The harp was the principal instrument in the churches till the organ appeared in the tenth century, a rough and barbarous instrument that had to be played with blows, and was supplied with wind from inflated skins. Guido di Arezzo made a musical rule on the basis of Gregory's collection, and this was sufficient for the invention of the pentagramma[23 - The stave.] to be assigned to the Benedictine. They continued to use the letters of Boccio and Saint Gregory as notes, but they placed them on lines of three different colours. The imbroglio continued; to learn music badly took twelve years, and then they could not manage that singers from different towns could read from the same score. Saint Bernard, dry and austere as his times, ridiculed this music as not being solemn enough; he was a man antagonistic to all art; he would have liked to see the churches dismantled and without any architectural adornments; and the slower the music was, the better it seemed to him. He was the father of plain song, and he maintained that the more drawn out the music was, the more religious it became. But in the thirteenth century Christians found this chant most wearisome. The cathedrals in those days were the point of attraction: the theatre, the centre of all life. People went to the church to pray to God and to amuse themselves, forgetting for the moment all the wars and the violence and confusion outside. Once again popular music came into the churches, and you could hear intoned in the cathedrals all the songs most in vogue, and which were often obscene. The people took part in the religious music, singing in different tones, each one as seemed best to him, and these were the first beginnings of concerted singing. In those days religion was joyful, popular—democratic as you would say, Gabriel; there was no Inquisition, nor suspicion of heresy to embitter the soul with fanaticism and fear. All the coarse wind and stringed instruments that the artisans had in the towns, or the labourers in the fields, came into the churches, and the organ was accompanied by violas, violins, bagpipes, flutes, guitars and lutes. The plain song was the established liturgy almost throughout Europe; but the people disliked it, and interspersed it with songs, and at the great festivals, religious hymns were sung, adapted to the popular melodies then in fashion, such as 'The song of the armed man,' 'Morencia, give me a kiss,' 'I know not what confuses me,' 'Weep for me, lady,' 'Bad luck to him who married you,' and others in the same style. And Rome, you will ask, and the Church? What did it say about such disorders? The Church lived without artistic perception: it never had any. What are the boundaries between religious and profane music? From the sixteenth to the seventeenth century all critics have asked themselves this question, but the Church let them talk, accepting everything without remark. Now and again Rome made itself heard by a Papal bull, to which no one paid any attention, because the Pontiff was incapable of saying this is religious art, and the other is profane. Palestrina was entrusted with the task of reforming church music; the Pope showed himself disposed not to leave anything but plain song, and to suppress even that if necessary. The mass of Papa Marcelo and other melodies was the result of this, but things did not advance much. It was necessary in order that music should be purified inside the Church that the great secular musical movement should begin with the Italian Monteverde, with the Frenchman Rameau, and with the Germans Sebastian Bach and Handel; what splendid times, Gabriel! And just think what genius followed: Gluck, Haydn, Mozart, Mehül, Boieldieu, and, above all, our good friend Beethoven."

The Chapel-master was silent for a little as though the name of his idol imposed on him a religious silence. Presently he continued.

"All this avalanche of art passed over the Church, and she, according to her habit, appropriated everything that was most to her taste; in any country the Catholic religion adopted the music most in accordance with its traditions—in Spain we have been saturated with the Italian style since the days of Palestrina, and German or French music never came to us. We were first of all fuguists and contrapuntists; but after the 'Stabat Mater' of Rossini we felt the attraction of theatrical melody so strongly that we have never wished to taste a fresh dish. Religious music in Spain has run parallel with Italian opera, a thing of which the canons are ignorant; they would be furious if at the mass you played them anything by Beethoven, which they would consider profane, but they listen with mystic unction to fragments which have gone the round of all the theatres in Italy. And about the plain song, you will ask? The plain song had its nest in this Primacy. It was preserved here for centuries and purified; all the best was collected in Toledo, and from the books in this Cathedral have gone forth the chorales of all the churches in Spain and America. Poor plain song! it has long been dead. You see for yourself, Gabriel, who comes to the Cathedral at the hour of the choir? No one, absolutely no one. The matins are recited, and all the offices are intoned in the midst of perfect solitude. The people who still believe know nothing of the liturgy; they do not prize it and have forgotten all about it; they are only attracted by the novenas, the triduos and retreats, all that is termed tolerated and extra-liturgic worship. The Jesuits, with their cunning, guessed that they must give their services a theatrical attraction, and for this reason their churches—gilt, carpeted, and decked with flowers like dressing-rooms—are always full, whereas the old cathedrals are as empty as tombs. They have not proclaimed the necessity for this reform aloud, but they have put it into practice by abolishing the singing in Latin, and substituting all sorts of romances and songs. In the churches, with the exception of the Tantum-ergo, nothing is sung in Latin, sermons and hymns are in the language of the country, just as in a Protestant church. For the mass of devout people, who believe without thinking, religions only differ in their exterior forms. It would be impossible to consign such a multitude to the bonfires, or that half Europe should again be in the clutches of the thirty years' war, or that the Popes should launch excommunication after excommunication, only to find in the end that the only difference between a Catholic or an evangelical church is a few images and a few wax tapers, but that the worship in both is the same. But we must go, Gabriel; they are going to lock up."

The bell-ringer was hurrying through the naves, shaking his bunch of keys and startling the bats which were becoming more and more numerous. The two devout women had disappeared; no one remained in the Cathedral save Gabriel and the Chapel-master. From the farther end of the nave were coming the night watchmen, to take up their charge till the following morning, preceded by the dog.

The two friends went out into the cloister, guided through the dusk by the rich glow from the stained glass windows; outside, the last rays of the sun were touching both the garden and the cloister of the Claverias with crimson.

"I repeat," continued the musical priest, looking back at the door from which they had come out, "that in there they do not love music and they do not understand it. The Church has only rendered one service to music, and that without wishing it: they have been obliged to have instrumentalists and vocalists for the services, and that made them support the chapels and choir-schools that have served for musical education in default of schools. We who represent art in the cathedrals are as much despised as were the minstrels in the old chapels, players of the clarion and bassoon. For the canons, all that sleeps in the musical archives is so much Greek, and we, the artistic priests, form a race apart, and are only just a step above the sacristans. The Chapel-master, the organist, the tenor, contralto, and the bass form the chapel. We are clergy like the canons, we become beneficiaries by appointment, we have studied religious science as they have, and, moreover, we are musicians; but in spite of this we receive less than half the salary of a canon, and to remind us constantly of our inferior position we have to sit in the lower stalls. We, the only ones in the choir who know anything about music, have to occupy the lowest places. The precentor is by right the chief of the singers, and the precentor is a canon named by Rome without competition, probably not knowing a note of the pentagramma. Oh! the anarchy, friend Gabriel! Oh! the contempt of the Church for music which has always been its slave and never its daughter! In many convents of nuns the organist and the singers are despised and called sergeants. There seems money for everything in the Church: the revenues of the building are ample for everything except for music. The canons look upon us as fools masking in ecclesiastical robes. When the feast of Corpus or that of the Virgin of the Sagrario comes round, and I dream of a fine mass worthy of the Cathedral, the Canon Obrero attacks me and begs for something Italian and simple, an affair of half-a-dozen musicians that I must pick up in the town, and then I have to conduct a few bungling musicians, raging to hear how the miserable orchestra sounds under these vaults, which were built for something grander. In the end, friend Luna, it is dead, quite dead."

The complaint of the Chapel-master did not surprise Gabriel. Everyone in the Cathedral complained of the miserable and sordid way in which the services were conducted. Some, like the Silver Stick, declared that it was due to the impiety of the age, others, like the musician, made that same religion responsible, but they did not dare to say so aloud. Respect to the Church and to the higher powers, instilled since their childhood, kept the population of the Cathedral silent. The greater part of the servitors of the Church were living morally in the sixteenth century, in an atmosphere of servility and superstitious fear of their superiors, feeling the injustice of their position, but without daring to give form, even in their thoughts, to their vague notions of protest.

Only at night, in the silence of the upper cloister, in the privacy of those families who were born and died among the stones of the Cathedral, did they dare to repeat the murmurs of the Church, the interminable tangle of tattle which grew over the monotonous ecclesiastical existence, the complaints of the canons against His Eminence, and what the cardinal said about the Chapter, an underground war which was reproduced at every archiepiscopal elevation, intrigues and heart-burnings of celibates, embittered by ambition and favouritism, primitive hatreds that reminded one of the time when the clergy elected their own prelates and ruled over them, instead of groaning as now under the iron rule of the archbishop's will.

Everyone in the cloister knew of these quarrels, and the remarks that the canons allowed themselves to make in the sacristy reached their ears; but these humble servitors kept silence when these murmurs were repeated in their presence, fearing to be reported by their neighbour, who possibly might covet their post. It was the terror of the Inquisition still alive amidst this little stagnant world.

The Perrero was the only one who seemed to have no fear, and who spoke openly about the Chapter and the cardinal. What did it matter to him! Possibly he may have wished to be turned out of "that den" to give himself up to his favourite pursuit, going to the bull-ring without any objections from the household. Moreover, he delighted in speaking evil of the gentlemen of the Chapter, who had given him more than one cuff when he was an acolyte.

He gave nicknames to all the canons, and pointing them out one by one to Gabriel, related the most intimate secrets of their lives. He knew the houses where each prebendary passed the evening after the choir time, and the names of all the ladies and nuns who crimped their surplices, and could tell of the fierce and deadly rivalries between these admirers of the Chapter, endeavouring to vanquish each other by the exquisite way in which they washed and ironed the canonical batiste. As the choir were coming out he pointed out the precentor, an obese prebendary with his face covered with red spots.

"Look at him, uncle," he said to Gabriel, "that rash on his face is a record of the past. He was a great gallant, never fixing himself long anywhere. The other evening he said to a chaplain of the chapel of the kings, 'Those captain professors at the Academy think that in point of women they cull the best in Toledo, but where is the Church! The seculars must lower their flag!'"

He laughed as he pointed out a group of young priests, carefully shaved, with their cheeks blue and shining, dressed in silk mantles that diffused a strong scent of musk as they moved. These were the dandies of the Chapter, the young canons, who often made journeys to Madrid to confess their patronesses—ancient marchionesses who, by dint of influence, had gained for them a seat in the choir. At the Puerta del Mollete they stopped a few moments to arrange the folds of their cloaks before they went into the street.

"They are going out to court the ladies," said the Tato. "Brrrum! make way for Don Juan Tenorio!"

When they had watched all the canons come out, the Perrero spoke to his uncle about the cardinal.

"In these days he is given over to the fiends. No one in the palace can manage him; his internal complaint nearly drives him mad."

"But is it true he is so very ill?" asked Gabriel.

"Everyone says so; ask your Aunt Tomasa. They say they are such great friends because she makes a lotion that calms him like an angel's hand. In the morning when he wakes in a bad temper all the palace trembles, and very soon all the diocese. He is a good man, but when the mad dog bites him everyone must fly. I have seen him on pontifical days wearing his mitre, looking at us with such eyes, as though he were ready to seize his crozier and belabour us all with it, from what the aunt says—if he did not drink!"

"Then the complaints of the Chapter are true."

"He does not get drunk. No, señor, give the devil his due, but a glass now, and another presently, and a third if a friend comes to see him, must obfuscate him. It is a habit he brought with him from Andalusia, where he was bishop before coming here. But nothing common, a fine and refreshing drink, only to keep up his strength, nothing more. And the wine is first class, uncle; I know it from one of his household. He gives as much as fifty duros the arroba![24 - Arroba—Measure containing thirty-two pints.] They keep him the best in all la Mancha, a vintage from the time of the French, a syrup that warms the stomach and tempers it as though it were an organ. From what the Aunt Tomasa says, the doctors patch him up, and then he does his best to get ill again with this glorious wine."

The Tato, in the midst of his cynical mockery, still showed a regard for the prelate.

"Do not believe, uncle, that he is a nonentity. Apart from his bad temper he is really a strong man, even as you see him here, with his small white and shining head like a baby's, that seems even smaller above his immense corporation; but it carries something in it! He has spoken a great deal in Madrid, and all the newspapers took as much notice of him as though he were Guerra. His wisdom finds a remedy for everything. If they speak of the poverty and misery in the world, he sings the old song: bread for the poor, charity from the rich, and much Christian doctrine for everyone; that men ought not to quarrel because I have more than you, and there ought to be patience and decency in the world, for that is what is wanting. What nonsense, eh, uncle? You laugh at it? But His Eminence's recipe rather pleases me, especially that about the bread; but the cursed Catechism is in fault as we have all learnt from our childhood."

The Perrero grew quite excited speaking about his prince:

"And as a man? A masterful man; no hypocrisy about him, nor hiding his head. Everyone knows he was a soldier in his younger days. The Aunt Tomasa remembers seeing him in the cloister with his helmet with horse-hair crest, his sergeant's epaulets, and his rattling broad sword. He is not afraid of anything, is not easily scandalised, and does not make a fuss about things. Last year a Portuguese lady arrived here, who nearly drove all the cadets out of their senses with her silk stockings and her big hats. You know Juanito, and you are aware that he is the son of a nephew of His Eminence who died some years ago. Well, the youngster paraded up and down the Zocodover in his uniform with the Portuguese lady on his arm to arouse the jealousy of his companions in the Academy. One day the young woman presented herself at the palace, and the servants, seeing her so beautifully dressed, made no difficulty about letting her in, thinking she was some lady from Madrid. His Eminence received her with a paternal smile, and listened to her without winking. A friend of mine, one of the pages who was present, told me about it. She came to complain to the cardinal that his nephew, the cadet, had entertained her for two days without giving her a farthing. His Eminence smiled modestly: 'Lady, the Church is poor, but I do not wish that for this misfortune the good name of the family should suffer. Take this and it will be remedied,' and he handed her two duros. The Portuguese, encouraged by her good reception, began to bawl and complain, thinking she would terrify Don Sebastian by making a scandal. But you should have seen the fury of His Eminence as he shouted to the page, 'Boy, call the police'; and the look on his face was such that the Portuguese lady vanished as quickly as she could, leaving the two pieces of silver on the table."

Gabriel laughed, listening to the story.

"He is a strong man, believe me, uncle. I like him because he holds the Chapter in his fist. He is not like his predecessor, who was like a sop in milk, who only knew how to pray, and trembled before the last-made canon. He is quite capable of going down into the choir one evening and turning them all out with blows from his crozier. It is more than two months since he has been down into the Cathedral, neither has he seen the canons. The last time they sent a deputation to the palace everybody trembled. They went to propose I know not what reform to the Primate, and they began by saying, 'My lord, the Chapter thinks—.' Don Sebastian, turned into a basilisk, interrupted them, 'The Chapter cannot think anything; the Chapter has not common sense,' and he turned his back, leaving them petrified. Afterwards, he began shouting, and thumping the furniture with his fists, saying he would fill all the vacancies in the Cathedral with the dregs of the clergy, that he would fill the Chapter with drunkards, with impostors, etc. 'I will harass the Chapter,' he shouted, 'I will dirty it; I will teach them to talk less of me; I will cover them, yes, sir, I will cover them with….' And you may guess, uncle, with what His Eminence wished to cover the canons. And the poor man was right. Why should those in the choir interfere with this way or that way that Don Sebastian lives, or if he has those bonds or others? Does not he let them live as they choose? Does he ever say a word to them about their scandalous visits, although all Toledo knows of them?"

"And what do the canons say about the cardinal?"

"They say Juanito is his grandson, and that his father, who died, and who passed as nephew of His Eminence, was really his son by a certain lady when he was bishop in Andalusia. But this does not seem to irritate Don Sebastian much; but what does irritate him and makes him behave like a fiend is when they speak of Doña Visitacion."

"And who is that lady?"

"Come, that is good! You do not know Doña Visitacion? When no one inside the Cathedral or out of it can speak of anybody else? She is the niece of Don Sebastian, who lives with him in the palace. It is she who rules everything, and Don Sebastian, who is so terrible with everyone else, becomes like an angel when he sees her. He rages and screams and bites the days when he is ill, but if Doña Visita appears, he controls himself at once; he suffers in silence, moans like a child, and it is sufficient for her to say a soft word, or give him a caress for His Eminence to slobber with delight. He loves her dearly."

"But what is she?" asked Gabriel with interest.

"Clearly she is what you think. What else could she be? She was from her childhood in the college for noble ladies, and as soon as the cardinal came to Toledo he took her out, and brought her to the palace. What a blind infatuation is Don Sebastian's! And the thing is, the object is hardly worth it—a very thin, pale little girl, with large eyes and a soft skin; that is all. They say she sings, and plays the piano, and reads and knows a great many things that they teach in that wealthy college, and by God's grace can keep His Eminence in order. She comes sometimes into the Cathedral by the arch, dressed as a beatita with the habit and mantilla, accompanied by a very ugly servant."

"She cannot be what you think, youngster."

"Go on; all the Chapter affirm it, and even the most steady canons thoroughly believe it. Even those who are friends and favourites of His Eminence, and carry him tales about all the grumbling against him, do not deny it with any warmth. And Don Sebastian gets angry, and is furious each time any murmurs about this reach his ears. If they told him the choir intended to give a dance he would be less irritated than when he hears them wag their tongues about Doña Visita."

The Perrero was silent for a few moments as though he were doubtful about saying something serious.

"The lady is very good and kind. They all love her in the palace because she speaks so gently. Besides, she makes use of the great power she has over the cardinal to prevent the violence of His Eminence, who very often, when he is racked with excessive pain, would throw cups and plates at the heads of his servants. Why should they interfere with her? Does she do them any harm? Let everyone do as he likes in his own house, and he who does evil, let God punish him."

He scratched his head as though he were once more doubtful.

"And as to what Doña Visita is to the Cardinal," he added, "I have no doubt whatever. I have facts to go on, uncle, and I know how they live. One of the servants has often seen them kissing—that is to say, not the two kissing. No, she does the kissing, and Don Sebastian receives her kittenish ways with the smile of an angel. The poor man is so old!"

And the Tato ended his confidences with various indecent remarks.

All this grumbling against the cardinal, that came from the sacristy up to the cloister, annoyed Gabriel's brother greatly. The "Wooden Staff," who was a staunch private soldier of the Church, could not bear to hear with equanimity those attacks on his superiors; in his opinion they were all calumnies. The canons had spoken of all the preceding archbishops precisely as they now spoke of Don Sebastian, but this did not in the least prevent their all being called saints after their deaths. When he discovered the Tato repeating in the Claverias all the gossip from down below, he threatened him with all his authority as head of the house.

Esteban was also very much concerned at the state of his brother's health. He was pleased at the very prudent behaviour of the latter, who conformed with silent respect to all the customs of the Cathedral, never permitting a word to escape him that could reveal his past; he felt beyond measure proud of the atmosphere of admiration that surrounded his brother, and the attention with which the simple inhabitants of the cloister listened to the account of his travels, but the state of his health was a continual anxiety, the certainty that death had laid its hand upon him, and that it was solely the care with which he was surrounded that retarded the fatal moment.

There were days in which the Silenciario smiled with pleasure, seeing Gabriel a better colour, and hearing less frequently his painful cough.