For These The Sad And Silent Cloister; For Us, The Crystalline Fountain And The Shady Grove; For Them, The Rude

And unsocial life of dungeon-like strongholds; for us, the charm of social life and culture; for them, intolerance and

Tyranny; for us, a ruler who is our father; for them, the darkness of ignorance; for us, letters and instruction as wide-spread as our creed; for them, the wilderness, celibacy, and the doom of the false martyr; for us, plenty, love, brotherhood, and eternal joy."

In spite of the somewhat vaunting spirit of his appeal, the wager of battle decided against the Arab; it was the Crescent that fell, the Cross that prevailed; in the very heart of Abderrahman's mosque a Christian cathedral rises. Yet in the very heart of Philip's temple to the spirit of the cloister, the desert, the martyrdom, one feels that a great deal could be said on Abderrahman's side. This is a world which will not be renounced, in fact, and even in Christian Spain it has triumphed in the arts and sciences beyond its earlier victories in Moslem Spain. One finds Philip himself, with his despatches in that high nook, rather than among the bronze-gilt royalties at the high altar, though his statue is duly there with those of his three wives. The group does not include that poor Bloody Mary of England, who should have been the fourth there, for surely she suffered enough for his faith and him to be of his domestic circle forever.

IV

It is the distinct merit of the Escorial that it does not, and perhaps cannot take long in doing; otherwise the doer could not bear it. A look round the sumptuous burial chamber of the sovereigns below the high altar of the church; a glance at the lesser sepulchral glories of the infantes and infantas in their chapels and corridors, suffices for the funereal third of the trinity of tomb and temple and palace; and though there are gayer constituents of the last, especially the gallery of the chapter-house, with its surprisingly lively frescoes and its sometimes startling canvases, there is not much that need really keep you from the royal apartments which seem the natural end of your visit. Of these something better can be said than that they are no worse than most other royal apartments; our guide led us to them through many granite courts and corridors where we left groups of unguided Americans still maddening over their Baedekers; and we found them hung with pleasing tapestries, some after such designs of Goya's as one finds in the basement of the Prado. The furniture was in certain rooms cheerily upholstered in crimson and salmon without sense of color, but as if seeking relief from the gray of the church; and there are battle-pieces on the walls, fights between Moors and Christians, which interested me. The dignified consideration of the custodian who showed us through the apartments seemed to have adapted to our station a manner left over from the infrequent presence of royalty; as I have said, the young king of Spain does not like coming to the Escorial.

I do not know why any one comes there, and I search my consciousness in vain for a better reason than the feeling that I must come, or would be sorrier if I did not than if I did. The worthy Howell does not commit himself to any expression of rejoicing or regretting in having done the Escorial. But the good Theophile Gautier, who visited the place more than two hundred years after, owns frankly that he is "excessively embarrassed in giving his opinion" of it. "So many people," he says, "serious and well-conditioned, who, I prefer to think, have never seen it, have spoken of it as a _chef d'oeuvre,_ and a supreme effort of the human spirit, so that I should have the air, poor devil of a _facilletoniste errant,_ of wishing to play the original and taking pleasure in my contrary-mindedness; but still in my soul and conscience I cannot help finding the Escorial the most tiresome and the most stupid monument that could be imagined, for the mortification of his fellow-beings, by a morose monk and a suspicious tyrant. I know very well that the Escorial had a serious and religious aim; but gravity is not dryness, melancholy is not marasm, meditation is not ennui, and beauty of forms can always be happily wedded to elevation of ideas." This is the Frenchman's language as he goes into the Escorial; he does not cheer up as he passes through the place, and when he comes out he has to say: "I issued from that desert of granite, from that monkish necropolis with an extraordinary feeling of release, of exultation; it seemed to me I was born into life again, that I could be young once more, and rejoice in the creation of the good God, of which I had lost all hope in those funeral vaults. The bland and luminous air wrapt me round like a soft robe of fine wool, and warmed my body frozen in that cadaverous atmosphere; I was saved from that architectural nightmare, which I thought never would end. I advise people who are so fatuous as to pretend that they are ever bored to go and spend three or four days in the Escorial; they will learn what real ennui is and they will enjoy themselves all the rest of their lives in reflecting that they might be in the Escorial and that they are not."

That was well toward a century ago. It is not quite like that now, but it is something like it; the human race has become inured to the Escorial; more tourists have visited the place and imaginably lightened its burden by sharing it among their increasing number. Still there is now and then one who is oppressed, crushed by it, and cannot relieve himself in such ironies as Gautier's, but must cry aloud in suffering like that of the more emotional De Amicis:

Enter page number Go  Previous Next
Page 49 of 101
Words from 49295 to 50314 of 103320