The people of the Primacy always received with obstinate silence the slightest allusion to the reigning prelate.  It was a traditional custom in the Claverías, and Gabriel remembered to have noticed the same in his childhood.

If they spoke of the preceding archbishop, these people, so used to grumbling, like all those who live in solitude, would loose their tongues and comment on his history and his defects.  There was nothing to fear from a dead prelate, and besides, it was an indirect praise to the living archbishop and his favourites to speak ill of the defunct.  But if during the conversation the name of His reigning Eminence arose, they were all silent, raising their hands to their caps to salute, as though the prince of the church were able to see them from the neighbouring palace.

Gabriel, listening to his companions of the upper cloister, remembered the funeral judgment of the Egyptians.  In the Primacy no one dared to speak the truth about the prelates, or to discuss their faults till death had taken possession of them.

The most that they dared to do was to comment on the disagreements among the canons, to compare their lists of those who saluted one another in the choir, or who glared at one another between versicle and antiphon like mad dogs ready to fly at one another, or to speak with wonder about a certain polemic discussed by the Doctoral and the Obrero in the Catholic papers in Madrid, which had lasted for three years, as to whether the deluge was partial or universal; answering each other’s articles with an interval of four months.

A group of friends had collected round Gabriel.  They sought him, feeling the necessity of his presence, experiencing that attraction exercised by those who are born to be leaders of men even though they remain silent.  In the evenings they would meet in the dwelling of the bell-ringer, or when it was fine weather they would go out into the gallery above the Puerta del Perdón.  In the mornings the assembly would be in the house of the shoemaker who mended the giants, a yellow little man, who suffered from continual pains in his head, which obliged him to wear sundry coloured handkerchiefs tied round his head in the fashion of a turban.

He was the poorest in all the Claverías; he had no appointment, and mended the giants without any remuneration in the hopes of succeeding to the first vacant place, feeling very grateful to those gentlemen of the Chapter who gave him his house rent free, on account of his wife being the daughter of a former old servant of the church.  The smell of the paste and of the damp floor infected his house with the rank atmosphere of poverty.  A hopeless fecundity aggravated this poverty; his sad, placid wife with her big yellow eyes appeared every year with a new baby tugging at her flabby breast, and several children crept along the cloister walls, dull and inert with hunger, with enormous heads and thin necks, always sickly, though none of them managed to die; afflicted by all the pains of anæmia, by boils that arose and vanished on their faces, and watery eruptions covering their hands.  The shoemaker worked for the shops in the town, without, however, earning much money.  From the rising of the sun one could hear the sound of his hammer in the cloister.  This sole evidence of profane work attracted all the unoccupied to the miserable and evil-smelling dwelling.  Mariano, the Tato, and a verger who also lived in the cloister, were those who most frequently met Gabriel, seated on the shoemaker’s ragged and broken chairs, so low that one could touch the floor of red and dusty bricks with one’s hands.

Often the bell-ringer would run to his tower to ring the usual bells, but his vacant place would be immediately occupied by an old organ-blower, or some of the servants from the sacristy, all attracted by what they heard of these meetings of the lower servants of the Primacy.  The object of the assembly was to listen to Gabriel.  The revolutionary wished to keep silence, and listened absently to their grumblings at the daily round of worship; but his friends longed to hear about those countries in which he had travelled, with all the curiosity of people who lived confined and isolated; listening to his descriptions of the beauties of Paris and the grandeur of London they would open their eyes like children listening to a fairy tale.

The shoemaker with his head bent, never ceasing his work, listened attentively to the recital of such marvels; when Gabriel was silent they all agreed on one point, those cities must be far more beautiful than Madrid; and just think how beautiful Madrid was!  Even the shoemaker’s wife, standing in the corner forgetful of her sickly children, would listen to Luna with wonder, her face enlivened by a feeble smile, which showed the woman through the animal resigned to misery, when Luna described the luxury of the women in foreign parts.

All these servants of the church felt their narrowed and dulled minds stirred by these descriptions of a distant world that they were never likely to see; the splendours of modern civilisation touched them much more nearly than the beauties of heaven as described in the sermons, and in the pungent and dusty atmosphere of the dirty little house they would see unrolled before their mind’s eye beautiful and fantastic cities, and they would ask questions in all innocence as to the food and habits of those distant people, as though they believed them beings of a different species.

Towards evening, at the hour of the choir, when the shoemaker was working alone, Gabriel, tired of the monotonous silence of the cloister, would go down into the church.

His brother, in a woollen cloak with a white neck band, and a staff as long as an ancient alguacil’s, stood as sentry in the crossways, to prevent the inquisitive passing between the choir and the high altar.

Two tablets of old gold with Gothic letters, hung on to one of the pilasters, set forth that anyone talking in a loud voice or making signs in the church would be excommunicated; but this menace of former centuries failed to impress the few people who came to vespers and gossiped behind one of the pillars with some of the church servants.  The evening light, filtering through the stained glass, threw on the pavement great patches of colour, and the priests as they walked over this carpet of light would appear green or red according to the colours flashed from the windows.

In the choir the canons sang for themselves only in the emptiness of the church; the shutting of the iron gates of the screen, opened to admit some late-coming priest, echoed like explosions throughout the building, and above the choir the organ joined in at times between the plain song, but it sounded lazily, timidly, as though from necessity, and seemed to lament its feebleness in the gathering twilight.

Gabriel had not completed the round of the Cathedral before he was joined by his nephew, the Perrero, who left his conversation with the servers and acolytes, and with the errand boy belonging to the Secretary of the Chapter, whose fixed seat was at the door of the Chapter-house.  Luna was always very much diverted by the pranks of the Tato, and the confidence and carelessness with which he moved about the temple, as though having been born in it deprived him of all feeling of respect The entry of a dog into the nave caused great excitement.

“Uncle,” said he to Luna, “you shall see how I can open my cloak.”

Seizing the two ends of his garment he advanced towards the dog with the contortions and bounds of a wrestler; the animal, knowing this of old, endeavoured to escape through the nearest door, but the Tato, cutting off his retreat, drove him into the nave, and, pretending to pursue him, drove him from chapel to chapel, finally rounding him up where he could give him some good sound whacks.  The dismal howlings disturbed the singing of the canons, and the Tato laughed more than ever to see behind the iron railing of the choir, the angry gesture of the good Esteban threatening him with his wooden staff.

“Uncle,” said the depraved Perrero one evening, “you, who think you know the Cathedral so well, have you ever seen the lively things in it?”

The wink of his eye, and the gesture accompanying the words showed that the things might very well be more than lively.

“I am always very much interested,” he went on, “with the jokes the ancients allowed themselves.  Come along, uncle, it will amuse you for a little; you, like all those who think they know the Cathedral, will have passed many times by these things without noticing them.”

Going along the outside of the choir, the Tato led Gabriel to the front opposite the door del Perdón.  Under the great medallion, which serves as a back to the Mount Tabor, the work of Berruguete, opens the little chapel of the Virgin of the Star.  “Look well at that image, uncle.  Is there another like it in all the world?  She is a courtezan, a siren who would drive men mad if she only fluttered her eyelids.”

For Gabriel this was no new discovery; from his childhood he had known that beautiful and sensual figure, with its worldly smile, its rounded outlines, and its eyes with their expression of wanton gaiety as though she were just going to dance.

The child in her arms was also laughing and placing his hand on the bosom of the beautiful woman, as though he intended to tear the covering from her breast.  The image of painted stone, stuffed and gilt, wore a blue mantle strewn with stars, from whence its name.

“Even you, who have read so much, uncle, may possibly not know the history of this chapel, which is far more ancient than the Cathedral.  The woolstaplers, carders, and weavers of Toledo had their patroness here long before the church was built, and they only gave up their right to the ground on the condition that they should be entire masters of the chapel, and do in it whatever they pleased and in all this piece of the Cathedral as far as those nearest pillars.  Oh! the trouble this wrought!  On the days they held their feasts to the Virgin they never paid any heed to the canons in the choir, and they greatly disturbed all the offices with ’rabeles,’ lutes and disorderly songs.  If the canons begged them to be silent, they replied that it was they in the choir who ought to keep silence, considering that they were in their own chapel, which was far more ancient than the Cathedral.  Did you know this, uncle?”

“Yes, I remember it now.  The Archbishop Valero Loza brought a suit against them at the beginning of the eighteenth century; you can see his tomb at the foot of the altar.  He lost his suit, and died from disappointment.  He desired to be buried in that place, so that the insolent wool merchants should trample on him in death, even as they had vanquished him in his lifetime.  The haughtiness of these ecclesiastical princes drove them to the proudest humility.  But is this all you wished to show me?”

“You shall see better things than this.  Let us say good-bye to the Virgin.  But do look at her!  What a face!  What alluring eyes!  The beautiful woman!  I spend hours looking at her; she is my sweetheart.  Oh! the many nights I have dreamt of her.”

They walked on a little towards the great doorway of the Cathedral, so as to obtain a better view of the exterior face of the choir.  Above the three hollows or chapels that pierce it runs a frieze of ancient relievos, the work of some obscure mediaeval artist.  Gabriel recognised these coarse sculptures as being contemporaneous with the Puerta del Reloj, and by far the most ancient work in the Cathedral.

“Look you, in the first medallion Adam and Eve are as naked as worms; but the Lord drives them out of Paradise, and they are obliged to dress themselves to appear in the world; and see what they do directly they get their clothes.  But look at the fifth medallion on our right hand; the old gossip who cut that had a lively turn of mind.”

Gabriel looked for the first time attentively at these forgotten sculptures.  They were carved with all the naturalistic simplicity of the Middle Ages, with all the directness with which the artists represented their profane conceptions, with the desire to perpetuate the triumph of the flesh in some ignored corner of the mystical buildings, in order to testify that human life was not dead.

The Tato was delighted at the surprise on his uncle’s face.

“Eh! what do you think of that?  I discovered it wandering about the church.  The canons sing every day on the other side of this wall without ever suspecting what gay doings they have over their heads.  And the stained glass, uncle, look at it well.  At first so many colours blind one and the forms are indistinct; besides, the lead cuts the figures and it is difficult to make out anything, but I know them to my fingers’ ends.  They are stories, things of their own times, that these glass-workers painted; the intrigues have been forgotten, and no one has disentangled them.”

He pointed to the windows of the second nave, through which the evening light was shining with a ruddy glow.

“Look up there,” went on the Perrero.  “A gallant in a red cape and sword mounts by a rope ladder; at the window a nun is waiting for him.  It seems something like the Don Juan Tenorio that they represent at All Saints’.  Further on, you see those two in bed, and people knocking at the door.  They must be the same pair of birds with the family surprising them.  Then in the next window ­look well at it ­lovers, with scarcely any clothes beyond bare skin.  These things belong to the days when people had no shame, when they went with their heads covered and the rest of their flesh bare.”

Gabriel smiled at the whimsical ideas with which ancient art inspired the Perrero.

“But in the choir, uncle, there is also something to see.  Let us go there; the service is over and the canons are coming out.”

Luna felt overpowered by admiration as he always did on entering the choir.  Those magnificent stalls, the work on one side of Philip of Burgundy, and on the other side of Berruguete, bewildered him with their profusion of marbles, jaspers, gildings, statues and medallions.  It was the genius of Michael Angelo reviving in the Toledan Cathedral.

The Perrero examined the lower stalls, ferreting out among the Gothic relievos the discoveries enjoyed by his unwholesome curiosity.  This first row of stalls, almost on a level with the ground, were occupied by the inferior clergy, and were anterior by half a century to the upper stalls; but in those fifty years art had made a great stride, from the hard and rigid Gothic to the flowing lines and good taste of the Renaissance.  They had been carved by Maestre Rodrigo at the time when Christian Spain, roused to enthusiasm, was helping the Catholic kings with all its strength to complete the reconquest.  On the backs of the stalls, and on the entablature of the frieze fifty-four carved pictures represented the principal incidents of the conquest of Granada.

The Tato did not look at these carvings of walnut or oak, with troops of horsemen and companies of soldiers scaling the walls of Moorish towns.  What interested him most were the arms of the stalls, the handrails of the steps leading to the upper seats, and the salients dividing the stalls which served to rest the head, all covered with animals, grotesque beings, dogs, monkeys, big birds, friars, and little birds, all in difficult postures, some beautiful, some obscene.  Hogs and frogs wound themselves up together in inextricable tangles, monkeys with ignoble gestures were mixed up with interlaced birds in never ending variety ­it was a world of caricatures of voluptuousness, of monkey-like actions and satirical suggestions, in which appeared carnal passion with the most grotesque animal grimaces.

“Look here, uncle.  Is not this capital ­it is far the best.”

And the Tato showed Gabriel the little chubby figure of a preaching friar with enormous donkey’s ears.

When they came out of the choir Gabriel spied the Chapel-master close to the fresco of Saint Christopher.  He had just emerged from a little door close to the giant, which led by a circular staircase to the musical archives.  He was carrying under his arm a big book with dusty pages which he showed to Gabriel.

“I am taking it upstairs.  You shall hear something out of it; it is worth the trouble.”

And turning his eyes from the book to the little door close by he exclaimed: 

“Ay! these archives, Gabriel, how it pains one!  Each time I visit them I come out sadder.  The vandals have been at work there; nearly all the music books have pages torn out, pieces cut out wherever there was an illuminated letter, a vignette or anything pretty.  The senor canons do not care for music, neither do they understand it, and they are incapable of devoting a few pesetas so that it might be heard on festival days.  It is quite enough for them to walk in procession to some piece of Rossini’s; and as far as regards the organ, all they care about is that it must play slowly, very slowly.  The slower it plays, the more religious they think it, even though the organist may be playing a Habanera.”

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 Muzárabe 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 Claverías 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 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, Mehuel, 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 Claverías 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, senor, 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! 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 Éminence’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 Dona Visitacion.”

“And who is that lady?”

“Come, that is good!  You do not know Dona 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 Dona 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 Dona 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 Dona 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 Claverías 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.

“You are going on well, brother,” he would say joyfully.

“Yes,” replied Gabriel, “but do not have any illusions. That will come at its own hour, it has me in its grasp.  It is only you who are holding it back, but one day it will be stronger than you.”

The certainty that death would at last be victorious made Esteban redouble his efforts.  He thought that frequent nourishment was the only remedy, and he scarcely ever approached Gabriel without something in his hands.

“Eat this.  Drink what I bring you.”

He struggled valiantly with that broken constitution, with that stomach disordered by poverty, with those lacerated lungs and with that heart subject to constant disturbance of its functions, with that human machine dislocated by a life of suffering and trials.

The constant watching over the sick man had upset Esteban’s economic life; his miserable wages and the poor assistance the Chapel-master could give were insufficient even for that extra mouth, which consumed more than all the others in the household put together.  At the end of the month Esteban was obliged to invoke the aid of Silver Stick to enable him to get along the last few days, entering thus into the humble and miserable flock bound by the priest’s usury.  Sometimes the Chapel-master, waking for an instant to reality, would give him a few pesetas, sacrificing the joy of obtaining a fresh score.

Gabriel guessed the privations that his brother underwent, and was anxious to contribute to the expenses of the little household.  But what work could he obtain in his concealment in the Cathedral?  He wished for some post in the service of the church, in order to receive at the beginning of every month a few pesetas from the hands of Silver Stick; but all the posts were occupied, death alone could cause a vacancy, and there were many eager ones watching for the opportunity to urge their family claims.

The impossibility of being useful to his brother, of helping to make his sacrifices less expensive, weighed heavily on Gabriel, and disturbed the otherwise placid monotony of his life.  He inquired of Esteban as to what he could possibly do, not to remain inactive, but his brother always answered with his kindly expression:  “Take care of yourself, only take care of yourself; you have no other duty but to look after your own health, I am here to do all the rest.”

When Holy Week came round Gabriel found an opportunity of getting a few days’ work.  They were going to put up in the Cathedral the famous “Monument” between the choir and the Puerta del Perdón.  It was a heavy and complicated erection, of a sumptuous and rococo style, which had cost the second Cardinal de Bourbon a fortune at the beginning of last century.  A real forest of woodwork formed the basis of the monument; the riches of the cardinal had created a prodigality of solidity and sumptuousness, and several days were required to fit together the Holy Catafalque, and not a few workmen.

Gabriel interviewed Don Antolin asking for a place on the works.  The wages were seven reals a day, which he would be able to give his brother for two weeks; and he, who had been used in former days to have his work so lavishly paid, accepted this small daily wage as a piece of unexpected good fortune.

The “Wooden Staff” was indignant.  Gabriel was ill and ought not to risk his poor health in the fatigues of this work.  What was he going to do, coughing and suffocating every moment?  How was he going to undertake the heavy work of carrying the framework and fixing it together?  The invalid tranquillised him.  He knew what those works were in the church; everything was done with parsimony, but without much regard to time.  The workmen in the service of the church worked with that calm laziness, and that slow prudence which characterised every act of religion.  Besides, Silver Stick, knowing his condition, would reserve the least heavy work for him; he could fix screws and bolts, place the candelabra in line on the steps, and arrange the tapestry; he trusted him as a man of good taste who had seen much in his travels.

Gabriel worked for two weeks on the monument.  This time of relative activity seemed to give him a certain amount of relief.  He moved about, intent on giving orders to his fellow-workers; he went from the church to the top of the Claverías, where the monument was stored, and seeing himself covered with dust, and with his limbs fatigued by the constant coming and going, he deluded himself into thinking he was strong again.

During these two weeks he never went to the shoemaker’s house, and so lost sight of his various friends.  The bell-ringer and his friends were lost in astonishment.  A man of so much learning, to work like one of themselves in order to help his brother!

The Senora Tomasa stopped him one morning by the iron railing of the garden.

“I have news, Gabriel.  I think I know where our child is.  I won’t say any more; but be ready to help me.  The day when you least expect it you may see her in the Cathedral.”

The erection of the monument was finished.  All that part of the church between the choir and the door del Perdón was occupied by this showy and ponderous fabric.  According to their traditional custom all the Toledans gathered to admire ­the steps covered with rows of burning lights, the Roman legionaries in alabaster leaning on their lances, and the rich curtain with its innumerable folds that hung from the vaulting down to the platform of the monument.

On the evening of Holy Thursday Gabriel stood considering what was in some sense his work, surrounded by a group of worshippers.  The Cathedral shone with its immaculate whiteness, in spite of the black veils that covered both statues and altars.  The clouds of colour from the lovely rose windows relieved the funereal aspect of the religious ceremony, while from the choir a tenor voice intoned the lamentations of the oriental prophet.

Gabriel felt someone pulling his jacket, and turning, saw the gardener’s widow.

“Come, nephew, we have got her here; she is waiting for you in the cloister.”

Coming out, the Senora Tomasa pointed to a woman sitting crouched on the stone coping of the garden, wrapped in an old cloak, and with the headkerchief drawn down over her eyes.

Gabriel would never have recognised her.  He remembered the pretty smiling face of former years, and he looked almost with horror at the tarnished youth, haggard with prominent cheek-bones, of the face before him.  The eyes deep sunk in the sockets without eyebrows or eyelashes, with the pupils still beautiful, but dulled with a glassy opacity.  Everything about her revealed poverty and desolation; the dress was a summer one, and from under it showed her split boots much too large for her feet.

“Salute him, child,” said the old woman.  “It is your Uncle Gabriel, one of God’s angels, in spite of his misfortunes, and you owe it to him that we searched for you.”

The gardener’s widow pushed Sagrario towards her Uncle, but the young woman lowered her head, moved her shoulders and drew back, as though she could not endure the presence of a member of her family; she covered her face with her wretched cloak to hide her tears.

“Aunt, let us go home,” said Gabriel, “it is not good for the child to be here.”

At the cloister staircase they made the young woman pass on in front; she went up with her head bent and without looking, as though her feet trod those broken steps instinctively.

“We arrived from Madrid this morning,” said the gardener’s widow as they went up.  “I kept her at an inn till it was time to bring her to the Cathedral in the evening.  It is the best time, for Esteban is in the choir, and you will have time to settle things here.  I spent three days there.  Ay, Gabriel, my son, what things I have seen, what hells there are for poor women! and we call ourselves Christians, but I think we are fiends!  Mercifully I had friends at court ­some old bell-ringers who had been in the Cathedral and who remembered the gardener’s widow.  I wanted everything, even money, to get this unhappy girl out of the devil’s clutches.”

The upper cloister was quite deserted.  On arriving at the door of the Lunas the girl seemed to wake up, and drew quickly back with a look of terror, as though inside the “habitation” some great danger was awaiting her.

“Go in, woman, go in,” said the aunt; “it is your home.  You had to come back some time or other.”

And she pushed her till she was through the door.  Once inside the sitting-room her tears ceased; she looked round with astonishment, no doubt surprised at finding herself there.  Her eyes examined everything with a sort of stupefaction, as though marvelling that everything should be in the same place as five years before, and with an exactitude that made her doubt if such a long time had really elapsed.  Nothing seemed changed in that little world under the shadow of the Cathedral.  She only, who had left it in the bloom of her youth, now returned aged and broken.

There was a long silence between the three people.

“Your room, Sagrario,” said Gabriel at last gently, “is the same as when you left it.  Go in and do not come out till I call you.  Be calm and do not cry; trust me.  You do not know me well, but the aunt will have told you that I am interested in your fate.  Your father will soon be coming; hide yourself and be silent.  I repeat it again, do not come out till I call you.”

When the old woman and her nephew were alone they could hear the girl’s suffocating sobs that burst out on seeing her old room.  Afterwards they heard a sound as though she were throwing herself on the bed, and the violence of her grief seemed to become more and more uncontrolled.

“Poor child!” said the old woman, who was very nearly crying also, “she is good, and she has repented of her sins; if only her father had sought her out when that rascal deserted her, what shame and misery it would have spared her.  And her health?  I really think she is worse than you are, Gabriel.  Oh, those men! with their honour which is nothing more than lies!  What is honourable is to be charitable and compassionate to others, and to harm no one.  I said this the other day when I was shocked at the shamelessness of my son-in-law, who was furious at my going to Madrid to find the child.  He spoke of the honour of the family, and that if Sagrario returned no decent people could live in the Cathedral, and that he could not allow his daughter to stand at the door; and he such a thief that he steals the Virgin’s wax every day, and deceives the devout who pay him for masses that are never said; that is why his skin shines so and he is so fat.  With so much honour.”

After a short silence the old woman looked undecidedly at Gabriel.

“Well, shall we begin the struggle?  Shall I call Esteban?”

“Yes, call him, he will be in the Cathedral.  And you, shall you dare to be present at the interview?”

“No, son, manage it yourself.  You know Esteban, and you know me.  I should either begin to cry, or I should turn and rend him for his obstinacy.  You will manage better by yourself, for this God has given you those talents that you have used so badly.”

The old woman went away, and Gabriel remained alone for more than half an hour, looking out of a window into the deserted cloister.  The yearly commemoration of the death of God spread in the priestly tribe on the roofs, an atmosphere of sadness even more marked than that inside the church.  All the women and children of the Claverías were down below admiring the monument, the “habitacións” seemed quite deserted.  As he sat Gabriel saw his brother pass by the window, and in another moment he appeared at the door.

“What do you want, Gabriel?  What has happened to you?  The aunt frightened me with her summons.  Are you worse?”

“Sit down, Esteban.  I am well, calm yourself.”

The “Wooden Staff” looked with surprise at Gabriel; his strange seriousness alarmed him and the prolonged silence in which he appeared to be arranging his thoughts without knowing where to begin.

“Speak, man!  Do make a beginning; you alarm me.”

“Brother,” said Gabriel gravely, “you know very well that I have respected the mystery in your life that I found on my return here.  You said to me, ‘My daughter is dead,’ and you never showed any wish to speak of her, and you can say if I have ever touched your old wound by the slightest allusion.”

“Well, and what then?  When are you going to stop?” said Esteban, becoming very gloomy; “why do you speak to me on a day so holy of things that cause me so much pain?”

“Esteban, we shall never understand each other if you hold on to your prejudices.  Do not make that gesture, but listen to me calmly; do not act like an automaton, pulled by the same wires that moved our grandfathers and our ancestors.  Be a man, and act according to your own thoughts.  You and I have different beliefs.  Setting aside religion which I know is a consolation to you, you know that I am silent as to mine, so as not to render my life here impossible.  But apart from this, you believe that the family is a work of God, an institution of supernatural origin.  I believe it to be a human institution based on the necessities of the species.  You condemn for ever anyone who betrays the laws of the family, or who deserts his banner, you sentence him to death and oblivion.  I pity his weakness and forgive.  We understand honour from a different point of view.  You believe in the Castillian honour ­that traditional and barbarous honour, more cruel and dismal even than dishonour; a theatrical honour, whose impulses are never founded on human feeling, but on the fear of what others will say, the desire to appear greater and more dignified in the eyes of others than to your own conscience.  For the adulterous wife, death; for the murderer, revenge; for the fugitive daughter, contempt and forgetfulness; this is your gospel.  I have another standard; for the wife who forgets her duties, contempt and oblivion; for that fragment of our own flesh who flies from us, love, support, gentleness, even endeavouring to compass her return to us.  Esteban, we are separated by our beliefs, the gulf of centuries lies between us, but you are my brother, we love each other, and I only desire your good.  I bear the same name of which you are so proud, and I loved our poor parents as much as you could love them, and in the name of all these I tell you that this situation must come to an end; you must not live insensible and frozen in what you call your dignity, without the remembrance of your daughter wandering about the world, troubling you.  You, who are so kind, who have sheltered me in the most difficult crisis of my life, how can you sleep, how can you eat, without your life being embittered by the remembrance of your lost daughter?  What do you know about her now?  May she not be dying of hunger while you eat?  May she not be lying in a hospital while you are living in the home of your fathers?”

Esteban’s brow contracted, and he wore his gloomiest look as he listened to his brother.

“It is useless for you to strive, Gabriel, nothing can come of it.  Have I denied you anything?  Am I not ready to do anything for my brother?  But do not speak to me of that; she has caused me much pain, she has broken my life, how I did not die, I know not.  Have you thought well that for centuries the family of the Lunas have been the mirror of the Cathedral, respected by even the archbishops, and now, suddenly to find oneself among the lowest, exposed to the ridicule of all and looked upon with compassion by the veriest little acolyte!  What I have suffered!  The times I have wept with rage alone in this home, hearing what they were saying behind my back.  And then,” he added quietly as though grief were paralysing his voice, “there was that unhappy martyr who died of shame; my poor wife who left the world so as not to see my grief and the contempt of others!  And do you wish me to forget all this?  For the rest, Gabriel, I cannot express what I feel as well as you do.  But honour ­is honour.  It is to live in my house without fear of being shamed, to sleep at night without fearing to see in the darkness our father’s eyes, asking why I allow a lost woman to live under the same roof that the Lunas won for themselves by centuries of service to the house of God; it is to avoid people mocking at our family.  Let them say, ’Those Lunas! how unfortunate they are,’ but they shall never say the Lunas are a family wanting in shame.  By our love, brother, leave me; do not speak to me of this.  Those evil doctrines have poisoned your mind; not only have you ceased to believe in God, but you have ceased to believe in honour.”

“And what is all this?” said Gabriel, warming.  “You yourself do not know.  ‘Honour is honour.’  Well, I say, children are children.  You, man of prejudices, you do not wait to consider that those beings are the continuation of our own existence.  Your religion makes you think children are a fruit from God, nevertheless you think yourself better and more perfect when you reject and curse those gifts of Heaven if they cause you any trouble.  No, Esteban, the love of children and pity for their faults ought to come before all prejudices.  This eternal life of the soul, that lying promise of religion, is only true through our children.  The soul dies with the body; it is no more than a manifestation of our own thoughts, and thought is a cerebral function, but children perpetuate our own being throughout the generations and the centuries; it is they who make us immortal, and that preserve and transmit something of our personality, even as we have inherited something from our ancestors.  He who forgets those beings who are his own creation is more worthy of execration than he who leaves life by suicide.  The disappointments of life, the laws and customs invented by men, what are they before the instinctive affection we feel for beings that have proceeded from ourselves, and who perpetuate the infinite variety of our habits and thoughts?  I abhor those wretches who, in order not to disturb the commonplace peace of matrimony, abandon the children they have outside the house.  Paternity is the most noble of all animal functions, but the animals have more courage and dignity than man in fulfilling it.  No animal of the higher sort abandons or disowns its cub, and yet there are many men who turn their backs on their children for fear of what people will say.  If I, having a son, were enamoured of the most beautiful woman in the world, and she required me to forget that son, I would stifle my passion sooner than abandon the little one.  If my son sinned against every human law, and was sent to prison, even there would I follow him, defying the execration of the world, sooner than deny that he is my work.  We are united for ever to the creatures to whom we give life, it is a compromise of solidarity that we make with the species when we work for its continuance.  He who breaks the chain and flies is a coward.”

“You will not convince me, Gabriel,” screamed Esteban.  “I will not! ­I will not!”

“I repeat it is cowardly on your part.  This honour that weighs so heavily on you is a cruel and antiquated honour that settles all the conflicts of life by shedding blood.  Why do you not seek the man who stole your daughter?  Why do you not kill him like a father in an old play?  Is it because you are a fearful man and have not learnt the art of murder, and that arms are his profession?  If you had taken lawless vengeance, relying only on what you think your right, his powerful family would have retaliated on you; but you have not revenged yourself through an instinct of self-preservation, through fear of prison and all the punishments invented by society; you have been afraid in spite of your anger, and this fear you indulge at the expense of cruelty to the weaker creature.  Your anger only falls on your daughter.  Come, Esteban, this is not worthy of a man.”

The “Wooden Staff” shook his head obstinately.

“You will not convince me, I do not wish to hear you.  That woman shall not return here; did she not leave me?  Let her follow her own path.”

“She left you from impulses of that instinct which all healthy beings possess.  That instinct for the preservation of the species, which poetry beautifies and which it calls ‘Love.’  If she had left you after receiving the blessing of a man before an altar, you would have been delighted, and would have received her with open arms whenever she came to see you.  She left you to be deceived, to fall into misery and shame, and, seeing her so unhappy, does she not deserve more pity at your hands than if you saw her living happily?  Reflect, Esteban, on the way in which your poor daughter fell.  What had you taught her to enable her to defend herself from the evil in the world?  How was she armed to preserve intact what you call honour?  You and your wife had set her the example of the respect due to wealth and high birth by allowing that young man to come to your house, thinking it an honour that a gentleman should have fallen in love with your daughter.  When the inevitable results of social inequality came about she could not give him up; she had one of those noble natures that rise in revolt against the prejudices of the world, even at the risk of suffering all the bitterness of their rebellion, and she fell vanquished.  Whom can you blame?  Her ignorance, her life of isolation from the world, or yourselves who never taught her better, and who, blinded by ambition, let her wander to the edge of the precipice?  Blame her less than anybody.  Unhappy girl!  She has paid with interest her noble defiance of social prejudices.  She has been vanquished in the social fight ­a corpse that has to be buried; and you, her father, ought to be the one to fulfil that work of mercy.”

Esteban, with his head bent, continued to make gestures of refusal.

“Brother,” said Gabriel solemnly; “if you hold tenaciously to your refusal I have only one thing more to say.  If your daughter does not return here, I must go.  Everyone has his scruples; you fear the gossip of the people; I fear myself and what my thoughts can throw in my face in my solitary moments.  Since I have been your guest I have thought constantly of your daughter, and ever since I have known what happened in this house I have proposed to myself that the unhappy victim should return here.  You will not let her return?  Well then, I must go.  I should be a thief if I ate your bread while a creature who is flesh of your flesh suffers hunger, or if I should be nursed in my illness while she, who is possibly worse than I am, has no friendly hand to comfort her.  If she does not return, I am not your brother, but an intruder, usurping the share of affection and comfort that ought to fall to her.  Brother, everyone has his own code of morality; yours is taught by the priests, mine I have made for myself, and though it is less apparent, it may very likely be more strict.  In the name of my morality I say to you, Esteban, my brother, either your daughter returns here or I go away.  I must return to the world to be persecuted like a wild beast, to the hospital, to the prison, to die like a dog in the ditch by the roadside.  I do not know what will become of me, but one thing is certain, it is that I shall go to-morrow, or even to-day, so as not to enjoy a moment more what is not mine.  I, who consider the appropriation of the goods of the world by a privileged minority as an iniquitous robbery, cannot enjoy knowingly the comforts that belong by natural right to another unhappy being.  I can only enjoy them sharing them with her.”

Esteban had risen to his feet with a gesture of despair.

“Are you mad, Gabriel?  Do you wish to leave me?  And you say it so calmly?  Your presence here is the only joy of my life after so many misfortunes.  I am accustomed to see you.  I must care for you, you are my whole family; before I had no interest, I lived without hope.  Now I have one, to see you strong and well, and can you say so carelessly that you will leave me?  No, you shall not go ­only this was wanting to me ­after the daughter, the brother; kill me once for all! ­Lord God, take me to Thyself!”

And the simple servant of the Church raised his hands in supplication while his eyes filled with tears.

“Be calm, Esteban.  Let us speak like men, without exclamations and tears.  Look at me, I am calm, but do not think for that it is less certain that I shall go to-day if you do not grant me what I pray.”

“But ­and she?  Where is she that you plead so earnestly for her?” said Esteban.  “Have you seen her and spoken to her?  Is she in Toledo?  Have you with the insolence of your unbelief even brought her into the Cathedral?”

Gabriel, seeing him tearful and broken by his threat of leaving, thought the decisive moment had arrived, and opening the door of Sagrario’s room he called: 

“Come out, child, ask your father’s pardon.”

He looked astounded, then he fixed his eyes on Gabriel as though he could not guess who that woman was.  What joke had his brother prepared?

With a brutal impulse he tore the woman’s hands from her face, looking at her earnestly; even so he did not recognise her.  In the midst of a painful silence he stood a long while looking at her.  Little by little, in that face so altered by illness, he began to trace the well-known features.  In the tearful eyes devoid of eyelashes something reminded him of the blue eyes of the lost daughter.  The discoloured lips, surrounded by deep lines, quivered painfully, murmuring always the same word: 

“Pardon! pardon!”

At the sight of such a wreck the father felt his courage fail; his eyes expressed an immense, an overwhelming sadness.

He retreated backwards to the door of the “habitación,” followed by the young woman, dragging herself on her knees and stretching out her hands.

“Brother, it is well,” he said despairingly; “you are stronger than I am, let your will be accomplished.  Let her remain, as you wish it, but do not let me see her! ­remain, both of you.  It is I that will go.”