The Argosy — page 224: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

The Cruse of the Reserve Squadron. 207 there is not sufficient light to remove from the mind a feeling of undue heaviness and weight. It is in the form of a Latin cross, but as only a small portion of the building, apparently, could be seen at once, it was difficult to gain any idea of its general effect. Between the massive pillars, the heavy though splendid screens, the immense curtains, the interior seemed spoilt and overcrowded by its own adornments. The gloom alluded to is said to be designed in order that the illu- minations at the High Altar (composed of massive silver: a really gorgeous and splendid work) may shine forth more conspicuously at their great festivals. At such times the effect upon the mind of the worshipper is no doubt thrilling, the sight as imposing as sight can well be; whilst the figure of St. James, magnificent in burnished gold and flashing jewelry and elaborate surroundings, stands out in a blaze of ornamentation. But it seems an error to sacrifice light, so much needed, to an occasional and passing result. We saw no illumina- tion, no blaze of glory; only the darkness: and occasionally we stumbled. We mounted the steps, so often trod by pilgrims, to gaze at the wonderful image and shrine. A countless host has worn them smooth and small in their eagerness to kiss the hood of the figure: the great object and culminating point of their ambulations. The figure itself is said to be of stone, but little of it was visible. Passing on, we went the round of the chapels and saw the relics and the shrines, the massive plate and the figures of the numerous saints and patrons. But no part was so beautiful as the interior of the west entrance, consisting of three arches, the design representing the Last Judgment, executed by Maestro Matteo in the twelfth century. From this we entered the chapter house, and passed into the chamber once used for purposes of the Inquisition. Here the council would sit; here the victims would be examined and placed on the preliminary rack for the purpose of bending them to the will of their tormentors. And those who know anything of the Spanish disposition, which still rejoices in the sight of animal suffering and the chancing of human life, can realise something of the lengths to which the Inquisition carried its cruelties. The walls of the room were padded and massive, the windows deep. No sound of debate, or confession, or the cries of the tortured could escape. Later on it was used as a royal bedchamber, and is still hung with the tapestry that then decorated the walls. All trace of its previous office has disappeared; but there is an atmosphere that must cling to it for ever. Imagination sees the council at its work, stern, cruel and relentless in character and mission. The rack occupies the middle of the chamber; its prey, pale, yet firm before the judges. He refuses their bidding, and is placed on the dread instrument. You hear the creaking of the machinery as it is slowly set in motion; one turn and yet another, until the agony is complete. ECOnniclooks (S©)