The Crayon Papers

the church, and having a low vaulted ceiling, which gave it the look of a cavern. About this were ranged the monks, seated on stools, and chanting from immense books placed on music-stands, and having the notes scored in such gigantic characters as to be legible from every part of the choir. A few lights on these music-stands dimly illumined the choir, gleamed on the shaven heads of the monks and threw their shadows on the walls. They were gross, blue-bearded, bullet-headed men, with bass voices, of deep metallic tone, that reverberated out of the cavernous choir.
    To our right extended the great body of the church. It was spacious and lofty; some of the side chapels had gilded grates, and were decorated with images and paintings, representing the sufferings of our Saviour. Aloft was a great painting by Murillo, but too much in the dark to be distinguished. The gloom of the whole church was but faintly relieved by the reflected light from the choir, and the glimmering here and there of a votive lamp before the shrine of a saint.
    As my eye roamed about the shadowy pile, it was struck with the dimly seen figure of a man on horseback, near a distant altar. I touched my companion, and pointed to it: “The specter statue!” said I.
    “No,” replied he; “it is the statue of the blessed St. Iago; the statue of the commander was in the cemetery of the convent, and was destroyed at the tune of the conflagration. But,” added he, “as I see you take a proper interest in these kind of stories, come with me to the other end of the church, where our whisperings will not disturb these holy fathers at their devotions, and I will tell you another story that has been current for some generations in our city, by which you will find that Don Juan is not the only libertine that has been the object of supernatural castigation in Seville.”
    I accordingly followed him with noiseless tread to the further part of the church, where we took our seats on the steps of an altar, opposite to the suspicious-looking figure on horseback, and there, in a low, mysterious voice, he related to me the following narration:
    “There was once in Seville a gay young fellow, Don Manuel de Manara by name, who, having come to a great estate by the death of his father, gave the reins to his passions, and plunged into all kinds of dissipation. Like Don Juan, whom he seemed to have taken for a model, he became famous for his enterprises among the fair sex, and was the cause of doors being barred and windows grated with more than usual strictness. All in vain. No balcony was too high for him to scale; no bolt nor bar was proof against his efforts; and his very name was a word of terror to all the jealous husbands and cautious fathers of Seville. His exploits extended to country as well as city; and in the village dependent on his castle, scarce a rural beauty was safe from his arts and enterprises.
    “As he was one day ranging the streets of Seville, with several of his dissolute companions, he beheld a procession about to enter the gate of a convent. In the center was a young female arrayed in the dress of a bride; it was a novice, who, having accomplished her year of probation, was about to take the black veil, and consecrate herself to heaven. The companions of Don Manuel drew back, out of respect to the sacred pageant; but he pressed forward, with his usual impetuosity, to gain a near view of the novice. He almost jostled her, in passing through the portal of the church, when, on her turning round, he beheld the countenance of a beautiful village girl, who had been the object of his ardent pursuit, but who had been spirited secretly out of his reach by her relatives. She recognized him at the same moment, and fainted; but was borne within the grate of the chapel. It was supposed the agitation of the ceremony and the heat of the throng had overcome her. After some time, the curtain which hung within the grate was drawn up: there stood the novice, pale and trembling, surrounded by the abbess and the nuns. The ceremony proceeded; the crown of flowers was taken from her head; she was shorn of her silken tresses, received the black veil, and went passively through the remainder of the ceremony.
    “Don Manuel de Manara, on the contrary, was roused to fury at the sight of this sacrifice. His passion, which had almost faded away in the absence of the object, now glowed with tenfold ardor, being inflamed by the difficulties placed in his way, and piqued by