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Updated: May 14, 2025
The scarlet Perrero headed the march, then came the black vergers and Silver Stick, making the tiles of the pavement ring with the blows of their staffs. Behind came the archiepiscopal cross and the canons in pairs, and finally the prelate with his scarlet train spread out at full length, held up by two pages.
Gabriel felt pity for the moral dependency in which the poor young man lived, and he would often leave his niece, going out into the cloister to join them. His other friends were not long in discovering him; first of all the bell-ringer, then the organ-blower, and presently the verger, the Perrero, and the shoemaker would join the group, of which Silver Stick was the nucleus.
"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.
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.
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 Perrero in his scarlet garments seemed like a prince to them, and overwhelmed with the respect they felt for him, they could not succeed in understanding what he said, but when the Tato threatened with his staff a mastiff following closely at his master's heels, those simple people decided to leave the church sooner than abandon the faithful companion of their wild mountain life.
It seemed very great because it was close to men, concealing immensity, but when men looked above it, getting a full grasp of the infinite, they laughed at its Lilliputian pride. "Then," inquired timidly the old organ-blower, pointing to the Cathedral, "what is it they teach us in there?" "Nothing," replied Gabriel. "And what are we men?" asked the Perrero. "Nothing."
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.
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.
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?"
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