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But was this really the position of Tiburcio with Rosarita? It remains to be known. According to the custom of country houses throughout Mexico, the window of Rosarita's chamber was unglazed. Strong iron bars, forming what is called the reja, hindered an entrance from without; and behind this reja, lit up by the lamp in the chamber, the young girl was standing in an attitude of graceful ease.
Three arches and four pillars, sumptuously decorated, uphold each of the clerestory walls, which are pierced at the top by a handsome triforium running completely around the church. The retablo of the high altar is richly decorated, perhaps too richly; the reja, which closes off the sacred area, is of fine seventeenth-century workmanship.
The unusual height of the choir mars the ensemble of the interior; the stalls are lavishly carved, but do not inspire the same feeling of wonderful beauty as do those of Leon and Toledo, for instance; the reja or grille which separates the choir from the transept is one of the finest pieces of work in the cathedral, and, though massive, it is simple and elegant.
I have seen the Gallego porters make themselves a hammock with the rope they always carry with them mozos de cuerda they are called literally slinging themselves to the reja or iron bars of the window of some private house, and sleep soundly in a position that would surely kill any other human being.
DOÑA MATILDE. ¿Pues por qué no me decías que D. Eduardo estaba ya esperándome? BRUNO. Porque ... porque ... bueno estoy yo ahora para decir el porqué de nada, y si me sangraran.... DOÑA MATILDE. En suma, ¿quieres o no quieres abrir la reja? DOÑA MATILDE. Pon luego una silla. BRUNO. Pongo una silla. DOÑA MATILDE. ¿Y está ya D. Eduardo? BRUNO. Le estoy tocando con la mano la copa del sombrero.
Though this art has completely degenerated to-day, nevertheless, a just remark was made in the author's hearing by an Englishman, who said: "Even to-day, Spaniards are unable to make a bad reja." The reader's and tourist's attention has been called to the salient artistic points of a Spanish cathedral.
The windows are shielded with bars of wrought-iron standing vertically. That is the "reja." None of them have either sash or glass. The gateway is closed by a heavy wooden door, strongly clasped and bolted with iron. This front wall is but one storey high, but its top is continued so as to form a parapet, breast-high above the roof, and this gives it a loftier appearance.
DOÑA MATILDE. No importa, porque precisamente tengo decidido el salir por la ventana. BRUNO. ¿Por la ventana? DOÑA MATILDE. Por esa reja, quise decir, cuya llave tienes tú, y que está tan baja que con la ayuda de una silla, cualquiera puede.... BRUNO. Según eso, ¿usted cree que yo le voy a dar la llave? DOÑA MATILDE. ¿Por qué no?
As I approached the house I saw a man standing before the reja, and leaning against the bars, as if conversing with some one inside. Some friend of Don Ambrosio, thought I. "As I drew nearer, the man, who was muffled in a manga, walked off and leaped upon a horse. Judge my surprise on recognising in the horse the black stallion that was yesterday ridden by the cibolero!
DOÑA MATILDE. No lo creas ... eso cualquiera lo haría ... y es también menos dramático. BRUNO. ¿Menos qué? DOÑA MATILDE. Vaya, despáchate en abrir la reja ... mira que creo que ya ha dado la media. BRUNO. ¿Qué había de dar? no, señora ... ni por pienso.... Dios nos libre de que hubiera dado. DOÑA MATILDE. ¿No abres?
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