THE siege of Gerona is as celebrated in the Spanish history of the Napoleonic wars as that of Saragossa. Both exemplify the bravery and tenacity of the Spaniard of the north. In the first siege in 1808, three hundred men of the Ulster Regiment, under their gallant leader O'Daly, helped to garrison the place against two ferocious attacks by Duchesne and his French soldiery. The first failed and the second ended in the utter rout of the besiegers with the loss of all the artillery and baggage train.

In the following year three French generals with an army of thirty thousand men invested the city. Alvarez, the Spanish Governor, was almost without any means of defence, and the women of Gerona enrolled themselves under the banner of Santa Barbara, the patron saint of Spain's artillery, and took their places on the ramparts side by side with their husbands and sweethearts. Alvarez, ably seconded by a few English under Marshall, held out until he was struck down by disease and death. The city then, without a leader, its inhabitants starving, at length surrendered.

So ancient is Gerona that its early history is lost in the mist of ages. Charlemagne drove the Moors out when they were in possession, but it soon passed back into their hands again. The Counts of Barcelona ruled over the place until the union of Catalonia and Aragon, an event which gave birth to the Crown Prince's title of Principe de Gerona. Hence we know that in the twelfth century it was a city of great importance. In consequence of its adhesion, at the end of the War of Succession, to the house of Hapsburg, Gerona was deprived of its privileges and university, since which time it has steadily gone down hill.

Down hill it may have proceeded, but I found it a very pleasant, quaint old-world city set in the midst of verdant hills and running waters. Shady walks are taking the place of now useless fortifications; and have not I sat in one of the most delightful rose gardens you could wish to rest in, and heard the note of the nightingale trilling on the perfumed air? Most of Spain has gone down hill, and most of Spain is nothing but enchanting.

GERONA. THE CATTLE MARKET
GERONA. THE CATTLE MARKET

Gerona is bisected by the river OÑar, and from its waters which wash them, the houses rise tier above tier up the hill side. In the summer when the river is running low, and if it happens to be a Saturday, you will see one of the most remarkable sights that Spain can boast of. Under and around the arches of the old bridge are congregated hundreds of brown and fawn-coloured cattle. The background of ancient houses, yellow, grey, white, brown—every tone, rises up above this throng. Coloured garments, the week's washing, flutter in the breeze, green shutters and blinds hang from the creeper-clad balconies.

It is market day. The lowing of oxen, mingled with the hum of bargaining humanity in red caps and Prussian-blue blouses, surges up like the sound of breakers on a distant shore. You who enter Spain by the east route, go to Gerona at the end of the week—you will never regret its Saturday market.

The Cathedral stands well. The west faÇade, a Renaissance addition, is approached from the Plaza below by a grand flight of ninety steps in three tiers. In the unfinished jambs of the south door are a series of interesting terra-cotta figures dating from 1458.

There is nothing else in the exterior worthy of note, but directly I entered I stopped in amazement at the daring of an architect who could build so enormous a span as that under which I found myself. This span is seventy-three feet, the clear width of the nave, and unsupported by any pillars. No flying buttresses outside give additional strength to the thrust of the roof. The stonework is perfect and the vaulting inside simple. So bold and hazardous were the plans of Guillermo Boffy that the chapter at first refused to sanction them. Being in doubts as to his sanity, they sought the opinion of twelve other architects, who were examined separately. As they all approved and passed Boffy's plans, the construction of this marvel was commenced, and the first stone laid in 1416.

The apsidal chancel had been begun a century earlier and finished in 1346, pretty much on the same lines as this part of Barcelona's Cathedral.

Unfortunately—how often does one have to acknowledge this!—the coro, with its hideous respaldos, painted to imitate Gothic arches in perspective, almost ruins this splendid and solemn interior. Among the seats of the silleria del coro there are still preserved some that date from the fourteenth century.

Early carved work of the same period is found in the elaborate retablo over the High Altar, which is surmounted by three fine processional crosses. The baldaquino, also of wood, is covered like the retablo with plates of silver. It is a mass of precious metal, enamelled coats-of-arms and gems, and is an extremely interesting relic of that century.

GERONA. THE CATHEDRAL
GERONA. THE CATHEDRAL

Over the sacristy door are the tombs of Count Ramon Berenguer II. and his wife Ermensendis, who died in 1058, predeceasing her husband by twenty-four years. The sacristy itself contains a remarkable piece of twelfth-century crewel work, said to be the earliest known specimen in existence. It is covered with figures of a type similar to those of contemporary MSS. The Romanesque cloisters form an irregular trapezium. The columns are doubled and about a foot apart, not unlike those of Tarragona.

The finest Romanesque example that Gerona possesses is the church of San Pedro de los Galligans. The apse, little damaged during the siege, forms a tower in the town wall. There is no doubt of the great antiquity of this building, which dates probably from the early part of the tenth century. The east end is mostly constructed of black volcanic scoriÆ. The nave and aisles, the bays of which are very simply built, are almost prehistoric in their roughness.

In the cloisters attached to the church is the Museo Provincial. Many relics of Gerona's heroic defence can here be seen, as well as some early Christian and Hebrew remains.