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+The Project Gutenberg EBook of The Story of Seville, by Walter M. Gallichan
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Story of Seville
+
+Author: Walter M. Gallichan
+
+Illustrator: Elizabeth Hartley
+
+Release Date: November 13, 2011 [EBook #38009]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SEVILLE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+
+[Numerous typographical errors, as well as many (but not all) of the
+mis-placed or missing accents of Spanish words, have been corrected.
+Please see the list of these at the end of this etext.
+(note of etext transcriber)]
+
+[Illustration: image of the book's cover]
+
+
+
+
+_The Story of Seville_
+
+          "He who Seville has not seen,
+          Has not seen a marvel great."
+
+    "To whom God loves He gives a house in Seville."
+
+_Popular Spanish Sayings._
+
+[Illustration: _Saints Justa y Rufina_
+
+_From the painting by Goya_]
+
+
+
+
+_The Story of Seville
+by Walter M. Gallichan_
+
+_With Three Chapters on the Artists
+of Seville by C. Gasquoine Hartley
+Illustrated by Elizabeth Hartley_
+
+[Illustration: colophon]
+
+_London: J. M. Dent & Co.
+Aldine House, 29 and 30 Bedford Street
+Covent Garden, W.C._ * * 1903
+
+_All Rights Reserved_
+
+
+
+
+PREFACE
+
+
+In the story of Seville I have endeavoured to interest the reader in the
+associations of the buildings and the thoroughfares of the city.
+
+I do not claim to have written a full history of Seville, though I have
+sketched the salient events in its annals in the opening chapters of
+this book. The history of Seville is the history of Spain, and if I have
+omitted many matters of historical importance from my pages, it is
+because I wished to focus attention upon the city itself. I trust that I
+have succeeded in awaking here and there an echo of the past, and in
+bringing before the imagination the figures of Moorish potentate or
+sage, and of Spanish ruler, artist, priest and soldier.
+
+Those who are acquainted with the history of Spain will appreciate the
+difficulty that besets the historian in the matter of chronological
+accuracy, and even in a narration of many of the main events. The
+chronicles of the Roman, Gothic and Moorish epochs are hardly accepted
+as reliable. Patriotic bias and religious enthusiasm are elements that
+frequently mislead in the making of history, though the Spaniard is not
+alone in the commission of error in this respect.
+
+Seville abounds with human interest. The city may at the first glance
+slightly disappoint the visitor, but he cannot wander far without a
+growing sense of its fascination. Most of the noteworthy buildings are
+hidden amidst narrow alleys, for the designers of the city have shown
+great economy in utilising space. It is therefore difficult to gain
+large general views of Seville, unless one ascends the Giralda, while
+the obtrusion of modern dwelling-houses and stores often mars the view
+of fine public edifices. But the modernity of Seville seldom strikes one
+as wholly out of place and in sharp contrast to the ancient monuments.
+The plan is Morisco, and the impression conveyed is partly Moorish and
+partly mediæval. In a word, Seville brings us at every step closely in
+touch with antiquity.
+
+For the chapters on the Artists of Seville I am indebted to C. Gasquoine
+Hartley (Mrs. Walter M. Gallichan), who has devoted much study to the
+art of Spain. The drawings by Miss Elizabeth Hartley were prepared while
+I was gathering material for the book in Seville, and the illustrations
+will be found to refer to the text. I have also to thank my brother, Mr.
+F. H. Gallichan, for his plan of the city.
+
+The frontispiece photograph of Goya's picture of SS. Justa and Rufina
+was reproduced in the _Art Journal_ as an illustration to an article on
+"Goya" by C. Gasquoine Hartley. My thanks are due to Messrs. Virtue &
+Company for permission to reproduce the picture in this book.
+
+WALTER M. GALLICHAN.
+
+       THE CRIMBLES,
+    YOULGREAVE, BAKEWELL,
+    _August 20, 1903_.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I
+
+                                                                    PAGE
+
+_Romans, Goths and Moors_                                              1
+
+CHAPTER II
+
+_The City Regained_                                                   26
+
+CHAPTER III
+
+_Seville under the Catholic Kings_                                    62
+
+CHAPTER IV
+
+_The Remains of the Mosque_                                           73
+
+CHAPTER V
+
+_The Cathedral_                                                       85
+
+CHAPTER VI
+
+_The Alcázar_                                                        110
+
+CHAPTER VII
+
+_The Literary Associations of the City_                              129
+
+CHAPTER VIII
+
+_The Artists of Seville_                                             146
+
+CHAPTER IX
+
+_Velazquez and Murillo_                                              165
+
+CHAPTER X
+
+_The Pictures in the Museo_                                          176
+
+CHAPTER XI
+
+_The Churches of the City_                                           187
+
+CHAPTER XII
+
+_Some Other Buildings_                                               201
+
+CHAPTER XIII
+
+_Seville of To-day_                                                  213
+
+CHAPTER XIV
+
+_The Alma Mater of Bull-fighters_                                    242
+
+CHAPTER XV
+
+_Information for the Visitor_                                        262
+
+_Index_                                                              269
+
+
+
+
+ILLUSTRATIONS
+
+
+                                                                   PAGE
+
+_SS. Justa and Rufina, from the painting by_
+GOYA (_photogravure_)                                      _Frontispiece_
+
+_Roman Amphitheatre at Italica_                                        1
+
+_The Guadalquivir_                                                     3
+
+_Roman Walls_                                                          8
+
+_The Pillars of Hercules and Julius Cæsar_                            11
+
+_Moorish Fountain in the Court of Oranges_                            23
+
+_Roman Capital_                                                       25
+
+_Old Walls of the Alcázar_                                            41
+
+_Sword of Isabella_                                                   49
+
+_Plaza San Francisco_                                                 55
+
+_Fountain in Bath, Alcázar_                                           66
+
+_Puerta del Perdón_                                                   75
+
+_Stone Pulpit in Court of Oranges_                                    78
+
+_Cuerpo de Azucenas_                                                  79
+
+_The Giralda_                                                         84
+
+_Pinnacle of the Cathedral_                                           87
+
+_Puerta Mayor--The Central Door of the
+Cathedral_                                                            89
+
+_Pinnacle of the Cathedral_                                           91
+
+_Interior of the Cathedral_                                           97
+
+_Patio de las Doncellas_                                             111
+
+_In the Garden of the Alcázar_                                       125
+
+_Cancela of the Casa Pilatos_                                        133
+
+_The Guardian Angel_ (MURILLO)                              _facing_ 172
+
+_The Conception_ (MURILLO)                                  _facing_ 178
+
+_The Road to Calvary_ (VALDÉS LEAL)                         _facing_ 180
+
+_Saint Hugo in the Refectory_ (ZURBARAN)                    _facing_ 182
+
+_The Crucifixion_ (MONTAÑES)                                _facing_ 186
+
+_Minaret of San Marcus_                                              190
+
+_Puerta de Santa Maria_                                              195
+
+_Patio del Casa Murillo_                                             203
+
+_Amphora_                                                            212
+
+_Patio del Colegio_, _San Miguel_                                    215
+
+_The Golden Tower_                                                   223
+
+_A Roof Garden_                                                      238
+
+_Arms of Seville_                                                    241
+
+_Plan of City_                                              _facing_ 268
+
+[Illustration: Roman Amphitheatre at Italica]
+
+
+
+
+The Story of Seville
+
+
+
+
+CHAPTER I
+
+_Romans, Goths and Moors_
+
+    'The sound, the sight
+     Of turban, girdle, robe, and scimitar
+     And tawny skins, awoke contending thoughts
+     Of anger, shame and anguish in the Goth.'
+
+     ROBERT SOUTHEY, _Roderick_.
+
+
+Seville the sunny, the gem of Andalusia, is a city in the midst of a
+vast garden. Within its ancient walls, the vine, the orange tree, the
+olive, and the rose flourish in all open spaces, while every _patio_, or
+court, has its trellises whereon flowers blossom throughout the year.
+Spreading palms overshadow the public squares and walks, and the banks
+of the brown Guadalquivir are densely clothed with an Oriental verdure.
+
+The surrounding country of the Province of Sevilla, _La Tierra de Maria
+Santisima_, is flat, and in the neighbourhood of the city sparsely
+wooded. On the low hills of Italica and San Juan de Aznalfarache, the
+Hisn-al-Faradj of the Moors, olive groves cover many thousands of acres.
+The plain is a _parterre_ of wide grain fields, and meadows of rife
+grass, divided by straight white roads, with their trains of picturesque
+mule teams and waggons, and their rows of tall, straight trees. Here and
+there the cold grey cactus serves as a fence, but there is no other kind
+of hedgerow.
+
+Far away, across the yellow wheatfields, and beyond the vine-clad slopes
+of the middle distance, rise the huge shoulders and purple peaks of wild
+sierras.
+
+The Guadalquivir, rolling and eddying in a wide bed, takes its tint from
+the light soil and sand, and is always turbid, as though in spate. Below
+Seville, on the left bank of the river, stretch the great salt marshes,
+or Marismas, haunted by the stork, the heron, and innumerable wildfowl.
+Here, among the arms of the tidal water, the cotton plant is cultivated.
+Winter floods are a source of danger to Seville, especially when a
+south-west wind is blowing and the tide ascending the river. Then the
+Guadalquivir overflows its banks and deluges the town and the flat land,
+drowning live stock and destroying buildings. In 1595 and 1626 occurred
+two of the worst floods, or _avenidas_, on record. The flood of 1626
+washed away the foundations of about three thousand houses.
+
+[Illustration: The Guadalquivir]
+
+It is probable that the southern kingdom of Andalusia derived its name
+from the Vandals, who overran the country after the Roman occupation.
+The region was then known as Vandalitia, or Vandalusia. Lower Andalusia
+has been said to be the Tarshish of the Bible. The Phœnicians called
+the land Tartessus, or Tartessii. Nowadays Andalusia includes the
+provinces of Sevilla, Huelva, Cadiz, Córdova, Jaén, Granada and
+Almeria, and has a population of over three millions. Seville is the
+capital, the seat of an archbishop, and a university town. The traveller
+from Northern Europe will feel the spirit of Spain upon him as he
+approaches Seville from Cadiz or Córdova through a semi-tropical country
+under a burning blue sky. He will note everywhere the influence of the
+Arab in the architecture of modern public buildings, churches and
+dwelling-houses, in the tortuous, narrow streets, in the features,
+language, music and garb of the people, and in many of the customs of
+the district. The character of the landscape is strange, the atmosphere
+vivid, and the distant objects show sharply against the horizon. For
+leagues he will traverse groves of olive, or vineyards, and pass across
+wastes purple with the flower of the lavender or scarlet with poppies.
+
+Seville of to-day is white, clean and bright. Gautier noted that the
+shadows of the houses in the narrow thoroughfares are blue, in contrast
+to the white of the dazzling buildings at noon. During the _siesta_ of
+the hot months, the streets are deserted daily for about four hours,
+shutters screen the rooms from the blinding sunshine, and awnings are
+drawn across the roofs of the _patios_. In the evening the town awakens,
+and the _plazas_ and alleys are thronged and gay until two in the
+morning. Everyone endeavours to lead an _al fresco_ life, and to
+conserve physical energy in this city of eternal sunshine. Unlike Toledo
+and Avila, where the houses are sombre and the doors heavy and barred,
+as though the towns were inhospitable, Seville opens wide the gates of
+its beautiful courts so that the passer-by may peep within.
+
+'Seville is a fine town,' wrote Lord Byron, in a letter, during his stay
+in Spain in 1809. We may regret that he had so little to say about the
+fascinating capital. George Borrow, who lived for a time in the Plazuela
+de la Pila Seca, near the Cathedral, speaks in rapturous phrases of the
+view of Seville and the Guadalquivir. 'Cold, cold must the heart be
+which can remain insensible to the beauties of this magic scene, to do
+justice to which the pencil of Claude himself were barely equal. Often
+have I shed tears of rapture whilst I beheld it, and listened to the
+thrush and the nightingale piping their melodious songs in the woods,
+and inhaled the breeze laden with the perfume of the thousand orange
+gardens of Seville.'
+
+The city is rich in antiquities, in historic buildings associated with
+illustrious names, in works of art and in sumptuous palaces. A great
+company of the spirits of famous kings, warriors, explorers, authors,
+painters and priests spring up in the imagination as one stands in the
+aisles of the splendid Cathedral, or dreams amid the roses and the
+tinkling fountains of the secluded gardens of the Alcázar. Here, to this
+prized and fertile territory of southernmost Spain, came Publius
+Cornelius Scipio and Cato. Trajan, Hadrian and Theodosius were born at
+the municipium of Italica, a few miles from modern Seville. El Begi,
+'the most accomplished scholar of Spain,' spent the greater part of his
+life in the city.
+
+San Isidoro and San Leandro lived here. Moorish monarchs and Christian
+sovereigns ruled from the palace, and in their turn attacked and
+defended the fair city. The figures crowd before the mind's
+eye--Ferdinand III., who redeemed the town from the Moriscoes, Alfonso
+(_El Sabio_) the Learned, Pedro I. the Cruel, and Ferdinand and Isabella
+the Catholic. We see the fair, blue-eyed Genoese youth, Christoforo
+Colombo, or Columbus, the maker of the modern prosperity of Seville,
+who, after achieving fame, was alternately petted and punished by his
+sovereigns. We picture the triumphant return of Hernando Pizarro to the
+city, with half a million pesos of gold, and a great treasure of silver.
+
+Lope de Rueda, 'the real father of the Spanish theatre,' a gold-worker
+of Seville; Fernando de Herrera, the poet; the mighty Cervantes, who
+spent three years of his life in the Andalusian capital; Velazquez,
+Zurbaran, Roelas, Murillo and minor artists of note were either born in
+the city or closely associated with it.
+
+For the present we must take a look back into the dim and remote period
+when the Phœnicians came to wrest the soil of Southern Spain from the
+race of mingled Celtic and Iberian blood. It is at this uncertain date
+that the history of Seville may be said to begin.
+
+       *       *       *       *       *
+
+We learn from the historians of Phœnicia that the shrewd, practical
+and industrious people of that marvellous ancient civilisation were
+great colonisers. 'The south of Spain,' writes Professor George
+Rawlinson, 'was rich in metallic treasures, and yielded gold, silver,
+copper, iron, lead and tin.' In their quest for valuable metal, certain
+Phœnician explorers discovered the Peninsula of Iberia, and in the
+mineral-yielding region watered by the Guadalquivir they founded the
+colony of Tartessii. Doubt exists whether Tartessii was the name given
+to the plains of the Guadalquivir or to a town. Strabo, Mela and Pliny
+state that the Phœnicians built a town and called it Tartessus. Was
+this town the foundation of Seville? No one will attempt to give an
+authoritative answer, though it has been stated that the town was not
+Cadiz, the Gades of the Phœnicians. Two cities of considerable
+importance appear to have been the marts of the Phœnician _Sephela_,
+or plain, and it is not wholly improbable that Seville was one of them.
+
+[Illustration: Roman Walls]
+
+In the choice of new territory for the development of mining and
+agriculture, the enterprising colonists displayed much intelligence.
+They settled upon a soil that will bring forth richly without artificial
+stimulation.
+
+The hill ranges produced vines and olive trees, yielding fine wine and
+ample oil. Tunny and other fish were plentiful in the sea, and the
+rivers afforded large eels.
+
+This is all that can be known of the Phœnician colony in Southern
+Spain. We are beginning to tread upon firmer historic ground when
+Hamilcar Barca landed at Cadiz in 237 B.C., after a series of victories
+in Africa, and subdued Andalusia. Hasdrubal, son-in-law of the
+conqueror, was the founder of Cartagena, or New Carthage, the centre of
+Carthaginian rule in Spain, and the wealthiest city of the Peninsula.
+
+But during the second Punic War the Romans invaded Iberia, and gained
+all the eastern coast from New Carthage to the Pyrenees. Plutarch says
+that Publius Cornelius Scipio came to Spain with eleven thousand
+soldiers, seized Cartagena, reduced Cadiz, and founded the city of
+Italica, near Seville. Hispalis was the Roman name given to the city on
+the Guadalquivir until Cæsar changed the name to Julia Romula. The city
+then became the capital of Roman Spain, a centre of industry, and a
+fortress. A splendid aqueduct, which has partly endured to this day, was
+constructed to bring a plentiful supply of water from the hills. The
+aqueduct was extended by the Almohades in 1172, and forms one of the
+interesting monuments of the Roman and Arab colonisers. Around the city
+were reared high walls, with watch towers, and many strong gates. It is
+said that the walls of Seville were five miles in length, and it has
+been stated that they were once ten miles long. Within the gates were
+palaces, temples to the honour of the Sun, Hercules, Bacchus and Venus,
+and other fine edifices.
+
+Under Augustus, Spain was part of the Roman Empire. In Seville the rule
+of the conquerors was beneficent, and the original inhabitants were
+fairly governed, while the city was extended and new crafts introduced.
+Under the Romans, Christianity came to the Peninsula, and Seville was
+made the seat of a bishop. The remaining portions of the great aqueduct,
+the wall, the two high granite columns in the Alameda de Hercules, with
+the statues of Julius Cæsar and Hercules upon them, the shafts of the
+columns discovered in the Calle Abades, and the beautiful fragments of
+capitals and statues in the Museo Arqælógico are the chief vestiges of
+Seville in the days of the Romans. At Urbs Italica, 'the camp of the
+Italians,' there still exists a grass-grown, mouldered amphitheatre, the
+only remnant of a mighty town.
+
+Built on the slopes once dotted with the tents of the aboriginal hamlet
+of Sancios, Italica lies about five miles to the west of Seville, amid
+olive gardens and wheatfields. The circus is a ruin; but the passages
+can be followed below the tiers of seats, and one may peer into the dens
+once tenanted by the lions and other fierce beasts. Bees hum amongst the
+wild thyme, lizards creep on the worn stones, and a tethered ass grazes
+in the arena. The glory of Rome has departed; the plaudits from those
+deserted and grassy seats have not been heard for centuries; and blood
+has ceased to redden the floor, where fragrant herbs now spring and
+butterflies sun themselves on fallen masonry. Here is all that is left
+of Italica, the home of Trajan and Hadrian, and the asylum for Scipio's
+aged warriors. For a period the decaying town was known as Old Seville,
+and tons of its masonry were removed to build Seville the New.
+
+Rome fell, and the Silingi Vandals swarmed into the country, captured
+Hispalis, and made it the seat of their empire. This period in the
+history of Seville is dark, and beset with difficulty for the annalist.
+About the year 520 a great horde of Goths spread over Andalusia. They
+seized the Vandal capital, but afterwards established a new capital of
+their own at Toledo.
+
+[Illustration: The Pillars of Hercules and Julius Ceásar]
+
+Amalaric was the first of the Gothic monarchs who sat on the throne in
+Seville. He reigned probably from about the year 522. Theudis ruled in
+Seville (531 to 548), and we read that he was murdered there after an
+attempt to expel the Byzantine troops of Justinian from Africa.
+Theudisel, or Theudigisel, was general to Theudis, whom he succeeded as
+ruler at Seville. Theudisel shared the fate of his predecessor on the
+throne. After a reign of eighteen months, he was killed by the
+sword-thrusts of a dozen nobles of his retinue, while taking supper in
+his palace. This 'monster of licentiousness' was wont to kill all women
+who repelled his addresses, and his assassination was a work of
+vengeance on the part of outraged fathers and husbands among his
+courtiers.
+
+Schlegel says the Goths were ready converts to Christianity, but 'in the
+Arian form.' At a later period of their supremacy in Spain there came a
+wider adherence to orthodox Catholicism, and the civil power was largely
+in the hands of the bishops and clergy. The most influential bishop of
+this day was Saint Isidore (San Isidoro) who held office in Seville. His
+brothers, Leander and Fulgentius, were also prelates, and his sister,
+Florentina, was made a saint. Saint Leander was the elder brother of
+Isidore, and through him the youth received his education after the
+death of his parents. The pupil was earnest and diligent in his studies,
+and as he grew to manhood he zealously assisted his brother, who then
+held the See of Seville, in converting the Goths from the heresy of
+Arius.
+
+Dissensions between the orthodox and the Arians caused great strife and
+family bitterness among the ruling class. During the reign of King
+Leovigild rebellions broke out in Castile and León. The leader of the
+rebels was Leovigild's own son, Ermenigild, who had married Ingunda,
+daughter of Brunichilda and of Sigebert. Ingunda professed the orthodox
+faith, while Gosvinda, the second wife of Leovigild, was of the Arian
+sect. A rivalry arose between the two dames. According to Gregory of
+Tours, Gosvinda determined that Ingunda should be compelled to embrace
+the heterodox creed. One day when the two disputants were together,
+engaged in hot controversy, the fanatical Gosvinda gripped Ingunda by
+the hair of her head, threw her to the ground, trod upon her, and bade
+an Arian priest baptize the prostrate woman.
+
+This incident not unnaturally brought about a quarrel between Leovigild
+and his son. Ermenigild was then ruling in Seville, while Leovigild
+maintained his court at Toledo. The trouble grew when Leander, the uncle
+of Ermenigild, persuaded the young man to forsake Arianism. His father
+was deeply angered, and vowed that the Gothic crown should never come to
+an apostate. The Archbishop of Tours states that the father was the
+first to take up arms after the rupture, but other historians suppose
+that the turbulent Ermenigild began the hostilities.
+
+This domestic difference led to serious warfare. Ermenigild was besieged
+in Seville by his father's forces, after begging aid from Mir, King of
+the Suevi, in Galicia. Mir started with an army to assist the rebellious
+prince, but on the way he was defeated by Leovigild, and forced to aid
+the monarch. For a year Ermenigild resisted the siege of Seville. The
+people were on the point of starvation when he resolved upon
+capitulation. Nothing remained but flight, and the prince made his
+escape from the city and reached Córdova. There he was captured,
+divested of his regal garments and authority, and banished to Valencia.
+Very soon the strife was renewed. Ermenigild, panting for a reprisal,
+solicited aid from the Greeks and rebels of the east coast, and invaded
+Estremadura. His father went to meet him with a force of his bravest
+men. The attack was made by Leovigild, who drove his son's army from
+Merida into Valencia, and took the young man a prisoner.
+
+The King was stern, but he could not act ungenerously towards his foe
+and son. He offered Ermenigild pardon and favour on condition that he
+would reject his heretical faith. The rebel refused the terms; he would
+rather remain in his dungeon than practise hypocrisy. Again the father
+besought the son, through an Arian priest, to renounce his false
+doctrine, and again Ermenigild was resolute. In a passion, he cursed the
+cleric, crying: 'As the minister of the devil, thou canst only guide to
+hell! Begone, wretch, to the punishments which are prepared for thee!'
+This was more than Leovigild could bear. He immediately sentenced his
+son to death. The legend of Ermenigild's last days relates that on the
+night of his execution a light from Paradise shone in his cell, and that
+angels watched over the grave, singing hymns in his praise. Ermenigild
+was sainted, and one of his bones is at Zaragoza.
+
+It was in this time of religious stress and civil discord that Saint
+Isidore of Seville began his labours. For about thirty-six years he
+ruled as governor of the church in the city. His hand was open towards
+the poor, and he preached with fervid eloquence. It is to the industry
+of Isidore that Spain owes respect, for his writings are the only basis
+for a history of the chief events during the Gothic epoch. He wrote the
+_Historia de Regibus Gothorum, Wandalorum et Suevorum_, and one of the
+celebrated books of study of mediævalism, _The Etymologies or Origins of
+Things_.
+
+San Isidore's philosophy was Platonic and Aristotelian. In theology he
+followed the teaching of St. Gregory the Great. He was a puritan in his
+attitude towards the play.
+
+'What connection,' he writes, 'can a Christian have with the folly of
+the circus games, with the indecency of the theatre, with the cruelty of
+the amphitheatre, with the wickedness of the arena, or with the
+lasciviousness of the plays? They who enjoy such spectacles deny God,
+and, as backsliders in the faith, hunger after that which they renounced
+at their baptism, enslaving themselves to the devil with his pomps and
+vanities.'
+
+The gift of oratory possessed by Saint Isidore was predicted in his
+infancy by the issue of a swarm of bees from his mouth. His body was
+laid to rest, in 636, in Seville.
+
+When King Fernando decided to collect all the bones of martyrs and
+saints that he could find in the cathedrals and burial grounds, he
+raised an army and came to Seville, which was then under the Moors. Ibn
+Obeid, the chief of the Moriscoes, favoured Fernando's scheme, and
+allowed the King to enter the city to search for the remains of Justus.
+These bones could not be found; but while the seekers were at their task
+the spirit of Saint Isidore appeared to them, and said that the remains
+of Justus could not be discovered, as it was ordained that they should
+rest at Seville. Saint Isidore then offered his own remains for removal,
+and his embalmed corpse was taken to the Church of John the Baptist, in
+León, in 1063.
+
+Until the time of Recared I. the Goths in Spain remained Arians. When
+they forsook their early faith, they adopted a ritual which differed
+from that of the Catholics. It was not until the reign of Alfonso VI.
+that the Roman service was used throughout the land. The civil law of
+the Goths was founded on the _Forum Judicum_ of the Romans. This lengthy
+code became later the _Fuero Juzgo_, and was eventually adapted to the
+community by Alfonso X. in 1258, and known as the _Siete Partidas_, or
+Seven Sections. Under the Gothic code slavery was permitted, and great
+power was vested in the hands of the nobility.
+
+'The old Roman civilisation,' writes Mr. H. E. Watts, in his _Spain_,
+'which the Celtiberians had been so quick to adopt, sat awkwardly on
+these newer barbarians. It was a heritage to which they had not
+succeeded of nature, and a burden too great for them to support? The
+Romans had made one nation of Spain. The Visigoths were not much more
+than an encampment.' When the Berbers, new converts to Mohammedanism,
+began to cast envious eyes upon lovely Andalusia, the Goths were
+demoralised through easy living in a southern clime. Spain had become a
+nation of lords and serfs, and the slaves, the mass of the people, had
+no heart to fight for the land that had been wrested from them.
+
+When Tarik, lieutenant of Musa, came with a force of seven thousand
+Berbers to battle for the Prophet and to conquer Spain, the Gothic King,
+Roderic, hastily collected an army of defence and advanced towards
+Xeres. Theodomir, Governor of Andalusia, had learned that the invaders
+were marching from Algeciras, where they landed on the 30th of April
+711. The Berbers had many horsemen, well-equipped and valiant, while
+Roderic possessed only a small number of mounted men.
+
+It was not until 19th July that the decisive and memorable battle was
+fought. The Gothic King met his foes on the banks of the Guadalete
+(_Wad-el-leded_) 'the river of delight.' It is said that the combat
+lasted for seven days. The Goths, though enervated, had not wholly lost
+their prowess, and they strove desperately with the fierce host of
+Tarik. So bravely fought the defenders that the Moors grew disheartened;
+but their leader, sword in hand, and calling upon Allah, told his troops
+that they had no vessels with which to escape from the country. The
+Berbers must win or perish. Spurring his steed, Tarik dashed into the
+Gothic ranks, cleaving a way as he rode, and inspiring his followers to
+a supreme effort. Roderic also rallied his soldiers to a last stand. His
+army numbered more than that of the Berber general, but the men were
+ill-trained, and no match for the desperate enemies who had battled in
+many campaigns.
+
+Some Spanish historians assert that the sons of Witiza, the King
+dethroned by Roderic and sentenced to death, aided by other traitors,
+deserted their companies and joined the Berbers. It has also been
+recorded that Count Julian, whose daughter was dishonoured by Roderic,
+had allied himself with the foe in Africa. These stories have not,
+however, been accepted by later chroniclers.
+
+The battle was to the Moors. Roderic was either killed on the field by
+Tarik himself, or taken prisoner and released to spend the rest of his
+days in a monastery. One account states that Tarik slew his opponent,
+and sent the head to Musa, who had it conveyed to the Court at Damascus.
+The beaten Goths retreated rapidly before the advancing army. Some
+followed Theodomir into Murcia, others went to the Asturian mountains.
+The band of the Andalusian Governor was pursued by the enemy and routed;
+and Theodomir was compelled to surrender and to confess fealty to the
+Khalif. Upon this condition the Governor was allowed to possess Murcia
+and parts of Valencia and Granada, his territory being known as Tadmir.
+
+Seville was soon in a state of siege. Envious of the good fortune of his
+lieutenant, Musa came to Andalusia with eighteen thousand Arabs of
+valour. He was assisted in command by his sons Abdelola and Meruan. His
+eldest son, Abdelasis, remained in authority in Africa. The Sevillians
+made a valiant defence of their beautiful city; but after several weeks
+of siege Musa led his army through the gates. From that hour, until its
+capture by Fernando III., the Andalusian capital was in the hands of the
+Moors. Carmona and neighbouring towns were also seized by Musa.
+
+After the subjection of Seville, the Arab general started upon a
+campaign. It appears that Musa had not left an efficient force within
+the city walls, for the inhabitants rose and attempted to expel their
+victors. Hearing of the trouble, Musa sent his son Abdelasis into Spain
+to quell the revolt in Seville. Abdelasis used suasion first; but the
+natives were in arms and ardent to regain the city. They prepared for a
+second siege. With much slaughter, the son of Musa put down the
+rebellion of the newly-conquered citizens, and proceeded through the
+south of Spain, winning battles everywhere. Musa was so gratified by his
+son's successes that he appointed him ruler of the annexed territory.
+
+Abdelasis had a reputation for humane conduct towards the vanquished
+people. He fell in love with Egilona, widow of the unfortunate Roderic,
+and made her first a member of his harem and afterwards his wife. That
+he respected her is shown by the fact that her counsel was always sought
+in affairs of government.
+
+The Berber King of Seville was to learn that the throne is not the most
+peaceful resting-place after war's alarms. Scandal was set abroad that
+Abdelasis was scheming to become sole ruler of the Berber dominion, and
+this report reached the ears of Suleyman, brother and heir of the
+Khalif. There is no doubt that Suleyman resented the favour shown to
+Musa and his sons, while he feared that Abdelasis might one day contest
+with him for sovereignty. Seized by this fear, the heir to the crown
+gave secret orders for the killing of the three sons of the great
+commander, Musa.
+
+One day, while Abdelasis was taking part in the devotions within the
+Mosque of Seville, hired murderers crept up to him and stabbed him to
+death. The two brothers of Abdelasis shared the like fate. The head of
+the King was sent to the Khalif at Damascus, who caused it to be shown
+to Musa. Then the brave general, gazing in anger upon his sovereign,
+cried aloud: 'Cursed be he who has destroyed a better man than himself!'
+The distracted Musa fell sick through grief, and soon died.
+
+There is another account of the death of Musa. His jealousy of Tarik,
+who conducted the first successful campaign in the Peninsula, led the
+general to treat his inferior officer with indignity. The friends of
+Tarik at Damascus, in the Court of the Khalif, breathed vengeance upon
+Musa, and prevailed upon the monarch to punish his commander-in-chief. A
+party of arrest seized Musa in his camp, and brought him before the
+Khalif, who commanded that he should be degraded and publicly beaten.
+The disgrace broke Musa's heart and caused his death.
+
+Abdelasis was succeeded by Ayub, who acted as Viceroy of the Khalif. The
+new ruler preferred Córdova to Seville, and thither he removed with his
+retinue. For a long period the city was one of lesser importance; but it
+gained greatness and independence under Abul Kâsein Mohammed in 1021. In
+the time of Abbad and Al-Motamid II. the population of the town rose to
+four hundred thousand, and the grandeur of the place rivalled, if it did
+not exceed, that of Córdova. In 1078 proud Córdova was subject to
+Seville, and the ancient metropolis of the Moors in Spain was falling
+into decay, while 'the pearl of Andalusia' was shining in its chief
+splendour.
+
+Abderahman I., Emir of Córdova, in 777, made a bold stroke by
+proclaiming himself Khalif and sole ruler of Spain. It is not necessary
+to recount the victories of Abderahman. He came in triumph to Seville
+and was bade welcome. 'His appearance, his station, his majestic mien,
+his open countenance,' writes Dunham, 'won the multitude even more
+perhaps than the prospect of the blessings which he was believed to have
+in store for them.' Abderahman's rule in Seville laid the foundation of
+the city's prosperity. He narrowed the channel of the Guadalquivir, and
+made the river navigable; he built residences, and laid out gardens, and
+transplanted the palm tree into Spain. We read that the Moorish King was
+honourable, bold and generous, and possessed of a fine sense of justice.
+He encouraged letters, and was a benefactor of educational institutions.
+The King was also a poet, and loved the society of intellectual men.
+
+Although the peaceful arts flourished in Seville at this period, the
+city was frequently the scene of battle. Conspiracies, factions and
+revolts constantly disturbed Spain, and during the reign of Abderahman
+several rival chiefs made assault upon Seville. One of these was Yusuf,
+who raised troops, took the fort of Almodovar, and moved towards Lorca.
+There he was met by Abdelmelic, general of Abderahman, who overcame the
+rebel force, killed the leader, and sent his head, after the Oriental
+manner, to the King. The trophy was displayed at Córdova. But the
+rebellion was not quelled by Abdelmelic's victory. Yusuf's three sons
+gathered an army and made attacks upon Toledo, Sidonia, and Seville.
+Another insurrection broke out at Toledo, under one of Yusuf's
+relatives, Hixem ben Adri el Fehri.
+
+Upon the advice of Abderahman's first minister, the King proposed an
+amnesty, to last for three days. Hixem accepted the terms, and gained
+pardon. But he abused the King's clemency at a later date, and came
+with a body of troops to the gates of Seville. There was hard fighting,
+but the Governor, Abdelmelic, preserved the city and drove away the foe.
+Strife was again caused by the Wali of Mequinez, one Abdelgafar, who
+came bent upon the capture of Seville. The Wali was encountered by
+Cassim, young son of Abdelmelic. Fear seized the youthful officer, and
+he fled with his soldiers. He was met by his father, who drew his dagger
+and killed the young man, saying: 'Die, coward! thou art not my son, nor
+dost thou belong to the noble race of Meruan!' The Governor then pursued
+the enemy, but they escaped him, and came near again to Seville.
+Abdelmelic hurried to the Guadalquivir, and in a night fight he was
+overcome and received a wound. The troops of the Wali poured into the
+city. But in spite of his injury the Governor entered Seville, and after
+a furious combat expelled the host of Abdelgafar. The Wali was
+afterwards caught and killed on the bank of the Xenil. In reward for his
+bravery, the King made Abdelmelic Governor of Eastern Spain.
+
+It is stated that, in 843, a fleet of ships, manned by Norman pirates,
+sailed up the Guadalquivir. The pirates made a sudden raid upon Seville.
+The inhabitants were taken by surprise, the town was robbed, and the
+thieves made good their escape to the river.
+
+Seville in the days of Moorish might was one of the fairest cities on
+earth. Beautiful palaces were built upon the sites of the Roman halls,
+gardens were shady with palms, and odorous with the blossom of orange
+trees, and there were hundreds of public baths. The streets were paved
+and lighted. In winter the houses were warmed, and in summer cooled by
+scented air brought by pipes from beds of flowers.
+
+Poetry, music and the arts were cultivated; the philosopher and the
+artist were held in respect. There were halls of learning and great
+libraries, which were visited by scholars from all parts of Europe.
+
+[Illustration: Moorish fountain in the Court of Oranges]
+
+The Alcázar, the Mosque, the lordly Giralda Tower and other remains
+testify to the ancient splendour of Seville. It was the Moor who applied
+the method of science to the cultivation of the plains, who bred the
+cattle, introduced the orange tree, and planted the palm in the city.
+Granada and Seville were centres of silk-growing. Here were manufactured
+the damascened swords and other weapons, and beautiful metal work of
+divers kinds, which was in demand all over Spain for centuries. Moorish
+civilisation was unsurpassed for its handicrafts and architectural
+decorations. Long after the Christian reclamation of Seville, the
+_Mudéjar_, or Moor, living under the new rule, was employed by the State
+to construct bridges and to build castles, to design houses, and to
+decorate them with the wonderful glazed tiles and imperishable colours.
+
+Among the learned Moors of Seville the most eminent was Abu Omar Ahmed
+Ben Abdallah, known as El Begi. Abu Omar's father had spared no cost in
+providing for his son's education. He employed as tutors the greatest
+scholars of the time, and sent the lad to Africa, Syria, Egypt and
+Khorassan in order to confer with sage men and doctors of repute. At the
+age of eighteen years Abu Omar was wonderfully cultured, and as he grew
+to middle age there was no man who could surpass him in knowledge of
+arts and sciences. 'Even in his earliest youth, the Cadi of that city,
+Aben Faweris,' says Condé, 'very frequently consulted him in affairs of
+the highest importance.' El Begi, the Sage, was born in Seville and
+lived there during most of his life.
+
+Many philosophers must have mused in this cultured age amid the orange
+trees of the court of the magnificent mosque. From the summit of the
+Giralda, astronomers surveyed the spangled sky, making observations for
+the construction of astronomical tables. Chemists questioned nature in
+the laboratories by means of careful experiments, and mathematicians
+taught in the schools. There were seventy public libraries in Andalusia;
+the library of the State contained six hundred thousand volumes, and the
+catalogue included forty-four tomes. Scholars also possessed large
+private libraries. There was no censorship, no meddling with the works
+of genius. Men of science were encouraged to investigate every problem
+of human existence. Abu Abdallah wrote an encyclopædia of the sciences.
+The theory of the evolution of species was part of the Arab education.
+Moorish thought was destined to influence Spain for ages. The discovery
+of the New World was due to the Mohammedan teaching of the sphericity
+of the earth, and it was the work of Averroes that set Christopher
+Columbus thinking upon his voyage of exploration.
+
+The Moors in Seville were not only a cultured and devout community. They
+were commercial and manufacturing, weavers of cotton, silk and wool,
+makers of leather and paper, and growers of grain. In their hours of
+recreation they played chess, sang and danced. Their dances have
+survived to this day in the south of Spain, and may be witnessed in the
+_cafés_ of Seville and Malaga.
+
+[Illustration: Roman Capital.]
+
+
+
+
+CHAPTER II
+
+_The City Regained_
+
+     'All the intellect of the country which was not employed in the
+     service of the church was devoted to the profession of arms.'
+
+     BUCKLE, _History of Civilisation_.
+
+
+In 1023 Abu el Kásim Mohammed, then Cadi of Seville, raised a revolt
+against the Berber rulers of Andalusia. The rising was successful, and
+the town once more became a capital. Under the Abbadid dynasty, and the
+rule of Motadid and Motamid, Seville was secure and peaceful. Stirring
+days came with the rise of the Almoravides in the eleventh century. In
+Morocco, Yussuf, son of Tashfin, had been inspired to wage battle in the
+name of a reformed religion. The Almoravides, or Mourabitins, _i.e._,
+'those who are consecrated to the service of God,' were a fanatical sect
+led by an intrepid warrior. They had made havoc in Northern Africa,
+deposing sovereigns and seizing territory. Now they were to make history
+in Spain.
+
+Under Alfonso III. the Spaniards of the northern and central parts of
+the Peninsula had prospered in their arduous task of stemming the
+advance of the Moors northwards. Spain had won back Asturias, Galicia,
+and part of Navarre, and in time León and Castile were restored to
+Christian rule. But under Almanzor, a most redoubtable commander, León
+fell, and the whole population of its capital was slaughtered. The death
+of Almanzor, in 1002, brought about vast changes for the Moorish
+kingdom in the south of Spain. There was no great leader to control the
+fortunes of Islam. The territorial governors were in constant dispute,
+and often at war one with the other. It was a golden opportunity for the
+soldiers of the Cross.
+
+In 1054 Fernando I., a sagacious ruler of León and Castile, made a
+crusade against the Moors of Portugal, and brought the King of Toledo to
+his knees. He besieged Valencia and brought his troops into Andalusia.
+Under Alfonso VI., Toledo was recovered, amid the rejoicings of the
+Christian host, who anticipated a speedy delivery from the Morisco
+domination. The coming of Yussuf and his fierce Almoravides dashed the
+hopes of Alfonso's army. Finding themselves encompassed with growing
+dangers, the Moors of Spain begged the assistance of the powerful
+Almoravides. A conference of the Moorish rulers was held at Seville, and
+a message sent to Yussuf. The Almoravide King was astute. At first he
+displayed but little sympathy for his brethren in Spain. But the offer
+of Algeciras induced him to promise aid, and he came with a strong army
+of Moors and Berbers. Alfonso was informed that a profession of belief
+in the creed of Mahomet would spare him from certain death. The
+Christian sovereign replied by allying himself with Sancho of Navarre,
+and bringing a force to meet Yussuf. Between Badajoz and Merida the
+armies met in a terrible conflict. Alfonso was forced to retreat, and
+for the present Yussuf offered no further demonstration of his military
+skill.
+
+Next year the King of Morocco returned to Spain with his army, and
+exhorted the Moors of Andalusia to unite with him in a war of
+extinction. The petty sovereigns showed but little enthusiasm for a
+campaign. Probably they distrusted Yussuf's motives. Such suspicion was
+not without a basis, for when the Almoravides came for the third time,
+the monarch plainly stated that he purposed to annex all the remaining
+Mohammedan region. With a hundred thousand men, Yussuf took Seville and
+Granada. Alfonso came to the assistance of the Sevillians with a force
+of twenty thousand; but the Almoravides seized the city, and held it
+until the days of the Almohades in 1147.
+
+Alfonso then sought the alliance of France to assist his nation in
+expelling the African invaders. But the power of the Almoravides grew.
+Córdova was their seat of government, and Seville was one of their most
+important cities. The Moriscoes in Spain were no longer an independent
+race, but under the sway of Morocco. Motamid II. doubtless rued the hour
+when he sought aid from Yussuf. Fair Seville had passed out of his
+hands.
+
+At this time there arose the famous Cid, the revered warrior and type of
+Spanish chivalry. Many are the legends and ballads extolling the bravery
+of this champion of Christendom. Some of the stories of his deeds are so
+improbable that certain historians of Spain have regarded the hero as a
+character of fable; but Professor Dozy has investigated the old
+chronicles, both Spanish and Moorish, and reached the conclusion that
+there _was_ a Cid, a mighty soldier and a devout Catholic, named Rodrigo
+Diez de Bivar. There is no doubt that the Cid loved the field of battle
+from his youth, and that he was ever ready to fight, sometimes for the
+Christians, and sometimes for Moorish chieftains at war with one
+another. In the end he became a valorous freebooter, with a following of
+the sons of noble families. The Cid came at least on one occasion to
+Seville as an emissary of King Alfonso to Motamid, to collect sums due
+from the Arab ruler. Motamid was then at strife with Abdallah, King of
+Granada, who was assisted by certain Christian _caballeros_, including
+Garci Ordoñez, formerly standard-bearer to Fernando. The Cid endeavoured
+to restrain the King of Granada from making war upon Motamid's city, but
+Abdallah was not to be influenced for peace. He went forth and was met
+by the combined armies of the Cid and Motamid of Seville, and defeated
+with much loss. Ordoñez and the Christian cavaliers were taken
+prisoners. The Cid took his tribute, and certain costly gifts for
+Alfonso from Motamid, and departed. Soon after this episode in
+Andalusia, Alfonso heard that Rodrigo, the Cid, had retained some of the
+presents sent by the King of Seville. This report was set going by Garci
+Ordoñez in revenge for his defeat at the hands of the Cid and Motamid,
+and the tale was credited by King Alfonso. There was already prejudice
+against the Cid in the royal mind, and Alfonso was still further
+displeased when his general went to attack Abdallah without permission.
+When he heard that, to crown all, the Cid had exhibited dishonesty,
+Alfonso was wroth, and banished Rodrigo from the kingdom. But the Cid
+gained immense power and homage as an independent sovereign, and when
+Alfonso was in sore need of a general to fight for him against the
+Almoravides, he approached the gallant Rodrigo with assurances of
+friendliness, and solicited his aid. Perhaps the missive of Alfonso went
+astray; at anyrate, the Cid did not at once respond to the King's call
+for help. This apparent apathy incensed Alfonso. Again he sought to
+punish the Cid, confiscating his estates and imprisoning his wife and
+children. And again the invincible Rodrigo proclaimed himself a king on
+his own account. He died in 1099, and at his death his territory was
+taken by Yussuf, the Almoravide. The Cid's bridle, worn by his steed,
+Babieca, hangs in the Capilla de la Granada, in the south-east corner of
+the Court of the Oranges at Seville.
+
+The Almoravides appear to have been an exceedingly energetic and
+turbulent race. They were, indeed, too fond of warfare, for they were
+constantly fighting amongst themselves when they were not at war with
+the Christians. Under their dominion every ruler of a city who could
+raise troops called himself sovereign, and made attack upon the governor
+of the nearest wealthy centre. The Almoravide rule was not so just and
+prudent as that of the Moors who preceded them, and the people groaned
+under its despotism. Conquest by the Almohades came as a redemption from
+the tyranny of the Almoravides.
+
+In Northern Africa, the land of prophets and of new sects, Mohammed, son
+of Abdalla, proclaimed himself the _Mehdi_, and gained the adherence of
+a great horde of devotees. These Unitarians were even more fervent in
+piety than the Almoravides. The _Mehdi's_ general, Abdelmumen, soon
+became the victor of Moorish Spain. Seville was secured by the invaders
+in 1147, and remained under the Almohade rule till 1248. The Almohades
+built the great mosque, with its high minaret, part of the structure
+being formed of stonework of the Roman period; the Alcázar, a huge
+palace, which extended as far as the bank of the Guadalquivir to the
+Golden Tower, and many other magnificent edifices. The palace of the
+Moorish sovereigns at Seville was erected in the form of a triangle,
+with the chief gate at the Torre de la Plata (Silver Tower), which stood
+in the Calle de Ataranzas until 1821, when it was taken down.
+
+Trade revived in the city after its capture by the Almohades; the
+weavers, the metal-workers, and the builders and the decorators of
+houses found constant employment under the new ruler, Abu Yakub Yussuf.
+The Christian Spaniards saw a revival of the Mohammedan fortunes, and
+lamented the influx of this vigorous infidel host. Earnest prayers were
+addressed to the knights of the Cross in all the nations of Europe
+beseeching succour for the faithful in Spain. Pope Innocent III.
+declared a crusade, and called upon foreign Christian rulers to aid the
+Spaniards, with the result that a number of French and English crusaders
+travelled to Spain. A memorable battle was fought in the Sierra Morena,
+the range dividing Castile from Andalusia, and the Almohade army was
+almost destroyed. After this repulse the Moors never made a military
+demonstration of any importance in Castile, but remained in Andalusia
+and the southern districts. Seville and Córdova each had a different
+governor; the Almohade unity was ruptured, and the empire was crumbling.
+
+We have now reached the last days of the Morisco rule in Seville. The
+deliverer, Fernando III., the adored Saint Fernando, came to the throne
+at an auspicious hour, and upon his accession made ready for war upon
+the Mohammedans. In 1235 Córdova was taken by Fernando, and Jaén and
+other towns fell into his hands. Assisted by Aben Alhamar, King of
+Granada, who had been compelled to yield allegiance to the victorious
+Fernando, the Christian monarch marched upon Seville. The inhabitants
+prepared for a stubborn defence. A Moorish fleet guarded the mouth of
+the Guadalquivir, while the troops of the Almohades awaited attack
+within the city. Fernando sent war vessels from the Biscayan coast to
+San Lucar to attack the Moorish fleet. The navy was in the command of
+Admiral Raymond Boniface (Ramon Bonifaz), and in an engagement the
+Moorish ships were driven from their position. Bonifaz lived in Seville
+after the capture of the town. On the front of a house in Placentines,
+now the shop of a dealer in antiquities, there is this inscription in
+Spanish and French: '_Esta casa fué cedida por el Santo Rey D. Fernando
+III. à su almirante D. Ramon Bonifaz cuando conquesto à Sevilla
+libertando del dominio Sarraceno_.'
+
+The infidels next made a stand on land, but failed to overcome the army
+of Fernando. For fifteen months Seville was besieged. Provisions were
+brought into the town from the surrounding district of Axarafa, thirty
+miles long, on the right bank of the Guadalquivir. This
+highly-cultivated region is said to have contained a hundred fertile
+farms. Seville was connected with the suburb of Triana (the town of
+Trajan) by a bridge of boats and a chain bridge. The boat-bridge was
+broken by Fernando during the siege by launching heavy vessels upon it.
+But still the defenders held out behind their high, broad walls, driving
+back the charges of the Christians against the sturdy gates, and raining
+missiles from the towers. At length, when Triana and Alfarache were in
+the hold of Fernando's force, and all food supplies cut off, the
+defenders were forced to yield. On 23rd November Fernando made a
+triumphal entry. The vanquished ruler, Abdul Hassan, who had proved a
+most courageous defender, was offered territory and money if he would
+continue to live in Seville, or in a city of the kingdom of Castile, as
+a dependent officer of the King. The Moor proudly rejected these terms;
+he preferred to leave the scene of his defeat, and with thousands of his
+people he departed for Africa. It is stated that three or four hundred
+thousand Moors had quitted Seville before its capture. If this is true,
+only a few Almohades remained in the place. Those who elected to stay
+were bade to render the same tribute to Fernando as they had been in the
+habit of paying to their princes. Such as desired to return to their
+country were offered the means of travelling and protection.
+
+The triumphant King, escorted by his troops, the loyal inhabitants and
+the clergy, proceeded to the mosque. Christian bishops purified the
+temple, and dedicated it to the service of God and the Virgin, and a
+high and imposing Mass was celebrated. Amid festivities and ceremonies,
+Fernando took possession of Seville and all its rich treasure. He
+occupied the Alcázar, then in its pristine splendour, and divided the
+houses and land around the city among his knights.
+
+The Christian King was brave, and his treatment of the conquered shows
+that he had a strain of mercy in his nature. He was, however, an
+intensely bigoted pietist, for at Palencia he set fire with his own
+hands to the faggots to burn heretics. His austerities were excessive,
+and fasting is said to have weakened his body. Fernando died from dropsy
+at Seville, four years after his conquest of the town. On his deathbed
+he called his son Alfonso, bade him farewell, and exhorted him to follow
+justice and clemency. Then, amid deep sorrow in the city, the King took
+the Mass, and passed away. In 1671 Fernando III. was canonised by Pope
+Clement X.
+
+The keys of Seville, which were given up by the Governor at the
+surrender of the city, may be seen in the cathedral. One key is of
+silver, and bears the inscription: 'May Allah grant that Islam may rule
+for ever in this city.' The other key is made of iron-gilt, and is of
+_Mudéjar_ workmanship. It is lettered: 'The King of Kings will open; the
+King of the Earth will enter.' San Fernando's shrine is on view in the
+cathedral on May 30, August 22 and November 23, when honour is paid to
+the body of the sainted monarch by the soldiers of the Seville garrison,
+who march past with the colours lowered.
+
+In the collection of paintings in the house of Señor Don Joaquin
+Fernandez Pereyra, 86, Calle Betis, Triana, there is a picture
+attributed to Velazquez, and said to have been painted by him at the age
+of twenty-eight, representing the Sultan of Seville handing the keys of
+the city to San Fernando.[A] It is said that Velazquez painted himself
+as model of the King. If the work is not that of the master, it is by an
+artist of parts. The colour is good, and the horse well drawn and
+painted.
+
+Fernando III. was succeeded by his son Alfonzo X., _El Sabio_, 'the
+Learned.' He occupied the Palace of the Alcázar, and devoted his leisure
+to the study of geometry, ancient laws, history and poetry. The King
+wrote verse to the Virgin in the Galician dialect, which resembles the
+Portuguese tongue, and was, for his age, a versatile and accomplished
+scholar. His ambition was great, and though he was called 'the Learned,'
+he was prone to serious error in the conduct of the affairs of
+government. He attempted to take Gascony, which was then in the
+possession of Henry III. of England, and governed by Simon de Montfort.
+The King's military enterprises were costly, and as they failed, the
+people resented the increase of taxes, and especially the measure of
+direct taxation. When Alfonso presented Algarve to the King of Portugal,
+with his natural daughter, Beatrice de Guzman, the nobles rebelled under
+the King's brother, Felipe, and were aided by the King of Granada.
+Alfonso invited the malcontent party to a conference of arbitration at
+Burgos. The knights were appeased; but the King was forced to yield his
+ground, and to make many concessions. Upon the death of Alfonso's eldest
+son, Fernando, a dispute arose concerning the heir to the crown.
+Fernando left two sons, born to him by Blanche, sister of Philip IV. of
+France. The second son of Alfonso, Sancho, was announced as rightful
+successor, but this proclamation was a cause of offence to Philip IV.,
+who claimed that the eldest child of his sister was the lawful heir to
+the throne of Castile. The King of France demanded that Alfonso should
+restore the dowry to Blanche, and allow her and the children to come to
+France. Alfonso refused the request. War was then declared by Philip of
+France; and further anxiety was caused by the disloyalty of Sancho, who
+took the lead of the discontented party, and laid siege to Toledo,
+Córdova, and other towns. The King was at his wit's end. He begged aid
+from Morocco, from the infidels, while, at the same time, he desired the
+Pope to excommunicate Sancho. Eventually the quarrel between King and
+Prince was patched up. Alfonso appears to have cherished affection for
+his unruly son, for upon hearing, soon after the reconciliation, that
+Sancho was seriously ill, the King died of grief.
+
+So closed the troubled career of Alfonso el Sabio. He was a type of the
+bookish student, a great reader, but without a knowledge of human
+nature, and devoid of aptitude for governing a nation. In his fondness
+for book-learning, and his incapacity for ruling, Alfonso may be
+compared to James I. of England. It is claimed to the credit of the
+learned monarch that he encouraged the arts and education in the royal
+city of Seville, and founded the university. He loved the retirement of
+his study in the beautiful Alcázar rather than the council seat; but, at
+the same time, he had a craving for power and wished to extend his
+realm. Alfonso the Learned presented a reliquary to the chapter of the
+cathedral, which may be seen among the treasures. His body rests in the
+Capilla Real (Royal Chapel), where it was interred in 1284.
+
+There is but little of interest to record in the annals of Seville until
+the time of Pedro I. Under Alfonso XI., a great council was held in the
+city to discuss plans for defending Andalusia from the Emperor of
+Morocco, who had landed in Spain with a powerful army. The King of
+Portugal attended the conference and promised his support, and in a
+battle fought near Tarifa the invading force was driven back. During the
+reign of Alfonso XI., the Earl of Derby and the Earl of Salisbury came
+to Spain, to fight for Christianity, and to offer amity to the martial
+King.
+
+With the death of Alfonso XI., we come to the days of his son, Pedro I.,
+the most renowned of all the Christian sovereigns who made court at the
+capital of Andalusia. The reign of Pedro el Cruel abounds with so much
+'incident' from the story-teller's point of view, that many tales,
+ballads and plays of Spain are concerned with the exploits of this
+remarkable King. In some of the narratives he is portrayed as a
+veritable monster of cruelty and perfidy; in others he is represented as
+a severe, but just, monarch, with sympathy for the lower classes. Pedro
+was sixteen when he came to the throne. Fearing an attempt on the part
+of Enrique (son of Alfonso XI. by his mistress, Leonora de Guzman) to
+seize the crown, Pedro contrived to lure Leonora to Seville, and to
+imprison her in the Alcázar. From this dungeon the wretched woman was
+sent to other prisons, until she was done to death. There was no limit
+to Pedro's ferocity when his malignity was aroused. His deeds suggest an
+insane lust for bloodshed, and a delight in the infliction of suffering.
+He killed with his own hand, or by the aid of bravoes, all relatives,
+rivals and dangerous persons who came within his power. His first wife
+was Blanche of Bourbon, niece of King John of France; but he deserted
+her in two days, to return to his mistress, the lovely Maria de Padilla.
+When Pedro's fancy fell upon the handsome Juana de Castro, he declared
+that his union with Blanche was invalid, and induced the Bishops of
+Salamanca and Avila to perform a marriage service. Soon after the
+wedding Pedro left his bride, and insolently avowed that he had only
+experienced a passing passion for her.
+
+One day Abu Said, King of Granada, wrote to Pedro of Seville, begging an
+audience of him that he might seek his help in resisting an enemy,
+Mahommed-ibn-Yussuff. To this request Pedro acceded. Abu Said, escorted
+by three hundred of his court, and a number of menials, journeyed to
+Seville, and was received most graciously by the King, who gave orders
+that the visitor and his retinue should be well cared for in the
+Alcázar. The Red King, Abu Said, possessed a splendid treasure of
+jewels. Among the precious stones was the famous ruby which now
+decorates the royal crown of England. It is possible that the Moorish
+King intended to present certain of his gems to Pedro, for we read that
+he brought his treasure with him to Seville. But his host, hearing how
+fine a store of jewels lay within his reach, commanded a number of hired
+murderers to purloin the treasures by force. The guest and his nobles
+were surprised in their apartments; they were stripped of their
+valuables and money, while the Red King was deprived of the very clothes
+that he wore. Dressed in common raiment, and seated upon a donkey, the
+unfortunate Abu was taken, amid the derision of the rabble, to a field
+without Seville, and there executed with thirty-six of his courtiers.
+Pedro's excuse for his treachery and cruelty was that the King of
+Granada had betrayed him in his war with Aragon, a charge that could not
+be founded.
+
+Among the beauties of Seville of that date was the Señora Urraca Osorio.
+When Pedro saw her, he vowed to bring her within his power. At first he
+paid her compliments and endeavoured to win her favour by flattery and
+gifts. Urraca was a proud woman. In all likelihood she recoiled from
+this brutal flatterer and deceiver of women, and not even his kingly
+rank could induce her to pay the least heed to his addresses. No one
+dared to foil Pedro; the _señora_ doubtless surmised the revenge that
+the King would plan against her. Yet she bravely refused to lend her ear
+to his proposal, preferring death to the forfeiture of her self-respect.
+Then Pedro threatened a terrible punishment. Urraca still refused.
+Faggots were piled in the market square of the town, and the persecuted
+lady was led forth and burned to death in public.
+
+The people of Seville seem to have been hypnotised by their cruel
+sovereign. For these horrible deeds they even offered pleas of
+extenuation, and, according to some Spanish historians, Pedro was one of
+the most popular of the kings that lived in the city after its
+restoration to the Christians. A certain Bohemian strain in the King's
+character no doubt appealed to a mass of his subjects. He was credited
+with sympathy for the labouring class and a desire to protect the people
+against the tyranny of the nobles. Where his own personal interests were
+not concerned, Pedro the Cruel sometimes evinced that sense of equity
+that led Felipe II. to describe him as 'the Just.' But in private
+matters Pedro displayed no trait of justice and no hint of magnanimity.
+
+Now and then Pedro would muffle himself in his _capa_, don his sword,
+and wander from the palace after dark to the low quarters of Seville.
+He liked to study the life of the _Mudéjares_, the Jews, and the
+artisans, and to rub shoulders with his subjects when they were scarcely
+likely to recognise him. One night the King was roaming in the alleys of
+the city, keeping an eye upon all who passed by, and probably hoping
+that he might find an unlucky watchman off his guard and neglecting his
+duty. Suddenly a passing hidalgo pushed against the King. Pedro abused
+the stranger; there was an altercation, and swords were whipped out of
+their sheaths. In the dim light of the thoroughfare the combatants
+clashed blades, and engaged in a duel to the death. Presently the King's
+opponent received a thrust in a vital part of the body, and falling to
+the pavement, he lay bleeding to death. A few weeks before this night's
+encounter Pedro had forbidden street-fighting, on penalty of capital
+punishment for the unwary custodians of order in the city.
+
+With a grim smile, the King sheathed his weapon and went home to the
+Alcázar, musing upon the consternation of the authorities when the
+corpse of the _caballero_ was discovered. Next morning he sent for the
+Alcalde, or Mayor of the city. 'Sir,' said Pedro, 'you fully understand
+that I hold you accountable for any breach of the peace that occurs in
+the streets of Seville?' The Mayor humbly responded that he knew the
+fresh regulation which his majesty had been pleased to enforce. At that
+moment a page brought word to the King that the dead body of a hidalgo
+had been found, early that morning, in the plaza near where the Casa
+Pilatos now stands. 'What means this?' demanded Pedro, turning to the
+affrighted Alcalde. 'If the murderer of this gentleman is not found in
+two days, understand that you will be hanged.' The Mayor's face was
+white as he bowed himself from the royal chamber. With a sinking heart
+he prepared himself for his fate. There was scarcely any hope of
+tracking the assassin in forty-eight hours.
+
+The wretched Mayor sat down in his room to meditate upon the best means
+of tracing the criminal. Meanwhile the story of the murder was abroad,
+and people were talking of the affair. The gossip reached the ears of an
+old woman, who went at once to the Alcalde, telling him that she had
+seen a fight from her bedroom window late during the previous night. The
+combatants appeared to be gentlemen, but to make sure, she lit a candle
+and leaned out of the window. One man had his back towards her, and she
+could not see his face. But of the identity of his opponent she was
+quite certain: _it was his majesty the King, and no other_. When she
+saw, beyond a doubt, that it was the King who plunged his blade into the
+hidalgo's breast, she felt terrified, blew out the candle, and withdrew
+her head from the window.
+
+'Thank God!' cried the Mayor, seizing the old woman's hand. Then he
+hurried to the Alcázar, sought a hearing from the sovereign, and said
+that he had found the murderer of the hidalgo. The King smiled. 'Indeed,
+your majesty,' said the Alcalde, 'I can let you look him in the face
+when he hangs on the gallows.' 'Good!' replied Pedro, still smiling
+incredulously.
+
+Hastening to the quarter of the Moorish artisans, the Mayor ordered them
+to make a cunning effigy of the King, and to bring it to him without
+delay. A few days after, the Alcalde requested his majesty to attend the
+hanging of the criminal in the Plaza de San Francisco. Greatly curious,
+Pedro came to the place of execution. And there, upon the gibbet, he saw
+a dummy of himself dangling from the rope. Struck with the humour and
+ingenuity of the Mayor's device, the King said: 'Justice has been done.
+I am satisfied.' The street where Pedro fought with the hidalgo is
+called the Calle della Cabeza del Rey Don Pedro, and the alley where the
+old woman lived is known as the Calle del Candilejo, or 'street of the
+candlestick.'
+
+[Illustration: OLD WALLS OF THE ALCÁZAR.]
+
+In visiting the Alcázar we shall have more to recall of the career of
+Pedro the Cruel. The palace is haunted with memories of the King and of
+Maria de Padilla. Pedro was fond of Seville and preferred the Alcázar to
+any other residence. He made many alterations in the palace, built the
+rooms around the Patio de la Monteria, and brought material for their
+construction from the remains of Moorish edifices in Seville, Córdova,
+and other places.
+
+When Pedro caused his unfortunate wife, Blanche, to die in prison, from
+the dagger, or by poison, his subjects were at length aroused to
+indignation. The insensate ruler was bringing the nation to the verge of
+ruin by his misdeeds. France resented the dastardly murder of Blanche of
+Bourbon, and the King vowed revenge on Pedro. Enrique, brother of Pedro,
+was fighting for the crown, and had been proclaimed Sovereign at Toledo;
+while the Sevillians, who had long endured their King's severities and
+condoned his cruelties, were up in arms and threatening the royal
+palace. Pedro fled from Seville, and came eventually into Aquitaine, to
+the court of the English Black Prince at Bordeaux. The chivalrous Black
+Prince espoused the cause of Pedro against Enrique, pitying the fugitive
+King who had been forced to leave his country. In return for his
+support, Pedro offered his English ally a large sum of gold, and the
+great ruby stolen from Abu Said in the Alcázar of Seville.
+
+The campaign was decided in favour of the King of Spain, but its
+hardships cost the Black Prince his life. Pedro was again acknowledged
+King. His downfall was, however, fast approaching. Enrique conquered his
+brother, soon after the departure of the English army, and came to see
+him at Montiel in La Mancha. It is said that Pedro was treacherously
+drawn into a trap. In any case, he fell by the dagger of his brother
+Enrique; and so ended violently the life of one who had lived in
+violence and bloodshed.
+
+As our story is more concerned with the city of Seville than with the
+fortunes of the rulers of Spain, we may resume the narration at the time
+of Isabella and Fernando. No incidents of signal importance occurred in
+Seville between the death of Pedro I. and the accession of the famous
+Catholic Queen. With the reign of Isabella, the city became the theatre
+of events that influenced the whole of the nation, and indeed the whole
+of Christendom.
+
+It was at this time that the arts and letters of Spain began to revive.
+In Seville the year 1477 is the date of the first setting up of a
+printing press, by one Theodoricus el Aleman (the German). Konrad
+Haebler, in his work on _The Early Printers of Spain and Portugal_, says
+that for fifteen years the only printers in the city were German
+immigrants. One of the early important books printed in Seville was
+Diego de Valera's _Cronica de España_. In 1490 a firm of printers, under
+the title of Four German Companions, opened business, and in three years
+published nine volumes, while two years later there was a rival press
+owned by another German.
+
+It was in 1493 that the city saw the return of the great Columbus from
+his first voyage. For a long time the blue-eyed, dreamy Genoese,
+Christoforo Colombo, had mused upon the scientific works of the
+cultivated Moors, and speculated upon the existence of other lands far
+away across the restless ocean. Sceptics laughed at the dreamer; the
+clergy frowned at his impudent theories; but a few bold adventurers were
+inspired by his enthusiasm.
+
+The story of his setting forth has been often told. Let us welcome the
+sunburnt explorer upon his return to Seville on Palm Sunday 1493. The
+wondering people are all anxious to catch sight of Cristobal Colon, the
+Italian, who claims to have discovered a New World. He passes down the
+streets, a tall, brawny man, bronzed, with red hair, which became white
+at the age of thirty. To those who question him he replies with dignity
+and courtesy, becoming eloquent as he describes the marvels of the vast
+country beyond the sea. The whole city is talking of the great news; the
+foreign sailor is the hero of the hour. And now those who doubted
+Colon's sanity are singing his praises in all the public meeting-places
+of Seville. An office for the administration of this new country is
+instituted in the city. From the Queen and her Consort to the seller of
+water in the streets, everyone utters the name of the explorer with
+admiration. The ecclesiastics, who declared that it was impious to
+assert that the earth is a globe, are vexed that they have been found
+wrong in their arrogant statements. They continue to quote from the
+Pentateuch, and the writings of St. Chrysostom, St. Jerome and St.
+Augustine to show that pious authority was on their side.
+
+Queen Isabel had encouraged the Genoese sailor in his project, and the
+wealthy Pinzon family, of Palos, had assisted him with means, some of
+them also accompanying the explorer on his first voyage. Columbus was
+made an admiral, and promised further support in his expeditions. In May
+1493 he started again, having with him fifteen hundred men and a fleet
+of fifty vessels. The crews of these ships were made up of adventurers,
+gold-seekers, idlers and a sprinkling of scoundrels selected by the
+Government. In the company there were priests, and it was through the
+machinations of one of them, Father Boil, that Christopher Columbus
+incurred the displeasure of Isabel and Fernando. By every ship that was
+bound for Spain from the New World, Boil sent complaints of Columbus.
+Unfortunately, Isabel lent her ear to these slanders, and sent Francisco
+Bobadilla to dismiss Cristobal Colon, and to take his place. Bobadilla
+took possession of Columbus's charts and papers, put him into chains,
+and sent him, like a felon, in the hold of a ship to Spain.
+
+It is pitiful to read of the degradation of this honest and brave man,
+whose energies built up the prosperity of Spain, and made Seville one
+of the busiest cities of Europe. He laid his case before the Queen and
+Fernando, and vowed that he had in no sense neglected his duty towards
+the country of his adoption. We know that he was 'forgiven,' but the
+insult offered to him preyed upon the sensitive mind of the explorer.
+Yet he again resolved to visit the land that he had discovered; and in
+1503 he left Spain with four worn-out ships. A year later Columbus
+returned for the last time. The people of San Lucar, at the mouth of the
+Guadalquivir, welcomed back a captain in shattered health, and a crew
+wearied by hardship and exposure.
+
+Columbus now longed to settle quietly in Seville, and to end his days
+there. He found that his popularity was waning, and that his rents had
+not been collected properly during his absence. With the death of Isabel
+he lost royal patronage. His last voyage had cost him much; but the
+people of Seville believed him to be immensely rich, whereas his income
+was now meagre. 'Little have I profited,' writes Columbus, in a letter,
+'by twenty years of service, with such toils and perils; since, at
+present, I do not own a roof in Spain. If I desire to eat or sleep I
+have no resort but an inn; and for the most times have not wherewithal
+to pay my bill.'
+
+In his last days we picture Christopher Columbus bending over the
+manuscripts, which may be seen in the Biblioteca Columbina, the library
+at Seville founded by the natural son of Columbus. One of the
+manuscripts treats upon biblical prophecy. It was written to appease the
+Inquisitors, who, to the last, suspected the discoverer of heresy.
+Writing of this Apologia, Washington Irving says that the title and some
+early pages of the book are by Fernando Columbus; 'the main body of the
+work is by a strange hand, probably by Friar Gaspar Gorricio, or some
+other brother of his convent.' There are signs in the hand-writing that
+Columbus was old and in poor health when he wrote the work. The
+characters are, however, distinct. There are passages from the Christian
+Fathers and the Bible, construed by the author into predictions of the
+discovery of the New World.
+
+The gallant voyager was now prematurely aged, though he had led an
+abstemious life. Disappointment at the neglect of the world no doubt
+preyed upon his spirits in these last days of his career, for it is said
+that he possessed 'a too lively sensibility.' Upon the whole, Columbus
+was ill-used by Spain, though his memory is revered. It is the old, sad
+story of worth and genius. In 1506 Cristobal Colon died in a poor
+lodging at Valladolid. He left a son, born to him by his mistress,
+Beatrix Enriquez. In his will Columbus left money to Beatrix.
+
+Great honour was paid to the body of the famous explorer. Columbus was
+buried in the parish church of Santa Maria de la Antigua. Some years
+later the Sevillians desired that the remains should be removed to their
+city, and they were then carried to the Carthusian monastery of Las
+Cuevas, to the Chapel of St. Ann, or of Santo Christo. The house of Las
+Cuevas was a fine one, celebrated for its pictures and treasures, and
+surrounded with orange and lemon groves. But the bones of Columbus were
+not to remain in Seville. They were taken, in 1536, to Hispaniola, and
+laid in the principal chapel of the Cathedral of San Domingo. Finally
+the remains were removed to Havanna.
+
+While paying due respect to Christopher Columbus, we must not forget the
+great services rendered to the country generally, and to Seville, by
+Fernando de Magallanes, or Magellan, who embarked at that port in August
+1519 with five vessels. Passing the Canary Islands and Cape Verde, the
+Portuguese explorer reached Brazil, and went south to Patagonia, 'the
+land of giants,' arriving eventually at the dangerous straits which bear
+his name. Magellan never returned to Spain. Only two of his ships
+reached the Moluccas, and of the five that started but one came back to
+Seville on the homeward journey.
+
+These were the days when Seville was a bustling port of embarkation, and
+a great storehouse for treasure from America and the Indies. A fever of
+emigration seized the adventurous spirits of Andalusia; and Andrea
+Navigiero, a Venetian ambassador, who journeyed through Spain in 1525,
+says that the population of Seville was so reduced that 'the city was
+left almost to the women.'
+
+The discoveries and conquests of Pizarro, who came to Seville after his
+first voyage, added to the enthusiasm for emigration. But Pizarro found
+it a hard matter to raise money for the expenses of a second expedition.
+He contrived, however, to man three ships, and was about to start, when
+the Council of the Indies sought to inquire into the state of the
+vessels. Fearing that he might be hindered from his scheme, the explorer
+set sail at San Lucar, in great haste, and made for the Canary Islands.
+
+It was in January 1534 that Hernando, brother of Francisco Pizarro, was
+directed to return to Seville with a great hoard of treasure. The Custom
+House was filled with ingots, vases and ornaments of gold, and the
+inhabitants were much interested in the splendid spoil. Hernando Pizarro
+came later under a charge of cruelty to the subject race of South
+America. In his _Spanish Pioneers_, Mr Lummis tells us that 'Hernando
+was for many years imprisoned at Medina del Campo, and that he died at
+the age of a hundred. His brother, Francisco, who was born at Truxillo,
+in Estremadura, was a swineherd in his boyhood. Fired with the spirit
+of romance and adventure, the lad deserted his herd of pigs and ran away
+to Seville, where he found scope for his restless energy, and was able
+to influence seafaring men to accompany him on a cruise of discovery.
+
+Seville was now at the height of its commercial prosperity. There was a
+constant come and go of trading vessels; the silk trade was greatly
+developed, and leather was made for the markets of Spain. Isabel took
+much interest in the improvement of the commerce of the city. When she
+ascended the throne, Seville was notorious for its gangs of thieves and
+criminals of all kinds, while the surrounding country was insecure
+through the numbers of bandits who waylaid and robbed traders and
+farmers on the roads. The Queen determined to stamp out crime by
+rigorous measures. She held a court in the _salon_ of the Alcázar, and,
+in the Castilian custom, presided over the hearing of criminal charges.
+Once a week, Isabel sat in her chair of state, on a daïs covered with
+gold cloth. For two months she conducted a crusade against robbery in
+the city, recovering a great amount of stolen property, and condemning
+many offenders to severe penalties. Her severity struck alarm among the
+vagabond and thieving population, and probably terrified a number of the
+people who had reason to fear justice. Four thousand subjects left the
+town. The respectable burghers grew concerned, dreading that this
+depopulation would injure the city and deprive it of workmen. A
+deputation of citizens waited upon Isabel and begged her to relax her
+austerity. The Queen was therefore prevailed upon to offer an amnesty
+for all offenders except those convicted of heresy.
+
+Isabel's fortunes as a ruler were largely determined by her charms. The
+Sevillians could not fail to worship the tall, fair young Queen, with
+the frank and beautiful countenance and blue eyes. Her very
+unconventionality delighted her court and the army; and when she rode at
+the head of her troops, in a suit of mail, with a sword by her side,
+every _caballero_ was ready to follow the fair commander through blood
+and fire. Isabel's sword, a pretty little weapon, is to be seen in the
+Real Armeria at Madrid.
+
+The Queen was one of those magnetic personages to whom all things are
+permissible. Even in modern times it is considered unseemly for a
+Spanish woman to engage in field sports, or any kind of athletic
+exercise; but the Spaniards of Isabel's day not only forgave, but
+revered, the Queen who sat on the judicial bench, donned masculine
+attire, carried weapons, and took a man's part in the government of her
+state. Had it not been for the terrible taint of bigotry, which led
+Isabel to sanction deeds of persecution and cruelty, her character would
+have presented an example approaching the excellence with which
+enthusiastic historians have credited it.
+
+[Illustration: Sword of Isabella]
+
+Four years after the accession of Isabel there began the reign of the
+Inquisition in Seville. When Alfonso de Hoyeda, Prior of the city, and
+Felipe de Barberis, Inquisitor of Sicily, persuaded Fernando that a
+crusade against heresy would replenish his exchequer by means of
+confiscation, the King was induced to listen to their proposal. At first
+Isabel recoiled from this scheme of torture and plunder. But her woman's
+mind and heart were not secure against the insidious influence of the
+priests, who used their utmost powers of suasion to convince her that
+Heaven approved of the destruction of heretics. Finally the Queen gave
+way; and the 17th of September 1480 saw the setting up of the tribunal
+of the Holy Office in the Dominican Convent of St. Paul at Seville.
+
+M'Crie, in _The History of the Reformation in Spain_, states that 'in
+the course of the first year in which it was erected, the Inquisition of
+Seville, which then extended over Castile, committed two thousand
+persons alive to the flames, burnt as many in effigy, and condemned
+seventeen thousand to different penances.' We must note, however, that
+according to Prescott these figures refer to several years and not to
+the opening years of the institution of the Holy Office in Seville. By
+the end of October 1481 it is recorded that three hundred persons had
+been burned to death in Seville. In about thirty-six years, four
+thousand victims went to the stake in the city, while many times that
+number were condemned to slavery, to perpetual imprisonment, to short
+terms, and to other punishments.
+
+'The modern Inquisition,' writes M'Crie, 'stretched its iron arms over a
+whole nation, upon which it lay like a monstrous incubus, paralysing its
+exertions, crushing its energies, and extinguishing every other feeling
+but a sense of weakness and terror.' Many of the Sevillians fled from
+the city and sought the protection of the Duke of Medina Sidonia, the
+Marquis of Cadiz, and the Count of Arcos.
+
+At this period a frightful pestilence swept over Seville, reducing the
+population by thirty thousand, and causing great suffering. The clergy
+resorted to prayer; charms and relics of the saints were displayed in
+the churches; but little or nothing was done in the way of preventing a
+spread of the plague by sanitation, or of alleviating the malady by
+medical science. It is a saddening picture--the people dying of the
+disease, thousands languishing in dungeons, and a multitude filled with
+fear lest they should succumb to the epidemic, or fall into the hands of
+the Inquisitors. Puigblanch, author of _The Inquisition Unmasked_,
+states that the number of the banished and the 'reconciled' in Andalusia
+from 1480 to 1520 was a hundred thousand. He asserts that forty-five
+thousand persons were done to death in the Archbishopric of Seville
+during this period.
+
+Without the city, on the Prado de San Sebastian, is the burning ground.
+As we stand there, the imagination conjures a procession accompanying a
+victim to the awful torture of the stake. The doomed man is an aged and
+devout Morisco, who has saved money by his industry. He has been found
+guilty of infidelity, and he has refused to partake of the Christian
+sacrament. He is dressed in the sanbenito, a yellow garment, with
+pictures of devils kindling a fire and burning faggots, and on his head
+is a fantastic conical cap of pasteboard, called the _coroza_. First
+comes a troop of soldiers to clear a path for the procession through the
+jostling rabble. The soldiers are followed by several priests in
+canonical vestments, and the boys of the College of Doctrine, who chant
+the liturgy. Then comes the convicted heretic, with a familiar on either
+side, and two friars, followed by the judges, ministers of government,
+and hidalgoes on horseback. In another procession comes the Inquisitors,
+and their standard of red, with the names and insignia of Pope Sixtus
+IV. and King Fernando upon it. The members of the Holy Office are
+escorted by esquires, and in the rear is a great mob of towns-people.
+But enough: imagination is at this point repelled. We turn away from the
+scene, and enter the shady gardens that stretch along the Guadalquivir,
+to scent the flowers and to listen to the thrush and nightingale.
+
+We cannot, however, close our perceptions to the fact that Seville
+played an important part in the Inquisition. In roaming the streets of
+the city, it is impossible to forget that this mighty instrument of
+fanaticism has left its impress on Spain. We remember that every son of
+Seville who dared to exercise his conscience in the matter of religious
+belief ran the risk of ending his life upon the Prado de San Sebastian.
+The terror of this institution must have blighted the lives of millions
+of Spaniards. And we are moved to the reflection that the good which
+Isabel performed with one hand was almost destroyed by the evil
+inflicted by the other.
+
+The story of Rodrigo de Valer, one of the first to embrace the Lutheran
+faith in Seville, is of deep interest. In the fashionable resorts of the
+town and at the jousts no youth was more popular than Rodrigo. He had
+charming manners, sat a horse gracefully, and could break a lance with
+the most skilful knights of the ring. His wealth procured him every
+pleasure; he gratified a taste for dress and spent much money upon
+horses. Suddenly he was missed from the dance and the tournament. His
+friends could not account for this changed mode of life. A passion for
+study had taken possession of the young man; and day after day he sat
+pouring over the Vulgate, and improving his knowledge of Latin, so that
+he might understand the book. In a few months Valer was able to quote
+long passages of the Bible from memory. Then he left his study and went
+back to his gay companions as an apostle of a new form of faith. He
+approached the clergy and the monks, and by argument endeavoured to
+convince them of the errors of their creed and ritual, appealing to the
+Bible as the criterion of religious truth. The priests were little
+inclined to listen to Rodrigo. But when they avoided him, the youth
+sought them, engaging them in discussion in the streets and striving to
+set forth his new doctrine. At length the indignant clerics of Seville
+brought the heretic before the Holy Inquisition. So cogent were his
+arguments that some of the members who secretly shared his opinions used
+their influence to save him from punishment. Fortunately Valer was of
+good family. He was declared to be insane, and spared from an extreme
+penalty, but his estates were taken by the tribunal.
+
+Rodrigo's relations now strove to dissuade him from renewing his
+endeavours to reform the Church. What could one helpless man achieve
+against the whole weight of authority? But Rodrigo was full of zeal. He
+began again to denounce the teaching of the clerics, inspired by the
+belief that others would soon follow him. For the second time he was
+arrested on a charge of heresy and sentenced to imprisonment for life.
+
+In the Church of St. Salvador, where Rodrigo was taken on days of
+festival, the fervent youth would rise after the sermon and condemn the
+teaching of the pulpit. Only his rank saved him from the flames. He was
+eventually imprisoned in a monastery of San Lucar, where he died at the
+age of fifty. Valer's sanbenito was displayed for a long time in the
+metropolitan church of Seville. It was inscribed: 'Rodrigo de Valer, a
+citizen of Lebrixia and Seville, an apostate, and false apostle, who
+pretended to be sent of God.'
+
+The teaching of Valer was not without fruit. He was the founder of a
+small, but fervent, sect of Lutheran Christians in Seville, whose
+doctrines gradually found acceptance among a number of the people. One
+of the reformed party was Juan Gil, known as Doctor Egidius, preacher in
+Seville Cathedral, who was joined by Vargas and the celebrated
+Constantine Ponce de la Fuente. M'Crie says that 'the small society in
+Seville grew insensibly, and became the parent stock, from which
+branches were taken and planted in the adjacent country.' Persecution
+was inevitable. Egidius was denounced and thrown into prison, while
+Vargas was murdered, and Ponce de la Fuente banished. After a long
+incarceration, Egidius returned to Seville; but he caught a fever, and
+died in a few days. De Montes says that the writings of Egidius, which
+were never printed, were worthy of praise. The Doctor wrote commentaries
+on Genesis and the Psalms, and while in prison he composed an essay on
+'Bearing the Cross.'
+
+Protestantism spread in Seville at this time. There was a church under
+the care of Doctor Christobal Losada, which met in the house of a lady
+of rank, Isabel de Baena, and was attended by the nobles Don Juan Ponce
+de León and Domingo de Guzman. In the Dominican Monastery of St. Paul,
+in the Nunnery of St. Elizabeth, and especially in the Convent of San
+Isidro del Campo, the new doctrines found disciples.
+
+One of the victims of the Inquisition was Torrigiano, the Florentine
+sculptor, whose statue of St. Jerome is in the Museo Provincial at
+Seville. The monument of Henry VII. in Westminster Abbey is the work of
+this artist, who ended his days in the cells of the Inquisitors' prison
+in Seville, in 1552. There is no doubt that many of the hapless
+prisoners died of diseases contracted in the insanitary dungeons of
+Seville and Triana, for Olmedus, one of the sufferers, describes the
+dens as vile in 'nastiness and stench.' The ordinary gaols were crowded,
+and many persons were immured in the Castle of Triana, and in the
+convents of the city.
+
+[Illustration: Plaza San Francisco]
+
+At Triana resided Gonzales-Munebrega, Archbishop of Tarragona, whose
+name was coupled with that of Torquemada as a ruthless persecutor. This
+officer of the Inquisition might be seen by the trembling populace
+walking in the castle gardens, accompanied by a guard of servants.
+Munebrega wore rich clothes of purple and silk, and maintained great
+pomp. He exhibited extreme cruelty, and scoffed at the sufferings and
+cries of the tortured.
+
+Llorente and Bernaldez relate some sickening details of the savage modes
+of torment imposed upon the victims of the Inquisition in Seville. It is
+not necessary that the tales of horror should be retold here. The first
+_auto-da-fé_ celebrated in the city was in 1559, when Don Juan Ponce de
+León and several other apostates were committed to the flames in one of
+the chief plazas. Ponce de León was described as 'an obstinate Lutheran
+heretic.' The heroic Doctor Juan Gonzalez, of Moorish ancestry, was
+burnt upon the same day for preaching Protestant doctrines. We see him
+leaving the Triana gaol on the morning of execution, 'cheerful and
+undaunted,' though he was accompanied by his two sisters, both of whom
+were condemned to the stake, and had left behind in the prison his
+mother and two brothers. The Doctor sang the 109th Psalm, and attempted
+to console his sisters, whereupon a gag was thrust into his mouth.
+
+'When they were brought to the place of execution,' writes M'Crie, 'the
+friars urged the females, in repeating the creed, to insert the word
+_Roman_ in the clause relating to the Catholic Church. Wishing to
+procure liberty to him to bear his dying testimony, they said they
+would do as their brother did. The gag being removed, Juan Gonzalez
+exhorted them to add nothing to the good confession which they had
+already made. Instantly the executioners were ordered to strangle them,
+and one of the friars, turning to the crowd, exclaimed that they had
+died in the Roman faith.' Doctor Christobal Losada, the pastor of the
+Protestant church in Seville, suffered death courageously upon the same
+day.
+
+Isabel de Baena, who allowed meetings of the Protestants in her house,
+and Maria de Bohorques were among the women of high birth who were
+burned in Seville. The story of the last-named lady has been told in a
+romance by a Spanish writer, entitled _Cornelia Bororquia_. Maria de
+Bohorques came into the grip of the Holy Office before the age of
+twenty-one. She was a pupil of Egidius, and a diligent student of the
+Scriptures. When seized and tortured by the Inquisition, she refused to
+name those of her friends who shared her belief. Doña Maria was then
+sent to the stake.
+
+Llorente recounts that two Englishmen were burned at one of the _autos_
+of Seville. Nicholas Burton, a merchant of London, who traded with
+Spain, arrived with his vessel at San Lucar while the persecution was
+raging in Seville. Somewhat imprudently, Burton spoke contemptuously of
+the Inquisition, though M'Crie states that the accusation of insolence
+was false. Burton was burnt alive, together with William Burke, a seaman
+of Southampton, and a Frenchman, named Fabianne. The Holy Office then
+seized Burton's cargo; but a part of it belonged to a London tradesman,
+who sent one John Frampton to Seville, with a power of attorney, to
+recover the goods. Frampton failed to make good his claim after four
+months of negotiation, and he returned to England to find greater
+powers. When he landed again in Spain, the agent was arrested, put in
+chains, and thrown into the dungeon of Triana. The charge against him
+was that he had a volume of Cato in his bag. He was questioned as to his
+creed, and ordered to repeat the Ave Maria. Subjected to the torture of
+the rack, the wretched man was forced to confess anything that his
+torturers desired. Frampton was imprisoned for two years, and then
+granted his freedom. His 'Narrative' is to be found in Strype's
+_Annals_.
+
+The unfortunate Constantine Ponce de la Fuente, who was one of the most
+active members of the reformed church in Seville, was seized by the
+Inquisition, and confined in an underground cell for two years, when
+dysentery put an end to his sufferings. In 1781 the last martyr perished
+in the flames at Seville. 'I myself,' writes Blanco White, 'saw the pile
+on which the last victim was sacrificed to human infallibility. It was
+the unhappy woman whom the Inquisition of Seville committed to the
+flames, under the charge of heresy, about forty years ago. She perished
+on a spot where thousands had met the same fate.' A traveller in Spain,
+named Wiffen, says: 'In the year 1842, whilst travelling in that
+country, I found myself in the Alameda Vieja of Seville, in front of the
+house formerly occupied by the Inquisition, where several of the
+prisoners were confined who were burned at the _auto-da-fé_ of 1560.'
+
+Such is the story of the Inquisition in Seville. I have not willingly
+dwelt upon this dark page in the history of the fair city. But it has
+been necessary to refer to the chronicles of this reign of terror; for
+the institution of the Holy Office in Seville is a matter of historic
+importance, and no record of the town could be in any sense complete if
+the annals of the Inquisition were overlooked. And in changing to a
+happier theme it is necessary that I should point out the repugnance
+that masses of the people of Seville exhibited towards the introduction
+of this engine of persecution in the city. Llorente, the Spanish
+historian of the Inquisition, tells us that when Fernando and Isabel
+commanded the Governors of the provinces to supply inquisitors and
+assistants to the royal capital, the inhabitants regarded the arrival of
+the agents of the Holy Office with extreme dissatisfaction, and that
+difficulty was experienced in collecting together 'the number of persons
+whose presence was necessary to the legal opening of their assembly.'
+
+Let us view the city of Isabella the Catholic in a brighter aspect. In
+the year 1490 an ambassador from Lisbon came to the Alcázar of Seville
+to confer with the Queen concerning a proposed marriage between young
+Alonso, heir to the Portuguese throne, and Isabel, the Infanta of
+Castile, and the dearly-loved namesake of the royal mother. It was with
+mingled sentiments of joy and sadness that Isabel consented to the
+union. The month of April was chosen for the ceremony of betrothal, and
+it was arranged that feasts and tournaments should succeed the official
+celebration. Great preparations were made for the festivities. The lists
+were constructed on the bank of the Guadalquivir; hangings of costly
+material draped the galleries erected for the spectators of the jousts,
+and the royal palace was prepared for the reception of noble guests,
+knights of prowess, and their dames and daughters. On the first day of
+the _fêtes_ a splendid procession passed through the streets to the
+lists, where thousands of the nobility were seated, all anxious to
+witness a combat in the arena between King Fernando and one of his most
+accomplished knights. The charming Infanta delighted everyone as she
+came with her seventy ladies-in-waiting, in court dress, and her hundred
+gallant pages as bodyguard. It was a scene which the people long
+recalled. All the rank and loveliness of Castile and Andalusia were
+around the arena when the sports began; the mail and weapons of the
+combatants glistened in the dazzling sunlight of the green meadow; and
+loud were the plaudits when his majesty broke his first lance in a
+furious and exciting tilt with a renowned esquire and champion of the
+lists. Throughout the tournament, Fernando acquitted himself as a true
+knight of the order of chivalry, displaying much courage and a great
+knowledge of the art of the tourney. In the autumn Isabel bade adieu to
+her daughter. A great retinue came to the Alcázar, to accompany the
+Princess to Portugal, in charge of the Cardinal of Spain and the Grand
+Master of St. James.
+
+By the Sevillians, Isabel appears to have been feared as well as
+worshipped. The aliens in the city, all except those who chose to
+embrace the Catholic faith, had, indeed, good reason to fear their
+Queen. Isabel's treatment of the Jews cannot be called humane, but she
+enjoined just conduct towards her Indian subjects. The Queen was humble
+in her obedience to the Chief Inquisitor, Torquemada, and ever ready to
+listen to the counsels of her spiritual guides. Towards heresy she
+showed no clemency, and her measures for dealing with bandits and other
+criminal offenders were excessively severe. But the romantic personality
+of Isabella the Catholic will always appeal to the imagination of the
+Andalusians.
+
+
+
+
+CHAPTER III
+
+_Seville under the Catholic Kings_
+
+     'In her own interior Spain had an arduous problem to solve--she had
+     to overcome the old energetic resistance of a whole people--the
+     tolerably numerous descendants of the former lords and conquerors
+     of the country who still adhered to the Arabian manners and
+     language, and even in part professed the doctrines of the
+     Mohammedan.'--SCHLEGEL, _Philosophy of History_.
+
+
+Seville in the sixteenth century was at the height of its prosperity. We
+have seen how the discoveries of Columbus, Magellan, and the brothers
+Pizarro enriched the city, brought vessels to the port with costly
+store, and opened a vast foreign trade. In every quarter of the town the
+hum of industry was heard. The Morisco artisans, who had become
+'reconciled' to the Christian creed, laboured in stone and metal, and
+there were silk weavers, leather workers, potters, and gold and silver
+smiths. One hundred and thirty thousand persons worked at the looms,
+which were numbered at sixteen thousand.
+
+Learning and the arts benefited by the increase of the city's wealth.
+The university, founded by Alfonso the Learned, was extended; the
+cathedral library was enlarged, and Seville became famous for its poets,
+historians, romance writers, and playwrights. Pacheco, painter and poet,
+had his circle of gifted artists and men of letters; and the doors of
+the Casa Pilatos, the beautiful mansion of the Dukes of Alcalá, were
+open to all the lovers of learning and the students of art. Sculptors
+and painters were constantly employed upon works of art for the royal
+palace, the cathedral, and the churches. The _Mudéjar_ architects and
+builders were engaged by rich dons, who had prospered by the discovery
+of the New World, to design and erect sumptuous residences in the
+Morisco style. Charitable institutions, such as the Hospital de la
+Caridad, were founded and liberally endowed, and an asylum for foundling
+children was built in the Calle de la Cuna. The highly ornate Casa de
+Ayuntamiento, or City Hall, was designed by Diego de Riaño, and Hernan
+Ruiz built the upper part of the Giralda.
+
+The Emperor Charles V., one of the wisest rulers of Spain, occasionally
+made his residence at the Alcázar during the palmy days of Seville,
+though he favoured Segovia and Valladolid. The marriage of the monarch
+with Isabella, daughter of Emanuel, King of Portugal, was celebrated in
+the Alcázar of Seville with much splendour, and the ceremony was
+followed by feasts and diversions. Isabella of Portugal was a gifted
+woman, and extremely beautiful, and the union proved very happy. Charles
+was at this time highly admired in the city; but at a later date even
+the loyal Sevillians showed their displeasure with the Emperor. Certain
+of the merchants of the town disregarded the royal command that all the
+bullion brought in by the India fleet should be stored in the warehouse
+of the Board of Trade, and kept there in case the Government required to
+raise funds quickly for war expenses. The owners of the gold naturally
+preferred their shipments to the Government bonds promising repayment.
+They therefore secretly removed the bullion to their own houses. This
+action angered Charles, as the same practice enraged Philip at a later
+date, and the Emperor ordered the culprits to be put in chains, sent to
+prison, and to be deprived of their possessions. The command was heeded
+at once; and the merchants, and the officials who had connived at the
+misdemeanour of removing the bullion, were conveyed under a strong guard
+to Simancas. One of the offenders was put on the rack and died under
+torture. The gold was, however, never recovered by the State.
+
+The gorgeous Salón de Carlos V. was constructed in the royal palace
+during the reign of the Emperor, who also laid out the gardens on a new
+plan, and built the handsome pavilion in the grounds.
+
+Philip II. had been on the throne for many years before he paid his
+first visit to the southern metropolis. The King loved his mountain
+palace, the Escorial, where he passed his days in writing records of his
+reign, sending dispatches, and shooting with the gun and crossbow.
+Prescott says: 'It was a matter of complaint in the Cortes that he thus
+withdrew himself from the eyes of his subjects.' Even in his visits to
+Madrid, Segovia and Seville, Philip avoided society, and shut himself up
+in his closet with a great heap of papers on his table. When he
+travelled, the King rode in a close carriage, and tried to avoid the
+gaze of his subjects. As he grew older he developed a still stronger
+aversion to being seen abroad.
+
+In 1570, at the time of the preparations for the great war with the
+Turks, the recluse-King came to Seville. His entry was made the occasion
+of a splendid ceremonial and a demonstration of loyalty on the part of
+the inhabitants. Philip came from Córdova, and was met on the outskirts
+of the city by the officials and soldiery. Taking his oath to respect
+the privileges of the city, the Sovereign rode through the crowded
+streets in pomp, accompanied by knights and guards. A splendid canopy
+was held by the chief justices over the King's head as he proceeded to
+the Cathedral to take part in a solemn service. The monarch then took
+up quarters in the Alcázar, which he occupied for a fortnight. During
+his stay in Seville, Philip appeared at the _fêtes_ which had been
+arranged for his entertainment. To show their homage to the King, the
+people of the city subscribed a hundred thousand ducats as a donation
+towards the cost of Philip's marriage with his fourth wife, Anne of
+Austria.
+
+The heavy expenses of the war in the Netherlands and with Turkey led to
+a despotic method of obtaining pecuniary supplies. Philip needed money,
+and to secure it as quickly as possible, he ordered that the officials
+of the Casa de la Contratación at Seville should seize the cargoes of
+gold and silver that had just arrived in the port. This action aroused
+much indignation in the city, and the people grew incensed when the
+command was again given to confiscate the bullion consigned to merchants
+of Seville. When a number of treasure ships were on their homeward
+journey, the King sent Admiral Alvaro de Bazán to the Azores to
+intercept the vessels; and immediately upon the arrival of the fleet at
+San Lucar, the whole of the shipment was sent to Santander, and from
+that port to Flanders.
+
+Under Philip II. the Church in Seville rose to great power, and
+increased in wealth. The Archbishop of the city received an income of
+eighty thousand ducats a year, and the minor clergy profited by the
+King's patronage of the Church. It is not surprising that many of the
+sons of families of rank and position crowded into the profession of
+priest, and that the number of persons in holy orders soon swelled
+enormously. Arts and handicrafts were not considered gentlemanlike
+pursuits; the industry of the city was relegated to Spaniards of low
+birth, to the _Mudéjares_, and to aliens. The _caballero_ of Seville
+aspired to join the Church Militant, or to enter the army. When Philip
+III., the Good, came to the throne there were no less than fourteen
+thousand chaplains in the diocese, while a hundred clerics were on the
+staff of the Cathedral alone.
+
+[Illustration: FOUNTAIN IN BATH, ALCÁZAR.]
+
+The oppression of the Moriscoes in the city became severer in the days
+of Philip II. Doubt was cast upon the genuineness of belief among the
+'reconciled' Moors, and they were bidden to cease reading books in the
+Arabic language, to abandon their ceremonies, to change their mode of
+dress, and to speak in Spanish. The public baths, built by the cleanly
+Moriscoes, were destroyed in every city, and the _Mudéjares_ were even
+forbidden to bathe in their own houses. These mandates exasperated the
+Moriscoes throughout Andalusia. They rebelled and fought desperately;
+but after frightful bloodshed and suffering, they were quelled and
+broken down, never to regain their ancient sway. The suppression of the
+heretics was complete by the time of Philip III. And at this time began
+the decline of Seville's prosperity.
+
+When Philip V. reigned, the sixteen thousand looms of the city had been
+reduced to less than three hundred, and the population was thinned to 'a
+quarter of its former number of inhabitants.' In the fruitful district
+around Seville the vineyards and olive gardens were in a state of
+neglect, and fields once fertile became wastes. Trade declined rapidly
+with the extirpation of heresy. The industrial population was deprived
+of its most skilful and industrious members when the last band of
+Moriscoes quitted the city. In the seventeenth century Andalusia
+suffered fearful poverty. Whole villages were deserted, the land was
+going out of cultivation, and the tax-collectors were enjoined to seize
+the beds and such wretched furniture as the indigent peasants possessed
+in their cheerless houses.
+
+When Philip II. died, loyal Seville honoured the departed King by a
+magnificent funeral service in the Cathedral. A monument, forty-four
+feet square, and forty-one feet in height, was designed by Oviedo, at a
+cost of fifteen thousand ducats. Montañes, the famous sculptor, whose
+work is to be seen in several of the Seville churches, produced some of
+the statuary to adorn the monument, and the young Pacheco, then unknown,
+assisted in the decoration. On November 25, 1598, the mourning multitude
+flocked to the dim Cathedral. While the people knelt upon the stones,
+and the solemn music floated through the long aisles, there was a
+disturbance among a part of the congregation. A man was charged with
+deriding the imposing monument, and creating a disorder in the holy
+edifice. He was a tax-gatherer and ex-soldier of the city, named Don
+Miguel de Servantes Saavedra. Some of the citizens took his side, for
+there was a feud between the civil and ecclesiastical authorities of
+Seville, and the tax-gatherer had merely shown public spirit. The
+brawler, whom we know as Cervantes, was expelled from the Cathedral with
+his companions, and order was restored. But he had his revenge. He went
+to his room and composed a satirical poem upon the tomb of the King,
+which was soon published and read everywhere in the city. Here is one of
+the English translations of the poem:--
+
+TO THE MONUMENT OF THE KING AT SEVILLE.
+
+    'I vow to God I quake with my surprise!
+     Could I describe it, I would give a crown--
+     And who, that gazes on it in the town,
+     But starts aghast to see its wondrous size;
+     Each part a million cost, I should devise;
+     What pity 'tis, ere centuries have flown,
+     Old Time will mercilessly cast it down!
+     Thou rival'st Rome, O, Seville, in my eyes!
+     I bet the soul of him who's dead and blest,
+     To dwell within this sumptuous monument
+     Has left the seats of sempiternal rest!
+     A fellow tall, on deeds of valour bent,
+     My exclamation heard. "Bravo!" he cried,
+     "Sir Soldier, what you say is true, I vow!
+     And he who says the contrary has lied!"
+     With that, he pulls his hat upon his brow,
+     Upon his sword hilt he his hand doth lay
+     And frowns--and--nothing does, but walks away.'
+
+The discovery of the New World, with its opulence of treasure, and the
+expulsion of the Moriscoes, did not yield a permanent prosperity to
+Seville. Even before the death of Philip II., the few far-sighted and
+reflective men doubted whether a great influx of gold and silver, and
+the annihilation of freedom of thought, were likely to benefit Spain,
+either in the material or spiritual sense. The gold fever seized like a
+frenzy upon the avaricious, and the early colonisers turned their backs
+upon any country that lacked precious minerals. Nothing save gold and
+silver was considered valuable. As a consequence these minerals became
+redundant, and in the meantime the cultivation of the land at home and
+abroad, and the development of manufactures, were neglected. No one had
+the enterprise to prevent the silting up of the tidal waters of the
+Guadalquivir, and so Seville lost its importance as a busy port.
+
+While nobles were fighting for gold, and harrying heretics, briars and
+weeds were spreading over the fields that the patient Moors had tilled
+and made marvellously fertile. The establishment of the _alcavala_ tax
+upon farming produce and manufactured articles hastened the decline of
+agriculture and of crafts in Andalusia. Finally, under the Bourbons,
+Cadiz became the rival of Seville, and the Council of the Two Indies was
+removed to the southern port in 1720. In good or ill fortune Seville
+remained loyal, winning for itself the title of: _Muy noble, muy leal,
+muy heroica é invicta, i.e._, 'Very noble, very loyal, very brave and
+invincible.'
+
+Some interesting pictures of Seville at the close of the eighteenth and
+beginning of the nineteenth centuries are to be found in the _Letters
+from Spain_, by D. Leucadio Doblado, written in 1824. Doblado is the
+pseudonym of Blanco White, son of the British Vice-Consul at Seville in
+those days. White was born in the city in 1775, brought up as a
+Spaniard, and sent to the University. His parents were very austere
+Catholics, but reading and study developed a sceptical tendency in young
+White's mind, and he subsequently came to England and was well-known in
+Unitarian circles.
+
+In his _Life_, Blanco White describes the quaint ceremony of entrance
+into the University of Seville. 'Every day of the week preceding the
+admission, the candidate was obliged to walk an hour in the principal
+quadrangle of the college, attended by one of the servitors, and his own
+servant or page--a needy student who, for the sake of board, lodgings
+and the cast-off clothes of his master, was glad in that humble capacity
+to go through the course of studies necessary for the profession--Divinity,
+Law or Medicine--which he intended to follow.' The custom of the
+_caravanas_ was a trying ordeal for the student. He was compelled to run
+the gauntlet of the gibes of a mob of spectators, as a trial of his
+patience. No physical violence was permitted, except when a candidate
+lost his temper. An irascible victim was speedily ducked in the basin of
+the fountain of the quadrangle. Ladies came to see the sport. When White
+passed through this ordeal, he was dressed in fantastic garments, and
+led by his tormentors by a rope.
+
+In 1800, Blanco White saw the outbreak of yellow fever that ravaged the
+city. The plague began in Triana, and the infection was said to have
+been brought from Cadiz by seamen. As in previous instances of
+pestilence, there was no enforced isolation of the diseased, and no
+relief of the suffering poor. Prayers were offered for succour in the
+Cathedral and the churches, and a special service of the Rogativas, used
+in the times of severe affliction, was performed on nine days after
+sunset. One of the choicest relics of the Cathedral, a piece of the True
+Cross, or _Lignum Crucis_, was exhibited as a charm on the Giralda
+Tower. Many persons advised that a wooden crucifix, in one of the
+chapels of the suburbs, should be also employed. It had been of great
+service in the plague of 1649, staying the epidemic after half of the
+inhabitants had been destroyed. A day was fixed for the solemn ceremony
+of blessing the four winds of heaven with the True Cross from the
+Cathedral treasury. The great fane was crowded with supplicants. As the
+priest made the sign of the Cross, with the golden casket containing the
+_Lignum Crucis_, a frightful clap of thunder made the Cathedral tremble.
+In forty-eight hours the deaths increased tenfold. The heat, the
+polluted air of the Cathedral, the infection that spread among the
+worshippers, and the fatigue of the service caused a great spread of the
+fever in the city. Eighteen thousand persons perished from the
+pestilence.
+
+During the Peninsular War, Soult's troops did considerable damage to
+parts of Seville. The church that contained the bones of Murillo was
+pillaged by the soldiers, and the tomb of the great painter was
+destroyed. On February 1, 1810, the city surrendered with all its stores
+and arsenal, and Joseph marched in. The French force had appeared before
+Seville in January 1810. 'In Seville all was anarchy,' writes Sir W. F.
+P. Napier, in his _History of the War in the Peninsula_; 'Palafox and
+Montijo's partisans were secretly ready to strike, the ancient Junta
+openly prepared to resume their former power.' It was a time of revolt
+in the city; mobs went through the streets, calling for the deposition
+of the Junta, and vowing violence against the members. Seville was
+besieged for the last time in 1843, at the time of Espartero's regency.
+An account of the siege is given in _Revelations of Spain_, by an
+English Resident, who writes: 'I saw full twenty houses in different
+parts of the city--this was about the entire number--which Van Halen's
+shells had entirely gutted. The balls did limited damage--a mere crack
+against the wall, for the most part a few stones dashed out, and there
+an end. But the bombs--that was indeed a different matter! Wherever they
+fell, unless they struck the streets, and were buried in the ground,
+they carried destruction. Lighting on the roof of a house, they
+invariably pierced through its four or five floors, and bursting below,
+laid the building in ruins.' Probably not more than twenty lives were
+lost through the bursting of the shells. Most of the men of the city
+were defending the walls, and the women took refuge in the churches. The
+Cathedral sheltered a large number of women and children, who slept and
+cooked there. The Junta of Seville occupied the Convent of San Paolo
+during the siege.
+
+Edward VII. of England, when Prince of Wales, paid a visit to Seville,
+and spent several days in the city, in 1876.
+
+We have now briefly surveyed the more interesting events in the history
+of the city and noted incidents in the lives of eminent Sevillians from
+the time of the Goths until the present century.
+
+
+
+
+CHAPTER IV
+
+_The Remains of the Mosque_
+
+     'I have never entered a mosque without a vivid emotion--shall I
+     even say without a certain regret in not being a
+     Mussulman?'--ERNEST RENAN, _Islamism and Science_.
+
+
+In the year 1171, Abu Yakub Yûsuf, the conquering Moor, began the
+building of a mighty _mezquita_, or mosque, in the captured city of
+Seville. The important work was given into the hands of a famed
+architect, one Gever, Hever, or Djâbir, the correct spelling of whose
+name has puzzled the historians. Gever is said to have been 'the
+inventor of Algebra.' Whether he really designed the Mosque is difficult
+to determine. Some Spanish writers have asserted that the first stage of
+the Giralda Tower was commenced in the year 1000 of the Christian era
+'by the famous Moor, Herver.' From the discovery, at a great depth, of
+certain pieces of Roman masonry, it is supposed that an amphitheatre
+once occupied the ground now covered by the Cathedral, the Giralda, and
+the Court of the Oranges.
+
+There is no doubt that the Mosque of the Almohade ruler was a vast and
+noble building, resembling in most of its characters that of Córdova.
+The minaret, now called the Giralda, is certainly one of the most
+ancient buildings in the city. It is recorded that the Moorish
+astronomers used the tower as an observatory. Probably the minaret
+served the double purpose of praying-tower and astronomical outlook. In
+building the tower the remains of ruined Roman and Gothic structures
+were used by the Moors, just as the Christians afterwards employed
+portions of the mosques and palaces for building their temples. The
+original minaret was about two hundred and thirty feet in height. At
+each corner of the minaret stood four huge brass balls, which were
+thrown down in the earthquake of 1395.
+
+If we enter the precincts of the old Mosque by the Puerta del Perdón, in
+the Calle de Alemanes, we shall see the bronze-covered doors which may
+have formed one of the entrances to the building. The bronze has been
+spoilt by paint, but one can note the distinctly Moorish character of
+these great doors. This gate was reconstructed by Alfonso XI. after the
+victory of Salado. In its present state it dates from 1340. Bartolomé
+López added the plateresque ornamentations about 1522. The sculptures
+over the doorway are statues of St. Peter and St. Paul, an Annunciation
+and the Expulsion of the Money Changers from the Temple. Before the
+Lonja was built, the merchants of Seville used the court within as an
+exchange. Hence the relief of the Expulsion, a fine piece of carving by
+the Italian, Miguel, representing Christ chastising the money changers
+from the Temple. Miguel of Florence was one of the early Renaissance
+sculptors who came to Spain.
+
+Under the archway of the Gate of Pardon is a modern shrine. At almost
+all hours of the day sin-stricken supplicants, chiefly women, may be
+seen kneeling on the stones before the altar.
+
+[Illustration: Puerta del Perdón]
+
+Through the gateway we enter the quiet retreat of the Patio de los
+Naranjas, or the Court of the Oranges, which formed the courtyard of the
+ancient Morisco temple. The lofty Cathedral is before us; on the left
+towers the imposing Giralda, and to the right hand is the Sagrario,
+or parish church. There is a beautiful Moorish fountain in the centre of
+the court, with an octagonal basin. Every Morisco _patio_ had its
+fountain, orange and lemon trees, and marble seats. In the walls of the
+Sacristry of the Sagrario, we shall find further traces of the Moorish
+decoration in the form of _azulejos_ which belonged to the original
+Mosque.
+
+The _patio_ is smaller than that of the _mezquita_ of Córdova, and with
+the exception of the few relics which I have described, there is not
+much suggestion of former grandeur.
+
+But imagination calls forth the figure of a Mueddjin upon the minaret,
+chanting the _Adyân_, or call to prayer, as the sun tints the sky at its
+setting. The worshippers repair to the baths to purify themselves for
+devotion by washing their bodies. 'Regularly perform thy prayer at the
+declension of the sun,' says the Sura, 'at the first darkness of the
+night and the prayer of daybreak; for the prayer of daybreak is borne
+witness unto by the angels.' Five times during the day the pious
+Mohammedans spread their mats here, and prayed to Allah.
+
+The Crescent has vanished from the Giralda. A figure of Christian faith
+stands there in its stead, and from the Cathedral issue the strains of
+the choristers and the swelling of the organ. For long centuries this
+spot in the heart of Seville has been dedicated to worship. Romans,
+Visigoths, Moors and Catholic Christians each in their day of power have
+bent the knee to their deities upon the ground which we are now
+treading. It is a strange, composite fane! The lower part of the Giralda
+is Moorish, the upper part Christian. In the middle of the Court of the
+Oranges we have the Moslem fountain; and in the wall is a stone pulpit
+from which many eminent Catholic divines have preached against heresy.
+The Giralda, incorporated with the Cathedral, dominates all, but it is
+the most Moorish feature of the great pile.
+
+[Illustration: Stone Pulpit in Court of Oranges.]
+
+We must now inspect the minaret. Our way is through the Capilla de la
+Granada of the Cathedral. Here we may see one more monument of the
+Moors, a horseshoe arch, once a part of the Mosque. Within, suspended
+from the roof, is a huge elephant's tusk, a bridle, said to have
+belonged to the Cid's steed, and a stuffed crocodile, a present from the
+Sultan of Egypt, who sent it to Alfonso el Sabio, with a request for the
+King's daughter as wife.
+
+The ascent of the Giralda is not laborious. We can walk up the inclined
+plane without losing breath; and at each window of the stages there are
+lovely peeps of the city and the vast plain of the Guadalquivir. From
+these windows there are fine outlooks upon the Cathedral, and the
+details of its wonderful buttresses can be well studied as we ascend
+stage by stage. The stages, or _cuerpos_, of the tower are all named.
+
+We soon arrive at the Cuerpo de Campanas, where there is a peal of
+bells. Santa Maria is a ponderous bell which cost ten thousand ducats.
+It was set up in the year 1588 by the order of the Archbishop Don
+Gonzalo de Mena. This bell is vulgarly called 'the plump' by reason of
+its great bulk and weight. Its note is deep and resonant, and can be
+heard all over the city, and far away in the country, when the wind is
+favourable.
+
+[Illustration: Cuerpo de Azucenas]
+
+Another _cuerpo_ is that of the Azucenas, or white lilies, so called on
+account of its architectural urns, with ironwork flower decorations. El
+Cuerpo del Reloj (the Clock Tower) contained the first tower-clock made
+in Spain. It was put in its place in the presence of King Enrique III.
+The present clock was the work of José Cordero, a monk, and it dates
+from 1765. It is said that portions of the old clock were used by
+Cordero.
+
+Around the more modern part of the Giralda is an inscription in Latin:
+_Turris Fortisima Nomen Domini_. Each word of the motto occupies one of
+the faces of the tower. The Cuerpo de Estrellas, or Stage of the Stars,
+is so named in allusion to the decorations of its faces. Notice the
+_ajimez_ windows as you ascend the tower. The fourth and last _cuerpo_
+is the Corambolas, or billiard balls, referring to the globes of stone
+in the decoration.
+
+We emerge upon a gallery below the great statue of La Fé, thirteen feet
+in height, and made out of bronze by Bartolomé Morel, in 1568. This
+figure of a woman is a vane, which moves with every wind in spite of its
+size and weight. It is a wonderful piece of workmanship. The head of the
+Faith is crowned with a Roman helmet, and in the woman's right hand is
+the great standard of Rome in the time of the Emperor Constantine. In
+the left hand the figure holds a palm branch, a symbol of conquest. The
+true name of the statue is La Fé Triumfante; but in the common speech of
+Seville it is spoken of as Victoria, Giraldillo, Santa Juasma, and El
+Muñeco.
+
+Don Alfonso Alvarez-Benavides, in his little book on _La Giralda_,
+published in Seville, tells us that the statue of the Faith has suffered
+several lightning strokes. One of these attacks severely scorched the
+upper section of the tower. In the afternoon of April 26, 1884, during a
+terrific thunder-storm, a shower of sparks fell upon the Giralda and
+caused much damage. Again, on the 18th of June 1885, lightning assailed
+the building. The work of restoration began in the year 1885, and was
+completed in 1888, under the direction of Fernandez Casanova.
+
+It was in 1568 that Hernan Ruiz erected the highest _cuerpo_ of the
+minaret by order of the Cathedral authorities. Ruiz was often employed
+by the Church, and his work may be seen in the restored _mezquita_ of
+Córdova.
+
+The Giralda is about three hundred feet in height. As the surrounding
+country is level, we can command a very wide expanse from the gallery
+below the statue of the Faith. Looking over the roofs and dome of the
+Cathedral, we see the Plaza de Toros, and the suburb of Triana, on the
+opposite bank of the Guadalquivir. Among the low hills beyond the
+Cartuja, to the right of Triana, is the ancient Roman amphitheatre of
+Italica, while in the extreme distance are blue mountains.
+
+Beyond the Alcázar we note the Parque, the Delicias, the Prado de San
+Sebastian, and the red clay hills of Coria on the right bank of the
+broad river. Further away are the interminable marshes bordering the
+estuary, and beyond is San Lucar. Below us is the Archbishop's Palace
+and the gardens of the Alcázar. Seville is spread beneath us like a huge
+map. We look down on roof gardens, into _patios_, along the white,
+narrow _calles_, into the _plazas_, and across the housetops to the
+fertile land beyond the Roman walls.
+
+It is a prospect that inspires the spectator. Fair, sunny, fruitful
+Andalusia stretches around for league upon league, under a burning blue
+sky. The air is clear; there is scarcely a trace of smoke from the
+myriad chimneys of the city. No town could be brighter and cleaner. We
+are above the brown hawks that nest in the niches of the Cathedral. They
+float on outspread wings over the buttresses. The passengers in the
+streets are like specks; the trees in the Court of the Oranges are but
+shrubs. It is one of the finest panoramas in Spain. One is reluctant to
+descend from this breezy platform, and to turn one's back upon the fine
+bird's-eye view of Seville and the surrounding landscape.
+
+It is a misfortune that sun, wind and rain have almost expunged the
+frescoes that decorate the niches of the Giralda. They were the work of
+Luis de Vargas, who painted the altar-piece in the Chapel of the
+Nativity in the Cathedral. Vargas was a pupil of Perino del Vaga in
+Italy. One of the paintings on the Giralda represented the Saints of
+Seville, St. Justa and St. Rufina, who protect the tower from harm, and
+other subjects were scenes in the lives of saints and martyrs. Vargas
+also executed the fresco of Christ bearing the Cross, or the _Calle de
+Amargura_, on the outside of Patio de los Naranjas. The picture was
+restored by Vasco Pereyra, in 1594. We read of Luis de Vargas that he
+was extremely devout. He practised austerities and mortifications, and
+slept with a coffin by his bedside, to remind him of the insecurity of
+this earthly life. The ascetic artist was born in Seville, in 1502, and
+died there about the year 1568.
+
+Like the monument of London, and many other high towers, the Giralda has
+often been used by suicides. A number of despairing persons have thrown
+themselves from its summit.
+
+[Illustration: The Giralda]
+
+
+
+
+CHAPTER V
+
+_The Cathedral_
+
+    'How reverend is the face of this tall pile,
+     Whose ancient pillars rear their marble heads
+     To bear aloft its arched and ponderous roof,
+     By its own weight made steadfast and immovable,
+     Looking tranquillity.'--WILLIAM CONGREVE.
+
+
+'Let us build such a huge and splendid temple that succeeding
+generations of men will say that we were mad.' So said the pious
+originators of Seville Cathedral, in the year 1401. After one hundred
+years, the temple was still unfinished, and to this day masons are at
+work upon the dome.
+
+When San Fernando captured the city of Seville from the Moors, and made
+it his capital, the Mosque, which stood on the site of the Cathedral,
+was consecrated to the service of the Christian faith. It was used for
+Catholic worship until its disrepair became a reproach. Then the Chapter
+decided to erect a worthier fane, one which would astonish posterity.
+The Cathedral should be huge and magnificent, rivalling in its area all
+the other cathedrals of Spain. Toledo Cathedral is 'rich'; Salamanca,
+'strong'; León, 'beautiful.' The Cathedral of Seville is called the
+'great.'
+
+In point of size the edifice ranks third among the cathedrals of Europe.
+It is the largest Gothic cathedral in the world, larger than Cologne and
+Milan. The superficial areas of the great cathedrals are as follows:--
+
+    St. Peter's  230,000 feet square
+    Córdova      160,000
+    Seville      125,000
+    Milan        110,000
+    St. Paul's    84,000
+
+In 1511, five years after the practical completion of the building, the
+dome gave way. It was re-erected by Juan Gil de Hontañon, an architect
+who subsequently designed the new Cathedral of Salamanca (1513). The
+original architects are supposed to have been of German nationality.[B]
+Earthquake shocks endangered a part of the structure at a later date,
+and Casanova, who restored the Giralda Tower, superintended the
+renovation, which was begun in 1882. Six years after Casanova's
+restoration, the dome again collapsed, and from that time until to-day
+the work of repair has proceeded.
+
+Théophile Gautier, writing of this splendid pile, states:
+
+'The most extravagant and most monstrously prodigious Hindoo pagodas are
+not to be mentioned in the same century as the Cathedral of Seville. It
+is a mountain scooped out, a valley turned topsy-turvy; Notre Dame at
+Paris might walk erect in the middle nave, which is of frightful height;
+pillars as large round as towers, and which appear so slender that they
+make you shudder, rise out of the ground or descend from the vaulted
+roof, like stalactites in a giant's grotto.'
+
+In Caveda's description of the Cathedral, we read: 'The general effect
+is truly majestic. The open-work parapets which crown the roofs; the
+graceful lanterns of the eight winding stairs that ascend in the
+corners to the vaults and galleries; the flying buttresses that spring
+lightly from aisle to nave, as the jets of a cascade from cliff to
+cliff; the slender pinnacles that cap them, the proportions of the arms
+of the transept and of the buttresses supporting the side walls; the
+large pointed windows that open between them, one above another, just as
+the aisles and chapels to which they belong rise over each other; the
+pointed portals and entrances--all these combine in an almost miraculous
+manner, although these are lacking the wealth of detail, the airy grace,
+and the delicate elegance that characterise the cathedrals of León and
+Burgos.'
+
+[Illustration: Pinnacle of the Cathedral]
+
+It was during the long and exhausting endeavours of the Castilian Kings
+to expel the Moors from Spain, that gold and treasure was paid into the
+coffers of the Chapter for the cost of erecting the marvellous
+Cathedral of Seville. Bishops, deans and clergy forfeited one half of
+their stipends to meet the heavy charges of architects, artists, stained
+glass designers, masons, carvers, and innumerable craftsmen and
+labourers. An army of artists and mechanics was employed upon the vast
+work. During the century of construction, the Catholic kings who resided
+in the Alcázar, showed great interest in the undertaking, while the
+noble families subscribed liberally towards the cost, and the poor gave
+of their slender store of pesetas.
+
+The exterior of the Cathedral is a type of the finest Spanish Gothic
+architecture, though the incorporated Giralda Tower is distinctly
+Morisco, and much older in style. Within the consecrated precincts, we
+may see traces of the _Mudéjar_ handicraftsmen amid early Gothic and
+Renaissance architectural details.
+
+The Cathedral consecrated ground contains within its confines the
+Moorish Patio de los Naranjas, the high minaret, the Columbus Library,
+offices of the Chapter, and the Church of the Sagrario. There are nine
+doors to the Cathedral proper, and a gateway with doors, leading to the
+Patio de los Naranjas, or Court of the Oranges.
+
+
+THE EXTERIOR OF THE CATHEDRAL.
+
+From the Calle del Gran Capitan, on the west side of the Cathedral, one
+may gain a conception of the extent and the magnificence of the
+building. It is best to begin our inspection of the doors from this
+side. Here we shall find three entrances, or _puertas_. The chief door
+is in the centre. It is elaborately decorated, and is in fine
+preservation. Thirty-two figures stand in niches. Over the door is a
+beautiful relief of the Assumption by Ricardo Bellver.
+
+[Illustration: Puerta Mayor.
+
+THE CENTRAL DOOR OF THE CATHEDRAL]
+
+Puerta del Bautismo, or San Juan, is embellished with sculptures by
+Pedro Millan, which deserve careful inspection. The third doorway is the
+Puerta del Nacimiento, or San Miguel. This is also adorned by the
+sculpture of Pedro Millan. The upper part of the Cathedral viewed from
+this side is not of much beauty. It is modern, dating from 1827.
+
+[Illustration: Pinnacle of the Cathedral]
+
+At the south side of the Cathedral is the Puerta de San Cristóbal, or de
+la Lonja, added by Casanova in 1887. As we make the circuit of the
+edifice, we shall see the turrets and numerous pinnacles of the roof.
+The effect is impressive and bewildering. Centuries of labour are here
+represented in noble form and beauty of outline. The flying buttresses
+are especially graceful and the great dome is majestic in its
+proportions. Cean Bermudez compares the Cathedral with 'a high-pooped
+and beflagged ship, rising over the sea with harmonious grouping of
+sails, pennons and banners.'
+
+In the east façade are the Puerta de los Campanillas and the Puerta de
+los Palos. These doors are magnificently decorated with sculptures by
+Lope Marin, executed in the year 1548. There are three entrances on the
+north side. That leading from the Court of the Oranges is named the
+Puerta del Lagarto, from the stuffed crocodile which hangs from the
+ceiling. The Puerta de los Naranjas is in the centre of the court. This
+door is kept closed except on days of festival. The third door is the
+unfinished one bearing the name of the Puerta del Sagrario.
+
+       *       *       *       *       *
+
+As we survey this immense monument of the Christian faith, we are led to
+muse upon the power of the early Catholic Church in Spain. It was no
+half-hearted belief that urged men of all ranks of society to deny
+themselves in contributing to the huge outlay that went to the planning,
+erection and decoration of this mighty Cathedral.
+
+The dictates of the Chapter ruled the councils of the State and the
+conferences of kings and courtiers. When the throne lost power, the
+bishop's chair gained in authority. In the reign of Philip III. the
+Cathedral of Seville had no less than one hundred clergy on its staff.
+Dunham, in his _History of Spain_, states that 'half a dozen could
+assuredly have been sufficient for the public offices of devotion.' But
+there was no question of restricting the number of ministers and
+confessors in these days of perfervid devotion. It was considered
+heretical to even speak of stinting the wealth that was freely poured
+into the coffers of the hierarchy. To this devotion and liberality we
+owe the great treasure-house of art beneath whose broad shadow we stand.
+The painters, sculptors and craftsmen were under the patronage of the
+Church; they could not have subsisted without such patronage. And in
+most cases they gave their services gladly, for their heart was in their
+labours, and devotion inspired them. Few desired any other kind of
+employment; the highest service was that of holy religion.
+
+A great faith, such as the Romish, inspires its devotees to the building
+of resplendent temples. The Christians would not merely imitate the
+Moors in the beauty and richness of their churches. They pledged
+themselves to excel the magnificence of the _mezquitas_, and to show
+mankind that God is honoured most devoutly by those who spare neither
+wealth nor industry in the setting up of fanes dedicated to His worship.
+We cannot grasp the Spanish character until we realise that its keynote
+in the past was profound piety and deep loyalty towards the Church and
+the Crown. The cathedrals of Spain are testimony to this devotion to the
+Christian creed. They are solemn historic memorials of faith.
+
+Worshippers in the Seville Cathedral are reverential; there is no
+apparent insincerity in their responses and genuflexions. In Italy and
+France there is a less manifest reverence during divine services. But
+the Spanish temperament has remained religious through all the stress of
+heretical days and the changing fortunes of its dynasties. It is not
+only the women who are devout, for many men are present at the
+celebrations in the cathedrals and churches. Very imposing are these
+Spanish services in the half-light of the _capillas_:
+
+    'Dim burn the lamps like lights on vaporous seas;
+     Drowsed are the voices of droned litanies;
+     Blurred as in dreams the face of priest and friar.'
+
+The organ music is often superb, and the choristers are highly trained.
+Besides the organ, reed and string instruments are used to accompany the
+singing during important festivals. The smoke of incense mounts in the
+lofty naves and aisles; the altars glow with candle-lights, and the
+sweet, rich voices of the boys hover under the vaulted roofs. Rich and
+poor alike sit or stand upon the flagged floors. The preachers are often
+very eloquent, and they preach in the purest form of the Castilian
+language.
+
+The dim light of the interior of the Cathedral is a hindrance to the
+full enjoyment of the very numerous works of art that adorn the chapels.
+This gloom is characteristic of the Spanish cathedrals and churches. The
+best time in the day to inspect the pictures in Seville Cathedral is
+before eight in the morning. It is an early hour; but the light is then
+fairly good, and the chapels are usually quiet. I advise the visitor to
+spend several hours in the Cathedral, if he desires to study the inner
+architecture, carvings, pictures and statues. A mere ramble through the
+naves and a peep into one or two of the _capillas_ will not suffice. It
+is well to select a portion of the interior for each day's inspection.
+Shun the loafers who offer their services as guides. They have no
+knowledge of the art treasures, and they possess a faculty of invention.
+
+I trust that my description will assist the stranger in his tour of the
+Cathedral. The chief objects of art are indicated, or briefly described,
+in the remaining part of this chapter. The account is not to be taken as
+exhaustive. A thorough treatise on the architecture of the building
+alone would require more space than I have at my command, and it might
+prove somewhat tedious to the reader who is not acquainted with the
+technical terminology of architecture.
+
+
+THE INTERIOR OF THE CATHEDRAL.
+
+Enter by the Puerta del Lagarto, in the Patio de los Naranjas. One's
+first impression when within the Cathedral is that of its magnitude and
+the 'frightful height,' which struck Théophile Gautier. The length,
+exclusive of the Capilla Real, is three hundred and eighty feet; the
+width is two hundred and fifty feet. The nave is one hundred and
+thirty-two feet in height, and over fifty feet in width.
+
+There is great dignity in the lofty columns, and a sense of vastness
+possesses us as we gaze upwards. The floor is of fine marble. It was
+laid in the years 1787 to 1795.
+
+_The Capilla de los Evangelistas_ is the first chapel near to the
+_puerta_. It has a fine altar piece in nine parts, the work of Hernando
+de Sturmio, containing a picture of the ancient Giralda. The paintings
+are on panel, and the brown tints are characteristic of the early
+Sevillian School of Art.
+
+By the Puerta de los Naranjas, the great door on this side of the
+Cathedral, there are two altars. One is the Altar de la Asunción, and
+the other is dedicated to La Virgen de Belén. The Assumption picture as
+executed by Carlo Maratta. The face of the Virgin is clear, but somewhat
+dark in tone, and the light is not favourable for viewing the picture.
+On the other side of the doorway the light is better. The altar is
+adorned by a painting of the Virgin, from the brush of the famous Alonso
+Cano. It is a rather conventional presentment of Holy Mother, but the
+features are not without beauty. On the whole, the painting is not
+equal in merit to most of the works of the last Andalusian master. The
+hands and feet of the figure are finished with the care characteristic
+of Cano's art.
+
+Alonso Cano has been called the 'Michelangelo of Spain.' He studied in
+Seville under Pacheco and Juan de Castillo, and painted pictures for
+some of the religious houses. Cano was also a sculptor and architect. He
+was forced to leave the city after wounding an antagonist in a duel. In
+1651 he was appointed a Canon of Granada, and during his residence in
+the old Moorish city, Cano painted works for the churches. The artist
+was of an irritable disposition; but he spent the latter part of his
+life in religious exercises, and gave freely to the poor. He died in
+poverty, in 1667, and received alms from the Church.
+
+Writing of Alonso Cano, in his _Spanish and French Painters_, Mr Gerard
+W. Smith says: 'Although he was never in Italy, his fine feeling for
+form, and the natural charm and simplicity of his composition, suggest
+the study of the antique, while in painting, the richness and variety of
+his colouring could hardly be surpassed.'
+
+_The Capilla de San Francisco_ is next to the altar of Alonso Cano. Here
+we may try to see a painting of the Glorification of St. Francis by
+Herrera el Mozo, and one of the Virgin and San Ildefonso, by Juan Valdés
+Leal. Herrera's picture is not of value. He was a much less capable
+artist than his father, Francisco Herrera el Viejo (the elder), from
+whose roof the mozo ran away to Italy. Upon his return to Seville, the
+young man was so conceited and affected in his painting that he failed
+to produce any fine work. The Glorification of St. Francis and the
+picture by Leal can be scarcely seen in the sombre shadows of the
+chapel.
+
+[Illustration: Interior of the cathedral]
+
+_The Capilla de Santiago_ adjoins the last chapel. There are two
+paintings here; one by Juan de las Roelas of St. James (Santiago) and
+one of St. Lawrence (San Lorenzo) by Valdés Leal. Roelas was painting in
+Seville at the time of Herrera the Elder. He is said to have studied art
+in Venice. The finest work of this artist is to be seen in the Church of
+San Isidoro.[C] In the Capilla de Santiago there is a dilapidated tomb
+of Archbishop Gonzalo de Mena, who died in 1401.
+
+_The Capilla de Escalas_ contains two pictures of note by Luca Giordano,
+strong in character, drawing, and colour. Over the tomb of Bishop
+Baltasar del Rio, who died in 1540, is an altar relief of the Day of
+Pentecost by a Genoese artist.
+
+_The Capilla del Bautisterio_ has one of Murillo's finest works,
+representing St. Anthony of Padua's Vision of the Child Jesus. Part of
+this picture was cut out and stolen in 1874. It was traced to New York,
+and restored to the Cathedral a few months later. The picture was
+originally painted for the Capuchin Convent in 1656, and afterwards came
+into the possession of the Chapter. A Baptism of Christ, also the work
+of Murillo, is above this painting. In this chapel is the font of holy
+oil, which is consecrated in Holy Week. This _pila_, or monument, was
+made by Antonio Florentin in 1545-1546. It is used for the exposition of
+the Host, and is exhibited near the Puerta Mayor in Easter Week.
+Originally the _pila_ was a tall construction of three storeys on
+columns, with a large cross. Between the columns were coloured figures
+of saints. Some of the effigies were modelled in clay, and others were
+carved from wood. They were beautifully designed. In 1624 the building
+was altered and spoiled by the addition of another storey of the
+composite order. 'Its effect in the midnight service is superb,' writes
+Sir Stirling Maxwell, 'when blazing with church plate and myriads of
+waxen tapers it seems a mountain of light, of which the silver crest is
+lost in the impenetrable gloom of the vaults above.'
+
+On the west side of the Cathedral, which we have now reached, is the
+Altar de la Visitación, with pictures by Marmolejo and Jerónimo
+Hernandez. By the principal door is another altar, that of Nuestra
+Señora del Consuelo, with a painting by one of Murillo's pupils, Alonso
+Miguel de Tobar. Close to the Puerta del Nacimiento we shall find some
+fine works by Luis de Vargas, the celebrated fresco artist. There are
+three _capillas_ on this side of the building, called the Capilla de los
+Jácomes, the Capilla de San Leandro, and the Capilla de San Isidoro.
+They may be passed by, as they contain no important works of art.
+
+At the Puerta del Nacimiento we reach the south aisle, and come to
+
+_The Capilla de San Laureano_, with a tomb of Archbishop Alonso de Exea,
+who died in 1417.
+
+_The Capilla de Santa Ana_ is the next chapel on the south side. Here
+there is an interesting old altar, with several pictures painted in the
+early part of the fifteenth century.
+
+_The Capilla de San José_ contains a notable work by Juan Valdés Leal,
+the Marriage of the Virgin, and a poor picture by Antolinez.
+
+_The Capilla de San Hermenegildo_ is noteworthy for the image of the
+saint by Montañez, and the tomb of Archbishop Juan de Cervantes by
+Lorenzo de Bretaña. The marble of the tomb is much worn.
+
+_The Capilla de la Antigua_ is a larger chapel, with fourteenth-century
+decorations of the altar. There is also a fine monument to Cardinal
+Mendoza, executed in 1509 by the Italian Miguel. The figures are very
+quaint. Adjoining this chapel is the Altar de la Gamba, with the
+Generacion by Luis de Vargas, a famous picture described in the art
+chapters of this book. The immense painting opposite is St. Christopher,
+by Mateo Perez de Alesio, painted in 1584.
+
+For painting the San Cristobal Alesio received four thousand ducats. The
+saint is quaintly clad in hose, and the figure is gigantic. Sir Stirling
+Maxwell draws attention to the fine colouring of the parrot seen in the
+distance. Mateo de Alesio, who was an Italian by birth, died in the year
+1600.
+
+Passing through the _Capilla de los Dolores_, which is unimportant, we
+come to the splendid _Sacristía de los Cálices_, built by Riaño and
+Gainza in the years from 1530 to 1537. Diego de Riaño, sculptor and
+designer, was often employed by the Cathedral authorities. He delighted
+in lavish and fantastic embellishment, and introduced the Italian
+methods of ornamentation. Martin Gainza was of the same school. He was
+an architect and sculptor of great repute, and he assisted Riaño in much
+of his work.
+
+The Crucifix is the work of Montañez. It was removed from the Cartuja
+Convent. Murillo's _Angel de la Guarda_, or Guardian Angel, is in this
+sacristy. This picture was presented to the Cathedral by the Capuchins
+in 1814. It is one of the best of Murillo's works. Borrow much admired
+the _Guarda_, and Sir Stirling Maxwell describes the diaphanous drapery
+of the child's dress in terms of praise. The angel holds a child by the
+hand, and points to heaven. Notice the rich colouring of purple and
+yellow in the vesture of the angel.
+
+On the same wall are the _Ecce Homo_, the Virgin, and St. John, the work
+of Morales; St. Dorothy by Murillo; a painting of Fernando de Contreras
+by Luis de Vargas; Pietà and Death of the Virgin by a German artist, and
+a picture by Juan Nuñez of the fifteenth century.
+
+Goya's fine painting of St. Justa and St. Rufina is here. Elsewhere in
+this book I have told the legend of these guardian saints of the
+Giralda. Goya's conception of them is unconventional, and unlike that of
+Murillo, who represents the two maidens with halos around their heads.
+We have the figures of two charming potter-girls in Goya's picture, two
+creatures of earth, lovely, but not ethereal. The Holy Trinity of 'El
+Greco' (the Greek) is one of the interesting examples of this great
+Toledan artist's work. Zurbaran is represented in the Sacristía by his
+painting of St. John.
+
+_The Sacristía Mayor_ is in the Renaissance style. It was built by the
+designers of the Sacristía de los Cálices about the year 1532. Campaña's
+admirable Descent from the Cross is here, but the picture has been
+indifferently restored. There is also a work of Murillo, SS. Leandro and
+Isidoro.
+
+The Cathedral Treasury is in this sacristy. One of the principal objects
+of interest is the splendid _custodia_, used for carrying the Host. It
+is the work of Juan d'Arphe, a celebrated gold-worker, who was born in
+Avila in 1535. In 1564 he constructed the _custodia_ of that city, and
+in 1580 began a work of a similar character for Seville Cathedral. Many
+designs were submitted for the inspection of the Chapter, but Juan
+d'Arphe's was chosen as one unequalled in Spain. The _custodia_ is about
+twelve feet high, round in form, with four storeys, each one supported
+by twenty-four columns. Some of the columns are Ionic; the rest are
+Corinthian and composite in design. Between the columns are a number of
+statuettes, and the base and cornices are profusely adorned with
+bas-reliefs. In the first storey there was originally seated a figure of
+Faith, but it was changed in 1668 for one of the Virgin of the
+Conception, when the _custodia_ was restored by Juan Segura. The second
+storey is the repository of the Host, and in the third and fourth
+storeys are figures of the Church Triumphant and the Holy Trinity.
+Crowning the edifice was a small dome and cross, which was replaced in
+1668 by a statue of the Faith. The _custodia_ is of beautiful and simple
+design.
+
+The _Tablas Alfonsinas_, a reliquary, given to the Church in 1274 by
+Alfonso el Sabio, are in the Treasury. Crosses, plate and sacerdotal
+vestments are among the treasures. The canonical robes date from the
+fourteenth century. The keys of Seville, yielded to Fernando el Santo on
+the day of conquest, are also shown here.
+
+_The Capilla del Mariscal_ adjoins the Sacristía Mayor. In this chapel
+is the great altar-piece of Pedro Campaña, restored in 1880. The work is
+in ten parts, representing scenes in the life of Christ, and containing
+portraits of Marshal Pedro Caballero and his family.
+
+_The Sala Capitular_ was the work of Riaño and Gainza. It was begun in
+1530 and finished in 1582. The plateresque decorations are very
+beautiful. Note the fine ceiling, the marble medallions, and the
+pavement. Murillo's Conception is here, and the Four Virtues of Pablo de
+Céspedes. There is a picture of San Fernando by Pacheco, the
+father-in-law and instructor of Velazquez. The ovals between the windows
+were the work of Murillo. This _sala_ is close to the Puerta de los
+Campanillas, and beyond this entrance, on the east side of the
+Cathedral, is
+
+_The Capilla de la Concepción Grande_, containing a monument to
+Cardinal Cienfuego, a modern work. The other small chapel on this side
+is that known as
+
+_The Capilla de San Pedro_. Here are nine pictures by Zurbaran, well
+worthy of notice, and a tomb of Archbishop Diego Deza, restored in 1893.
+
+_The Capilla Real_ is between the two smaller chapels of the east end.
+In design this chapel is Renaissance. The decorations are luxuriant and
+there is a high dome. Gainza began to build the chapel in 1541, and his
+work was carried on by Hernan Ruiz, who planned the choir of Córdova
+Cathedral, and afterwards by Juan de Maeda.
+
+On the chief altar is a figure of the Virgin of the Kings, dating from
+the thirteenth century. It was presented to San Fernando by St. Louis of
+France. The fair hair is real; the crown that adorned the head was
+stolen in 1873. On each side of the doorway are tombs. One is that of
+Alfonso el Sabio, and the other is the tomb of his mother.
+
+The shrine of the adored San Fernando is in front of an altar. In the
+Panteón are the coffins of Pedro el Cruel, his mistress Maria de
+Padilla, the Princes Fadrique, Alonso and Pedro, and others. Over San
+Fernando's coffin is the ivory figure of the Virgin of Battles, which
+the King carried upon his saddle when he went to the wars. The monarch's
+pennant and sword are also displayed.
+
+Murillo's Mater Dolorosa is in the sacristy of this _capilla_. There are
+portraits of St. Ignatius and St. Francis Xavier, by Pacheco.
+
+In the later styles of the Capilla Real we may see examples of the
+Grotesque, or _Estilo Monstruoso_, with which the buildings of Seville
+abound. Diego de Riaño's work in the Ayuntamiento, or City Hall, is full
+of instances of this development of fanciful design and bizarre effect.
+Gainza, the collaborator of Riaño, is responsible for the articulations
+and curious, lavish adornment of the Royal Chapel of the Cathedral. The
+sacristy of the _capilla_ was built and decorated by Gainza after plans
+by Riaño. We may now inspect the stained-glass windows, in which we
+shall find the influence of Italian artists. It must be noted that art
+in Spain has been profoundly influenced by Italy. Michelangelo is
+reverenced by Spanish artists. Many of the early Spanish painters went
+to Italy to study, and brought back with them new ideas and fresh
+methods of painting. 'Spanish artists,' writes Professor Carl Justi,
+'did their best to Italianize themselves in the studios of Roman and
+Florentine masters.'
+
+Cristobal Micer Aleman was the first to introduce the art of staining
+glass into Seville. Until 1504 stained glass windows had not been seen
+in the city, and Aleman was the designer of the first painted window of
+the Cathedral. Sir Stirling Maxwell states that in 1538 the Church paid
+Arnao of Flanders, Carlos of Bruges, and other artists the sum of ninety
+thousand ducats for staining the windows of Seville Cathedral. The work
+was not completed until twenty years later. The chief window pictures
+are the Ascension, Jesus and Mary Magdalen, the Awakening of Lazarus,
+and the Entry into Jerusalem. The Resurrection is the work of Carlos,
+and other pictures are by the two brothers Arnao.
+
+The isolated _Capilla Mayor_ has an altar-piece of wood, and a silver
+image of the Virgin by Alfaro. The painted scenes are from the
+Scriptures. Crowning the retablo are a crucifix and large statues of the
+Virgin and St. John. Dancart, the designer of the retablo, was of the
+Flemish school of decorative carvers. The work was begun about 1482 and
+finished in 1526.
+
+Between the _Coro_ (choir) and the Chief Chapel an enormous candelabrum
+is displayed during Semana Santa, or Holy Week. It is called the
+Tenebrario, and it was constructed by Bartolomé Morel, a
+sixteenth-century sculptor. The structure is twenty-six feet high, and
+it is ornamented with several small images. During the imposing
+celebrations of Semana Santa, the candelabrum is lit by thirteen
+candles. Twelve of these lights represent the apostles who deserted
+their Master; the thirteenth candle stands for the Virgin, and when the
+twelve have been extinguished, the thirteenth still burns as a symbol of
+Mary's fealty to the Saviour.
+
+_The Coro_ was much injured by the collapse of the dome. Two grand
+organs were destroyed at this time. One of the most interesting objects
+preserved in the choir is the facistol, or choristers' desk, of
+Bartolomé Morel, adorned with highly-finished carvings. The choir stalls
+were decorated by Nufro Sanchez, a sculptor of the fifteenth century,
+whose work suggests German influence. They are beautiful examples of
+carving.
+
+_The Coro_ is entered by either of the two doors of the front or
+_Trascoro_. There is a handsome marble façade; a painting of the Virgin
+by an unknown hand, and a picture said to be from the brush of Francisco
+Pacheco, the artist, author and inquisitor. The white marble frontage is
+adorned with bas-reliefs of the Genoese school, exhibiting fine feeling.
+Italian influence is manifest in the picture of the Holy Mother, which
+is highly decorative in style.
+
+Close to the _Coro_, near the chief entrance on that side of the
+Cathedral, is the tomb of Fernando Colón, son of Cristobal Colón
+(Columbus). The slab is engraved with pictures of the discoverer's
+vessels. An inscription runs: '_Á Castilla y á León mundo nuebo dié
+Colon:_' _i.e._, 'To Castile and León Columbus gave the New World.'
+
+The student of architecture and painting will find ample examples of
+varied styles of art in this great repository of sculpture, frescoes and
+panel pictures. He will be able to trace the development of
+architectural design from the fifteenth to the nineteenth century, both
+in the exterior and interior of the immense Cathedral. The art of the
+_Mudéjar_, the Fleming, the Italian, the German and the Spaniard are
+here represented in masonry, decoration, stained glass, and upon canvas.
+Wandering designers and craftsmen of the Middle Ages looked upon Spain
+as a land of plenty. They came from Flanders, Italy and Genoa, and found
+favour with the wealthy Chapter of Seville. The artists employed to
+adorn the Cathedral range from Juan Sanchez de Castro, 'the morning star
+of Andalusia,' in 1454, to Francisco Goya, the last great painter of
+Spain.
+
+Many of the so-called Spanish school of artists were aliens who settled
+in the country. Pedro Campaña was, for example, a native of Brussels.
+For twenty years he studied in Italy, and his Purification of the Virgin
+shows the Italian influence. Sturmio was probably a German named Sturm.
+Doménico Theotocópuli, called '_El Greco_,' was a Greek. Mateo Perez de
+Alesio was an Italian, who lived in Seville, and died at Rome in 1600.
+
+Luis de Vargas, the painter of the Nativity picture in the Cathedral,
+whose fresco work is to be seen elsewhere in the city, was a student of
+the Italian method. Vargas was a man of profound piety. He was born in
+Seville in 1502. After his death, scourges used for self-inflicted
+penance were found in his room, and by his bed was a coffin in which
+the ascetic painter used to lie in order to meditate seriously upon
+life.
+
+The religious devotion of Luis de Vargas is exhibited in the spirit of
+his work. This reverential treatment of sacred subjects is
+characteristic of all the Sevillian painters. In their art they
+worshipped. Martinez Montañez, or Montañes, the sculptor, was a zealous
+Catholic. In his coloured statues we perceive a melancholy reflection of
+his sombre mind, a pathos expressing itself in realistic conceptions of
+a suffering Christ and a sorrowful St. Francis Xavier. These tinted
+statues appeal powerfully to the imagination of the Sevillian populace.
+Many of the images were made for the solemn processions of Semana Santa.
+
+Among the artists employed in adorning the Cathedral there was not one
+more devoted to the Church than Pacheco. He was censor of art for the
+Inquisition, and in his writings we find precise counsels upon the
+fitting method of painting sacred pictures. To Pacheco the faith was of
+far greater moment than art. He was a close friend of Montañez, whose
+statues he sometimes coloured.
+
+_The Sagrario_ adjoins the Cathedral, and may be entered from the Court
+of the Oranges. The building serves as a parish church, and occupies the
+ground of the old _Sagrario_. It was begun in 1618 by Miguel Zumárraga,
+and completed in 1662 by Lorenzo Fernandez. The vaulted roof is
+remarkable. Pedro Roldan painted the retablo, which was formerly in the
+Francisan Convent. The convent stood in the Plaza de San Fernando, or
+Plaza Nueva, as it is sometimes called. Roldan was a contemporary and
+follower of Montañez. There is an important image of St. Clement by
+Pedro Duque Cornejo. The statue of the Virgin is the work of the devout
+Martinez Montañez.
+
+Beneath the church is the vault of the Archbishops of Seville. The
+terra-cotta altar is exceedingly decorative. In the sacristy there are
+some splendid _azulejos_, which formed part of the old Morisco mosque.
+
+
+
+
+CHAPTER VI
+
+_The Alcázar_
+
+    'How Sultan after Sultan with his Pomp
+     Abode his destined Hour, and went his way.'
+
+     RUBÁIYAT OF OMAR KHAYYÁM.
+
+
+The richest monument of Almohade might in Seville is the beautiful
+Alcázar, or 'Castle,' which stands at but a stone's-throw from the
+remains of the great mosque. It is a palace of dreams, encompassed by
+lovely perfumed gardens. Its courts and salons are redolent of Moorish
+days, and haunted by the spirits of turbaned sheiks, philosophers,
+minstrels, and dark-eyed beauties of the harem. As we loiter under the
+orange trees of quiet gardens, we picture the palace as it was when
+peopled by the chiefs and retinues of swarthy skin in the time of
+Abdelasis, and contrast what remains of the primitive structure and
+Morisco decoration with the successive additions by Christian kings.
+
+The nightingales still sing among the odorous orange bloom, and in the
+tangles of roses birds build their nests. Fountains tinkle beneath
+gently moving palms; the savour of Orientalism clings to the spot. Here
+wise men discussed in the cool of summer nights, when the moon stood
+high over the Giralda, and white beams fell through the spreading boughs
+of the lemon trees, and shivered upon the tiled pavements.
+
+[Illustration: Patio de las Doncellas]
+
+In this garden the musicians played, and the tawny dancers writhed and
+curved their lissome bodies, in dramatic Eastern dances. _Ichabod!_
+The moody potentate, bowed down with the cares of high office, no longer
+treads the dim corridor, or lingers in the shade of the palm trees, lost
+in cogitation. No sound of gaiety reverberates in the deserted courts;
+no voice of orator is heard in the Hall of Justice. The green lizards
+bask on the deserted benches of the gardens. Rose petals strew the paved
+paths. One's footsteps echo in the gorgeous _patios_, whose walls have
+witnessed many a scene of pomp, tragedy and pathos. The spell of the
+past holds one; and before the imagination troops a long procession of
+illustrious sovereigns, courtiers, counsellors and menials.
+
+       *       *       *       *       *
+
+The historians of the Alcázar suppose that the original structure was
+erected in 1181 for Abu Yakub Yûsuf. Between the Puerta del León, in the
+Plaza del Triunfo, and the Sala de Justicia there are parts of the wall
+which are said to date back to the Roman times. It is generally asserted
+that the Moorish palace was reared on the ruins of a Roman prætorium,
+and that the original work was undertaken in the eleventh century. In
+its pristine form the Alcázar was of triangular design, and the
+buildings and gardens occupied a much greater space than they cover at
+the present day. The chief _puerta_ was originally at the Torre de la
+Plata, formerly standing in the Calle de Ataranzas, but pulled down in
+recent years; while another point of the triangle was at the Torre del
+Oro, on the bank of the Guadalquivir. Within these precincts there were
+vast halls, council rooms, dormitories, baths and gardens. The remaining
+portions of the walls and the towers show that the ancient fortress was
+very strong; and one can understand the difficulty experienced by
+Fernando the Good during his long siege of the citadel.
+
+In the Plaza de Santo Tomas is the Tower of Abdelasis, which was once
+part of the palace. It was from this tower that Fernando floated the
+Christian standard after the capture of the Alcázar. The chief entrance
+in our day is in the Plaza del Triunfo. It is called the Gate of the
+Lion (Puerta del León). We pass through, and come into the Patio de las
+Banderas (Court of the Banners), so called because a flag was hoisted
+here during the residence of the sovereign in the palace. The _patio_ is
+surrounded by modern offices, and planted with orange trees. A roofed
+passage on the right side of the court leads to the wonderful _Mudéjar_
+halls and the salons of the Catholic kings. The passage is the Apeadero,
+or 'halting-place.' It was built by Philip V. The façade is in the
+Baroque style.
+
+Turning to the right from the Apeadero, we follow a corridor to the
+Court of Doña Maria Padilla, the mistress of Pedro the Cruel. The court
+is planted with orange and lemon trees and big palms. Arched galleries
+of a modern character seem out of place here. But in a moment we come
+into the Patio de la Monteria with its beautiful Moorish façade. The
+_ajimez_ windows, the cusped arches, and the decorations of this doorway
+are fine examples of Almohade art. There is an inscription in early
+Gothic characters, over the door, stating that 'the most noble and
+powerful Don Pedro, by the grace of God, King of Castile and León,
+caused these fortresses and palaces to be built in the era of _de mill
+et quatrocientios y dos_' (of Cæsar). The date is 1364 A.D.
+
+We follow a passage to the Patio de las Doncellas (Court of the
+Maidens). This large and lofty hall has twenty-four beautiful Morisco
+arches, and singularly rich ornamentations. The fifty-two marble columns
+are of the Renaissance period, and were substituted between the years
+1540 and 1564 for the original pillars. Notice the glazed tiling
+decorations of brilliant colouring. These date from the time of Pedro
+the Cruel, who added to the ancient palace until little of the original
+remained. Notwithstanding, the style is distinctly Moorish, and the
+decoration was the work of _Mudéjares_, whose quaint _azulejos_ may be
+here studied to advantage.
+
+The Salón de Embajadores adjoins the Court of the Maidens. This was the
+Hall of the Ambassadors. It is about thirty-three feet square. The dome
+is of the _media naranja_ or 'half orange' shape, the favourite design
+of the Moorish architects. On the walls are portraits of the monarchs of
+Spain. This is the most sumptuous of the salons of the Alcázar; the
+walls veritably dazzle the spectator with their richness of colouring.
+Not one inch of space on the arches, walls and doorways is left without
+an ornate pattern. The doors of the salon are massive and finely
+decorated. In this hall Charles V. was married to Isabella of Portugal.
+
+The Comedor, or dining-room, opens out of the Hall of Ambassadors on the
+west side. We find in this room the latest restorations of the palace.
+Here, on September 21, 1848, was born the Infanta Doña Maria Isabel de
+Orleans y Borbón, Condesa de Paris. The bedroom of Isabella the Catholic
+adjoins the Comedor.
+
+Returning to the Hall of the Ambassadors, we enter the room of Philip
+II., and pass through it to the small Patio de las Muñecas. Note the
+pigmy figures in the ornamentation, which give the name of the Dolls'
+Court to this chamber. The upper parts of the gallery are modern, and
+were constructed in the years 1855 and 1856, at the time of the last
+extensive restoration of the Alcázar.
+
+The Salón of the Princes, approached from the Patio de las Muñecas, is a
+spacious hall, in the mixed styles of the _Mudéjar_ and the plateresque.
+The Dormitory of the Moorish Kings should be inspected. Then cross the
+Patio de las Doncellas to the Salón de Carlos V. This chamber has a
+remarkably fine ceiling, and beautiful decorations of _azulejos_, made
+by Cristobal de Augusta, an Italian, who worked in Triana in 1577. From
+the salon we may enter the room of Maria de Padilla.
+
+The upper apartments of the Alcázar can be viewed by special permission.
+I would strongly urge the visitor to obtain this permission. If he
+applies to the _conserje_ at the Palace of Pedro, he will be informed
+that admission is impossible without an order from the King of Spain.
+Such was my experience. I then asked for an order at the offices in the
+Patio de las Banderas, but the courteous officials were firm in their
+refusal, stating that 'no one but the King can give permission to visit
+the upper part of the Alcázar.' Still determined, I ventured to address
+His Majesty by letter, and in a few days I received a reply from the
+Intendencia General de la Real Casa y Patrimonio at Madrid. The letter
+was written by the royal secretary, and is a beautiful example of the
+ornate caligraphy in which educated Spaniards delight. I was told that
+'the Señor Marqués de Irún, Alcaide of the Reales Alcázares, would grant
+me the desired permission.'
+
+At the hotel I inquired where the Marqués de Irún resided. No one knew.
+My host searched through a Seville directory. The name of the Marqués de
+Irún was not to be found in its pages. Finally, armed with the letter
+from the royal palace, I presented myself at the offices in the Patio de
+las Banderas, and displayed the missive.
+
+The effect was magical. The officials were even more polite than before.
+One of them wrote a note, which he asked me to give to the _conserje_,
+and I was bowed out of the office. The _conserje_ in the Patio de la
+Monteria scanned the open-sesame. And at last I gained entrance to the
+upper apartments of the Royal Alcázar.
+
+The visitor who has secured his permit will be rewarded. There is much
+to see in these chambers. Notice, first of all, the fine staircase
+constructed at the end of the sixteenth century. The seventeenth-century
+tapestries in the salons are magnificent examples of this art. Most of
+the subjects are Dutch; some are copies of pictures by David Teniers. In
+the first hall, at the head of the principal staircase, there is some
+handsome artesonada ceiling decoration of the fifteenth century.
+
+In the Oratory of the Catholic Kings there is the most notable specimen
+of ceramic art to be seen in Spain. It is a lovely retablo of
+_azulejos_, designed by Franciso Niculoso, an Italian, in 1504. Niculoso
+introduced this kind of _azulejo_ painting into Seville. The central
+picture represents the Visitation of the Virgin to St. Isabella. A
+smaller subject is the Annunciation, and there is a curious genealogical
+tree of the Saviour. The decorations are fantastic.
+
+In the Comedor there is a splendid laced ceiling of _Mudéjar_
+workmanship, dating from the fifteenth century. The walls are covered
+with interesting tapestry pictures.
+
+Step on to the balcony of the Hall of the Ambassadors, and admire the
+roofing, the columns, and wealth of Oriental ornamentation. In the rooms
+of the Infantas there are _Mudéjar_ ceilings of the fifteenth and
+sixteenth centuries. The portraits of princes and other royal personages
+are not of much artistic importance. There is a picture by Goya, a very
+spirited portrait of Doña Maria, wife of Don Carlos IV. Goya was the
+last of the great painters of Spain. A number of his works are in a
+gallery of the Prado Museum at Madrid, but very few of his paintings are
+preserved in Seville. This example in the Alcázar deserves the visitor's
+notice.
+
+One of the most interesting apartments on the upper floors of the royal
+palace is the bedroom of Pedro el Cruel. The _dormitorio_ is sumptuous
+with _Mudéjar_ decorations of the sixteenth century. Near the doorway
+are four heads painted upon the wall. They are the heads of four
+disloyal justices who incurred the anger of their sovereign, and were
+condemned to death. The paintings throw a light upon the character of
+Pedro, who, no doubt, surveyed them with satisfaction whenever he
+entered the chamber. It is probable that the King feared assassination,
+for from this part of the palace there is a staircase descending to the
+quarters formerly occupied by the guards and royal bowmen. The story
+runs that Pedro had this stairway made in order to communicate with his
+faithful servant Juan Diente, a famous marksman with the bow.
+
+In the Dormitory of Queen Isabel there is a copy of Murillo's _Ecce
+Homo_, and various portraits of monarchs. The Salón Azul (Blue Room) is
+so named on account of the colour of its silk tapestries. The pastel
+paintings in this apartment are by A. Muraton, representing Queen Doña
+Isabel, the Infanta Doña Isabel, King Alfonso XII., and the Marquesa de
+Novaliches. There are also eighteen miniatures painted upon ivory.
+
+The modern bedroom has a Coronation of the Virgin, the work of Vicente
+López, a copy of a Murillo, and another of Raphael's Holy Family.
+
+Let us saunter now in the sunny gardens of the Alcázar. We can reach
+them through the Apeadero, and by the steps leading from the tank at the
+entrance. The reservoir is full of carp, some of them of corpulent
+proportions. A few small fish may be seen basking near the surface of
+the water, but the bigger and warier carp do not often show themselves.
+Roses cluster about the steps, and twine on all the railings. We come to
+a tree-grown court, with a gallery running on one side, and an arched
+entrance to the Baths of Maria de Padilla. This garden is called El
+Jardin del Crucero. The underground bath is cool, and it is a rest to
+the eyes to escape for a few minutes from the dazzling sunlight of the
+gardens. Here the lovely Maria, faithful mistress of the ferocious
+Pedro, was wont to bathe in warm weather.
+
+To show their homage to the monarch's consort, the chivalrous courtiers
+came hither when the fair bather had taken her bath, and drank of the
+water in which she had washed her white limbs. It is said that these
+devoted servitors used sometimes to carry away some of the water in
+vessels 'to drink it with enjoyment.'
+
+Pedro el Cruel, of all the Christian sovereigns who lived in the
+Alcázar, was the most attached to the palace. He lavished money upon the
+building of the apartments which we have just inspected, and employed
+the cleverest _Mudéjar_ designers and craftsmen. In the Hall of Justice
+he heard charges against criminal offenders; in the gorgeous salons he
+received illustrious guests, discoursed with his officers, and played at
+draughts with his courtiers. His image arises before the imagination as
+we stray under the lemon and orange trees of his quaint and charming
+pleasure-grounds. Coming to the throne in his sixteenth year, Don Pedro
+decided upon making Seville his capital.
+
+We have read in the historical sections of our account of the city how
+he earned the title of 'El Cruel.' But the story of his treachery
+towards his half-brothers has not been related.
+
+Don Fadrique, Master of the Order of Santiago, and half-brother of Pedro
+el Cruel, having confessed allegiance to the King, came one day to
+Seville, after a campaign with rebels in Murcia. The Master of Santiago
+went to the Alcázar with the intention of paying a visit to his
+half-brother, the King. Pedro was playing at backgammon in his private
+apartment of the palace when Don Fadrique came to him.
+
+The monarch received his general with genial courtesies, and bade him
+stay in the Alcázar. Leaving Pedro for a while, the Master went to the
+rooms of Maria de Padilla. He found her agitated and pale, but the
+sadness of her beautiful countenance did not cause him to suspect what
+lay upon her mind. Maria knew that Pedro longed to rid himself of all
+possible claimants to the throne. His eldest half-brother Enrique was in
+France, plotting against the Castilian throne. Pedro still dreaded a
+rising under Fadrique. He apparently doubted his professed fealty, and
+he had planned his murder. It is said that the Master of Santiago
+received hints of the fate that awaited him. But he returned to the
+quarters of the King, who was in company with several members of his
+court.
+
+Pedro had shut himself in an inner room, which had a wicket to it. From
+the wicket he shouted to his soldiers: 'Kill the Master of Santiago!'
+The bowmen obeyed. Fadrique drew his sword and made a stand, but he was
+soon overpowered, and struck down by blows on the head. The Master's
+servants were next seized and slaughtered. One of the train ran to the
+room of Maria de Padilla, pursued by his assailants, and threw himself
+behind Doña Beatrice, one of Maria's daughters. Pedro was among the
+pursuers. He tore the man from the arms of Beatrice, stabbed him, and
+gave him into the hands of his assassins. Returning to the room where
+Don Fadrique was expiring, Pedro saw that his half-brother was still
+breathing. Drawing his dagger, the King gave it to an attendant, and
+commanded him to kill the Master outright.
+
+During the siege of Seville by Fernando el Santo, the fortified palace
+was the chief point of attack. The massive walls of the Alcázar long
+resisted the assault of the besiegers. But the beleaguered Moors were at
+length compelled to offer surrender to the knights of the Cross. On the
+day of St. Clement the gates were thrown open, and San Fernando rode
+into the courtyard. In the King's hand was a sword; on his saddle the
+ivory image of the Holy Virgin. By his side rode Don Garcia de Varga and
+his brother Don Diego, the Condé Lorenzo, Pelago, and other brave
+cavaliers. The Khalif of the Alcázar escaped by the gate near the
+Hospital del Sangre. Henceforward, the palace was to be the residence of
+the kings of Castile.
+
+In 1379 Juan I. lived in the Alcázar. The King ascended the throne
+without opposition. Trouble arose soon with Portugal, and Juan marched
+at the head of thirty-four thousand soldiers into the enemy's territory.
+The Portuguese had a small force of only ten thousand men, including a
+few Englishmen. Near the village of Aljubarrota the armies met. There
+was a great battle, in which the Portuguese troops fought valiantly, and
+drove back the invaders.
+
+Don Juan was ill and weak during the engagement. He was carried on a
+litter by his knights, and in the retreat, the King was put on a mule,
+and hurried from the scene of action to the Tagus. Here the monarch
+embarked in a small boat for Lisbon, whence he returned to Seville to
+mourn his defeat in the seclusion of the Alcázar.
+
+Isabel and Fernando often sought the tranquil paths of this garden. The
+Catholic Queen and her Consort lived here in great state, in the palmy
+days of Seville, dispensing justice, listening to the counsels of
+Torquemada and the officers of the Holy Inquisition, and consulting with
+Columbus regarding the expansion of their realm and the development of
+trade with the New World. Many were the hours passed by the blue-eyed,
+fair-haired Queen in the private chapel.
+
+The pious Philip II. came here, though he preferred his mountain palace
+of the Escorial. He ordered the portraits of the Kings of Spain to be
+painted in the Hall of the Ambassadors. As we have read, Philip incurred
+the resentment of the Sevillian merchants by his confiscation of their
+ingots. But the prelates and clergy of the city honoured the sovereign,
+who always supported the Church and favoured the priests. In his reign
+the Primate of Spain was almost as wealthy as the Pope. The Archbishop
+of Seville received an income of eighty thousand ducats a year.
+
+Philip spent his time at the Alcázar in his usual daily labours, writing
+like a clerk in his private room until the small hours of the morning.
+Every morning he attended Mass. The King lived simply, for he feared the
+gout. But in spite of this form of frugality, Philip spent his revenue
+freely in maintaining a large household. In his retinue there were
+fifteen hundred persons, including forty pages, all of noble family.
+
+In the Queen's train there were twenty-six ladies-in-waiting, and four
+physicians were in constant attendance on Her Majesty. We may picture
+Philip moodily roaming in the gardens, dressed in black velvet, with a
+plumed cap. From his neck was suspended the fine jewel of the Golden
+Fleece. He wore sober clothes, and changed his suits once every month
+for new ones. His wear, like the cast of his mind, was sombre. A dread
+of society possessed the King, and in his later days he became more
+taciturn and morose.
+
+'I am absolute King,' was the boast of the despotic Philip. His ambition
+was to attain power, to extend his kingdom beyond the seas, and to crush
+out heresy. Yet Tennyson's love-dazzled Mary is made to ask, as she
+gazes upon the face of the Spanish King, in a miniature painting:
+
+    'Is this the face of one who plays the tyrant?
+     Peruse it; is it not goodly, ay, and gentle?'
+
+These gardens evoke reflections upon the ever-changing fate of Spain. We
+gaze at relics of the Moors, and remember the eight hundred years of
+that sanguinary history of the expulsion of the infidels. Yet everywhere
+there are traces of that mighty civilisation built up by Morisco
+knowledge and industry. The _Mudéjar_ has touched the palace and the
+gardens with his magic wand. Fernando, Pedro, Philip, Carlos--all the
+Catholic sovereigns--preserved the Moorish style of decoration, and
+borrowed from the art of the hated race.
+
+Passing under a handsome gateway, represented in one of our
+illustrations, we come to a fountain surrounded by a tiled pavement, and
+overshadowed by trees. Before us is the Pavilion of Carlos Quinto, with
+a fine ceiling and _azulejos_. This summer-house was built by Juan
+Hernandez in 1543. Turn to the left, and inspect the archway in the
+wall, and the curious mural paintings. We may then retrace our steps to
+the pavilion, and pass another tank and a grotto till we reach the maze
+and a tangled garden beyond it. This is the Garden of the Labyrinth.
+Further, we may not ramble.
+
+In 1626 a theatre stood in the large _patio_ near the Puerta del León,
+by which gate we must leave the Alcázar. The playhouse was of oval form,
+with three balconies, and one part of the theatre was reserved for
+ladies. The travelling actors who visited Seville preferred this theatre
+to any other in the city, as is shown by the archives of the palace. In
+the year 1691 the theatre was entirely destroyed by a great fire, and
+not a stone of the old building remains.
+
+The singular mingling of Christian and Moorish architecture and
+adornment in the modern Alcázar is characteristic of Seville. We find
+the same mixture of styles in the Casa Pilatos and in other mansions of
+the city. Even the railway station at the termination of the Córdova
+line affords an example of the perpetuation of Morisco design and
+decoration. It is this Moorish influence that lends a strange interest
+to Seville. Some writers have declared that these mixed styles of
+architecture are anomalous. There is certainly an air of the grotesque
+in the combination of _Mudéjar_ windows, cusped arches, columns, and
+_azulejos_, and Renaissance and Gothic features. But despite the element
+of incongruity, the effect is often pleasing, while the mingling of the
+styles is especially interesting from the historical point of view.
+
+In our inspection of the Sevillian monuments we are able to estimate the
+enormous sway that the Moors exercised upon the Andalusian mind. That
+influence will probably endure for very many centuries to come.
+Spaniards may abhor the faith of Allah, and detest the children of
+Mahomet; but they have never refused to learn the arts of the Moors, nor
+to apply them to the building of sacred and secular edifices. In the
+poorest villages of Southern Spain we rarely fail to notice some trace
+or another of the Moorish builder.
+
+[Illustration: In the Garden of the Alcázar.]
+
+The Orientalism of the Alcázar remains in spite of the pseudo-Moorish
+restorations and the Renaissance additions. It is perhaps an atmosphere,
+a suggestion, rather than the reality. Still, the pile is a very
+remarkable monument, and every stone of it has its tale to tell of
+memorable scenes and great events. One is tempted to linger hour after
+hour in the dreamy gardens, watching the gaudy butterflies and the
+peering, green lizards, and thinking of the bygone greatness of Seville.
+
+Let us conjure one more illustrious figure to the view before we quit
+the palace grounds. Here the Emperor Charles V. roamed with his young
+bride, Isabella of Portugal. The portraits of Charles show a well-knit
+figure, and a good forehead, with the projecting lower jaw
+characteristic of his family. He was fond of music, and was accounted
+well cultured. Mr. Edward Armstrong tells us, however, in his _Emperor
+Charles V._, that the sovereign was a 'singularly bad linguist.' He knew
+only a few words of Spanish after he had ruled Castile and Aragon for
+two years. 'French was his natural language, but he neither spoke nor
+wrote it with any elegance.' The Emperor's knowledge of theology was
+scanty; and though he was a stern defender of the Catholic faith, he
+could scarcely read the Vulgate.
+
+Isabella was but twenty-three years of age at the time of her marriage
+with Charles. She was, however, no child. Her intelligence was quick.
+The Princess was short, spare in body, with a clear white skin. The
+wedding was celebrated in Seville, in March 1526. For the honeymoon the
+Emperor and his bride visited Córdova and Granada.
+
+Charles liked the seclusion of his palace in Seville. 'Not greedy of
+territory, but most greedy of peace and quiet,' was the description of
+the monarch by Marcantonio Contarini, in 1536. He was strongly attached
+to his wife; he was fond of children, and kept pet animals, 'including a
+parrot and two Indian cats.' The Emperor was interested in gardening,
+and he introduced the carnation into Spain. At table he was a glutton,
+and unable to exercise self-control over his greedy appetite. It was
+said that Charles five times drained a flagon, containing nearly a quart
+of Rhenish wine, during a single meal. We need not be surprised that he
+suffered from severe attacks of gout. Yet he would not forego the
+pleasures of the table, and when his physician warned him that beer was
+injurious to his constitution, the Emperor refused to give up drinking
+it.
+
+In dress Charles was economical. He went to Italy in a shabby suit,
+hoping by his example to check the tendency to extravagance displayed by
+his courtiers and the nobles of Spain. His servants were sometimes in
+tattered clothes.
+
+'A fine taste for art seemed inborn in Charles,' writes Mr. Armstrong.
+'Before he ever set foot in Italy he had summoned Italian architects and
+sculptors to build the splendid Renaissance palace at Granada, which was
+destined to remain unfinished.... Music was a passion from boyhood. The
+Emperor's choir was the best in Europe. To his choristers he was most
+generous, for when their voices broke he would educate them for three
+years, and afterwards, if they recovered voice, he would give them the
+preference for places in his chapel.'
+
+
+
+
+CHAPTER VII
+
+_The Literary Associations of the City_
+
+     'Among no other people did the spirit and character of the middle
+     age, in its most beautiful and dignified form, so long continue and
+     survive in manners, ways of thinking, intellectual culture, and
+     works of imagination and poetry, as among the
+     Spaniards.'--SCHLEGEL, _Philosophy of History_.
+
+
+We have noted that in the Visigoth and Moorish periods Seville was a
+centre of literature and the arts. The Christians had their St. Isidore,
+a famed historian and theological writer, and the Moriscoes acclaimed
+the sagacious El Begi, 'whose knowledge was a marvel.' Many Moorish
+scribes laboured in the city before San Fernando regained it for the
+Spaniards; but very few of their names have lived through the stress of
+turbulent times, when every man was for fighting, and art and letters
+languished.
+
+When we reach the fifteenth century, we find that certain enterprising
+German printers set up presses in Seville, and that books, such as Diego
+de Valera's _Cronica de España_, were printed and published.
+
+The printing press gradually destroyed the wonderful art of the
+illuminated missal, in which the monks excelled, and letterpress began
+to supersede manuscript. In the Cathedral Library of Seville is the
+great Bible of Pedro de Pampeluna, in two volumes. It was transcribed
+for Alfonso the Learned, and the work is perhaps unmatched. Rich
+illuminations abound in the pages, testifying to the skill and the
+patience of the artist.
+
+But this industry, followed with such zeal by the clergy, was soon
+lost. With the advent of machinery more books were produced, and they
+came into the hands of the people, who in the pre-printing days were
+unable to purchase the costly volumes of manuscript.
+
+At this time also secular dramas began to take the place of mystery
+plays. The theatre has remained one of the favourite recreations of the
+Spanish people, and on the modern stage serious plays, dealing with
+social problems, are often produced. Among the playwrights of Spain the
+name of Lope de Rueda is held in reverence, for it was he who opened the
+way for them. 'The real father of the Spanish theatre' was a native of
+Seville, and by trade a goldsmith. From 1560 to 1590, the dramas of Lope
+de Rueda were performed in Seville. Cervantes may have been influenced
+by this pioneer of dramatic art, for, as a youth, he saw Lope de Rueda
+act.
+
+In his zenith, the player's stage consisted of half-a-dozen planks, laid
+upon four benches. There was no scenery. Old blankets served as curtain
+and 'back sheet.' Between the acts a few singers sang without any
+instrumental accompaniment. With such primitive paraphernalia this
+Thespian travelled about with his company of mummers, writing his own
+dramas, and acting in them. He died about the year 1567.
+
+Contemporary with Lope de Rueda and Cervantes was Domingo de Bercerra,
+who was born in the city in 1535. During the campaign with the Turks, he
+was seized by Moorish pirates and taken prisoner with Cervantes to
+Algiers. De Bercerra is known for his translation of Giovanni della
+Casa's _Il Galateo_. Hieronimo Carranza, who wrote _Philosophia y
+destreza de las Armas_, and Juan de la Cueva, writer of plays and poems,
+lived in Seville at this time.
+
+We now enter upon an era memorable in the literary annals of the city.
+This is the period when Seville could boast of her scholars, poets,
+dramatists and historians, and lay claim to distinction as possessing
+the most cultured circle of writers and artists in the whole of Spain.
+Fernando de Herrera, born in 1534, in Seville, holds a high position
+among Spanish poets. His _Canción á Lepanto_, a poem in celebration of
+the victory of Lepanto, 'deserves,' says Mr. Butler Clarke, 'to be
+placed side by side with the first eclogue of Garcilaso as one of the
+noblest monuments of the Spanish tongue.'
+
+Rodrigo Caro, the historian, and one of the Sevillian authors, says in
+his _Illustrious Men, Natives of Seville_, that Herrera 'understood
+Latin perfectly, and wrote several epigrams in that language, which
+might rival the most famous ancient authors in thought and expression.
+He possessed a moderate knowledge of Greek.' The prose writings of 'the
+divine Herrera' are marked with the same beauty as his poetry. He wrote
+a great general history of his country, up to the reign of Carlos V.,
+and earned from Lope de Vega the title of 'the Learned.'
+
+We learn that Fernando de Herrera was a tall man, with a handsome
+countenance, thick curling hair, and a beard. The love of his life
+appears to have been 'spiritual'; he was enamoured of Eliodora, Countess
+of Gelves. This adoration was of the nature of that manifested by Dante
+for Beatrice. The poet calls his divinity 'Love,' 'Sun,' and 'Star,' but
+there is an unreality in his odes to the Countess. We read, too, that
+Herrera was well read in philosophy, and expert in mathematics.
+
+At this time there were two resorts in Seville for authors, artists, and
+men of culture. One was the house of the refined and versatile Pacheco,
+Canon of the Cathedral; the other was the Casa Pilatos, the mansion of
+the Duques de Alcalá. In the circle of Francisco Pacheco we shall find
+all the notable painters and poets of Seville; Céspedes, Cervantes, and
+Velazquez, who married Pacheco's daughter, were frequenters of the
+Canon's hospitable house. It was Pacheco who collected and published
+Herrera's poems, under the patronage of the Condé d'Olivarez, and to him
+we owe the preservation of some wonderful fragments of a poem on the art
+of painting, composed by Pablo de Céspedes. These selections were quoted
+by Pacheco in his treatise on art, and one of the finest passages is
+that of counsel to an artist in painting a horse. Except for these
+portions, nothing remains of the poem of Céspedes, which was a work of
+high merit, written in the purest form of the Castilian language. The
+author was a man of conspicuous ability. He painted, wrote, carved
+statuary, and designed buildings.
+
+The genial Pacheco is perhaps better known as a writer upon painting,
+and a maker of Latin verse, than as an artist with the brush. His great
+book on art, _Arte de la Pintura_, was published in 1649. It is
+anecdotal, technical and historical, and displays the credulity of the
+writer in regard to the miraculous. He had the honour of training
+Velazquez, his future son-in-law, and the satisfaction of discovering
+the power of his young pupil.
+
+We will now take our way to the Casa Pilatos, which stands in the
+_plaza_ of that name. Passing under a gateway, we enter a court. On the
+right is a very beautiful ironwork door in the _Mudéjar_ form. An
+attendant opens it, and we pass into an inner _patio_, surrounded by
+busts, portions of antique sculpture, and two statues of Athena. In the
+centre is a fountain. The _casa_ was designed by Moorish artists, early
+in the sixteenth century, for Don Pedro Enriquez, and his wife Doña
+Catalina de Ribera. A descendant, Don Fadrique, who had travelled in
+Palestine, added the so-called Prætorium, and probably named the mansion
+after Pontius Pilate. There are unlettered persons in Seville who will
+assure you that Pilate lived in the house.
+
+[Illustration: Cancela of the Casa Pilatus.]
+
+The third Duke of Alcalá, Fernando Enriquez de Ribera, established a
+great library here, and the Casa Pilatos was the rendezvous of a
+polished coterie. The Duke collected pictures, procured Roman relics
+from Italica, and had cabinets of coins and medals, and cases containing
+manuscripts. He was an amateur painter, a patron of the fine arts, and
+the encourager of struggling genius. Pedro de Madrazo, in his _Sevilla y
+Cadiz_, states that 'the Casa Pilatos is an august representation of the
+architectural genius of the sixteenth century; memorable for the
+reunions of Pacheco, Céspedes, the Herreras, Góngora, Jauregui, Baltasar
+de Alcázar, Rioja, Juan de Arguizo, and Cervantes.'
+
+Other writers describe the architecture of the palace as pseudo-Moorish.
+It is indeed a mixture of Gothic, Moorish, and Renaissance designs,
+adorned with _azulejos_, the decorations being _Mudéjar_ for the greater
+part. Pacheco, the friend of the Duke de Alcalá, painted the salon.
+
+Mr. M. Digby Wyatt, in his valuable work, _An Architect's Note Book in
+Spain_, describes the Casa Pilatos as possessing two special 'points of
+architectural value,' _i.e._, 'the entirely Moresque character of the
+stucco work at a comparatively late date, and the profuse use of
+_azulejos_ or coloured tiles. It is ... in and about the splendid
+staircase that this charming tile lining, of the use of which we have
+here of late years commenced a very satisfactory revival, asserts its
+value as a beautiful mode of introducing clean and permanent
+polychromatic decoration.'
+
+In the principal garden there are remains from Italica. The orange,
+lemon and jasmine grow profusely in this sunny, sheltered corner of the
+city. Here the cultured Duke Fernando Enriquez de Ribera discoursed with
+his illustrious guests, when the stars twinkled and the air was sweet
+with the odour of the jasmine and rose. No doubt Francisco Pacheco
+brought his pupil Velazquez to the symposia. We can picture Cervantes
+relating the story of his imprisonment in Algiers, or diverting the
+company with anecdotes of the thieves and sharpers of Seville, whose
+exploits are recorded in his novel of _Rinconete y Cortadillo_. Góngora,
+the poet, whose affectations and 'Gongorisms' offended George Henry
+Lewes, probably read his verses to a critical audience in the salon. Wit
+vied with wit, scholar discussed with scholar, and artists discoursed
+upon the new methods of painting. This was the intellectual centre of
+Seville, where kindred souls uttered their deepest thoughts, assured of
+sympathy and of comprehension. When the courtly owner of the palace
+died, his library, his treasures and curiosities were removed to Madrid,
+and Sevillian men of letters and painters lost a true friend.
+
+In 1588, Miguel de Servantes Saavedra, otherwise Cervantes, lived in the
+city. In his twenty-first year, while at Madrid, he had written a
+pastoral poem called _Filena_, some sonnets and canzonets. A few years
+later he obtained a position as chamberlain to Cardinal Julio Aquaviva
+at Rome; but he was not long in Italy. The love of adventure inspired
+him to enlist in the expedition force sent by Philip II. against Selim
+the Grand Turk. At the famous battle of Lepanto the young soldier
+received a wound in the left hand, which necessitated amputation. The
+surgeons bungled, and Cervantes lost the use of his arm. Still, he
+continued to serve as a private soldier in the ranks.
+
+In 1575, Cervantes was aboard a galley called the _Sun_, and when
+journeying from Naples to Spain, he and the entire crew were captured,
+and borne to Algiers as prisoners. For five years he lay in a dungeon
+until a sum was paid in ransom. Upon returning to his native land, he
+joined his mother and sister at Madrid, and there he led a studious
+life for three years. His fighting days were at an end. He had seen
+strange things in foreign lands, and greatly enriched his store of
+experience of life. Henceforward he gave of his knowledge of the world,
+and toiled as a writer of poetry, dramas and marvellous romances. His
+struggle with fortune was severe. He wrote thirty comedies without
+gaining recognition. At this time he married Doña Catalina de Solazar y
+Palacios y Vozmediano.
+
+In Seville there lived two relatives of the soldier-dramatist. They were
+merchants, with a large business, and it is said that they offered
+Cervantes employment. Mr. J. Fitz-Maurice Kelly tells us that the author
+obtained a post in the Real Audencia in Seville, probably that of
+tax-gatherer. Cervantes himself relates that 'he found something better
+to do than writing comedies.' Whether he sat on a stool in the
+mercantile office of his relations, or travelled as a tax-collector in
+Andalasia, is perhaps not quite certain. At anyrate, the dramatist
+continued to produce plays. He sought an appointment as
+Accountant-General of the new kingdom of Granada, or as Governor of
+Secomusco in Guatemala, or as Paymaster of the galleys at Cartagena, or
+as Corregidor in La Paz. His application was unnoticed, and it was not
+until 1808 that the document was unearthed. It is a story of hardship,
+neglect and disappointment. The soldier who had lost an arm in combat
+with his country's foes, the genius whose name was to reach the far ends
+of the civilised world, was forced to go begging for situations, which
+were refused to him. He still plied his pen for poor returns in the way
+of money. For Rodrigo Osorio he agreed to write six comedies at fifty
+ducats each. The price was not to be paid unless each play was 'one of
+the best ever presented in Spain.' Was there ever a more arbitrary
+contract? It is doubtful whether Cervantes received anything for this
+work. Then came the quarrel between the Church and the Stage.
+Playwrights and actors were banned, and four months before the death of
+Philip II. all the theatres were closed.
+
+The clouds lifted slightly. In 1595 'Miguel Cervantes Saavedra of
+Seville' won the prize offered by the Dominicans of Zaragoza for a
+series of poems in honour of St. Hyacinthus. He appears to have earned
+his living at this period as a tax-gatherer. Sometimes he was to be
+found at Pacheco's house, and at the Casa Pilatos. Cervantes discerned
+the genius of Herrera, and the two poets became friends. A sonnet in
+praise of Herrera was written by Cervantes.
+
+Fresh trouble beset the unfortunate author. 'About this period Cervantes
+fell into the first of his money troubles,' writes Mr. Watts, in his
+_Miguel de Cervantes_, 'in connection with his office. Having to remit a
+sum of 7,400 _reals_ from Seville to Madrid, he entrusted it to the
+hands of one Simon Freire, as his agent. Freire became bankrupt, and
+fled from Spain. This involved Cervantes in a debt to the crown, for
+which, being unable to pay, he was thrown into prison. Having reduced
+the amount by what he recovered from the bankrupt estate of Freire to
+2,600 _reals_, Cervantes was released after a detention of three months.
+Neither then, nor at any time afterwards--although the affair hung over
+him to trouble him for many years--was there any charge implicating his
+own personal rectitude.'
+
+Cervantes' pictures of the seamy side of Sevillian life were drawn
+vividly in his _picaresco_ novels. The tales contain phrases in
+_Germania_, or thieves' argot, showing that the author closely observed
+his types of low life. It was not until he had reached his fifty-seventh
+year that he finished the first part of _Don Quixote de la Mancha_. The
+great romance was partly written during Cervantes' imprisonment in La
+Mancha. There are three versions of the circumstances that brought about
+his confinement. One account is that Cervantes made himself unpopular as
+a tax-gatherer. But could that be made a felony or misdemeanour meriting
+gaol? Another story relates how he became a factory-owner, and polluted
+the Guadiana with waste matter; while a third report ascribes his
+punishment to the offence of uttering satires upon a lady.
+
+In 1605 _Don Quixote_ was published, in a quarto volume, by Juan de la
+Cuesta of Madrid. Within seven months the book had reached its fourth
+edition. W. H. Prescott, in his essay on 'Cervantes,' states that two
+editions were issued in Madrid, one in Valencia, and one in Lisbon. Yet
+the author was not relieved of the burden of poverty. Fame sounded his
+name far and wide. But he had sold the copyright of his romance. And
+although his reputation was established beyond all doubt, he does not
+appear to have been in a position to obtain worthier remuneration for
+his labours. What is perhaps more strange, the leading incidents of his
+life were scarcely known in Spain when his first biographer, Mayans y
+Siscar, essayed a history of the great writer's career. Seven towns
+claimed him as a native when Tonson, in London, issued the first English
+edition in 1738.
+
+'If Cervantes, like his great contemporary, Shakespeare, has left few
+authentic details of his existence,' writes Prescott, 'the deficiency
+has been diligently supplied in both cases by speculation and
+conjecture.'
+
+In 1616 Cervantes fell sick of a dropsy. He was then in the sixty-ninth
+year of his age. After a brief illness, the genius expired, receiving
+the extreme unction as a devout Catholic.
+
+In the Calle de Santa Clara in Seville is the Casa de los Marqueses de
+Castromonte, a house mentioned by Cervantes in his novel, _La Española
+Inglesa_ ('The Spanish-English Lady'). This _novela_ relates the
+adventures of a Cadiz maiden, who was carried to England by one of the
+Earl of Essex's captains in 1596.
+
+We must now quit the stately Casa Pilatos, with its great literary
+traditions, and briefly note a few more of the writers who are
+associated with Seville. One of these is the novelist Cecilia Boehl von
+Faber, of German descent, who wrote under the _nom de plume_ of Fernán
+Caballero. This gifted authoress wrote several novels of social life in
+Spain, in which she did not flinch from attacking faulty institutions.
+She had even the courage to condemn the national pastime of
+bull-fighting, an institution that very few Spaniards have ventured to
+call in question. Fernán Caballero lived in the street that bears her
+pen-name, and a tablet will be found upon the house which she occupied.
+
+Mateo Aleman, author of _Guzman de Alfarache_, who is sometimes ranked
+next to Cervantes, lived in the parish of San Nicolas. Alberto Lista,
+the poet, also resided in Seville.
+
+Lord Byron was here in August 1809. In a letter he writes:--
+
+'We lodged in the house of two Spanish unmarried ladies, who possess
+_six_ houses in Seville, and gave me a curious specimen of Spanish
+manners. They are women of character, and the eldest a fine woman, the
+youngest pretty, but not so good a figure as Donna Josepha. The freedom
+of manner, which is general here, astonished me not a little; and in the
+course of further observation, I find that reserve is not the
+characteristic of the Spanish belles, who are, in general, very
+handsome, with large black eyes, and very fine forms.' ...
+
+The elder of the two ladies presented Byron with a tress of her hair,
+measuring about three feet in length, and begged a lock of his
+lordship's hair in return.
+
+I have already mentioned Blanco White, who was born in Seville, and
+wrote _Letters from Spain_, in the name of Leucadio Doblado. His
+reminiscences should be read for the pictures of Sevillian society, in
+the early part of this century. White's _Life_, by J. H. Thorn, was
+published in London, in 1845.
+
+Théophile Gautier spent some time in the city, and related his
+impressions in his _Voyage en Espagne_, which is the most ably written
+of all books upon Spanish places and people. The author of _Mademoiselle
+de Maupin_ excels in his descriptions of Seville, its monuments,
+paintings, and its life and character. He praises the charms of
+Sevillian _doñas_, declaring that they 'quite deserve the reputation for
+beauty which they enjoy.'
+
+The eccentric George Borrow came to Seville to distribute the
+Scriptures, as an agent of the Bible Society. His experiences with the
+clerical authorities of the city are recounted in _The Bible in Spain_.
+It is not strange that the priests of 'the Spanish Rome' resented the
+intrusion of the English Protestant missionary, and it was fortunate for
+Borrow that the Inquisition days were of the past. Otherwise, he would
+have suffered in the manner of the hapless Lutherans of Ponce de León's
+time. As it was, the heretical _colporteur_ had seventy-six copies of
+the New Testament confiscated. The books had been placed in the keeping
+of a bookseller. Borrow was never timid. He went straight to the
+ecclesiastical governor, and asked why the Testaments had been seized.
+The dignitary's reply was that the books were 'corrupting,' and he
+soundly reproved the audacious Protestant for venturing to disseminate
+such dangerous literature in orthodox Seville.
+
+George Borrow does not write in flattering terms of the Andalusians. He
+says: 'I lived in the greatest retirement during the whole time that I
+passed at Seville, spending the greater part of each day in study, or in
+that half-dreamy state of inactivity which is the natural effect of the
+influence of a warm climate. There was little in the character of the
+people around to induce me to enter much into society. The higher class
+of the Andalusians are probably upon the whole the most vain and foolish
+of human beings.' ...
+
+Such was Borrow's opinion of the society of Seville. He appeared to be
+quite as contemptuous of the frivolous rich class as he was of most
+scholars and literary men. Fashionable London was never able to
+'lionise' Bohemian Borrow. He loved 'the wind on the heath,' the song of
+the waves on the Norfolk coast, the purple _sierras_ of Spain, and the
+company of those children of nature, the _Kaulos_ of Britain and the
+_Zincalis_ of Castile. Elsewhere, however, in his writings, George
+Borrow speaks highly of the Spaniards in general. It was the pretensions
+of 'respectability,' whether in Spain or England, that called forth his
+pungent sarcasms.
+
+We must not forget that a famous prelate of the Roman Catholic Church,
+Cardinal Wiseman, was born at Seville, in 1802.
+
+It is perhaps not out of place in this chapter to allude to the
+attraction that Seville has possessed for three great musical composers.
+Mozart laid the scene of his _Don Juan_ and _Figaro_ in the city.
+Bizet's _Carmen_ is concerned with Seville; and most famous of all in
+local interest is Rossini's _Barber_. Rossini's opera is still popular
+in Spain. I saw it acted by an excellent company at Córdova, in May
+1902.
+
+The dispersal of the cultured circle of Casa Pilatos would seem to mark
+the hour of the beginning of the decline of literature and the arts in
+Seville. We may feel astonishment that the writers of the Inquisition
+times were able to publish any works save those of theology, church
+history, or devotion. But we must remember that Pacheco was a cleric,
+that Góngora was a priest, and that Rioja held a post in the Holy
+Office. Antonio, the bibliographer, was a canon of the Cathedral, and
+Cervantes was a staunch Catholic. These authors were safe; they were
+either priests of the Church or sworn defenders of the faith.
+
+Philosophers, scientific writers, and heterodox thinkers were unable to
+survive their environment. New thought was stamped out as soon as it was
+uttered, and it was seldom indeed that bold spirits dared to express
+innovating opinion. The greatest writer could scarcely subsist upon the
+earnings of his pen. He was forced, as in the case of Cervantes,
+Calderon, and Lope de Vega, among many other authors, to enter the army.
+The choice lay between the military and the ecclesiastic professions.
+Outside of these no man possessed a status.
+
+With the decline of literature in Spain, the teaching that science is an
+evil spread everywhere. In the seventeenth century, on the authority of
+Spanish historians, the arts had fallen into decay. At the same time the
+trade of Seville greatly suffered. The city was reaping the harvest of
+trouble sown by the Inquisition, with its disastrous proscriptions of
+scientific inquiry, and its taboos upon learning and the arts. Not only
+were Bibles burnt publicly in Seville and elsewhere, but secular books,
+treating upon many subjects, were thrown to the flames, in the height of
+the Inquisition fanaticism. At the end of the fifteenth century six
+thousand volumes were thus destroyed at Salamanca. Such wanton acts
+contributed to the causes that brought the downfall of Spain. When
+Córdova, Granada and Seville were under the Saracen rule, the conquered
+Christians were protected in their religious rights, and there was no
+restraint upon knowledge. These cities possessed excellent schools and
+huge libraries. The Arabic and Spanish languages were both spoken, and
+there was an Arabian translation of the Bible. Unfortunately, the
+Christians failed to profit by this example of rational tolerance when
+they again came into power.
+
+Classical learning was fostered in Seville by Antonio de Lebrixa, who
+lectured in the University, about 1473. Lebrixa had studied for ten
+years in Italy. He was opposed by the Sevillian clergy, who claimed sole
+authority in instruction; but fortunately Lebrixa found favour with
+influential persons, and so contrived to save himself from persecution.
+Queen Isabella had lessons from the learned Lebrixa, who may be called
+the Erasmus of Spain. But the royal tutor narrowly escaped the awful
+punishments of the Holy Tribunal, under Deza, Archbishop of Seville, and
+successor of Torquemada. The Inquisitor-General commanded the
+manuscripts of Lebrixa to be seized, and accused him of heresy for
+making corrections on the text of the Vulgate, and for his exposition of
+passages of Scripture.
+
+'The Archbishop's object,' wrote Lebrixa in an Apologia, 'was to deter
+me from writing. He wished to extinguish the knowledge of the two
+languages on which our religion depends; and I was condemned for
+impiety, because, being no divine but a mere grammarian, I presumed to
+treat of theological subjects. If a person endeavour to restore the
+purity of the sacred text, and points out the mistakes which have
+vitiated it, unless he will retract his opinions, he must be loaded with
+infamy, excommunicated and doomed to an ignominious punishment!'
+
+'Is it not enough that I submit my judgment to the will of Christ in the
+Scriptures? Must I also reject as false what is as clear and evident as
+the light of truth itself? What tyranny! to hinder a man, under the most
+cruel pains, from saying what he thinks, though he express himself with
+the utmost respect for religion! to forbid him to write in his closet or
+in the solitude of a prison! to speak to himself, or even to think! On
+what subject shall we employ our thoughts, if we are prohibited from
+directing them to those sacred oracles which have been the delight of
+the pious in every age, and on which they have meditated by day and by
+night.'
+
+Lebrixa here eloquently announces the right of the layman to translate
+the Scriptures and to expound religion. He claims that liberty of
+inquiry and of speech which belongs to every man. His case is typical of
+the vast difficulties that encompassed all thinkers of his age.
+
+Science and letters were not only hindered by the Church. Some of the
+kings of Spain were hostile towards learning, while others were
+apathetic. Carlos IV. instructed his Prime Minister to inform the heads
+of universities that 'what His Majesty wanted was not philosophers, but
+loyal subjects.' It was no uncommon custom of the inquisitors to enter
+private libraries, and to carry away such books as they considered
+heretical or dangerous.
+
+In Seville, therefore, as elsewhere throughout Spain, institutions
+tended to crush out the genius of authors, and to discourage philosophy
+and science. We cannot wonder that Emilia Pardo Bazan, a modern Spanish
+writer, should say: 'Perhaps our public is indifferent to literature,
+especially to printed literature, for what is represented on the stage
+produces more impression.' It has also been said that the upper classes
+of Madrid would rather spend their money on fireworks or on oranges than
+on a book.
+
+But Spain possesses to-day four or five gifted novelists, who give their
+readers true pictures of modern life and manners. Valdes and Galdos are
+social influences. Their books are eagerly read and discussed by the
+young intellectual spirits in whose earnestness lies the hope of Spain.
+
+
+
+
+CHAPTER VIII
+
+_The Artists of Seville_
+
+BY C. GASQUOINE HARTLEY
+
+     'Beauty, like all other qualities presented to human experience, is
+     relative.'--WALTER PATER.
+
+
+'The art of Spain was, at the outset, wholly borrowed, and from various
+sources: we see heterogeneous, borrowed elements assimilated sometimes
+in a greater or less degree, frequently flung together in illogical
+confusion, seldom, if ever, fused into a new harmonious whole by that
+inner welding fire which is genius; and we see in the sixteenth century
+a foreign influence received and borne as a yoke, because no living
+generative force was there to throw it off; and finally we meet this
+strange freak of nature--a soil without artistic initiative bringing
+forth the greatest initiator in modern art--Diego Velazquez.'
+
+These words, which form a portion of the address delivered by the late
+Lord Leighton to the students of the Royal Academy Schools, in the year
+1889, epitomise the salient points in the artistic history of Seville.
+An almost impenetrable gloom shadows the early records of her art. Only
+one work remains to testify to the skill of her artists, during the
+thirteenth century. This is a rare old Bible, written on vellum and
+richly illuminated. It was transcribed for Alfonso, the Wise, by Pedro
+de Pampeluna, in the thirteenth century, and its numerous miniatures
+represent the pristine efforts of the Sevillian school of painting.
+
+During the fourteenth and fifteenth centuries, the artists of Seville
+were wholly dominated by the Flemish school. The great master of the Low
+Countries, Jan van Eyck, visited the Peninsula, and from that time the
+Flemish influence continued to increase in potency. Flemish works of art
+were largely imported into Spain, and three Flemish artists, according
+to Professor Carl Justi, were employed in the court of Isabella la
+Catolica. The Gothic characteristics of the Northern school are manifest
+in all the pictures of this period. They may be readily recognised by
+their long lean figures, their definite, almost harsh outlines, and
+their rich colours, which are frequently embellished with gold.
+
+The pictures painted during these years bear little trace of Italian
+influence, although we know that in the year 1466 a Florentine painter,
+Dello, who belonged to the school of Giotto, was living in Seville. No
+authentic works from his hand remain, but he amassed great wealth, as a
+proof of which we are told that he always painted in an apron of stiff
+silk brocade.
+
+Many of these paintings, dating to the fourteenth and fifteenth
+centuries, bear no signature. They are classified without distinction as
+the _Escuela Flamenca_, and the Spaniards apparently regard them with
+scant reverence. They are all interesting, while many of them possess
+great charm, and reveal well-developed artistic power. The Gothic
+influence is dominant, but a distinctly Spanish tendency can frequently
+be discerned. Local dress and customs are often depicted, and the
+pictures are executed with the relentless vigour, which is the specific
+characteristic of the early Spanish school. Examples of these
+Hispano-Flemish pictures will be found in the Museo, in the _Cap de
+Santa Ana_ and the _Cap de la Antigua_, in the Cathedral, and in many of
+the churches.
+
+The earliest Sevillian artist of whom we have any distinctive record is
+Juan Sanchez de Castro, who lived in the city from 1454 to 1516. Sir W.
+Stirling-Maxwell calls him 'the morning star of the school of
+Andalusia.' He quickly absorbed the Flemish influence, and his works are
+wholly Gothic, both in conception and manner of treatment. No details of
+his life are extant, but the wreckage of time has spared his work, and
+we can still study both a fresco and a panel painting executed by his
+hand.
+
+In the Church of San Julian, situated in the _plaza_ of that name, is a
+giant San Cristobal, painted by Sanchez in 1484. It is executed in
+tempera upon the wall of the church, close to the principal entrance.
+The figure of the saint is of enormous size, entirely subordinating the
+remainder of the composition, thus producing an effect of exaggeration
+and lack of proportion. The fresco has unfortunately been repainted, and
+little of the old master's work remains, except his signature and the
+date 1484.
+
+Of infinitely greater value is his painting on panel, preserved among
+the pictures collected by the late Señor D. Manuel López Cepero, which
+may now be seen in the house of Murillo, described elsewhere in these
+pages. The picture is painted upon a panel of wood, covered with canvas
+and carefully prepared plaster, as was the manner of the early masters,
+who did none of their work hurriedly, and devoted much time to the
+painstaking preparation of their materials. The picture may be regarded
+as a typical instance of the Hispano-Flemish manner. The conventional
+grief, symbolised by the drooping eyelids, falling tears and set
+countenances of the women; the harsh outlines; the extreme length of the
+reclining figure of the Christ, all bear the imprint of the Gothic
+school. The picture deserves much study. Its decorative proportions,
+extreme simplicity and harmony of colour can hardly be praised too
+highly. It is a meritorious herald of the work of the Sevillian artists.
+
+Juan Nuñez, the pupil of Sanchez, continued to imitate the manner of his
+master. His finest work is a composition, representing the _Piéta_. It
+was painted for the Chapter of the Cathedral, during the latter half of
+the fifteenth century, and now hangs in the _Sacristía de los Cálices_,
+where many of the choicest treasures of art are preserved. The Virgin
+supports the dead body of the Christ; St. Michael and St. Vincent are at
+her side, while kneeling ecclesiastics pray below. The Flemish manner
+still prevails, and the Gothic stiffness of the Saviour's figure bears a
+strong resemblance to the work of Sanchez. Cean Bermudez praises the
+picture very highly, and states that it is not inferior to Albert Dürer
+in colour and arrangement of the drapery. Like many of the early
+religious painters, Nuñez appears to have been destitute of a sense of
+humour, and in a picture of St. Michael and St. Gabriel, painted for the
+Chapter of the Cathedral, he depicted the saints adorned with
+gaily-coloured peacocks' wings.
+
+The Hispano-Flemish manner was perfected by Alezo Fernandez, who came
+from Córdova, in 1525, to work in Seville Cathedral. Lord Leighton
+considers him 'the most conspicuous among the Gothic painters,' and
+without doubt, his work marks a further advancement in the development
+of the Andalusian school. It bears testimony to advancing knowledge. For
+the first time we perceive clearly the growth of a distinctive Spanish
+style. The Flemish manner is still strongly visible, but from out of
+this eclecticism emerges that forceful effort after truth and natural
+expression, which is the conspicuous characteristic of the Spanish
+school. His finest picture is the Virgen de la Rosa, in the Church of
+Santa Ana, at Triana. The charm of this work is very great. The mellow
+splendour of its tones, and the lofty spirit in which it is conceived
+render it a study of high merit. Other pictures by this master may be
+seen in the Palacio Arzobiscopal, where hang the Conception, the Birth
+of the Virgin, and the Purification, three works of great interest; and
+in the Church of San Julian, where there is a fine altar-piece. The
+figure of San Pedro depicted upon the left of the composition is one of
+the ablest; beside him is San Antonio, while San Julian and San Josef
+stand upon the left. Over the altar are representations of the
+Incarnation and the Crucifixion.
+
+During the opening years of the sixteenth century a new influence from
+without was imposed upon the Spanish school of painting. The Italian
+Renaissance extended to Spain, and this movement, which in Italy
+produced the brilliant group of the _quatrocentisto_, fell upon the
+artistic genius of Spain as a deadening blight. It was alien to the
+temper of the Spanish nation. The simple, truthful directness of their
+early mode was forgotten; gradually their art became steeped in a
+hopeless mannerism.
+
+Luis de Vargas, who was born in Seville in 1502, was the first
+Andalusian artist, whose work testifies to the Italian influence. He
+spent many years studying in Italy. He was a devout Catholic, and like
+all the artists of Seville was supported by the munificence of the
+Chapter of the Cathedral. Unfortunately his frescoes, upon which his
+reputation, according to Cean Bermudez, largely rested, have been almost
+entirely obliterated. Dim traces of them may be seen upon the Giralda
+Tower, and upon the outer wall which encloses the Court of the Oranges;
+but it is impossible to appraise the work of De Vargas from these
+time-spoilt relics.
+
+Of his panel paintings only a small number have been preserved. They are
+simple, yet powerful in design; the colour is fresh, and the drawing is
+good. They are specially noteworthy for the charm with which women are
+portrayed, a characteristic unusual among the artists of Spain. The
+earliest known work of De Vargas was The Nativity, which was painted for
+the Chapter of the Cathedral, in 1555, and placed over the Altar del
+Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the
+figure of the Virgin, as she stands gazing upon her babe, 'bears a
+simple dignity not unworthy of Raphael.' The grouping of the figures is
+admirable. Notice especially the peasant, as he kneels and offers his
+basket of young doves. The care bestowed upon the execution of the
+details shows that De Vargas had not yet forgotten the example of the
+early masters. The goat, the sheaf of corn, the Spanish pack-saddle, all
+the accessories are painted with Flemish accuracy.
+
+The Temporal Generation of our Lord, in the south transept of the
+Cathedral, adjacent to the colossal figure of San Cristobal, is
+generally considered the masterpiece of Luis de Vargas. It is an
+allegorical composition, representing Adam and Eve adoring the infant
+Christ, who rests in the arms of the Virgin. The picture is lacking in
+charm, but the figures are finely conceived, and executed with power.
+Indeed, the life-like drawing of Adam's leg has given the picture its
+name of _La Gamba_ (the leg). It is reported that the Italian Perez de
+Alesio, the painter of the giant San Cristobal, exclaimed when gazing
+upon his handiwork, 'The whole of my figure is of less merit than the
+leg of Adam.'
+
+Greater than Luis de Vargas was the Flemish painter Pedro Campaña, who
+came to Spain and settled in Seville in the year 1548. He had spent many
+years in Italy, studying in Rome, and his pictures bear the impress of
+a combined Flemish-Italian influence. He stayed in Seville for
+twenty-four years, and is always identified with the artists of
+Andalusia. His finest picture, The Descent from the Cross, was painted
+for the Church of Santa Cruz in the year he came to Seville, 1548. The
+strength and realism of this work are truly majestic. It is, without
+doubt, the finest picture painted by the Italian mannerists in Seville.
+It exerted great influence upon the artists of a later day. Pacheco
+declared that its realism was so overmastering that he did not care to
+be left alone with it in the dimly-lighted chapel. Murillo spent long
+hours in earnest contemplation of the picture. He was wont to perform
+his devotions before it, and once, when asked why he sat watching the
+picture so intently, he is reported to have answered, 'I am waiting
+until those men have brought the body of our Blessed Lord down the
+ladder.' It was beneath this picture that the favourite master of
+Seville chose to be buried. The picture now hangs in the _Sacristía
+Mayor_ of the Cathedral. It was rescued from the Courts of the Alcázar,
+where it had been wantonly flung by the French, during the War of
+Independence, and tolerably restored by Joaquin Cortes, in 1882.
+
+Seville contains many other works by the Flemish master. In the _Cap de
+Mariscal_, in the Cathedral, is a very beautiful Purification of the
+Virgin. The charm and simple grace of the fair-haired maiden, who stands
+upon the left of the picture, contrasts vividly with the form of the
+beggar beneath. The half-length portraits of the Mariscal Don Pedro
+Cabellero and family, which also hang in the chapel, are individual and
+life-like. There is little trace of Italian influence in the rendering
+of these figures; they are all painted with Flemish carefulness. Other
+works of Campaña may be seen in the Church of San Pedro and the Church
+of Santa Ana, at Triana. The individuality of Campaña can hardly be too
+strongly emphasised. His pictures possess many of the essential and
+distinctive attributes, which characterise the work of the greatest of
+the Sevillian artists.
+
+Contemporary with Luis de Vargas and Pedro Campaña--the masters of the
+early Italian mannerists--worked a group of artists of lesser fame.
+Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for
+the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568,
+executed an altar-piece for the Church of Our Lady of the Pomegranate,
+in the Court of the Oranges; and other works since destroyed, for the
+Cathedral. Alonso Vasquez painted many pictures for the Cathedral and
+the Convents of St. Francis and St. Paul. The few of these works which
+remain may be seen in the Museo, where they hang neglected, fast rotting
+in their frames. These artists closely imitated the style of De Vargas.
+
+More individuality is revealed in the works of Pedro Villegas Marmolego,
+1520-1597, an artist whose pictures are extremely rare. The Virgin
+visiting Elizabeth, which hangs over the _Altar de la Visitación_ in the
+Cathedral, is a good example of his work, and displays his charm as a
+colourist. The garments of both the Virgin and Elizabeth are beautiful
+with radiant harmony. The works of Francesco Frutet--like Campaña a
+Flemish artist trained in Italy, who came to Seville, about the year
+1548--will be noticed in the account of the Museo.
+
+Another foreigner, who worked in Seville during this period, was
+Sturmio, probably a German, who, in 1554, painted nine pictures on panel
+for the _Cap de los Evangelistas_, in the Cathedral. These studies are
+important, for they afford the earliest instance of the fine brown
+tones distinctive of the Sevillian school. The central picture depicts
+St. Gregory saying Mass, while around him are grouped the fourteen
+evangelists, and the saints of the city. Santas Justa and Rufina, the
+holy maids, frequently portrayed by the artists of Seville, are among
+the best.
+
+The work of all these artists, who may be classified as the early
+Italian mannerists, reveals a distinctive personality. The individuality
+of the artist constantly breaks forth, through the strong Italian bias,
+while traces are often revealed of the truthful expression of the early
+Hispano-Flemish mode.
+
+As the sixteenth century drew to its close, the tendency to adopt a
+style of affected mannerism was largely augmented in the work of the
+artists of Andalusia, the result being a corresponding loss of national
+individuality. All that was essentially Spanish was for the time
+forgotten, submerged in an imported Italianism. The pictures of these
+later mannerists are dreary and almost entirely without interest. Their
+work may be readily identified by the conventional conceptions, the flat
+tones, the dry, hard colours, and the utter lack of that element of
+charm, so essential to all works of art.
+
+Juan del Castillo, 1584-1640, and Francisco Pacheco, 1571-1654, may be
+regarded as types of this phase in the record of Andalusian art. Their
+reputation rests largely upon the renown of their pupils. Juan del
+Castillo was the master of Murillo and Alonso Cano, and the chief
+interests incited by the study of his work, rests in tracing the
+influence he may have exercised in moulding the work of the Sevillian
+favourite. His best picture is the Assumption, in the Museo, in which
+the figure of the Virgin has some merit.
+
+Francisco Pacheco, the father-in-law and devoted teacher of Diego
+Velazquez, claims our attention as an individual, rather than as an
+artist. He painted innumerable pictures, which may still be viewed in
+the Cathedral, the churches and the Museo, but none rise above the level
+of mediocrity. They are carefully executed and rarely offend the rules
+of drawing, but they are all hopelessly 'mannered,' and entirely devoid
+of individual imagination.
+
+We owe a debt of gratitude to Pacheco for his _Arte de la Pintura_, a
+treatise upon the principles of art, and the lives of the artists of
+Spain, published in Seville in 1649. In style the work is pompous and
+prolix, and often very tedious, but as a record of the lives of the
+Sevillian artists it possesses great value. Pacheco was the Inquisitor
+of Art, or Familiar of the Inquisition. His authority under the Holy
+Office was great, and it was his duty to see that no indecorous or
+indecent pictures found their way into the churches. Here is a copy of
+the commission which was granted to him: 'We give him commission and
+charge him henceforward that he take particular care to inspect and
+visit all sacred subjects which may stand in shops or in public places;
+if he finds anything to object to in these he is to take the picture
+before the Lords, the Inquisitors.'
+
+The degraded Italian taste was carried to its uttermost limits by
+Herrera El Mozo (the younger), 1622-1625, who, by a strange anomaly, was
+the son of the man, who was the first to break completely away from the
+trammels of the pseudo-Italian manner. His works may be viewed in the
+Cathedral and the Museo; they instance the degradation which had been
+brought upon the art of Seville, by the unintelligent adoption of an
+alien style.
+
+It is a relief to revert to the work of those men, whose sturdy Spanish
+spirits refused to bend beneath the yoke of conventional tradition. The
+work of the cleric, Juan de la Roelas, 1560-1625, bears little, or no,
+trace of the degenerate pseudo-Italianism, although his pictures are not
+exempt from foreign influence. They are Venetian in colour, soft, yet
+free, in their drawing. They exhibit many of the features, afterwards
+amplified in the work of Murillo. His finest composition is the Death of
+San Isidore, in the parish church, dedicated to that saint. The theme of
+the picture is the transit of the holy man, Archbishop of Seville,
+during Gothic days. Many figures fill the canvas, but with true artistic
+unity, the interest is centralised upon the dying saint, who rests upon
+the ground, clad in dark mantle and finely-painted pontifical robes.
+Subtle discernment is manifested in the grouping of the figures. The
+aged fathers are thrown into distinct relief, by the youthful bloom of
+the children who kneel beside them. The shadowy forms of the
+worshippers, as they kneel in the receding aisles of the church, lend
+atmosphere to the study. The heavens are depicted above, and in the
+midst of a blaze of glowing light, the Virgin awaits with Christ, the
+coming of the saint.
+
+San Santiago, destroying the Moors in the battle of Clavigo, which hangs
+in the Cathedral, affords another fine instance of the work of Roelas.
+Three more of his pictures may be seen in the University--The Holy
+Family, The Nativity, and the Adoration of the Shepherds, while several
+hang in the Museo. A figure of a black-robed kneeling saint, in the Holy
+Family, is said to be the portrait of Roelas.
+
+Francisco de Herrera, 1575-1656, termed, el Viego (the Elder) to
+distinguish him from his son, possessed a character of unusual vigour.
+The traditions which have survived, reveal the temper of the man. His
+methods were eccentric. He worked with a dashing pencil, and it was his
+custom to employ any implement, which presented itself as convenient. It
+is reported that upon one occasion, when short of a brush, he painted a
+picture with a spoon. His fame induced numerous artists--the young
+Velazquez being among them--to seek his studio; but his irascibility was
+so great that few of them remained. He broke many a maul-stick across
+their shoulders, and frequently he was left without a single pupil to
+execute his mandates.
+
+It is said that one day, when this had occurred, he rushed into the
+kitchen, and insisted upon the serving-maid becoming his attendant; and
+amidst oaths and blows, he forced the trembling girl to prepare a canvas
+for the composition he desired to execute. His turbulent spirit led him
+into difficulties, and he was accused--whether falsely or not it is now
+impossible to say--of coining money. To escape punishment he sought
+sanctuary in the College of the Jesuits, where he painted the Legend of
+St. Hermingild, now in the Museo. In the year 1624 Philip III. came to
+Seville, and visited the college. In common with all the house of
+Austria, the King had a fine appreciation of art, and when he saw the
+work of Herrera, he at once recognised its merits, and desired to see
+the artist. Herrera knelt at the King's feet, and told the reason of his
+confinement in the convent. 'What need of silver and gold has a man
+gifted with a talent like yours? Go, you are free,' was the answer of
+the King.
+
+Such was the nature of the man, whose cogent individuality
+re-established a national Spanish style. His pictures are distinguished
+for their vigorous force. Sir W. Stirling-Maxwell calls him 'the most
+remarkable of the painters, who learnt their art solely in Andalusia';
+while Palomino, often termed the Spanish Vasari, says that the boldness
+of his manner conveys to his figures the appearance of being painted in
+relief. Several of his pictures are now in the Museo; the Cathedral
+possesses none, but there is one in the Church of San Bernardo, which,
+in spite of dirt and dim lighting, affords a fine instance of the power
+of Herrera. In the upper portion the Lord is shown with a band of
+attendant angels, while below St. Michael divides the sinful from the
+righteous. The canvas is overcrowded; a fault in which the majority of
+the compositions of Herrera share, and the form of St. Michael is
+somewhat uncouth, but the picture is full of power, and many of the
+figures, especially among the hosts of the wicked, are drawn with a fine
+freedom of handling.
+
+Francisco de Zurbaran, a peasant, born in Estremadura, in the year 1598,
+was the veritable follower of Herrera. His work more fully than that of
+any other artist typifies the genius of Spain. Lord Leighton speaks of
+him 'as a man of powerful personality, in whom more than any of his
+contemporaries, the various essential characteristics of his race were
+gathered up--its defiant temper, its dramatic bent, its indifference to
+beauty, its love of fact, its imaginative force, its gloomy fervour, its
+poetry, in fact, and its prose.'
+
+He was the pupil of Juan de las Roelas, but his work soon eclipsed that
+of his master. From the very first he cast from him all mannered
+tradition, and determined unflinchingly to follow natural methods. He
+copied all objects directly from Nature, and while still a lad working
+in the studio of Roelas, he refused to paint drapery, without having it
+placed upon a lay figure to represent the living model. He has been
+termed the Spanish Caravaggio from his strict adherence to Nature, and
+his delight in breadth and strong contrasts of light and shadow. As he
+saw Nature thus he painted her, without desire to soften or to
+idealise. His one purpose was to portray conscientiously the exact
+impression of the objects he beheld. And for this reason he may be
+designated the herald of Velazquez. His pictures lack the facility, the
+charm and the impelling force of the great master; but in their
+adherence to Nature and strict nationality of style they are in nowise
+inferior. The Adoration of the Shepherds, the fine picture in our
+National Gallery, formerly ascribed to Velazquez, is now held to be the
+work of Zurbaran. His colour is above all praise; his tints, although
+sombre, have at times, as Sir W. Stirling-Maxwell justly remarks, 'the
+depth and brilliancy of Rembrandt.'
+
+His earliest work was a series of pictures, illustrative of the life of
+the Apostle Peter, which he painted for the Chapter of the Cathedral.
+They may still be inspected in the _Cap de San Pedro_, but unfortunately
+the deficiency of light renders it well-nigh impossible to see them.
+
+The celebrated Death of St. Thomas Aquinas, and the remarkable series of
+pictures, painted for the Chartreuse monks of Santa Maria de las Cuevas,
+are now in the Museo.
+
+For the Church of the Hospital del Sangre he painted eight small
+pictures of female saints. They are portraits of the beauties who
+reigned in the city during the life of Zurbaran, and are among the most
+charming of the pictures of women to be found in Seville. Especially
+mark Santa Matilda in her crimson robe, embroidered with gold and
+pearls, Santa Dorotea in lilac, and Santa Iñes in purple, and bearing a
+lamb in her arms.
+
+The fame of Zurbaran was overshadowed by Murillo, who became the central
+figure in the artistic life of Seville, during the latter half of the
+seventeenth century.
+
+The position Murillo occupies in the record of Andalusian art is so
+significant, that it appears fitting to notice his work, and that of his
+brilliant contemporary Velazquez, in a separate chapter; and to conclude
+this brief chronicle of the Sevillian artist with two names--Alonso Cano
+and Juan de Valdés Leal, the last painters of Andalusia, whose work is
+worthy of special note.
+
+Alonso Cano, 1601-1667, was not born in Seville, but came to the city,
+when quite young, to receive instruction from Pacheco and Juan de
+Castillo. He painted pictures for the Carthusians, and the other
+convents and churches, but a duel, fought with a brother artist, in
+1639, drove him from the city. The finest instance of his work in
+Seville is Our Lady of Bethlehem, in the Cathedral. It was painted in
+Malaga for Señor D. Andres Cascentes, who presented it to Seville. The
+light is dim, and it can only be seen by the glow from the tapers which
+burn upon the altar. It is somewhat conventional in treatment, and bears
+distinct traces of Italian mannerism. Yet the picture is not without
+charm, and the Spanish national note is not entirely absent. The hands
+and feet are painted with extreme care, and the crimson robe and
+dark-blue mantle of the Virgin are exquisite in colour. The picture may
+be regarded as typical of his work. One of his chief faults was
+repetition, and he was frequently accused by his contemporaries of
+copying from the works of other masters; a charge which he is said to
+have challenged, with the following answer: 'Do the same thing, with the
+same effect as I do, and all the world will pardon you.' His power as an
+artist has been somewhat over-estimated, and his claim to be called 'the
+Michelangelo of Spain' rests solely upon the fact that he was sculptor
+and architect as well as painter.
+
+Juan de Valdés Leal, 1630-1691, lived until the time when Andalusian
+art was fast approaching its decline. His early life was embittered by
+jealousy of Murillo, and much of his energy was expended in useless
+quarrels with his brother artists. His pictures are mannered, but the
+best are vigorous, and their main defects are due to hasty execution. He
+appears to have had no power to finish his work; when he tried to be
+careful he became weak. The Museo contains many of his pictures. The
+Virgin bestowing the Chasuble on San Ildefonso in the _Cap de San
+Francisco_, in the Cathedral, is one of his finest works. The two
+pictures in the Hospital de la Caridad were painted to illustrate the
+vanity of worldly grandeur. They are theatrical, and have little
+'literary' attraction, but the execution exhibits a certain power. In
+one of them a hand holds a pair of scales, in which the sins of the
+world--represented by bats, peacocks, serpents and other objects--are
+weighed against the emblems of Christ's Passion; in the other, which is
+the finer composition, Death, with a coffin under one arm, extinguishes
+a taper, which lights a table spread with crowns, jewels and all the
+gewgaws of earthly pomp. The words _In Ictu Oculi_ circle the gleaming
+light of the taper, while upon the ground rests an open coffin, dimly
+revealing the corpse within.
+
+It was this picture which caused Murillo to remark that it was something
+to be looked at with the nostrils closed. To which rather uncertain
+praise Leal is reported to have replied, 'Ah, my compeer, it is not my
+fault, you have taken all the sweet fruit out of the basket and left me
+only the rotten.'
+
+With the death of Valdés Leal, at the close of the seventeenth century,
+the long chain of artists, who had made the name of Seville famous,
+terminates. He left behind him no painter of specific merit. The artists
+who remained were dreary conventionalists, without originality, mere
+copyists of those who had preceded them. The study of their work yields
+neither pleasure nor profit. It is better to leave the record of the
+artists of Seville, while the memory of her greatest masters is still
+vivid, than to trace the slow decay of her art into feeble mediocrity.
+
+       *       *       *       *       *
+
+_Note._--In order to facilitate the finding of the works of the artists
+mentioned in this chapter, this list is appended, naming their chief
+pictures, and the places where they may be found.
+
+   Artists.                 Pictures.               Where Situated.
+
+  Pedrode Pampeluna        Illuminated Bible.      Library of the Cathedral.
+   (thirteenth century).
+
+  Juan Sanchez de          Fresco of San           San Julian.
+   Castro (1454-1516)       Cristobal.
+          "                Painting on panel       House of Murillo.
+                            of the Entombment.
+
+  Juan Nuñez (fifteenth    Piéta.                  Sacristía de los
+   century).                                        Cálices, Cathedral.
+
+  Alezo Fernandez          Conception.             Palacio Arzobiscopal.
+   (worked in Seville
+   about 1508).
+          "                Birth of the Virgin.    Ditto.
+          "                Purification.           Ditto.
+          "                Virgen de la Rosa.      Santa Ana, Triana.
+          "                Altar-piece.            San Julian.
+
+  Luis de Vargas           Frescoes.               The Giralda Tower.
+   (1502-1568).                                     Outer Wall of the
+                                                    Court of the Oranges.
+          "                The Nativity.           Altar del Nacimiento,
+                                                    Cathedral.
+          "                Temporal Generation     Altar de la Gamba,
+                            of Our Lord.            Cathedral.
+          "                Portrait of Don         Ditto.
+                            Juan de Medina.
+
+  Pedro Campaña            The Descent from        Sacristía Mayor,
+   (1503-1580).             the Cross.              Cathedral.
+          "                Purification of the     Cap de Mariscal,
+                            Virgin.                 Cathedral.
+          "                Portraits.              Ditto.
+          "                Altar-piece.            San Pedro.
+          "                Retablo, with           Santa Ana, Triana.
+                            fifteen paintings.
+
+  Antonio de Arfian       Frescoes on the          St. Mary Magdalen,
+   (1537-1587).            History of St.           Triana.
+                           George.
+
+  Juan Bautista Vasquez   Altar-piece.             Altar of Our Lady of
+   (worked in                                       the Pomegranate,
+   Seville about 1568).                              Court of the
+                                                    Oranges.
+
+  Alonso Vasquez          Various works.           Museo.
+   (_d._ 1648).
+
+  Pedro Villegas          Virgin visiting          Altar de la Visitación,
+   Marmolego               Elizabeth.               Cathedral.
+   (1520-1597).
+          "               Doubtful Works.          Museo.
+
+  Francesco Frutet        Several Works.           Museo.
+   (worked in Seville
+   about 1548).
+
+  Sturmio (worked in      St. Gregory saying       Cap de los Evangelistas,
+   Seville about 1554).    Mass.                    Cathedral.
+          "               Evangelists.             Ditto.
+          "                Saints.                 Ditto.
+
+  Herrera, el Mozo        Several Works.           Cathedral.
+   (1622-1685).
+          "                     "                  Museo.
+
+  Juan de las Roelas      Martyrdom of St.         Museo.
+   (1560-1625).            Andrew.
+          "               Other works.             Ditto.
+          "               Death of San             San Isidore.
+                           Isidore.
+
+  Juan de las Roelas       San Santiago.           Cap de Santiago,
+   (1560-1625).                                     Cathedral.
+          "                Holy Family.            The University.
+          "                Nativity.               Ditto.
+          "                Adoration of the        Ditto.
+                            Shepherds.
+
+  Herrera, el Viego        Legend of St.           Museo.
+   (1576-1656).             Herminigild.
+          "                Other works.            Ditto.
+          "                St. Michael and the     San Bernardo.
+                            Hosts of the Wicked.
+
+  Juan de Castillo         Assumption.             Museo.
+   (1584-1640).
+          "                Other pictures.         Ditto.
+          "                Virgin and Child.       House of Murillo.
+          "                Other works.            The Churches.
+
+  Francisco Pacheco        Many works.             Museo.
+   (1571-1654).
+          "                     "                  House of Murillo.
+          "                     "                  Cathedral.
+          "                     "                  Churches.
+
+  Francisco de Zurbaran    Legend of St.           Cap de St. Pedro,
+   (1598-1661).             Pedro.                  Cathedral.
+           "               Death of St.            Museo.
+                            Thomas Aquinas.
+           "               Other works.            Ditto.
+           "               Eight Female            Hospital del Sangre.
+                            Saints.
+
+  Alonso Cano              Our Lady of             Altar de la Virgin
+   (1601-1667).             Bethlehem.              de Belen, Cathedral.
+
+  Juan de Valdés Leal      San Ildefonso.          Cap de St. Francisco,
+   (1630-1691).                                     Cathedral.
+          "                Pictures illustrating   Hospital de la
+                            the vanity              Caridad.
+                            of worldly grandeur.
+          "                Many works.             Museo.
+
+
+
+
+CHAPTER IX
+
+_Velazquez and Murillo_
+
+     'The more the artist studies Nature, the nearer he approaches to
+      the true and perfect idea of art.'--Sir J. REYNOLDS.
+
+
+On the 15th of June, in the year 1599, Diego Rodriguez de Silva y
+Velazquez was born in Seville. Eighteen years later affords the record
+of birth of Murillo. Contemporary, or nearly so, they began their lives
+in the same environment, yet from their earliest youth they tended to
+develop upon divergent lines. The young Velazquez, at the age of
+thirteen, became the pupil of the vigorous Herrera, while Murillo
+entered the school of the academic Juan de Castillo.
+
+It was reserved for Velazquez to break away from the traditional
+limitations of the Sevillian school, while the work of Murillo was to
+develop them to their fairest fruition.
+
+The national manner, begun by Herrera and developed by Zurbaran, was, by
+the genius of Velazquez, carried to perfect fulfilment.
+
+The grave and truthful simplicity of his pictures is unsurpassed among
+the artistic records of any nation. His supreme effort was directed to
+the portrayal of Nature. With unerring judgment he selected the
+essential details of a composition, and painted them with unflinching
+fidelity. He depicted each colour precisely as the lighting of his
+canvas revealed it to him. He is the master of chiaroscuro, by the
+perfect unity of his tones. His style is wholly personal, his pictures
+bear pre-eminently the mark of individual expression. From his earliest
+youth this was his method of work. 'He kept,' Pacheco tells us, in the
+account he gives of his pupil and son-in-law, in his _Arte de la
+Pintura_, 'a peasant lad, as an apprentice, who served him as a study in
+different actions and postures--sometimes crying, sometimes
+laughing--till he had grappled with every difficulty of expression; and
+from him he executed an infinite variety of heads, in charcoal and chalk
+on blue paper, by which he arrived at certainty in taking likeness.' In
+this way did Velazquez train his power; and we are able to comprehend
+the wonderful portraits, which have rendered the House of Austria
+familiar to the world, when we picture the youth drawing his slave,
+again and yet again, in different attitudes and ever varied changes of
+expression.
+
+This, then, was the divergence between the methods of Velazquez and
+Murillo. The one painted Nature as she was; the other depicted men and
+women as they never could be, but in the guise of saints, according to
+the desires of the Catholic Church. It is in this dis-similarity of
+their aims, that we shall find the explanation of the fact, which cannot
+fail to impress the visitor to Seville, that, while the city abounds in
+the works of Murillo, no single picture from the hand of Velazquez is to
+be found in Cathedral, Church or Museo. The city of his birth is
+destitute of any commemoration of his genius, if we exclude a few
+pictures, of very doubtful authenticity, to be found in some of the
+private collections.
+
+The art of Seville was maintained by the munificence of the Church.
+Painting was the handmaid of the Catholic religion. Pictures were
+painted for the glory of God; they were valued as aids in the due
+performance of religious observance rather than as works of art. For
+the artist whose supreme desire was to follow truth Seville was no home.
+Realism was opposed to the very essence of the Catholic mind. The
+mediæval spirit did not exist in Velazquez, the most modern of all the
+old masters; he yearned for a freer and wider scope for the development
+of his genius.
+
+In March, 1621, Philip III. died, and was succeeded by his young son,
+Philip IV., who at once began to collect about the throne the literary
+and artistic genius of the day.
+
+Accompanied by Pacheco, Velazquez went to Madrid and craved an audience
+of the King. The favour was denied, and after some months of waiting,
+the young artist returned to Seville. Next year he again sought the
+metropolis. One of the Canons of Seville Cathedral, Don Juan Fonseca,
+had obtained a post in the King's service; Velazquez painted his
+portrait. It was carried to the palace before it was dry, and in an hour
+the whole court had seen it. 'It excited the admiration of the capital,'
+writes Pacheco, exulting in the success of his favourite, 'and the envy
+of those of the profession, of which I can bear witness.' Velazquez's
+position was assured. He was formally received into the King's service,
+and became a member of the royal household. His genius was lost to
+Seville. He is classed among the artists of Castile, and to study his
+works it is necessary to visit, not Seville, but the Prado Museo, at
+Madrid.
+
+Of the pictures he painted in his youth none remain in Seville. The most
+famous are The Water Carrier, or Aguador, now in the collection of the
+Duke of Wellington, at Apsley House; The Omelet belonging to the late
+Sir Francis Cook; St. John in Patmos and The Woman and the Dragon, the
+property of Sir Bartle Frere; The Epiphany in the Prado Museo; and The
+Adoration of the Shepherds in the National Gallery.
+
+The Water Carrier and The Omelet are studies of street life, finished
+with great care; a class of picture known as _bodegones_, often painted
+by the Spanish artists. The former is the finer work. It is a
+magnificent instance of Velazquez's power during his student days.
+
+Either a study for this picture, executed by Velazquez himself, or a
+copy by one of his pupils, can be seen in the house of Murillo. The
+courteous owner, Señor Don López Cepero, is always willing to show his
+valuable collection of pictures. He believes the work to be a genuine
+Velazquez, and it is just possible that it may be so, and in any case it
+is a study of much interest. The Corsican water-seller, clad in his
+brown frock, a well-known figure in the streets of Seville, hands a
+glass of water to a boy, while in the distance another figure is dimly
+discerned, with his face buried in an earthenware mug. The background is
+very dark; the figures alone stand in the light. There is no scenery,
+and the accessories are painted with absolute truth.
+
+       *       *       *       *       *
+
+While the art of Velazquez was unsuited to the city of his birth, the
+works of Murillo breathed the very spirit of the life around him. His
+pictures represent the religious emotion of his period; they may
+fittingly be termed, 'the embodied expression of Spanish Catholicism,
+during the seventeenth century.'
+
+This fact in a large measure accounts for the popularity of Murillo, and
+the rapid recognition which his merits received at the hands of his
+countrymen. His art appealed pointedly to the hearts of the people; the
+expression of his genius was comprehensible to them all. He speedily
+became the favourite artist in Spain, and his fame gradually extended
+throughout Europe.
+
+Murillo's artistic career may be divided into four periods. During the
+first he was needy and unrecognised, gaining a precarious livelihood by
+painting rude pictures for the Feria, a weekly fair, held every Thursday
+at the northern end of the Old Alameda, in front of the Church of All
+Saints. The artistic training he had received was slight. Juan de
+Castillo, who, as a relative of the family, had taught the boy free of
+charge, left Seville, and the young Murillo was too poor to enter the
+schools of Herrera, Pacheco, or Zurbaran. He was obliged to toil with
+strenuous effort to support himself and his sister, who was dependent
+upon him.
+
+We can picture the future genius of Seville, standing in the market of
+the Feria, exposing his pictures for sale. He would often paint them
+while he waited, or would alter each composition to suit the fancy of an
+intending purchaser. Ambitious dreams fired his imagination. Pedro de
+Moya, an artist friend, had been to Rome, and had returned imbued with
+the glories of the metropolis of art. Murillo aspired to visit Italy,
+and with this hope he toiled, until he had saved a sufficient sum to
+take him to Madrid. He at once sought the counsel and protection of his
+old friend Velazquez. The court artist received him with the utmost
+kindness. He gave him lodging in his own apartments, and obtained
+permission for him to work in the Royal Galleries. A new world was
+revealed to the young Murillo. For two years he worked, then Velazquez
+advised him to go to Italy, to continue his studies in Rome, or
+Florence. He offered him letters of introduction, and did all in his
+power to induce him to undertake the journey, but for some reason
+Murillo declined his offer and returned to Seville.
+
+His earliest work was to paint a series of studies of the Legend of St.
+Francis, for the Franciscan Convent, formerly situated behind the Casa
+del Ayuntamiento. They at once assured his fame; the unknown artist
+became the most popular painter in opulent Seville. The only person who
+failed to acknowledge his genius was Francisco Pacheco. Jealous for the
+fame of Velazquez, and unable to forgive the lack of appreciation which
+Seville had tended to his favourite, he makes no mention of Murillo or
+his works, in his _Arte de la Pintura_; a curious omission only to be
+accounted for by private enmity.
+
+None of the Franciscan cycle of pictures are in Seville, and only two,
+The Heavenly Violinist, and The Charity of St. Diego, are in Spain. They
+were carried away by the French during the War of Independence.
+
+The influence of the two years Murillo had spent in Madrid can readily
+be traced in these early paintings. The outlines are distinct and in
+some cases hard; while the tone of the shadows, and the treatment of the
+lights follows the method of the realists, and affords little or no sign
+of the melting indecision of outline, the manner so prevalent in his
+later work. The pictures belonging to this period are said to be painted
+in the _Estilo Frio_, or cold style. The best instance in Seville, is La
+Anunciación de Nuestra Señora, in the Museo.
+
+In his later work Murillo abandoned the influence of Ribera, Zurbaran,
+Velazquez and the Spanish realists; he developed a manner more personal,
+and more in harmony with the mystic trend of his emotions. His outlines
+became softer, and his forms rounder, while his colour began to assume
+tones of melting transparency. A Spaniard writing of his work at this
+period remarks that his flesh tints seem to be painted '_con sangre y
+leche_' (with blood and milk).
+
+The first picture painted in this manner, which is known as the _Estilo
+Calédo_ (warm style), is Nuestra Señora de la Concepción, executed for
+the brotherhood of the True Cross, in 1655, for the sum of 2500 _reals_.
+To this period belong the fine portraits of St. Leander and St. Isidore,
+in the _Sacristía Mayor_, of the Cathedral; the Nativity, which formerly
+hung behind the high altar, until it was carried away by Soult; and the
+celebrated St. Anthony of Padua, receiving the infant Christ, still to
+be seen in the _Cap del Bautistero_.
+
+The portraits of St. Leander and St. Isidore are among the finest
+instances of the powers of Murillo. All the accessories are painted with
+the utmost care, and perhaps the only criticism which can be offered is
+that the figures are rather short. These portraits must be classified
+with Murillo's fine _genre_ studies--those charming representations of
+gipsy life and beggar boys, by which he is largely known in this
+country, but of which Seville unfortunately possesses not a single
+example.
+
+The Nativity of the Virgin was received by Seville with a burst of
+enthusiasm. The St. Anthony was painted in 1565, the Chapter paying for
+it the sum of 10,000 _reals_. The light in the dim chapel renders it
+very obscure. A brown-frocked monk kneels at a table, and gazes at the
+Heavenly Child, who descends towards him. Upon the table rests a vase of
+lilies, and the story runs that they were so life-like that the birds,
+flying around the Cathedral, used to come and peck at them, while
+Murillo was engaged in painting them. The picture was restored, and
+almost repainted in 1833, which has doubtless done much to destroy its
+charm.
+
+Shortly after this time Murillo adopted his third and last manner, known
+as "el Vaporoso," in which the outlines are entirely lost, obliterated
+in a misty effect of light and shade.
+
+The first pictures painted in this method were executed for the Church
+of Santa Maria la Blanca, to illustrate the legend of our Lady of the
+Snow. They were carried away by the French and placed in the Louvre; but
+were rescued, and are now in the Académia de Belles Artes, at Madrid.
+The Virgin, appearing to the wife of a Roman senator, and telling her
+where she will find the patch of snow upon which to erect a church to
+her honour, is one of the loveliest of Murillo's conceptions.
+
+The great cycle of pictures for the Hospital de la Caridad were painted
+about this time, being completed between the years 1660 and 1674. Three
+of the pictures stand in their original position, Moses striking the
+Rock, The Miracle of the Loaves and Fishes, and the Charity of St. Juan
+de Dios. The figure of the Prophet, in Moses striking the Rock, Sir W.
+Stirling-Maxwell says, 'is one of impressive dignity.' Clad in pale
+yellow robe and violet mantle, he occupies the central position in the
+picture. Behind him stands Aaron, with mystic breastplate, and robe of
+subdued white. Around the two prophets are grouped numerous figures,
+men, women and children, all quenching their thirst with feverish
+eagerness. This has given the picture its name of La Sed (the thirst).
+The figures bear no resemblance to the men and women of Palestine, they
+are ordinary Spanish peasants, such as Murillo would see in the streets
+around him. This custom of introducing common types into his scriptural
+compositions, Professor Carl Justi considers as one proof of
+Murillo's genius. The personality of Christ, in the Miracle of the
+Loaves and Fishes, lacks the force of the ancient prophet, and the work
+as a whole is inferior to its companion picture. The Angel appearing to
+St. Juan de Dios, as he sinks under the burden of a sick man, well
+represents the later manner of Murillo. In colour this picture is good,
+the tones are finer than in either of the other works. The five
+remaining pictures, which completed this great series, were carried away
+by Soult. The finest, St. Elizabeth of Hungary washing the Feet of
+Beggars, is now at Madrid. The Return of the Prodigal is in the
+collection of the Duke of Sutherland. Two others, The Healing of the
+Paralytic, and Abraham with the Angels, are in England, while the last,
+St. Peter released from Prison, is in St. Petersburg.
+
+[Illustration: THE GUARDIAN ANGEL
+
+_Murillo_]
+
+The final work of importance undertaken by Murillo, was the execution of
+a series of twenty pictures for the Capuchin Convent of the Franciscans.
+The convent was destroyed in 1835, when its treasures were scattered.
+The greater number of the pictures are now in the Museo; the immense
+altar-piece of the Porciuncula is in Madrid; while the Angel de la
+Guarda is in the _Sacristía de los Cálices_, having been presented to
+the Cathedral, by the Franciscans, in 1814. There is great beauty in
+this composition; which was founded upon the text, Matthew xviii. 10.
+
+An angel, in a rich yellow robe and royal purple mantle, points with one
+hand to heaven, while with the other she tenderly leads a lovely child.
+It is painted with great lightness of touch; the diaphanous drapery of
+the child's dress has a transparency of texture rarely seen in Spanish
+pictures.
+
+The life of Murillo was nearing its completion. He worked until its
+very close; and devotion to the art he loved was the immediate cause of
+his death. In 1678 he painted for the Hospital de los Venerables a very
+fine Conception, which has since been lost; he also executed two
+pictures for the Augustine Convent, now in the Museo. In 1681 he was
+summoned to Cadiz to paint an altar-piece for the Capuchins of that
+city. The work was nearly completed, when he fell from the scaffolding,
+upon which he was standing in order to reach upper portions of the
+picture. He received an internal injury, and returned to Seville to die,
+on April 3, 1682.
+
+The whole city sorrowed for his loss. His obsequies were conducted with
+great magnificence. His bier was carried by four marquesses and four
+knights. He was buried in the Church of Santa Cruz, beneath his
+favourite picture, The Descent from the Cross, by Pedro Campaña. The
+spot was marked by a simple marble slab, upon which was engraved,
+according to his own desire, his name, the figure of a skeleton, and the
+words '_Vive Meritorus_.'
+
+The position Murillo occupies in the heart of Andalusia is almost
+unprecedented. To this day a picture of great merit is in Seville termed
+a 'Murillo.' What Cervantes was in literature Murillo was in art. Sir
+David Wilkie justly remarks, in his comparison of Velazquez and Murillo,
+'Velazquez by his high technical excellence is the delight of all
+artists; Murillo, adapting the higher subjects of art to the commonest
+understanding of the people, seems, of all painters, the most universal
+favourite.'
+
+   Artist.             Pictures.               Where Situated.
+  Velazquez (?)       Water Carrier.          House of Murillo.
+   (1599-1660).
+       "              A few doubtful          Private Collections.
+                       works.
+
+THE PRINCIPAL WORKS OF MURILLO IN SEVILLE CATHEDRAL.
+
+   Artist.             Pictures.               Where Situated.
+  Murillo             Angel de la Guarda.     Sacristía de los
+   (1617-1682).                                Cálices.
+       "              SS. Leander and         Sacristía Mayor.
+                       Isidore.
+       "              Conception.             Sala Capitular.
+       "              St. Anthony of          Cap del Bautisterio.
+                       Padua.
+       "              Moses striking the      Hospital de la
+                       Rock.                   Caridad.
+       "              Miracle of the          Ditto.
+                       Loaves and Fishes.
+       "              Charity of St. Juan     Ditto.
+                         de Dios.
+       "              Seventeen works         Museo.
+                       from the Capuchin
+                       Convent, and
+                       other works.
+
+          Other Pictures in many of the Churches.
+
+
+
+
+CHAPTER X
+
+_The Pictures in the Museo_
+
+     'The office of art is to educate the perception of beauty.'
+
+     EMERSON.
+
+
+In the south-western quarter of Seville, in the midst of a palm-shaded
+_plaza_, stands the Museo Provincial, a picturesque structure, whose
+history dates back to the thirteenth century. It was originally a
+monastery, founded by the pious San Fernando, in the year 1249, for the
+monks of the order of the Merced, whose duty it was to redeem the
+Christian captives taken from the Infidel. Sumptuously rebuilt by Carlos
+V., it was a religious house of great wealth during the fifteenth and
+sixteenth centuries.
+
+Little of the former glory now remains. The convent was destroyed, and
+the monks expelled in the year 1835. New uses were found for the ancient
+edifice. The Roman and Visigothic relics were brought from Italica, and
+stored within the quiet cloisters. Numerous pictures, rescued from the
+convents and churches by the efforts of Dean Manuel López Cepero, were
+hung upon the walls of the old convent church. The sole relic of the
+banished order of the Merceds are the emblazoned arms of the
+brotherhood, which may still be seen upon the rich and curiously-panelled
+doors.
+
+The majority of the pictures hang in the Salón de Murillo, the name now
+given to the convent church. The collection cannot be taken as
+representative of the genius of Seville. There are numerous examples of
+the work of Murillo, more than half of the room is occupied by the
+canvases of the Sevillian favourite. There are some fine instances of
+the work of Zurbaran. The elder Herrera and Valdés Leal are also well
+represented. But there are only two specimens of Luis de Vargas and Juan
+de las Roelas, while the works of Velazquez, Alonso Cano, Nuñez, Campaña
+and several other artists are entirely absent. The space which the
+compositions of these masters might have occupied is filled with
+comparatively worthless pictures, painted by the decadent artists, who
+lived during the eighteenth century.
+
+The pictures[D] are well lighted, in a tolerable state of preservation,
+and are arranged with some method.
+
+The compositions of Murillo immediately attract attention. There are
+more than twenty in number, almost all of which are ranged in the nave
+of the Salón. The seventeen pictures, painted for the Capuchin Convent,
+are the most important. The finest is Santo Tomás de Villanueva
+socorrierdo á los pobres[E] (rendering succour to the poor). Murillo
+esteemed this picture above all his works, and was wont to call it _su
+lienzo_ (his own picture). In literary conception the work has much
+merit. It is executed in the misty, _vaporoso_ manner. The light is
+skilfully handled and the figure of the saint is well realised. Robed in
+black, and bearing a white mitre in his hand, he stands at the door of
+his Cathedral, ministering to the needs of a beggar; whose feeble form,
+clad in filthy rags, affords a fine contrast with the calm beauty of
+the saint. Penurious men and women, waiting to be relieved, stand
+grouped in the foreground. The little urchin, who exultingly exhibits
+the _maravedis_ which have fallen to his share, is a typical Murillo
+beggar-boy.
+
+The two fine pictures of San Antonio with the infant Jesus are both
+instances of Murillo's latest manner. A similar picture is the Virgin
+revealing herself to San Félix de Cantalicio. The outlines in all three
+pictures are obliterated, lost in a haze of misty vapour. The deposition
+of the drapery in St. Leander and St. Buenaventura is admirable. The
+picture of Santas Justas y Rufina, supporting the famous Giralda Tower,
+to guard it from the ravages of the tempest, should be compared with the
+picture of the same saints by Francisco Goya, in the _Sacristía de los
+Cálices_, in the Cathedral. In the composition of Goya we have an
+instance of a saintly subject treated in a realistic manner; Murillo
+follows the accustomed mode and depicts the maidens as holy saints,
+crowned with halos of glory.
+
+The fable that the picture of La Virgen con el Niño Jesús was painted
+upon a serviette has no foundation, as can readily be seen by examining
+the panel upon which the study is painted. The story, which is very
+widely credited, says that the cook at the Capuchin Convent, having
+rendered Murillo some service, was asked by him what recompense he
+desired. He at once craved a sketch from the hand of the great master.
+Murillo, according to the fable, took the serviette which the cook was
+carrying, and with a few rapid touches of his brush created the picture,
+which is still noteworthy for the brilliancy of its tints.
+
+[Illustration: THE CONCEPTION
+
+_Murillo_]
+
+One of the sweetest of Murillo's Madonnas may be seen in El Nacimiento
+de Jesucristo (The Nativity). Cean Bermudez praises this picture very
+highly, while Antonio Ponz, a later Spanish critic, says that the stream
+of light which floods the picture is worthy of Correggio. There are four
+Immaculate Conceptions. In one the Virgin is supposed to be a portrait
+of the daughter of Murillo. Possibly the finest is the one termed 'la
+Grande,' although the difference between the pictures is very slight.
+
+At the farther end of the nave, close to the works of Murillo, is El
+Martirio de San Andres, by Juan de las Roelas, a huge composition,
+crowded with numberless figures. In spite of this defect the picture has
+power. The expression of the faces is individual and life-like, and the
+form of the martyr, bound to his double-cross, is well drawn. The chief
+merit of the work rests in its colour, which is Venetian in many of its
+tones. Very beautiful is the picture of Santa Ana teaching the Virgin to
+read. The drawing, especially of the hands, is defective, but the flesh
+tints are full of rich warmth, indeed, the colouring of the whole
+picture can hardly be too highly praised.
+
+Near to the Martyrdom of St. Andrew hang the Visión de San Basilio and
+the Apotéosis of San Hermenegildo, two works of great size, by Herrera
+el Viego. The latter is the finer composition as the canvas of the
+Vision is overcrowded and the interest of the work is not sufficiently
+centralised. San Hermenegildo is a noteworthy instance of the power of
+Herrera, and exemplifies his vigorous individual style. The favoured
+saint of Seville ascends to heaven in a flood of yellow glory, which
+reveals the steel blue of his cuirass, and the rich crimson of his
+flowing mantle. Two angels bear the axe and chain, the trophies of his
+triumph; while all around cherubs hover, waiting to crown with flowers
+the newly-martyred saint. Beneath are three figures--a fair-haired,
+kneeling boy, the son of San Hermenegildo, St. Isidore, robed and
+mitred, and King Leovigild, the Visigoth, who imprisoned and killed his
+brother for his defection from the Arian faith.
+
+Upon the same wall as the Santa Ana are the works of Juan de Valdés
+Leal. They are of uneven merit, and traces of hurry and lack of careful
+completion may be discerned in almost all of them. One of the most
+interesting is, La Virgen, las tres Marías y San Juan, en busca (search)
+de Jesús. The figures convey the idea of motion, while eager expectancy
+finds expression in look and gesture. The series of pictures
+illustrative of the life of San Jerónimo are also interesting,
+notwithstanding the lack of harmony which mars several of the
+compositions. Entirely distinct are, La Concepción, and La Asunción.
+They are poor, both in drawing and colour; distinctly mannered, and
+devoid of simplicity and deep religious feeling.
+
+The works of Francisco de Zurbaran are collected in the old convent
+choir. In the centre is, La Apotéosis de Santo Tomás de Aquino,
+considered by some critics the masterpiece of Zurbaran. It is a triple
+altar-piece, allegorically representing the death of the patron of the
+College of St. Thomas. The saint is ascending to heaven to join the
+blessed Trinity, the Virgin, St. Paul, and the hosts of glory. Below sit
+the venerable figures of the Doctors of the Church; on the right kneels
+the Bishop Diego de Dega, the founder of the college, while the Emperor,
+Charles V., with a train of ecclesiastics, stands upon the left. The
+dark, mild face of the figure immediately behind the Emperor is supposed
+to be the portrait of Zurbaran. As a work of art the picture is
+defective; it lacks charm, and the literary interest of the composition
+is too diffused. The execution is excellent, the colour, though sombre,
+is rich with a splendid mellowness of tone, while each of the heads
+bears the imprint of being a separate study.
+
+[Illustration: THE ROAD TO CALVARY
+
+_Valdes Leal_]
+
+The three studies of Carthusian monks amply manifest the charm which
+this allegorical composition lacks. La Virgen de las Cuevas, and San
+Hugo en el refectorio will be found on either side of the choir, while
+the third of the series, Confrencia de San Bruno con Urban II. hangs
+close to the St. Thomas. The genius of Zurbaran is disclosed in these
+scenes of monastic life. All three pictures are executed with remarkable
+fidelity, but the finest of the three is St. Hugo visiting the monks in
+their refectory. It is painted with realistic and individual truth. The
+monks, clad in the white robes of the Carthusians, sit around a table at
+their mid-day repast. In the foreground stands the aged figure of St.
+Hugo, attended by a young page. The saint has come to reprove the order
+for unlawfully dining upon flesh meat. His purple vestments supply an
+effect of fine colour, which contrasts with the dull white cowls and
+frocks of the brothers. What cold, passionless faces! Zurbaran has
+embodied the very spirit of asceticism. Each monk is a portrait,
+probably drawn from life. It is a perfect realisation of a monastic
+scene from the life of ancient Spain.
+
+We can only touch briefly upon the remaining pictures of Zurbaran. They
+are all worthy of study. Signs of weak drawing can often be detected,
+but the effort after truthful expression, and the entire absence of a
+desire to please by any special trick of manner will commend his work to
+every student. Note the simple, yet powerful, sincerity of his
+Crucifixion. Consider the manner in which he has depicted the boy Jesus
+in the picture, El Niño Jesús. A boy clad in a simple gown of darkest
+grey; no halo surrounds his head, and upon his knees rests a twisted
+crown of thorns. One of the prickly spines has pierced the boy's
+finger, and with the verity of life Zurbaran depicts him pressing the
+finger to extract the thorn. The drawing of the figure is faulty and the
+execution of the little sketch is not equal to many of the other
+pictures, but the mode of treatment illustrates very convincingly the
+sincerity of the artist's purpose. Many of the studies of monkish
+figures are very fine. San Luis Beltrán is a work of wonderful power.
+The careful painting of the hands, and the way in which every detail of
+the picture is subordinated to the whole effect deserve high praise.
+
+To turn from the works of Zurbaran to the pictures of Francisco Pacheco
+and Juan de Castillo is somewhat difficult. The hard, flat, lifeless
+portraits of the one, and the dull, faultily drawn, religious
+composition of the other, offer little inducement to linger. Were it not
+for the interest which attaches to these artists from the illustrious
+fame of their pupils, their very names would hardly be remembered.
+
+Equally disappointing are the majority of the remaining canvases, which
+hang in the nave of the Museo. The modern pictures appear out of place.
+The chief idea they convey is one of intense crudity of colour. Among
+the numerous pupils and imitators of Murillo not one is worthy of
+attention. The work of the pupils of Zurbaran reaches a somewhat higher
+level. The pictures of the Apostles, by the brothers Miguel and
+Francisco Polancos are good studies.
+
+[Illustration: SAINT HUGO IN THE REFECTORY
+
+_Zurbarán_]
+
+In the nave are two pictures, both good and one of fine merit, executed
+by artists not belonging to the Sevillian school. La Sagrada Cena (The
+Last Supper), by Pablo de Céspedes, the artist of Córdoba, 1538-1608,
+hangs upon the end wall of the nave, near to the Martyrdom of St.
+Andrew. The colour is good, there is a slight confusion of detail, but
+the picture is not without charm. The portrait of himself, by
+Doménico Theotocópuli,[F] 1548-1625, better known as El Greco, the
+genius of Toledo, will be found near the door. It is a magnificent study
+and testifies to the power of the hand which executed it. Composition
+and technique alike, are above praise. The portrait is life-like in its
+reality; we grow to know the dark face of the artist, as he stands, with
+his brush and palette in his hand.
+
+Three other rooms, of small size, complete the Museo. The pictures they
+contain are not of great importance, but there are a few interesting
+canvases in the old sacristy, leading from the south transept of the
+Salón. Among them are several compositions of the early fifteenth
+century, classified as belonging to the _Escuela Flamenca_, by artists
+whose names have not been preserved. The tones in many of these antique
+pictures are wonderful, and they are all painted with a naïve
+simplicity. The colour in the two compositions, El Señor Coronado de
+espinas (thorns), and La Anunciación de Nuestra Señora is especially
+good. The long lean figures and conventional grief depicted in El
+enterramiento del Señor, strongly resemble the similar picture by
+Sanchez de Castro, in the house of Murillo.
+
+The works of Francisco Frutet will be found in this room. The finest, a
+grand triptych, entitled, Jesús en el camino (road) del Calvario, is a
+work of much beauty. The central picture of the Crucifixion is finely
+conceived, and Sir W. Stirling-Maxwell thinks that several of the
+figures bear a resemblance to the Spasimo de Sicilia of Raphael.
+
+El Juicio Final, by Martin Vos, a Flemish painter, who worked in
+Seville during the early years of the sixteenth century, is a
+quaintly-conceived allegorical picture. This finest portion represents
+the hosts of the wicked. The drawing of the figures is good, but the
+canvas is much crowded.
+
+
+_The Statuary in the Museo._
+
+Before studying Spanish statuary, it is well to remember that this
+branch of art never attained to the same level in the Peninsula as the
+sister art of painting. The reason of this lack of development is not
+difficult to appreciate, when we remember that statuary was executed,
+almost without exception, for the religious uses of the Catholic Church.
+The images were needed to increase the pious fervour of the populace;
+they were carried in the religious processions, and often they were
+credited with miracle-working powers. The one necessity for a Spanish
+statue was that it should be an exact imitation of life. The more
+realistic the illusion, the greater was the power of the statue to
+conform to the requirements of the Church.
+
+It will readily be seen that marble--the substance most fitting for the
+artistic rendering of form, would not comply with these demands. Thus,
+in Spain, the classic marble was discarded, while wood and plaster were
+employed in its place. These substances could be readily coloured, or
+even covered with a canvas, like a skin, and then painted to counterfeit
+life. This barbaric custom--a relic of heathen days, did much to seal
+the doom of the art of sculpture in Spain. In seeking to imitate life
+the artists frequently rendered their statues grotesque. The ambition of
+art is not to be a deceptive imitation of nature. The true purpose of
+sculpture is to depict pure form; when it departs from this limitation
+it loses its distinguishing motive, the representation of repose, and
+becomes a degraded intermingling of the two arts of sculpture and
+painting.
+
+Yet, in spite of these limitations, there are several Spanish sculptors
+whose works deserve praise, and two of the most famous lived and worked
+in Seville.
+
+Pietro Torriggiano, of Florence, a roving soldier-sculptor, came to
+Spain, in the year 1520. He had journeyed in many lands, and to his
+skill we owe the fine tomb of Henry VII., in Westminster Abbey. He
+settled in Seville, and soon completed his great work, San Jerónimo
+penitente, now in the north transept of the Museo.
+
+It is impossible to rightly estimate the value of this work in its
+present position. The bright colours of the modern picture, which forms
+its background, are entirely unharmonious. The penitent saint, with his
+sinewy, attenuated form, frowning brow and shaggy locks, needs to be
+seen alone. Its original home was a lonely grotto in the gardens of the
+Jeronimite Convent; and in such a place of quiet solitude we must
+picture it, before we can appraise its worth. Cean Bermudez twice
+visited it in company with Francisco Goya. It excited their unbounded
+admiration, and Goya pronounced it 'the finest piece of work of modern
+sculpture in Spain, and perhaps in the world.' Torriggiano fell under
+the ban of the Inquisition, and died in the prison of the Holy Office.
+
+Facing the San Jerónimo, in the south transept, rests the Santo Domingo,
+of Martinez Montañes, the most eminent sculptor of Seville, if not of
+the whole of Spain. The date of his birth is not recorded, but we know
+he was working in Seville in the year 1607; he died in 1649. Like its
+companion work of art the Santo Domingo suffers from its situation. Such
+works are utterly unsuited to the crowded gallery; they need the silent
+cloister, or quiet corner in some convent church. The saint kneels and
+scourges himself. The figure is of wood and of great dignity. The
+colouring is subdued, so as not to interfere with the fineness of the
+conception. The statue is a powerful study of asceticism.
+
+Finer than the Santo Domingo is the Crucifixion, by Montañes, in the
+_Sacristía de los Cálices_, in the Cathedral. It is unrivalled among the
+statues of Spain. The anatomy is excellent, the sufferings of the Christ
+are portrayed with powerful reality.
+
+[Illustration: THE CRUCIFIXION
+
+_Montañes_]
+
+
+
+
+CHAPTER XI
+
+_The Churches of the City_
+
+     'The different provinces of Spain differ from each other in their
+     architecture, as in their history; some of the buildings are purely
+     Moorish, others have a mixture of that style....' J. H. Parker,
+     _The Study of Gothic Architecture_.
+
+
+In order to appreciate the Andalusian character, it is essential that
+one should take into account the vast sway exerted by the Church in
+Spain. Devotion to piety has ever been one of the cardinal traits of the
+true Spaniard, and uncompromising faith in prelatical absolutism is
+considered one of the first virtues. In the long crusade against Saracen
+infidels, Arians, Jews, Protestants and apostates, men of high birth and
+wealth abandoned a life of ease to fight under the standard of Rome. To
+serve one's country as a priest or a soldier was the chief duty of the
+Christian.
+
+The wars of the country were fought to preserve the traditional faith.
+As early as the seventeenth century, the clergy possessed more power in
+Spain than in any other European country; and the sovereigns were
+pledged to protect the faith. The bishops were the king-makers, the
+predominant rulers of the nation. During the forty years' reign of
+Carlos V., the main object of the State was to suppress heresy, and this
+had been the ambition of all the rulers since Fernando the Saint.
+
+In the seventeenth century, the Church secured even greater power in
+temporal affairs; but this power began to wane when Florida Blanca, the
+new Minister, made a determined effort to lessen the dominance of the
+Church, in 1780. For diplomatic reasons, Blanca signed treaties with
+Turkey, Tripoli, Algiers and Tunis, thus exhibiting amity towards the
+very infidels, 'whom, in the opinion of the Spanish Church, it was the
+first duty of a Christian government to make war upon, and, if possible,
+to extirpate' (Buckle). The expulsion of the Jesuits was a part of the
+same policy. And now, for the first time for centuries, the secular
+authority gained supremacy over the spiritual class.
+
+The cathedrals and churches of Spain remain as instructive monuments of
+the powerful religious fervour of the Middle Ages. They were built by
+men of profound faith, by devotees who were ready to die for their
+creeds. Those who endowed the buildings gave ungrudgingly; rich and poor
+were liberal in contributing the means, and clerics sometimes yielded
+half of their stipends to assist in the cost of beautifying the
+venerated piles. One and all, those who subsidised the labour, the
+architects, masons, artists and carvers, were inspired by a deep faith.
+
+Such was the enthusiasm that produced the rich designs of rose windows
+like that of San Pedro in Avila, the doors of Toledo Cathedral, the
+marvellous architecture of Burgos Cathedral, and that of León and many
+other sacred buildings in the Peninsula. When surveying with delight
+these examples of æsthetic inspiration, we must remember that the
+artists worked not only to charm men, but to show reverence to their
+God. Every curve, tracery and adornment was conceived in a spirit of
+pious homage and of religious duty.
+
+It is only when faith is enfeebled that we may observe the touch of
+indifference in the hand of the ecclesiastical builder and artist. There
+is nothing 'cheap,' nothing hasty, nothing paltry in the scheme and
+construction of the temples dedicated by mediæval believers to the
+worship of God and the Holy Virgin Mother. We may have outgrown the
+taste in certain forms of decoration, but the work will not strike us as
+ill-considered and commonplace. It stands as a testimony to the
+influence of faith and devotion upon the imagination and the artistic
+spirit.
+
+If the modern churches of Spain disappoint us, we must remember that in
+these days men have, to a marked extent, lost that tenacity of belief,
+which once urged them to expend a great share of their wealth upon the
+founding of splendid houses of worship. 'The temples made by hands' are
+to-day less beautiful than those of the age when creed ranked before
+country, and was the absorbing subject and the profoundest conviction of
+the Spanish mind.
+
+But the ancient cathedrals and churches endure as solemn memorials.
+Atmospheric influences do not cause crumbling and speedy decay in this
+land of dry winds and sunshine. The edifices were built to stand, and
+they have stood well the wear and tear of the centuries.
+
+Most of the Seville churches exhibit the art itself, or at least the
+artistic influence, of the Moorish designer. The reconciled and
+converted Morisco had to live among his conquerors. Why should he not
+set his hand to the building of their temples? The Christians were
+pleased to borrow from his designs, to imitate his half-orange cupolas,
+his graceful arches, his glazed tiles, ribbon decorations and _ajimez_
+windows. Why should he refuse to design churches, and erect and adorn
+them, for the good pay that the Christians offered? The _Mudéjares_, or
+'reconciled' Moors, became, therefore, the chief and most
+lavishly-remunerated artisans of Seville. In building the churches and
+mansions of the city, they no doubt experienced a compensation for
+their subjection in the thought that they were permitted to labour with
+a free hand, and to design and embellish sacred or secular buildings
+after the manner of their own nation. They had no faith to inspire them;
+the religion foisted upon them was repugnant to their consciences and
+minds. But they possessed a potent stimulus to good execution--the love
+of art for art's sake. This was their inspiration, and we may see its
+effect in many details of ecclesiastic architecture in the Sevillian
+churches.
+
+[Illustration: Minaret of San Marcos.]
+
+_San Marcos._--This church is of exceptional interest on account of its
+tower, a fine example of Morisco architecture, and its beautiful
+_Mudéjar_ portal. The tower is in the minaret form, and was no doubt
+built in imitation of the Giralda, which it resembles in miniature. It
+is seventy-five feet in height, and ten feet wide, the loftiest tower in
+the city, except, of course, the stupendous Giralda, which is reared
+over all other edifices. The church is of Gothic design, and dates from
+1478, though the much older tower and the chief portal are Arabian. The
+interior is not of much importance. It is said that the love-sick
+Miguel Cervantes used to ascend the tower of San Marcos to gaze around
+for one Isabel, a Sevillian beauty, who had entranced him. The church of
+San Marcos is approached from the Feria by the Calle de Castellar.
+
+_The Church of the Convent of Santa Paula_ is behind San Marcos, and
+within a few steps of that church. The _azulejos_ covering the walls are
+fine examples of sixteenth-century workmanship from the potteries of
+Triana. The reliefs of saints on the Gothic portal of the nunnery are
+from the design of Pedro Millan, a famous sculptor, and are the work of
+Niculoso of Pisa. From the convent we may retrace our steps to San
+Marcos, turn to the right, and follow the Calle San Luis to
+
+_Santa Marina._ The handsome Gothic portal of this church has some
+notable sculptures. It is said that the tower and the chapels are the
+remains of a mosque.
+
+_San Gil_ is on the left-hand side of San Luis, close to the Church of
+Santa Marina. It was originally a Moorish _mezquita_. The doorways are
+Gothic. The effigies of the Saviour and the Virgin within the church are
+attributed to Roldan, one of the pupils of Montañez.
+
+_Omnium Sanctorum_ is in the Plaza de la Feria. This church stands on
+the former site of a Roman temple, and it was built by Pedro the Cruel
+in 1356. It exhibits a mingling of Gothic and _Mudéjar_ architecture.
+There are three naves and three doors. On the tower are some noteworthy
+frescoes. Francisco de Rioja, the poet, lived in this parish.
+
+_Santa Catalina_ is situated in the _calle_ of that name. This church
+was also built on the ground once occupied by a Roman fane, and
+afterwards by a Mohommedan mosque. The façade is another instance of the
+survival of Moorish art, while the principal chapel is Gothic. Within
+are three remarkable paintings by Pedro de Campaña, a Flemish artist,
+who is claimed as one of the Sevillian school. These masterpieces of
+early Andalusian art are described in the chapter on the painters of
+Seville.
+
+The inspection of these churches would fill a long day. But there are
+several more fine _parroquias_ to be visited, for it must be remembered
+that the churches are the art museums of Spain, and no one can gain
+knowledge of the development of architecture, sculpture and painting in
+the country without spending a considerable portion of one's time in the
+dim, perfumed naves and chapels. The stranger will be impressed by the
+garish decoration of the interiors of many of the churches of Seville.
+Gilt is spread lavishly, and the effect is often tawdry. Some of the
+images are poor, especially in the modern churches, and one's taste is
+often shocked by their incongruity. The figures of the Virgin often lack
+dignity and beauty. But, as Mr. Henry James points out in his sketch
+'From Normandy to the Pyrenees,' in _Portraits of Places_, those images
+of the Holy Mother are 'the sentiment of Spanish Catholicism' of modern
+times. They are, therefore, instructive from that point of view.
+
+But from a devotional, as well as an æsthetic, standpoint, one is
+disposed to ask whether the sacred idols would not gain in nobility,
+pathos and stateliness if the Virgin were represented in the realistic
+garb of a Jewish woman of the people, instead of in modern dress, with
+trappings of lace and jewellery. It is with no disrespect towards
+Catholic prejudices in this matter that one expresses this view. The
+mediæval conception of the Madonna in painting appeals to the
+imagination, because in the works of the great masters there is beauty,
+simplicity and convincingness.
+
+In the northern district of the city, beyond the Convento de Santa
+Paula, we may, in a few minutes, reach--
+
+_Santa Lucia._--This church is now used for profane purposes; but its
+splendid Gothic portal remains. The Morisco tower is also notable.
+
+_San Roque_ is in the Barrio de San Roque, not far from Santa Lucia. The
+church was destroyed by fire in 1759, and rebuilt in 1769. It is not of
+great interest, though the arches of the naves are graceful, and the
+small tower is worthy of note. In times of flood, the Guadalquivir
+inundates this suburb, and the water flows into the church.
+
+_San Bartolomé_ may be reached from the last-mentioned church by the
+Recared ó Industria and the Calle Tinte. The church was built on the
+site of a Jewish synagogue, after the expulsion of the Jews by the
+Catholic Kings of Spain. The _retablo_ and the sculpture of our Lady of
+Joy is antique and interesting.
+
+_Santa Maria de las Nieves, or la Blanca_, is close to San Bartolomé.
+Until the year 1391 this church was a synagogue. It has three small
+naves, marble columns, and plateresque ornamentation. The two doors are
+Gothic. There is a painting attributed to Murillo, and one of our Lady
+of the Augustias, with the dead Christ in her arms, by Luis de Vargas,
+the famous fresco painter.
+
+_San Salvador_ is in the centre of the city, behind the Audencia, and
+may be reached from Sierpes by the Calle de Gallegos. This church is not
+of much importance from its age; but it contains effigies by Montañez,
+the most celebrated being the figure of San Cristobal.
+
+_San Isidoro_ is built upon the ground where a fine mosque once stood.
+It is stated that St. Isidore was born upon this spot or close to the
+church. Juan de las Roelas painted the Translation of San Isidoro for
+the principal altar. There are also pictures by Murillo, Valdés, and
+Tortolero, and a statue of Santa Catalina by Roldan the Elder.
+
+_San Julian_ should be visited for an inspection of the large painting
+of San Cristobal, the work of Juan Sanchez de Castro. The painting of
+St. Christopher has been retouched. It was executed in 1484, and the
+work is of great interest as an example of the art of the earliest
+Sevillian painter.
+
+I have now mentioned thirteen churches. There are more to visit.
+
+_San Bernardo_ is in the suburb of that name. It is built on the spot
+where a hermitage stood until 1593. The church has three wide naves. It
+should be visited for an inspection of the pictures. In the left nave is
+a painting of the Last Judgment, the work of Herrera the Elder.
+
+The _Cena de Jesus_ is by Francisco de Varela. It was executed in 1622,
+and is regarded as one of the finest works of that painter. The statues
+of St. Michael, the Faith, St. Augustine and St. Thomas are the work of
+Luisa Roldan. The organ of this church is one of the best in Seville.
+
+[Illustration: Puerta de Santa Maria]
+
+_The Convent Church of La Trinidad._ The associations of the church are
+of considerable interest. In the time of the Roman rule in Seville, the
+palace, ecclesiastical court, and dungeons of a governor were built upon
+this ground. The church is dedicated to the saints of Seville, Justa and
+Rufina, the guardians of the Giralda. When the Romans conquered the
+Spaniards, they sought to convert the subject-people to the Pagan
+religion. Among the potters of Trajan's town, now known as the suburb
+of Triana, were two girls, both of great beauty, named Justa and Rufina.
+The maidens were renowned for their Christian piety. They refused to
+worship the Roman gods, and in their zeal they became iconoclasts. Their
+image-breaking brought them beneath the tribunal; they were sentenced to
+extreme punishment. The wretched victims were scourged, and forced to
+walk barefooted on the bleak mountains of the Sierra Morena. But this
+persecution failed to shatter their fervent devotion to Christianity.
+They continued to protest against the religion of the Romans. Justa was
+imprisoned and slowly starved to death, while Rufina was cast to the
+lions in the arena.
+
+The portraits of the youthful saints have been painted by several of the
+Sevillian artists. Murillo's SS. Justa and Rufina is in the picture
+gallery at Seville. The treatment is conventional. The saints are
+holding a model of the Giralda in their hands, and the martyrs' palms.
+At their feet are broken crockery, showing the nature of their calling.
+To the left are the ruins of a building. The figures of the maidens are
+large, and halos surround their heads.
+
+In the same gallery are two pictures of the Sevillian saints by an
+unknown artist. One is a portrait of Santa Justa. The saint is holding a
+white vase and the martyr's palm in her hands. Santa Rufina, in the
+other painting, is bearing a plate and a palm branch. The Santa Justa is
+the more notable of these works. The conception is beautiful and the
+colouring subdued.
+
+H. Sturmio's painting of Justa and Rufina is in the Cathedral, and so is
+that of the celebrated Luis de Vargas. From the artistic standpoint, the
+picture of the two saints by Francisco Goya is the finest of all. It is
+to be seen in the _Sacristía de los Cálices_ in the Cathedral.
+
+In the crypt of the Convent Church of La Trinidad is shown a rock, to
+which the saints were bound when scourged by their persecutors. There is
+a poor shrine in a dim cellar; and the sacristan shows a long, dark
+passage, full of water, which is said to be a part of the Roman prison,
+where heretics were confined and starved to death. The story of the
+saints of Triana is legendary; but it is no doubt credited as actual
+history among the devout of the city.
+
+It is recorded that the martyrs incurred death for breaking a statue of
+Venus. Tradition is hazy concerning the place of their burial. In one
+account we learn that SS. Justa and Rufina were laid to rest in Burgos.
+Another historian assures us that they were buried in Seville, while a
+third story relates that their bones are in the mountainous Asturias, in
+the North of Spain.
+
+A big book might be written on the churches of Seville alone. There are
+so many of those edifices, and few of them are devoid of interest to the
+antiquarian, art lover, and student of ecclesiastical history. The
+amalgamated Moorish and Renaissance elements in the Seville churches
+lend a charm to the architecture and the adornments. This strange
+combination of styles is only to be found in the Christian churches of
+Spain. Almost everywhere we are confronted in Andalusia with this
+seeming incongruity, the employment of designs for religious edifices
+from the hand of the despised and detested _Mudéjar_. The phenomenon is
+strange and instructive. The zealous Catholic kings, sworn to the
+extirpation of the Moslems, allowed the Moors to build their churches in
+the style of temples devoted to Allah.
+
+The same monarchs who ordered the destruction of the beautiful Moorish
+baths in Córdova and Seville were willing that Mohammedan genius should
+have full play in the design, construction and decoration of Christian
+temples.
+
+But, after all, was it not a question of necessity? When a nation has
+only two honourable professions, the military and the clerical, where is
+the scope for a development of skill in the industrial arts? The
+Moriscoes were martial, but they never neglected the peaceful
+occupations. Sadly had Spain to learn that the neglect of culture and
+the arts was the cause of her decline. Germans, Italians and Moors were
+employed in the erection and adornment of ecclesiastic and civil
+buildings. The Teutons Johann, and his son Simon, of Cologne, were the
+chief architects of Burgos; and it is probable that German designers and
+masons performed a large share in the building of Seville Cathedral. At
+Burgos, Toledo and León we may note the influence of French architects.
+
+The interiors of the churches of Seville are so dark that it is often
+difficult to see the pictures clearly. Even on the brightest days the
+sunshine penetrates imperfectly through the stained windows, and in some
+cases the works of art are in the gloomiest chapel or recess of the
+building. The sacristans are usually to be found in or near the
+churches, and they are mostly courteous to the visitor, and anxious to
+point out the most important paintings, statues and relics. But in their
+desire to please, they sometimes ascribe the pictures to the wrong
+artist. A daub by an unknown artist becomes a work of Zurbaran, if the
+stranger appears to be greatly interested in that painter.
+
+Several spurious Murillos were shown to me. Now and then, the sacristan
+knows very little about the art treasures of his church. When you ask
+who painted a picture or carved an image, the attendant shrugs his
+shoulders, and murmurs _No se_ (Don't know). The boys who volunteer as
+guides are of no service to the visitor. In the chapter of information I
+have given the name of a reliable guide.
+
+
+
+
+CHAPTER XII
+
+_Some Other Buildings_
+
+  'Fair is proud Seville; let her country boast
+   Her strength, her wealth, her site of ancient days.'
+
+  _Childe Harold_, Stanza lxv.
+
+
+The _palacios_ and fine _casas_ of Seville are numerous. Some of them
+retain a distinctly _Mudéjar_ design in their architecture, and all of
+them possess an Oriental atmosphere or tone. One may spend many hours in
+visiting the courts of the big houses of the city. As a rule, the porter
+has instructions to admit strangers into the courts, but very rarely
+within the houses. But from the courts one may gain very considerable
+knowledge of the progress of architectural style in the dwelling-houses
+of the South of Spain, where, above all, we may trace the influence and
+art of the Morisco designer and craftsman.
+
+We will first visit the Casa de los Taveras, in the Calle Bustos Tavera.
+The house is principally celebrated as the scene of the tribunal of the
+Inquisition from 1626 to 1639. In the corridors is a collection of
+family portraits.
+
+Finer, from the point of view of architecture and adornment, is the Casa
+de los Marqueses de Torre Blanca, in the Calle de Santiago, number
+thirty-seven. It has a very beautiful _patio_, and a splendid marble
+staircase. These two houses are mentioned as well worth seeing in the
+little book _Sevilla Histórica_.
+
+Roaming in the Calle O'Donnell, I peeped into the court of number
+twenty-four. The fine _patio_ is surrounded with the heads of bulls
+killed in the arena. Number seventeen in the Calle Alfonso XII. is
+another handsome _casa_, with a typical court. Visitors may discover
+many sumptuous houses in this quarter of the city. The Casa Alba once
+had eleven courts and nine fountains. It is decidedly Moorish in build,
+with Renaissance details in the stucco-work. This beautiful palace, in
+the Calle de Dueñas, was at one time owned by the Ribera family (the
+Dukes of Acalá). It was begun about 1483. The Casa Alba is larger than
+the Casa Pilatos, described in the literary chapter of this book.
+
+Mr. Digby Wyatt says of the Casa Alba, in his _Architect's Note Book in
+Spain_, that this is one of the rare instances of Renaissance
+ornamentations executed by Moorish workmen. 'For these, no doubt, they
+were furnished with drawings or models, since in no other parts of the
+same building, and especially in many beautiful rooms in the interior,
+where they have apparently been left to themselves, they have reverted
+partly to _Mudéjar_ work, and partly to the old types of geometrical
+enrichment, which may be regarded as specifically their own. Much of
+this is almost reduced to a flat surface by repeated coats of
+whitewash.'
+
+The Casa de los Abades is 'more Italian in its plateresque than is usual
+in other houses in Seville,' says Mr. Digby Wyatt. The mansion was built
+early in the fifteenth century, and was modified and embellished by the
+Pinedos, a Genoese family, in 1533. Mr. Wyatt tells us that: 'If it were
+not for the peculiar engrailed double edging to the arches, the thinness
+of the marble central window shaft, and a few Oriental turns here and
+there given to the foliage and enrichments of the mouldings, one
+could almost believe that this architecture was regular Genoese
+cinque-cento.' After the Pinedo family, the _casa_ came into the hands
+of the Abades, members of the Cathedral staff.
+
+[Illustration: Patio del Casa Murillo]
+
+A _Mudéjar_ window in the Fonda de Madrid has been sketched by Mr. Digby
+Wyatt in the afore-mentioned book. This is an _ajimez_ window, 'through
+which the sun shines.' It is of brickwork and was 'once covered
+apparently in Moorish fashion with thin plaster, excepting the column
+which is of white marble.'
+
+We may now visit the Palacio Arzobiscopal, the Archbishop's Palace, in
+the Plaza de la Giralda. The doors are in the plateresque style. You may
+enter the courtyard, and ascend the marble staircase, which is one of
+the most beautiful in the city. The _Salón_ contains some pictures that
+were formerly in the Cathedral. Among them are three paintings by Alejo
+Fernandez, an artist of the early Sevillian school, representing the
+Conception, Birth, and Purification of the Virgin. There are also
+pictures by J. Herrera and Juan Zamora.
+
+It is a few steps across the _plaza_ to the Casa Lonja. This Renaissance
+edifice was erected in 1583. The Academy of Painters formerly held their
+councils in the Lonja. It is now a library, and a repository of archives
+relating to the Indies. The _patio_ is fine, paved with marble, and
+surrounded by a double arcade. On the fountain is a statue of Columbus.
+A marble staircase, constructed in the time of Charles III., conducts
+the visitor to Achivo General de Indias.
+
+From the Casa Lonja pass down the Calle Santa Tomás to the Hospital de
+la Caridad. This institution has a church, built by Miguel de Mañara. In
+the _Annales de Sevilla_, the author, Ortiz de Zuñiga, says that the
+record of the Brotherhood of the Holy Charity dates back to 1578, and
+that the institution had probably existed then for a century. The object
+of La Santa Caridad was to provide Christian burial for evildoers and
+offenders against the law of Spain. La Caridad is, however, associated
+with Don Miguel de Mañara Vicentelo de Leca, Knight of Calatrava, a Don
+Juan of Seville, who abandoned his profligate life, and became a devout
+pietist. In his youth, Mañara was a renowned duellist, a boon companion,
+and a gambler. He was generous to his friends in a spendthrift fashion,
+and he was cultured enough to expend large sums of his wealth upon the
+fine arts. Murillo was under his patronage and enjoyed his friendship.
+
+Don Miguel de Mañara was born in the year 1626, and is supposed to have
+married the _señorita_ of the House of Mendoza. There are several
+stories of the young rake's career in Seville, and of his resolve to
+dedicate his riches to the service of the Church and to the poor of the
+city of his birth. One day a gift of some choice hams was sent to
+Mañara. In compliance with the regulations, the hams were detained by
+the customs' officers until the dues upon them were paid. The Don was
+extremely angered at the detention of the hams. He went out, in a
+furious passion, to upbraid the officials for the delay. As he paced
+fuming through the streets, 'the Lord poured a great weight upon his
+mind,' and Mañara was suddenly convicted of the sinfulness and folly of
+his life. Such is one account of Don Miguel's 'conversion.' Another
+annalist informs us that Mañara, while stumbling homewards after a night
+of carousal, saw a funeral procession approaching him. The priests and
+the usual torch-bearers accompanied the bier. Stepping up to the
+bearers, the young man said: 'Whose body is that which you are
+carrying?' The reply was startling: 'The body of Don Miguel de Mañara.'
+The prodigal reeled away, filled with horror; for he had looked upon the
+corpse, and seen his own features. Upon the next morning Mañara was
+found insensible in a church. It was the turning-point in his life. He
+became an ascetic and devotee. Because he liked chocolate, he refrained
+even from tasting that innocent beverage. He was seen no more among the
+dissolute of Seville, and his money went to the building and decoration
+of the Hospital and Church of the Holy Charity. In his treatise
+_Discurso de la Verdad_ (Discourse upon Truth) Don Miguel Mañara tells
+us of the hollowness of existence apart from holiness. He reflects often
+upon the solemnity of death, and the necessity for practising virtue and
+charity. His repute as an almsgiver of discretion was so great that one
+Don Gomez de Castro gave him an estate worth 500,000 ducats for
+charitable disbursement.
+
+In the Sala del Cabildo of La Caridad, you may see a portrait of the
+pious founder, painted by Juan de la Valdés. Mañara has a sad, thin
+face. He is seated at a table covered with black velvet and gold, and he
+appears to be reading aloud. A charity lad is seated on a stool, with a
+book on his knees. Mañara's Toledan sword is exhibited in a case. He
+died in 1679, and bequeathed his fortune to the hospital, except some
+legacies to servants. To his confessor the Don presented his ivory
+Christ. His sister received a picture, which was upon his bedstead,
+representing the Saviour on the Cross. The work was said to be from the
+brush of Murillo.
+
+The founder was interred in the vault of the hospital church. There is a
+legend that, two months after burial, the corpse was found without any
+trace of decay. It is also related that by the touch of some documents
+which had belonged to Mañara, a knight of the Order of Santiago was
+cured of a headache.
+
+In Mr. C. A. Stoddard's account of La Caridad, in _Spanish Cities_, the
+name of the founder is given wrongly as Mañana. Mr. Stoddard writes that
+Don Miguel desired to be buried at the church door, with the epitaph
+upon his tomb: 'Here lies the worst man in the world.' Mañara was,
+however, buried in a vault of the church, and in the inscription upon
+the stone he was lauded as 'the best of men.'
+
+For viewing Murillo's pictures in the Hospital Church of La Caridad, it
+is best to seek admission in the afternoon. The Charity Hospital is
+built in the Greco-Romano style from designs by Bernard Simon de Pineda,
+or Pereda. Visitors should examine the five large _azulejos_ of the
+exterior, said to have been designed by Murillo, the friend of the
+founder. The centre is Charity, a woman with a child in each arm and a
+boy at her side. Other designs represent Santiago slaying Moors, and San
+Jorge spearing the dragon.
+
+Sir Stirling-Maxwell speaks of the Church of La Caridad as 'one of the
+most elegant in Seville.' The aisle widens beneath a lofty and ornate
+dome. One of the chief objects of interest is the famous retablo; but
+the church is mostly visited by admirers of Murillo. The eleven works of
+the master, which once adorned the building, were painted in four years.
+Soult carried away five of the paintings. Four of them were sold by the
+French marshal, and one was presented to the Louvre. Mr. Stoddard
+praises Moses and the Rock as one of the finest pictures of Murillo.
+There are three groups in the scene. Water gushes from a dark rock in
+the centre of the picture, and Moses, with hands folded, offers thanks
+for the miracle. Behind is Aaron, in an attitude of worship. The
+Israelites press forward to quench their thirst. _Le Sed_ (The Thirst)
+has been reproduced by engraving, and is well known.
+
+The other pictures by Murillo are the Infant Saviour, the Annunciation,
+and the San Juan de Dios. In the last painting the saint, assisted by an
+angel, is bearing a sick man to the hospital. Christ feeding the Five
+Thousand (_Pan y Peces_) and the Young John the Baptist are large
+pictures, showing Murillo's broad method.
+
+The curious paintings by Juan Valdés Leal are described in the chapter
+on 'The Artists of Seville.' They are at the west end of the church.
+
+The court through which one enters the hospital is very handsome, and a
+good example of the Sevillian _patio_. A Sister of Charity conducts the
+visitor to the wards and to the council room of the institution. The
+sick and the convalescent recline upon their beds, and there is a hush
+in the long chambers. The patients are all men. They appear to be well
+cared for, and the wards are clean and sunny.
+
+In the Plazo de Alfaro, number seven, is the house where tradition
+states that Murillo lived. From the Plaza de Giralda follow the Calle de
+Barceguineria, and take the second street on the right hand side,
+passing the Church of Santa Teresa. Turn to the right at the end of the
+Calle de Santa Teresa. Murillo's house is in a corner of the Plaza de
+Alfaro. It is now occupied by the Señores López Cepero, two cultured and
+courteous brothers, the nephews of a greatly respected dean of the
+Cathedral, who in his day collected a number of fine pictures, and did
+much to encourage artists in the city.
+
+Don Juan Maria López Cepero speaks English well. I paid three visits to
+the historic _casa_ that he inhabits, and he told me that his house was
+open to all lovers of art who desire to see his collection of pictures.
+In the chapter on Sevillian artists will be found descriptions of some
+of the oil paintings in the Casa Murillo.
+
+Don J. López Cepero showed me his beautiful garden, with its Moorish
+bath, frescoed walls, rose trees and carnations. The _patio_ is planted
+with palms, and on the walls are pictures. The mural paintings in the
+garden have been attributed to Luis de Vargas; but they are
+unfortunately almost obliterated. At the end of a long salon, covered
+with pictures, is the room wherein Murillo is said to have died on April
+3, 1682.
+
+I am indebted to Don López Cepero for the opportunity of seeing his
+valuable pictures, for the information which he gave me concerning books
+upon Seville by Spanish authors, and for the permission granted to my
+collaborator to reproduce some of the paintings in photography. His
+services to me were most valuable, and I now repeat my thanks for his
+assistance.
+
+The University, founded by Alfonso the Learned, is in the Calle de la
+Universidad. In the rooms are portraits of St. Francis of Borja and of
+Ignatius Loyola by Alonso Cano, and a picture of a saint by Zurbaran.
+The University Church has a notable retablo by Roelas; an Annunciation
+by Pacheco, and statues of St. Francis of Borja and of Loyola by
+Montañez. There is a monument to Enriquez de Ribera, and one to his wife
+Catalina in the nave. The Don was the first owner of the Casa Pilatos,
+and a benefactor of the city. It was he who founded the excellent
+Hospital Civil, in 1500, in the Calle de Santiago. The building was
+reconstructed near the Puerta de la Macarena in 1559.
+
+The Hospital Civil is best reached by the tramway from the Plaza de la
+Constitución. It is surrounded by gardens, and has a charming _patio_.
+In the church of the hospital there are pictures of saints by Zurbaran,
+and the Apotheosis of St. Ermenigild and Descent of the Holy Ghost by
+Roelas.
+
+The most handsome of the Renaissance buildings in Seville is that of the
+Casa de Ayuntamiento, or City Hall, in the Plaza de la Constitución. It
+was designed by Riaño in 1526. The ornate carved doors, and the
+plateresque ornamentations of the masonry are highly decorative, and the
+marble floors and vaulted ceiling within should be seen. In the
+Municipal Library of the Ayuntamiento is the banner of the city, of the
+fifteenth century, bearing a figure of San Fernando.
+
+We have not yet visited the Biblioteca Columbina, given to the city by
+Fernando, son of Christopher Columbus. It is in the Cathedral precincts,
+and can be entered from the Patio de los Naranjos (the Court of the
+Oranges). The beautiful illuminated Bible of Alfonso the Learned, by
+Pedro de Pampeluna, used to be shown here, but it has, I believe, been
+removed by the Chapter. The Columbus manuscripts are here, in glass
+cases. There is a copy of the _Tractatus de Imagine Mundi_, with notes
+by Columbus, and the famous treatise attempting to prove Scriptural
+prophecies concerning the discovery of the New World. A sword here
+exhibited is said to be that of Perez de Vargas, used by him in the
+capture of Seville. I have referred to the manuscripts of Christopher
+Columbus in the historical portion of this book.
+
+Close to the Fabrica de Tabacos is the Palace of San Telmo, the former
+residence of the Dukes de Montpensier. The building dates from 1734, and
+it was first used as a naval school. It passed into the hands of the
+Infanta Maria Luisa, widow of the Duke of Montpensier. The _palacio_ has
+been shorn of its splendour by the removal of most of its works of art.
+It is of little interest; but the garden is a beautiful shady retreat,
+with semi-tropical plants and trees.
+
+There are but few statues in the streets of the city. Velazquez has been
+honoured by a bronze figure, which stands in the Plaza del Duque de la
+Victoria. It was cast by Susillo in 1892. The monument to Murillo, in
+the Plaza del Museo, is also of bronze. It is the work of Sabino
+Medinia, and the cast was made in Paris in 1864.
+
+Number eleven in the Plaza del Duque de la Victoria is now a large
+drapery store. It was formerly the splendid palace of the Marquis de
+Palomares. It is a fine example of a Seville residence.
+
+As we wander from church to palace and alcázar of this ancient and
+beautiful capital, we are often reminded of the words of Cervantes in
+_The Two Maiden Ladies_: 'Seville is a city of Spain, of which you
+cannot fail to have heard frequent mention, considered, as it is, to be
+one of the wonders of the world.'
+
+[Illustration: Amphora]
+
+
+
+
+CHAPTER XIII
+
+_Seville of To-day_
+
+     'To have seen real doñas with comb and mantle, real caballeros with
+     cloak and cigar, real Spanish barbers lathering out of brass
+     basins, and to have heard guitars upon the balconies.'--THACKERAY,
+     _Cornhill to Cairo_.
+
+
+'Many monuments, fine religious processions, splendid bull fights, and
+not much business,' was the pithy description of modern Seville given to
+me by an intelligent Basque _señora_, living in the Province of
+Santander. The picture is a good one. As to the monuments, we have seen
+that the city abounds with them. But it is not only the historic
+buildings, associated with the Romans, Goths, Berbers and Almohades,
+that lend the fascination of antiquity to Seville. The Andalusian
+features, the manners, the speech, the domestic habits, the music, songs
+and dances of the people remind us hourly, while in the city, of the
+Seville of a thousand years ago.
+
+A spell of Orientalism, strange and seductive, comes upon the stranger,
+as he sits on the marble benches under the palms in the Plaza de San
+Fernando, watching the olive-skinned _chicos_ at their evening pastime
+of mimic bull-fighting, or dancing, with quaint, slow movement of the
+feet and much swaying of the body, to a semi-barbaric accompaniment of
+clapping hands and a low chanting. The gaunt mules, with their Arabesque
+wool trappings and panniers, that pass slowly by, the water-sellers in
+their white garments and hemp-soled shoes, and the women with their
+black lace _mantillas_, which must surely be a survival of the
+Mohammedan veil, all serve to impress one with their suggestion of
+Moorish influence.
+
+Electric lights and electric tramcars scarcely mar the charming
+illusions of the Oriental and the mediæval in the Seville of to-day. The
+tokens of modernity are subservient; they do not jar continually as in
+Madrid, perhaps the most commonplace of Spanish cities. In Seville you
+cannot forget the Moriscoes, and the part they played in the making of
+the city, the memories of Christopher Columbus, the art of Velazquez and
+Murillo, the romances of Cervantes, and the traditions of the Mother
+Church of Christendom. Every step causes reflection upon the past. You
+are carried back to the Middle Ages from the ringing of matin bells till
+the midnight cry of the watchman.
+
+The costume of the Sevillian _caballero_--and remember that every man in
+Spain is a cavalier--has suffered, no doubt, in picturesqueness since
+the time of Don Quixote. But there is a real grace and a romantic charm
+in the winter _capa_, flung upon the shoulders, with one of its
+plenteous folds muffling the mouth, and another thrown back to show the
+gorgeous lining of amber, green, or crimson. One looks for the point of
+a scabbard, containing a good Toledan blade, below the cloak. It is not
+there, though the practice of carrying weapons still survives everywhere
+in the Peninsula.
+
+Once only have I seen the sword carried by a civilian in Spain.
+Travelling from Córdova to Toledo by rail, I had as companion a young
+man who had provided himself with a cutlass and a revolver, in case of
+assault by robbers. The sword was thrust through the straps of his bag.
+Revolvers are frequently worn on a belt under the coat, and most of the
+working class carry the _navaja_, a knife with a long blade, a sharp
+edge, and a keen point.
+
+[Illustration: Patio del Collegio San Miguel.]
+
+There is, however, no need for the traveller to provide himself with a
+six-shooter or a dagger; indeed, the revolver hung at the head of the
+bed, as I have seen it in a Seville hotel, is not only superfluous, but
+the mere possession of arms is apt to cause surmises as to the valuables
+carried by the armed stranger, and may lead to the pilfering of his
+portmanteau.
+
+The custom of going about armed is just one of those mediæval usages
+that still prevail in spite of the suppression of brigandage and the
+protection of the railway trains and stations by the vigilant,
+well-trained and courteous Civil Guards. Spaniards are conservative;
+they cling to practices that are no longer necessary, and the carrying
+of knives and pistols is one of those quixotic characteristics of the
+race, which will probably survive for several generations. As a matter
+of fact, the stranger in Seville is as safe, to say the least, as he is
+in London. The species Hooligan is unknown in Spain, though, of course,
+there are thieves in the country as in every other quarter of
+Christendom throughout the globe. The _navaja_ is never worn and used
+ostentatiously. It is the weapon of the criminal population and the
+disreputable, and it is too often drawn in street broils and for
+vendetta purposes.
+
+It is not necessary that I should caution the visitor against wandering
+alone, after dark, in the low streets of the city, nor warn him that it
+is risky to engage professional guides, who are not well known for
+honesty, and recommended by one of the proprietors of the better-class
+hotels. I do not wish to alarm the timid traveller. One should point
+out, however, that highway robberies do occasionally occur in the
+country districts.
+
+Two years ago, in the neighbourhood of Granada, a party of travellers
+found themselves and the guides surrounded by ruffians on a
+mountain-side, and were submitted to a complete rifling of their pockets
+before they were allowed to proceed on their way. A friend of mine, an
+English artist, was one of the party. You are frequently told in Spain
+that brigandage has been entirely suppressed. It is quite true that the
+Civil Guards have almost exterminated the organised bands of brigands
+that used to infest the lonelier roads of the country. But, here and
+there, as in Galicia, robbers sometimes work in small parties on the
+high roads, after dark. In Seville, however, one may feel as secure as
+in any other continental city. The average Andalusian is honest. Railway
+porters, cabmen, and hotel servants expect a _propina_ or 'tip'; but
+they are seldom exacting, and rarely addicted to pilfering. The
+_propina_ is a national institution; but a small gratuity is, as a rule,
+gratefully received, and I have met porters and others who have refused
+a fee for their assistance. Railway servants and hotel waiters are so
+poorly paid in Spain that they rely largely for their living upon the
+generosity of travellers. There is, however, a protest afloat against
+the _propina_, and a society has been formed in Madrid to combat the
+custom of giving 'tips.'
+
+The smart or fashionable life of Seville may be studied, after five in
+the evening in the warm months, in the narrow central thoroughfare
+called Sierpes, or in the drives of the beautiful gardens bordering the
+Guadalquivir. The Calle de Sierpes signifies in English the street of
+the serpents. It is a street for foot passengers only, with many
+_cafés_, wine bars, nick-nack stores, and superior hatters', tailors'
+and tobacconists' shops. In this quarter ladies will find a fine array
+of fans, _mantillas_ and showy Andalusian shawls. Some of these articles
+bear the label 'made in Austria.' The shawls worn by the _majas_, or
+Sevillian smart dames, and maidens of the middle and working class, are
+sometimes very beautiful. Yellow is a favourite hue, as it accords with
+the black which is universally worn by the women of southern Spain.
+
+The _majo_ costume, as 'sported' by the dandies of Sierpes, is correctly
+made up of a wide-brimmed brown or white felt hat, a shirt with a
+frilled front, and diamond or paste studs, a low waistcoat, or broad
+silk band around the middle, a short coat, resembling an Eton jacket,
+and trousers cut exceedingly tight across the hips. A _majo_ affects the
+dress and conversation of his ideal, the bull-fighter. He favours the
+tightest, thin-soled, pointed brown shoes, crops his hair, shaves his
+cheeks and chin clean, walks with a self-consciousness, and ogles and
+bandies repartee whenever he passes a _maja_. The loungers of Sierpes
+exhibit more or less amused interest in the English or American lady
+visitors. Their hats are a wonder to them; their serviceable travelling
+dresses appear severely plain, their coats masculine in fashion, and
+their shoes short, broad, and absurdly low in the heel.
+
+How different is the guise and demeanour of the Spanish _señora_! If she
+is of the upper rank of society, she may wear a Parisian hat and a dress
+in the English style; but her slow, erect and graceful walk proclaim her
+an Andalusian. She will not start and seem insulted when a man stares
+her full in the face, smiles, and exclaims: 'How lovely you are! Blessed
+be the mother who bore you!' A parting of the lips, perhaps a slight
+flush, show that she is pleased when the gallant turns to gaze at her.
+
+So much has been sung and written about the loveliness of the Sevillian
+_doñas_ that I may perhaps be taken to task if I do not join in the
+rapturous chorus. The beauty of the Andalusian women does not startle
+one immediately upon setting foot in Seville. It seems to me to be a
+charm that needs comprehension. Undoubtedly you may see a proportion of
+handsome faces among the ladies in the evening parade in the park, on
+the racecourse, at the bull fights, and in the theatres. If you expect
+to find that every other woman in Seville is a belle--well, I think you
+will be disappointed.
+
+'If Shakespeare is right in saying that there is no author in the world
+"teaches such beauty as a woman's eyes," then Andalusia easily leads the
+world in personal beauty.' So writes Mr. Henry T. Finck, in his
+_Romantic Love and Personal Beauty_. Byron comments in the same strain,
+and so does Blanco White, not to mention other authors. Perhaps Mr. G.
+P. Lathrop's description of the girls of the Seville tobacco factory
+may, by reason of its dispassionateness, be accepted as a fair estimate.
+In _Spanish Vistas,_ Mr. Lathrop writes: 'Some of them had a spendthrift
+common sort of beauty, which, owing to their southern vivacity and fine
+physique, had the air of being more than it really was.... The beauty of
+these Carmens has certainly been exaggerated. It may be remarked here
+that, as an offset to occasional disappointment arising from such
+exaggerations, all Spanish women walk with astonishing gracefulness, and
+natural and elastic step, and that it is their chief advantage over
+women of other nations.'
+
+The opinion of Washington Irving on the charms of the Seville fair may
+perhaps explain my qualification that the graces do not make a sudden
+and arresting appeal, but require reflection and comprehension, like
+many interesting works of art. Washington Irving says: 'There are
+beautiful women in Seville as ... there are in all other great cities;
+but do not, my worthy and inquiring friend, expect a perfect beauty to
+be staring you in the face at every turn, or you will be awfully
+disappointed.... I am convinced the great fascination of Spanish women
+arises from their natural talent, their fire and soul, which beam
+through their dark and flashing eyes, and kindle up their whole
+countenance in the course of an interesting conversation. As I have had
+but few opportunities of judging them in this way, I can only criticise
+them with the eye of a sauntering observer. It is like judging of a
+fountain when it is not in play, or a fire when it lies dormant and
+neither flames nor sparkles.'
+
+A true appreciation of the Sevillian dame is only possible to such as
+possess the wit to understand the quality known as _sal_ or 'salt.'
+Andalusian _sal_ has a flavour of its own. It is made up of _persiflage_
+and the quality called 'smartness.' _Sal_ is more esteemed than beauty
+in a woman; it is more fascinating than physical comeliness. 'The
+Andalusian women,' writes the author of _Costumbres Andaluzas_, 'has on
+her lips all the salt of the foam of two seas.' ... The woman of
+Andalusia 'is frank, passionate, loving or hating without taking the
+trouble to dissemble her sentiments.' She is 'life, light, fire'; she
+'is beauty illumined by the torch of Paradise,' etc. Such is the strain
+of Spanish gallantry.
+
+In the old days the ardent lover was wont to beat himself beneath a
+maiden's window, until the blood trickled down his back. Nowadays, the
+amorous cavalier waits below the casement, and when he catches a glimpse
+of the object of his devotion, exclaims: 'Your beauty ravishes me! Your
+eyes burn into my soul!'
+
+The peculiarly guarded life of the young Spanish woman, which is in part
+a relic of Orientalism, and in part traceable to her religion, forces
+her to develop ingenuity in attracting an admirer, and in her means of
+communicating with him.
+
+Mr. Lathrop, in his _Spanish Vistas_, says that the beggars around
+Seville Cathedral are sometimes the bearers of love letters to the
+ladies who attend the services and go to confession. A piece of silver
+is dropped into the mendicant's dirty palm, and a little note is
+transferred to the _señorita's_ hand. And with eyes fixed modestly upon
+the ground, the maiden steps out of the portal of the sacred building,
+clutching the tender missive which she burns to read. In all countries
+stealthy courtship has its charm and romance for lovers; and in Spain
+the zest of wooing is quickened by the devices employed for clandestine
+assignations, and the secret conveying of gifts and letters from one
+lover to another. Our forthright British mode of love-making might
+appear almost barbarous to an Andalusian girl.
+
+The women of Southern Spain are short, and they incline to stoutness.
+Mr. Finck says that sexual selection 'is evolving the _petite_ brunette
+as the ideal of womanhood,' and that 'the perfected woman of the
+millennium will resemble the Andalusian brunette, not only in
+complexion, hair, eyes, gait, and tapering plumpness of figure, but also
+in stature.'
+
+Among the men of Seville one sees many slim, lissome, well-proportioned
+figures of medium height. Some of the _majos_ of Sierpes are of this
+type, and among the working class there are many good-looking,
+clean-limbed men. The masculine physiognomies impress me as being much
+more varied in contour and more expressive than those of the women.
+Faces that might be English are not uncommon among the men of Seville.
+But the true Andalusian features are distinctive, and have an Arab cast.
+The hair is dark, black or brown, and the skin olive or tawny. There is
+an unshaven look about many of the middle-class men. A _majo_ who
+dresses in the height of fashion will often go out to parade the streets
+with a three days' beard on his chin. But his hands will be
+scrupulously washed several times a day, and the finger nails will be
+carefully trimmed and polished.
+
+[Illustration: The Golden Tower]
+
+To see Sevillian society out of doors, go to the Parque Maria Luisa and
+the adjoining Paseo de las Delicias about five in the afternoon. This is
+the fashionable promenade, and here the _élite_ of the city drive in
+open carriages daily. The costumes of the _señoras_ are varied and
+stylish. Some of the ladies wear English gowns and hats, and one sees a
+few of the latest Paris fashions in dresses. But the majority have not
+discarded the _mantilla_ of black or white lace, and the fan is in every
+hand. A 'smart turn-out' is a sort of four-wheeled dogcart, drawn by
+four mules, with bells, and gay worsted ear-caps and worked bridles.
+The servants are dressed in London livery, the landaus are of French or
+English make, and many fine horses may be seen. _Caballeros_ ride upon
+prancing nags. Under the palms and orange trees there are seats filled
+with loungers, the women fanning themselves, the men smoking cigars or
+cigarettes. None but foreigners smoke a pipe in the streets of Seville.
+A _majo_ would not be guilty of such vulgarity.
+
+Beneath the odorous orange trees, where innumerable nightingales warble,
+one may watch the afternoon procession of carriages and pedestrians. A
+breeze blows from the wide Guadalquivir. It is cool by the ornamental
+water, where roses and camellias are rife. The blue uniform of an
+officer, the white duck trousers of a dandy, the sunshades of the ladies
+show amidst the greenery of the avenues. From the cavalry barracks comes
+the blare of bugles. In the Parque there are peacocks and a den of wild
+boars.
+
+In April, during the _feria_ week, there is horse-racing on the broad
+meadows beyond the Paseo de las Delicias. English horses, ridden by
+English jockeys, sometimes compete in the races. The grand stand is a
+large one, with a long enclosure. It is well filled on race days with
+the rank and fashion of Andalusia. One is struck with the gravity of the
+spectators as contrasted with the animation of a British crowd upon a
+racecourse. The people are thoroughly enjoying the spectacle; but they
+do not shout, and there is no ring of bellowing bookmakers. Backers of
+horses purchase a ticket at a little office in the enclosure. There is
+only one of these offices, and there are no betting men behind the ropes
+of the course.
+
+An element of pageant is introduced by the company of cavalry drawn up
+near the grand stand. When officers of the State arrive upon the course,
+they are saluted with a flourish of trumpets. A number of mounted men
+of the Civil Guard keep the course clear of pedestrians. The resplendent
+dresses of the ladies, the bright uniforms of the soldiers and the
+costumes of the jockeys make a brilliant scene in the dazzling southern
+sunshine.
+
+But horse-racing is not the national pastime of Spain. Bull-fighting is
+deemed the nobler sport, and Seville has been called 'the Alma Mater of
+the bull-fighter.'[G] I do not here propose to describe one of these
+combats. Such descriptions have perhaps occupied an undue space in many
+books about Spanish ways and customs. The most reliable accounts of
+bull-fighting are to be found in Mr. Williams's _The Land of the Dons_,
+and in _Wild Spain_, by A. Chapman and W. T. Buck.
+
+There is a handsome Plaza de Toros at Seville, built in 1870, with seats
+for fourteen thousand spectators. At Easter, and during the _feria_
+festivals in April, there are several fights in the arena, which are
+attended by immense crowds made up of all classes from the duke to the
+girls from the cigarette factory. The enthusiasm which bull fights evoke
+is so great that large crowds collect around the hotels, where the
+bull-fighters reside during Holy Week and fair time, in order to watch
+the heroes of the ring start for the Plaza de Toros.
+
+I was in Seville during the _feria_ of 1902, and I may now attempt to
+describe the scene on the Prado de San Sebastian. The city was thronged
+with sight-seers; every hotel and boarding-house was overcrowded, and
+hundreds of cattle and horse dealers, gipsies and itinerants slept on
+the fair ground in booths or upon the bare earth. I found the open space
+on the Prado covered with flocks of sheep and goats, droves of bullocks,
+horses, mules and donkeys, tended by picturesque herdsmen and muleteers
+in the dress of several provinces. An English carriage and pair of
+handsome horses paraded the ground, and changed hands at a high price.
+_Caballeros_ rode their steeds up and down, to show off their points,
+and gipsy 'copers' haggled and chaffered. In the long row of refreshment
+tents was one bearing the sign of _Los Boers_. I entered one of the
+booths, and ordered a _refresco_, a bitter, syrupy decoction, with a
+tang of turpentine. Men and women were sipping this beverage with much
+zest, and watching the continual procession of holiday-makers under the
+trees. Everyone was quiet, orderly and sober. I did not see one drunken
+or quarrelsome person on either of the fair days, which I think may be
+taken as a token of the sobriety of the Spaniards. The diversions of the
+_feria_ struck me as innocent, perhaps childish; but there was none of
+the coarseness and the squalor of a fair in England. There were only a
+few shows.
+
+The Gitanas had their tents, where they danced to _gorgio_ audiences,
+exacting exorbitant fees for each performance. Importunate gipsy dames
+stood at the doors of their tents, inviting the visitors to enter, and
+to taste their curious liquors, or to have their fortunes told. It was
+not easy to escape from these syrens, for they seized one's coat sleeve,
+and almost dragged one into their shows and booths. Some of the Gitana
+girls are remarkably handsome, and the gay colours of their clothing
+lend animation to this part of the _feria_.
+
+One of the most interesting streets of the fair is that of the
+_casetas_, or pavilions of the influential Sevillians, who spend the day
+in receiving guests, dancing, guitar playing and singing. The doors of
+the _casetas_ are open. You can look within at the merry company. The
+old folk sit around on chairs; someone clicks a pair of castanets, and a
+graceful girl begins to dance. Fans are fluttering everywhere; there is
+a soft tinkling of guitars. Dark eyes flash upon you, and red lips part
+in smiles as the hats of _majos_ are raised. Some of the children are
+dressed in old Andalusian costume, with black lace over yellow silk, and
+_mantillas_ upon their dark hair. They dance to the castanets, and win
+handclaps from grandfathers and grandmothers, who recall their own
+dancing days of forty or fifty years ago.
+
+There is an iron tower in the centre of the fair ground. I ascended it,
+and gained a view of the bright crowd, the flocks, the prancing horses
+and the waving bunting everywhere displayed. At night the avenues of
+booths are illuminated with thousands of fairy lights, electric lamps
+and Chinese lanterns. The fair is then thronged in every part, and
+everyone submits to a good-humoured jostling. At this festive time you
+must be prepared for disturbed nights. The streets are never quiet by
+day or night, and there is a constant tramping up and down the stairs of
+the hotels. Long after midnight one hears the revellers in the _plazas_,
+singing and dancing to the clapping of hands or the strumming of
+guitars.
+
+This 'fantastic pandemonium,' as it is called by a Sevillian rhymer,
+lasts for about eight to ten days. During the three days of the _feria_,
+the hotel charges are doubled, and in some cases trebled. The city
+profits considerably through the influx of visitors at this time, and
+also during _Semana Santa_, or Holy Week, when Seville is very crowded.
+
+Nothing can prove so instructive concerning the Spanish devotion to
+ritual and religious pageant as a visit to Seville at Easter. The
+processions and celebrations of _Semana Santa_ are exceedingly
+interesting from the artistic and the antiquarian point of view. All the
+costly vestments, the rare ecclesiastic treasures of the Cathedral, the
+works of artists and sculptors, and the sacred images of Christ and the
+Virgin are then displayed, in the midst of high pomp, to the adoring
+eyes of the vast crowds lining the streets and filling the windows. It
+is during these ceremonies that one may catch the spirit of mediævalism
+still surviving in Spain. Even the religious dances of antiquity are
+performed in the Cathedral before the high altar on Corpus Christi day.
+The dancers are boys, sixteen in number, and they are called the
+_Seises_. They dress in the costume of the reign of Felipe III.
+
+The _pasos_ or processions of _Semana Santa_ pass through Sierpes to the
+Plaza de la Constitución, where the mayor of the city is seated on a
+daïs before the Ayuntamiento. Here there are stands for spectators. The
+processions are headed by men of the Guardia Civil; mummers dressed as
+Romans follow, then come masked monks, girls in white raiment, bands of
+music, and city officials. On Palm Sunday there is a blessing of the
+palms in the Cathedral by the Cardinal Archbishop, who is clothed in
+purple canonicals. The procession leaves the edifice by the Puerta San
+Miguel. At Vespers the sacred banner is elevated, and at six in the
+evening four _pasos_ parade the streets, in honour of San Jacinto,
+Santisimo Cristo, San Juan Bautista and San Gregorio.
+
+Figures by Montañez, the celebrated ecclesiastical sculptor, are borne
+in these processions. One of the most imposing objects of veneration is
+the immense crucifix, carried on a stand by thirty concealed bearers. It
+is followed by musicians playing the solemn funeral music of Eslava.
+
+Miguel Hilarion Eslava, the composer, was born in 1807, near Pampeluna,
+in the north of Spain. He sang in the cathedral choir of that city, and
+afterwards played the violin in services. First a priest, he became
+chapel-master at Seville, in 1832, where he composed a great number of
+pieces of church music and masses. His chief work is _Lira Sacro
+Hispaña_, a collection of sacred music from the sixteenth to the
+nineteenth century, with brief biographies of the composers. This
+_magnum opus_ is in ten volumes.
+
+Eslava also wrote secular music, and his operas of _Il Solitario_, _La
+Tregura di Ptolemaide_ and _Pedro el Cruel_ were first produced at
+Cadiz. The eighth volume of the _Lira_ contains only Eslava's music, and
+the _Museo Organico Español_ embodies some of his own organ
+compositions. This famous composer spent many years of his life in
+Seville. He lived in a house in the Calle del Gran Capitan, now used as
+the Colegio de San Miguel, a school for boys. Over the gateway is an
+inscription announcing that Eslava lived in this house. The courtyard is
+extremely quaint, and should be seen.
+
+The solemn strains of Eslava's _Miserere_ may be heard in the Capilla
+Mayor of the Cathedral during Holy Week, upon the day of 'rending the
+Veil of the Temple.' This ceremony is accompanied by peals of artificial
+thunder. On the Saturday after Good Friday, the _Velo Negro_ (black
+curtain) is torn amidst the clanging of bells and claps of thunder. On
+the same day a candle, twenty-five feet in height, is consecrated.
+
+There is a similarity in the processions of Semana Santa, and they are
+less sumptuous than in bygone times. But they are still popular, and the
+visitor should endeavour to obtain a favourable point of view for
+watching the ceremonials in the streets and in the Cathedral. The figure
+of the Virgin is always the same in Spain; an image clad in black
+velvet, trimmed with lace, and adorned with diamonds, while the
+_tableaux_ of the Saviour upon the Cross are often very realistic and
+ghastly. On Good Friday the large image of the Virgin is carried by
+thirty-five men, and there is a representation of Christ in the throes
+of death upon a splendid cross of tortoiseshell and silver.
+
+An interesting rite is performed on Thursday afternoon, when the
+Cardinal Archbishop washes the feet of twelve poor persons, who are
+given new clothes and a substantial meal. In the evening the _Miserere_
+of Eslava is again sung in the Cathedral by a chorus of one hundred and
+fifty voices, accompanied by ninety instrumentalists.
+
+During Holy Week a lamb fair is held in the Feria del Rastro. The lambs
+are bought and given to children, who lead them about the streets.
+
+The Corpus Christi festivals, or _La Fiesta del Santisimo Corpus_, are
+less gorgeous than those of _Semana Santa_, but they are not without
+interest to the student of religious custom. The dancing of the _Seises_
+in the Cathedral is certainly a curious spectacle. Blanco White says
+that among the treasures carried in the Corpus Christi procession of his
+day were the tooth of St. Christopher, the arm of St. Bartholomew, the
+head of one of the eleven thousand virgins, a part of the body of St.
+Peter, a thorn from the crown of the Saviour, and a fragment of the True
+Cross.
+
+Special services and pageants are also celebrated on All Saints' Day and
+at Christmas (_La Natividad_). The pilgrimages are another Andalusian
+custom dating from early Christian times. These _romerias_ are of a
+festal character. The people resort to Rocio in Almonte on Whit Sunday,
+dressed in holiday garb, and riding in carriages decked with banners.
+Dancing, singing and feasting are the chief attractions of these
+semi-religious _fêtes_. _La Consolación de Utrera_ is celebrated on
+September 8, when excursion trains are run from Seville to Utrera. In
+October there are _romerias_ on each Sunday at Salteras, eight miles
+from the city. The festivities usually end with a display of fireworks.
+
+Passion plays are still represented in Seville. At Easter the drama of
+the 'Passion and Death of our Lord Jesus Christ, with the Glorious
+Resurrection' is acted at the Teatro Cervantes. The Teatro de San
+Fernando is the home of opera and spectacle, and there is a summer
+theatre, the Eslava, in the Paseo de la Puerta de Jerez.
+
+Who has not heard of the charm of Andalusian dancing? Seville is the
+home of the _bailarin_, the artist of the _bolero_, _olé_, _Sevilliana_,
+and other dances. On every evening in summer, the inhabitants dance in
+their _patios_ to the guitar and castanets, while the street lads
+perform their Oriental antics in the _plazas_ and bye-streets. The
+cleverest professional dancing is to be seen at the _Café de Novedades_,
+at the end of the Calle de las Sierpes, where it is joined by the Calle
+de Campana. There are other _cafés_ in Sierpes where national and gipsy
+dancing may be witnessed, but perhaps the most characteristic
+performances are those of the Novedades. You may obtain a seat, just in
+front of the stage, for half a peseta. The entertainment usually opens
+with a representation of gipsy or _flamenco_ dancing, which is a strange
+exercise and difficult to describe. A number of women sit in a
+semi-circle on the stage, and in the centre of the dancers is a male
+guitar player. Nothing happens for some time, but the spectators evince
+no impatience. They sip coffee, smoke, and chat contentedly.
+
+Presently one of the _flamenco_ women quits her chair, and begins to
+strike extraordinary postures. At one moment she might be trying to
+impersonate Ajax defying the lightning; in the next she is apparently
+fleeing from a satyr. Her hands are held high above her head, and there
+is a continual movement of the fingers. She writhes and wriggles rather
+than dances, and the feet play no part, except that the heels now and
+then thump the stage. Meanwhile her seated companions drown the sound of
+the guitar with the clapping of their hands and cries of _anda!_
+
+One after another the women go through these curious contortions to the
+delight of the audience. I believe that there are subtle fascinations in
+these dances when one understands the drama which they represent; but to
+the casual spectator they are somewhat tedious, and they do not make
+much appeal to the imagination or to one's sense of the graceful in
+movement. Most visitors will prefer the Andalusian dancing. The dancers
+of the Novedades are extremely nimble in the _bolero_, one of the
+prettiest and most joyous of dances. Their shapely, lissome feet skim
+and bound in bewildering and intricate steps, to the clicking of
+ribbon-decked castanets. They spring into the air, hover, and bound
+again; they move rapidly on their toes, float, glide, and almost fly. It
+is a wonderful sight. One is sorry when the troop leave the stage. There
+is an intoxication in watching such grace, lightness and agility.
+
+The singing of _coplas_ (couplets) is one of the attractions at this
+_café_. This form of vocalisation is very Andalusian. I can only
+describe it as a prolonged _tremolo_; the singer appears to sing a verse
+without drawing breath, and the effort often seems painful. A 'star' in
+this art is exceedingly popular, and his singing is sure to be followed
+by loud plaudits.
+
+Gitana dancing of a more pronounced sort may be studied in the suburb of
+Triana, where there is a colony of gipsies. Those who have read George
+Borrow's _The Zincali: An Account of the Gypsies of Spain_, will
+discover an increased interest in their visit to the Gitana quarter.
+Some of the Triana gipsies are the swarthiest and weirdest of their
+race. A hag, who might be a hundred, clutches your arm, and looks into
+your face with her cunning black eyes as she begs for alms. She has the
+features of an Egyptian, coal black hair, and a skin like the
+calf-binding of an old book. A nude brown boy rolls in the road, a Cupid
+in sepia.
+
+Here is a lovely girl of fourteen, with a lithe figure, feline
+movements, huge dark eyes, jet locks, and a rich olive tinting of the
+skin. She is conscious of her beauty, and will not cease to insist upon
+receiving a coin for the pleasure that her charms afford the admiring
+Gentiles. Whatever you give her, she will ask for more. But she is very
+beautiful, and most beauties are exacting. Some of these Romany people
+are almost as swarthy as negroes. There is hardly one who would not make
+a splendid model for an artist. Their graceful unstudied pose is most
+alluring to the painter, while the mystery of their glowing eyes, their
+strange lore, and secret speech invest them with romance and poetry that
+appeal to Mr. Leland and Mr. Watts-Dunton.
+
+George Eliot must have experienced the spell of these tawny folk during
+her visit to Spain. Her 'Spanish Gypsy,' is a 'creation' but it was to
+the Gitanas of the highways that the poet owed her inspiration. 'Gypsy
+Borrow' found the race irresistible; the tongue, the customs, the
+esoterics of the Zincali of Spain were to him a subject of fascinating
+study.
+
+In the old days the Romany fared ill in the Peninsula. He was a pariah,
+a suspect, an object of persecution. But to-day Sevillian gentle-folk
+are inclined to pet the Gitanas, and it is quite 'good form' to use
+Romany phrases, and to appear a little gipsyish. The sons of wealthy
+families are the patrons of the _flamenco_ dances; they are enthralled
+by the loveliness of the lithe nut-brown maids, with piercing eyes,
+carmine lips, and pearly teeth. But it all ends in admiration. No bribe
+will tempt the Gitana lass to swerve from the strict code of chastity
+laid down by the tradition of her class.
+
+To see the Gitanas at their best, or living under primitive conditions,
+take a trip down to Coria on the Guadalquivir. A steamboat starts daily
+from the Triana Bridge at about half-past seven in the morning. The
+voyage is interesting, and you can return in time for evening dinner.
+You pass two or three villages with landing-stages, and gain views of
+the distant marshes towards the mouth of the river, while on the right
+bank are slopes clothed with olives and vines. Pottery is made from the
+red clay of the foothills, and a number of gipsies work at this
+industry.
+
+At Coria you will be an object of curiosity, for very few strangers
+visit the little village. The Gitanas inhabit 'dug-outs,' or caves, in
+the hillside. These dens are only lit by the doorway, but they are not
+so dark within as one might expect. Nor are they unwholesome, for the
+gipsies appear to take pride in keeping their habitations clean. Most of
+the cooking is done outside the burrow. There is quite a warren in the
+hill, which is honeycombed with dwellings of this savage kind.
+
+Strange to say, not a single Gitana begged from me when I visited the
+colony. But the Gentile population of Coria were somewhat importunate
+when our party embarked for the return journey to Seville, and most of
+the lads of the village congregated on the landing-stage to beg for
+_centimos_.
+
+Macarena and Juderia, the poor _barrios_ or suburbs of Seville, are not
+like our English slums. There is no sign of abject want, though the
+people have a keen struggle for subsistence. The houses are all
+white-washed without, and the little courts have their climbing roses
+or a grape vine trained to pillars. There are malodours here and there,
+owing to the insanitary practices of the people; but the inhabitants of
+these quarters are seldom ragged, and they do not appear dejected, dirty
+and degraded.
+
+Now and then, a mischievous boy will throw a stone at the foreigner, or
+a group of idlers will break into derisive laughter when you pass by. On
+the other hand, ask a question civilly of these people, and they will
+put themselves to trouble to assist you in finding the church or the
+monument of which you are in quest. Beware, however, of the
+soft-tongued, amiable loafer who persists in dogging your heels and
+offering his services as a guide.
+
+Begging, which is such an intolerable nuisance in some of the Spanish
+towns, has been almost suppressed in Seville by the rigorous municipal
+laws. The mendicant is not extinct; some of the order are sure to be
+encountered in the neighbourhood of the Cathedral, but they do not
+pester the visitor incessantly as in Toledo and Granada. A number of the
+idle and vicious inhabitants of Seville appear to be homeless. In this
+balmy Southern climate, the _al fresco_ life of the tramp is not
+unendurable; still I am told that beggars sometimes die in Spain by the
+roadside from sheer want.
+
+The Plaza Nueva is a favourite nocturnal resort of the _gamins_ and
+vagabonds of the city, and at one in the morning the space presents a
+scene resembling that of Trafalgar Square in the days when unfortunate
+'out-of-works' camped there nightly.
+
+In the Macarena quarter is the market street of the Feria. This
+thoroughfare should be seen. It is the home of metal-workers, whose
+beaten brass, iron and copper ware is interesting and artistic in
+workmanship. Peripatetics here display a jumble of second-hand articles
+upon the ground, such as books, old pictures, brass candlesticks, tools,
+buttons, pistols, rusty swords, harness, and mule bells. There are
+stalls of fruit, coloured kerchiefs, hats and caps, shoes, and common
+china ware. The scene is bustling and bright.
+
+Here the young and unknown artists of Seville were wont to sell their
+pictures in former times. Murillo and many another painter of renown
+stood here anxiously awaiting chance purchasers for their works. These
+'fair pictures' were often daubs; but sometimes, no doubt, a buyer
+secured the work of a young genius for a trifling sum. If a purchaser
+wished a picture altered to his taste, the artist would retouch it upon
+the spot.
+
+These were hard days for young painters. But many who hawked their
+religious pictures and portraits of the Virgin and the saints for
+pesetas rose to fame, and gained wealth in their later days. A _pintura
+de la Feria_ became a term in Spain for a meretricious picture. Some of
+the Feria paintings were still-life subjects, and others were _sargas_,
+large screens or banners used in sacred processions.
+
+One of the sights of modern Seville is the Fábrica de Tabacos, a factory
+where a large number of women and girls are employed. The building is a
+handsome one, in the baroque style, in the Calle de San Fernando. The
+_cigarreras_ work in overcrowded rooms. On public holidays they don
+their smartest dress, and are to be seen at the _romerias_ and dances.
+
+A survival of the ancient potter's art in Seville is the factory of La
+Cartuja, in Triana, owned by the English firm of Prickman and Sons. The
+works supply almost the whole country with china, and examples of
+antique Spanish majolica may be seen here. La Cartuja was once a
+convent. The church should be seen; it has a fine door in the _Mudéjar_
+style.
+
+Campaña's paintings in the Church of Santa Ana, in Triana, may be
+inspected after a visit to La Cartuja. Near this church are the streets
+inhabited by the Gitanas. The SS. Justa and Rufina, mentioned elsewhere
+in these pages, made pottery in this quarter in the Roman days.
+
+The custom of selling drinking water in the streets is common almost
+everywhere in Spain. Velazquez painted the familiar figure of the
+water-seller, who is to be seen to-day in the _calles_ of Seville,
+crying _agua fresca_. The water is carried on the men's shoulders, in
+graceful Oriental jugs of earthenware.
+
+Sometimes one hears the sound of the drum and the _dulcinea_, a pipe
+played with one hand, and used to provide music for village dances in
+many parts of Spain. The music proceeds from a man, who is accompanied
+by a led bullock, and it announces that tickets may be bought for a
+lottery in which the prize is a horse. Piano organs enliven the streets,
+playing popular dance music, and these seem to have superseded the
+performances of guitarists.
+
+Time can scarcely hang heavily upon the visitor to 'the diadem in
+Andalusia's crown.' Days may be spent in the noble Cathedral, dreamy
+hours passed in the scented garden of the Alcázar, or by the
+Guadalquivir, where the bulbul still sings as in the Moorish days. Each
+time one climbs to the summit of the Giralda, a fresh beauty in the
+prospect of the sunny, white city and the glowing plain fascinates the
+vision. The picture gallery should be visited more than once; and there
+are so many works of art in the churches, monasteries and public
+buildings that one is never at a loss for pleasant recreation or serious
+study.
+
+Delightful, too, are the cool evenings in the _plazas_, or the gardens,
+when the sinking sun sheds its beams on the stately Cathedral and the
+proud Giralda. The storks sail homewards far overhead in the glow of
+the rising moon; a chorus of birds dies away in the tangled banks of the
+Guadalquivir. Brief night succeeds the twilight; day dawn soon appears,
+and the hawks flash from their eyries in the Giralda, and the mule bells
+begin to jingle in the sunlit streets.
+
+[Illustration: A Roof Garden]
+
+The quay, which stretches from the Triana Bridge to the Delicias, forms
+a pleasant promenade. By the Golden Tower there are seats under the
+trees, and the kiosks of the _refresco_ sellers, who dispense
+orange-water, lemonade and sarsaparilla to the sailors and the girls
+from the tobacco factory. Adjoining that part of the quay where English
+vessels are loaded with iron brought upon a tramway, there is a little
+booth for the sale of refreshments. It is kept by a young Spaniard and
+his wife, named José. The boothkeeper has made several trips to England
+in trading vessels, and he speaks English very fairly. José has a
+'connection' among the British sailors, who come to his pavilion for
+rum, whisky and other drinks beloved of English tars. He possesses a
+great regard for England and the English, and among his customers José
+is often addressed as Johnson.
+
+Near the Golden Tower there is another house of call used by seamen. In
+the window you will see advertisements of British beverages, and
+announcements in several European languages. Ships from Liverpool,
+Glasgow and Cardiff are often anchored in this part of the Guadalquivir,
+and now and then there is an English yacht in the port.
+
+The fishermen of Seville have a curious method of taking shad. They work
+a cross-line under water from two boats on opposite sides of the river.
+The line is armed with hooks, baited with pieces of meat. Now and then,
+the fishermen haul up a fish. But the Guadalquivir is heavily netted and
+fished, and the shad are not very plentiful in this reach. There are
+some very big eels in the river, which can be caught with a rod and line
+from the banks.
+
+As the _pescadores_ slowly scull their boats down the river, they sing
+strange Andalusian melodies, with a kind of _yödel_. Their voices reach
+far along the stream on still days. The men are hard-working, and their
+catches scarcely repay them for their patience and labour in the burning
+sun.
+
+Along the quay, and at every point of entrance to Seville, there are
+customs' officers in uniform, with swords at their sides. The _consumo_
+is not a popular character in Spain. Peasants and small traders resent
+the tax upon the produce which they bring into the markets, and many
+attempts are made to evade paying the duty. At Córdova I heard a violent
+altercation between a peasant and a _consumo_, who demanded duty upon a
+live pigeon.
+
+Spain is the land of officials in uniform. Down the Guadalquivir you
+will see armed men who protect the wooden breakwaters. Then there are
+four grades of police, the _consumos_, and the watchmen, all of them
+provided with weapons.
+
+The quaint, irregular thoroughfares of Seville, its palm trees and olive
+gardens, its Morisco remains, its _hidalgos_ and _doñas_, its brightness
+and gaiety, and its blue skies will not soon be forgotten by those who
+pass a short time within its ancient walls. Lord Byron praises the city
+as the most beautiful in Spain. It is certainly charming, but there are
+towns in the Peninsula more antiquated in aspect, and more picturesque
+in their surroundings. Still, the Andalusian capital possesses a strong
+fascination, and few persons will dispute, in the main, the truth of
+Byron's lines in the first canto of _Don Juan_:--
+
+    'In Seville was he born, a pleasant city,
+     Famous for oranges and women--he
+     Who has not seen it will be much to pity,
+     So says the proverb--and I quite agree;
+     Of all the Spanish towns is none more pretty,
+     Cadiz, perhaps--but that you soon may see;--
+     Don Juan's parents lived beside the river.
+     A noble stream, and call'd the Guadalquivir.'
+
+Since the days of Cervantes, the aspect of the city and the manners and
+customs of its inhabitants have not undergone any profound change. The
+monumental buildings remain, and the cry of the watchman and the notes
+of the guitar are still heard by night in the tortuous alleys, and under
+the palm trees of the _plazas_. The careless, merry Sevillanos continue
+to love the dance, the song, the bull fight and the theatre more than
+science and literature. We may see the types sketched by the great
+satirist in _The Jealous Estremaduran_, if we will but enter one of the
+fashionable _cafés_ during the evening. It would be unfair to say that
+Sevillian society is composed entirely of adventurers, but they are a
+distinctive class in the pleasure-loving capital. 'In the city of
+Seville,' writes Cervantes, 'is a class of idling, lazy people who
+locally go by the common name of "the children of the ward"; they are
+considered as foragers on the public; they are the sons of rich parents,
+not of the nobility; always well-dressed, fond of pleasure, extravagant
+and expensive, plunging themselves and their parents in debt; always
+feasting and revelling; every way bringing discredit on society,
+defrauding and injuring their creditors.'
+
+The stranger will not be in the city many hours before he notices a
+curious device on public buildings, official uniforms and elsewhere.
+This is the node, or knot (_el nodo_), which forms a part of the
+coat-of-arms of Seville. The knot is in the centre of an ornamental
+circle, and on one side of it are the letters NO and on the other DO.
+This legend in full is _No madeja do_, or, _No me ha dejado_, which
+means: 'It has not deserted me.' The symbol of the _nodo_ was adopted
+after the fealty of the _muy leal_ city to Alfonzo X.
+
+[Illustration: Arms of Seville]
+
+
+
+
+CHAPTER XIV
+
+_The Alma Mater of Bull-fighters_
+
+     'The Arabs were much given to bull-fighting, and highly skilled in
+     the _lidia_, whether mounted or on foot.'--SANCHEZ DE NIEVA, _El
+     Toréo_.
+
+
+Seville is so renowned in the annals of the great Spanish sport of
+bull-fighting, that I propose to devote a chapter to a brief history and
+description of the 'science of tauromachia,' or the recreation of the
+_lidia_. Mr. Leonard Williams, in _The Land of the Dons_, is somewhat
+apologetic to his readers for introducing three chapters upon the
+bullfight and its history; but such is the enthusiasm exhibited for the
+pastime, that Mr. Williams states that thirty chapters, instead of
+three, would scarcely be disproportionate to the importance in which the
+_corrida_ is esteemed by the Spanish nation. While making personal
+confession that I am not an _aficionado_, or enthusiast, of the art of
+bull-fighting, I will endeavour to convey to the reader a conception of
+the influence of the sport upon the Andalusian public, from which the
+moralist and sociologist may draw their conclusions.
+
+There is an odour of Pharisaism in the British fox-hunter's denunciation
+of the bull fight on the score of cruelty to animals. But in defence of
+the hunter, it may be pointed out that he rarely sacrifices the life of
+his steed in order to be in at the death of a fox, and that he would
+certainly scorn to torture a worn-out and decrepit horse by riding it
+till it dropped with a ruptured heart. In bull-fighting there is no
+pity shown for horses. The emaciated beasts, upon which the _picadores_,
+or spearmen, are mounted, are urged at the bull, and serve as a target
+for its terrible horns until they are no longer able to stand upon their
+legs. Even when ripped open, or otherwise wounded, the bleeding,
+terrified creatures are sewn up, or have their wounds plugged with tow,
+and are again lashed and spurred to the attack.
+
+Surely it is impossible to defend this element of the _corrida_. The
+Spaniard does not attempt to do so; he cannot easily understand the
+point of view that calls for such defence. All over Spain domestic
+animals used in the service of man are treated mostly with callous
+insensibility to their sufferings, and often with cruelty that appals
+and disgusts the stranger. What does it matter whether an old, used-up
+horse goes to the knacker or into the bull ring to end its days? In
+Spain there is no sentimental bond between the aged, faithful,
+hard-working horse and its owner. The horse or mule is a mere beast of
+burden and of draught, to be worked as hard as possible, half-fed,
+cursed, abused, and at all times beaten, goaded and kicked.
+
+It would seem that a long training in warfare, the effect of harsh rule,
+and the terrible example of the Inquisition form a trinity of evil that
+has made the mass of the Spanish people indifferent to the spectacle of
+certain kinds of pain. That this apathy to the sufferings of human
+beings and brutes is compatible with strong physical courage is a fact
+well supported by examples in the histories of nations and individuals.
+It is also true that the humane man can be exceedingly courageous.
+Cruelty in sport has, however, characterised other European countries
+than Spain, which in this matter may be said to stand where we stood,
+ethically speaking, in the days of bull-baiting, cock-fighting and
+badger-drawing. The English crowd that went to see an unhappy victim of
+nervous irritability ducked in a dirty pond, for the offence of nagging
+at the goodman, was on the same level of civilisation as the mob in
+Spain that enjoyed the sport of arming blind men with swords, turning
+pigs loose among them, and urging the sightless to hack at the pigs,
+with the result that the men frequently injured one another instead of
+the porkers.
+
+So far, then, as bulls and horses are concerned, we can only expect to
+find blunted feeling in Spain. And I am not sure that we need expend
+much sympathy upon the bull of the arena. In the ordinary fate he has to
+die, and it is probable that he would prefer to live the life of a
+fighting bull than bear the yoke and drag the cumbrous cart along dusty,
+scorching high roads. At all events, the bull reared for fighting has a
+placid existence until he is 'warrantable'; and in the excitement of his
+short contest with men he may suffer much less pain than we imagine. And
+as for the _matadores_, the heroes of the populace, the favourites of
+the aristocracy,--well, it is their affair if they and their attendants
+choose to risk their lives to make a Seville holiday. The human
+performers in the drama are not forced to fight. If one falls, he is not
+flogged till he rises to face the bull again, and when injured he is
+tended at once by skilful surgeons.
+
+This is really all that one can say in reply to the charge of cruelty,
+and it is little enough. Bull-fighting is specifically a Spanish sport,
+and efforts to introduce it into other countries have failed. British
+and American visitors to Seville are frequently to be seen at the Plaza
+de Toros; and at Algeciras and La Linea, the soldiers of the British
+garrison, and the people of Gibraltar, are the principal supporters of
+the bull rings. Throughout Spain the word _toro_ creates keen interest
+in all classes of society. The State, the Church and the aristocracy
+support the recreation of the _corrida_. Most of the bull rings have
+their chapels attached, where the performers receive the sacrament and a
+priestly blessing before entering the perilous arena. Ladies of the
+highest birth are among the breeders of fighting bulls; even some of the
+clerics rear beasts for the pastime, and attend the exhibitions of
+tauromachia. The passion for the sport is deep and apparently
+ineradicable in the people of Spain. Isabel the Catholic, after
+witnessing a sanguinary display in the ring, endeavoured to suppress
+bull-fighting. But not even the popular Queen could divert her subjects'
+interest from the absorbing sport. Moral suasion and attempted
+legislative methods are alike futile. The people demand the bull fight.
+In the very midst of war's alarms, and during civil trouble, the _plazas
+de toros_ were thronged with enthusiastic spectators. Jovellanos,
+Charles III., Señor Castelar, and Señor Ferreras, the editor of _El
+Correo_, are among those who have protested against bull-fighting.
+'Spain pays no heed to any of these agitators,' writes Mr. Leonard
+Williams, 'but continues unmoved the proud traditions of the arena. The
+superb bull ring inaugurated not long ago at Barcelona was consecrated
+by the clergy in procession, on the very day on which a novel of the
+naughty Tolstoi was thrust upon the list _librorum expurgatorum_.' In
+Spain the schoolmaster is a bankrupt, while the famous bull-fighter
+receives five thousand pesetas for killing two or three bulls. There are
+sociological inferences to be drawn from this fact.
+
+
+BULL-FIGHTING OF THE PAST.
+
+There is no doubt that encounters between men and bulls are of ancient
+origin in the Peninsula. The Moors are said to have brought
+bull-fighting into Spain, and there is historical proof that exhibitions
+of daring in worrying and attacking bulls were one of the chief
+recreations of the Moorish feast days. During times of truce between
+Moslems and Christians, displays of tauromachia were arranged by the
+rival leaders, and knights of both sides took part in the ring. The
+great Cid distinguished himself in fights with fierce bulls, and his
+horsemanship in the arena was widely admired. In these early days of the
+sport, the tournament, or _lidia_, was celebrated in the largest _plaza_
+of the towns. Raised seats were erected for the cavaliers and ladies,
+and the _fêtes_ were attended almost entirely by the higher classes of
+Andalusian and Castilian society. The combatant of the bull was mounted
+on a plucky Arabian horse, and armed with a lance, called the _rejón_, a
+weapon about five feet in length. At a signal the bull was let loose.
+The knight charged the beast, and endeavoured to thrust his spear-head
+into the neck. An expert performer sometimes killed his bull at the
+first thrust. When hurled from his steed by a charge of the bull, the
+knight was bound by the rules of the ring to face the brute on foot,
+with a sword. Vassals assisted their master by essaying to draw the
+attention of the bull, and at the right moment the knight plunged his
+steel into the animal's neck.
+
+Such combats appear to have been held in Andalusia as early as the
+eleventh century. In one of Goya's bull-fighting sketches, we may see a
+Moor, with a cloak on the left arm, and a dart in the right hand,
+practising the _suerte de banderilla_. In the fifteenth century
+bull-fighting was recognised as the chief national sport. In 1567 Pius
+V. issued a threat of excommunication for all rulers who permitted
+bull-fighting within their realms, and for all priests who witnessed the
+shows. Fighters who fell in the ring were denied burial with Christian
+rites. The Bull of the Pope was utterly disregarded. Nobles continued to
+erect bull rings and to arrange _corridas_. The Church then exercised
+wonted discretion. A decree came from Salamanca that priests of a
+certain order might be present at bull fights, and the institution of
+the _lidia_ was made semi-sacred and wholly respectable.
+
+At Valladolid, Charles I. engaged and killed a bull in the public arena.
+Succeeding kings and the flower of the nobility yearned to graduate in
+the art of bull-fighting. The sons of _hidalgos_ resorted to the
+slaughter-houses of the towns to practise with cloak and sword the
+feints and passes of the _matador_. A valorous bull-fighter won his way
+to women's hearts and to the favour of princes. In 1617 the Pope issued
+a Bull announcing that the Virgin was conceived immaculately and was as
+pure as her divine offspring. The announcement threw Seville into a
+frenzy of delight. Archbishop de Castro gave a splendid service in the
+beautiful Cathedral. Guns boomed from the ramparts of the city, and all
+the church bells clanged and pealed. In the bull ring, Don Melchor de
+Alcázar, a friend of Velazquez, arranged a special display. The Don,
+with his dwarf and four immense negroes, gave a remarkable show of their
+daring to a host of spectators.
+
+Upon the day that Fernando VII. abolished the University of Seville, he
+established an academy of bull-fighting in the city. The building was
+constructed with a small ring for the practice of students in the art of
+tauromachia, and contained stables, bedrooms, and other apartments. From
+that time Seville was regarded as the classic home of bull-fighting, and
+many of the most valiant fighters were trained in that city. Then arose
+the professional _matador_, or _espada_, the swordsman who faces the
+bull single-handed, when it has been worried and incensed by the
+_picadores_ and the _banderilleros_.
+
+Two of the first paid _matadores_ were the brothers Juan and Pedro
+Palomo. They were succeeded by Martiñez Billon, Francisco Romero and his
+son Juan, and José Delgado Candido, who was killed on the 24th of June
+1771. The original Plaza de Toros of Seville was constructed in 1763,
+and from that date until the end of the century several bull rings were
+built in Andalusia and Castile.
+
+'Andalusia,' write the authors of _Wild Spain_ 'has always been, and
+still remains, the province where the love of the bull and all that
+pertains to him is most keenly cherished, and where the modern bull
+fight may to-day be seen in its highest perfection and development. It
+provides the best bull-fighters and the most valued strains of the
+fighting bull. It may be added that the Andalusian nobility were the
+last of their order to discontinue their historic pursuit; and when,
+during the darker days of this sport, the Royal order of the Maestranza
+de Sevilla was created by Philip V., it was conceded in the statutes
+that members of the order could hold two _corridas_ with the long lance
+annually outside the city walls. Three gentlemen subsequently received
+titles of exalted nobility of this order in respect of brilliant
+performances with the lance.' José Candido, usually known as Pepe Hillo,
+brought about a great revival of the _corrida_ after the Bourbons had
+sought to discountenance the sport of the nobility. _Pepe Hillo_ is the
+title of a drama concerned with the valiant exploits of the celebrated
+master among _matadores_. Hillo, though he was said to be illiterate,
+drew up the rules of the sport, and even to-day he is regarded as one of
+the highest authorities upon the art of the bull fight.
+
+According to Mr. Leonard Williams, Francisco Romero, of Ronda, in
+Andalusia, was 'the first great exponent of the modern _toreo_.' Romero
+was put to shoemaking, but he abandoned that homely trade for the
+profession of bull-fighter, acting first as a page to the knights who
+encountered the bulls. It was Romero who introduced the pass of
+fluttering the cloak, or red cloth, in the face of the bull, and then,
+at the fitting opportunity, thrusting the sword into the creature's
+neck. Most of the reputed _matadores_ are of Sevillian birth. In the
+days of Romero and his son, Juan, who died at the age of one hundred and
+two, there lived the famous Sevillian _toreros_, the brothers Palomo,
+Manuel Bellón, Lorenzo Manuel, Joaquin Rodriguez, and Pepe Hillo, or
+Illo.
+
+Among the Andalusian schools of bull-fighting Ronda was renowned for
+daring, and Seville for coolness. The intrepidity of the Sevillian
+bull-fighters was remarkable. The _salto del trascuerno_, or jump across
+the head of the bull, was one of their favourite feats. Mr. Williams
+tells us that the most redoubtable of all the _toreros_ of Seville was
+one Martin Barcaiztegui, called Martincho, a cowherd of Guipuzcoa.
+Martincho was a pupil of the famous José Leguregui, and his bravery
+excelled that of his trainer. 'His favourite accomplishment was to mount
+upon a table, when his legs were closely fettered with massive irons.
+The whole was then set opposite the _toril_. The bull, emerging, sighted
+the table, covered with a crimson cloth, and charged it, when Martincho
+would leap along his back from head to tail, and alight in perfect
+safety. The table, one presumes, went flying into splinters. On a
+certain occasion, at Zaragoza, Martincho, seated in a chair, killed a
+bull by a single thrust, using his hat as a _muleta_.'
+
+Martincho died in 1800, having survived the dangers of the arena. He
+lived for a time with the artist Goya, who has drawn his friend in
+several of his bull-fighting pictures. Costillares and Pepe Hillo were
+also celebrated for their reckless daring in the bull-fighting
+exhibitions of Seville. These heroes retired from the ring before Godoy
+influenced Maria Luisa to suppress the _corrida_. For three years there
+was no bull-fighting in Spain. Upon the revival of the sport under
+Joseph Bonaparte, Pedro Romero was appointed chief instructor of
+Ferdinand's academy of tauromachia at Seville. This _matador_ died at
+Ronda in 1839. During his public career, he killed no less than 5,600
+bulls.
+
+
+BULL-FIGHTING OF THE PRESENT.
+
+Montes now comes into prominence among the famous _toreros_ of
+Andalusia. Francisco Montes fought for the first time at Madrid in 1832.
+He attracted the notice of Candido, of the academy of bull-fighters at
+Seville, and he was accepted as a pupil and granted a pension of six
+_reales_ per day. Montes introduced the modern style in the art of the
+_torero_. He wrote a treatise on bull-fighting, entitled: _El arte de
+torear á pie y á caballo_. 'Considered to be the _torero's_ very bible
+for the infallible wisdom of its precepts.'
+
+The _matador_ of to-day is the idol of the populace; but he is not so
+honoured by persons of noble birth as in the earlier times of
+bull-fighting. Luis Mazzantini is perhaps the greatest living _torero_.
+Guerrita has retired. Antonio Fuentes and Reverte are accomplished
+bull-fighters. Montes died of injuries received in the ring, in the year
+1850, at the age of forty-six.
+
+To show the favour formerly extended to the _torero_, we may quote the
+story of Lavi and Queen Isabel II. Lavi was a Romany by birth, and a
+bold _matador_ of his day. During a royal _corrida_, the gipsy pluckily
+tore out the _moña_, or bunch of ribbons in the bull's neck, and
+advanced towards the Queen. 'Here,' he cried, 'this is the first _moña_
+your majesty has had the honour of receiving at my hands!'
+
+The retinue of the _matador_ consists of the _picadores_, or mounted
+spearmen, the _banderilleros_, or dart throwers, and the _monos sabios_,
+who repair the damages to the wretched horses and thrash them to their
+feet. The _matador_ is clad in silk and gold, with a spangled cloak,
+which he wears in the parade of the fighters previous to the display. It
+is stated by one writer that a bull fight in Seville cost from £1100 to
+£1200. The value of each bull killed is about £70. The _matador's_ fee
+is from £120 to £200; but this includes the fees paid by him to his
+_cuadrilla_, or troupe. The horses are valued at from £120 to £200,
+according to the number killed by the bull. The cost of the seats is
+from a _peseta_ to three _duros_. Guerrita could 'command all over Spain
+and in the South of France almost any remuneration.' The _banderilleros_
+receive about fifty dollars, and the _picadores_ something less than
+that for their share in the performance.
+
+The glory that surrounds the _matador_ induces a large number of Spanish
+youths to adopt the profession of bull-fighting. In consequence, there
+is a surplus of indifferent _toreros_ and novices, who are awaiting
+their chance for promotion and for an appearance in the arena.
+
+These hangers-on of the sport are to be seen in the Puerta del Sol of
+Madrid, and in the _paseos_ and streets of Seville. They have a 'horsey'
+air, and are proficient at lounging, and chaffing the women who pass by.
+A little pigtail hangs from the brims of their hats, and they are fond
+of frilled shirts, in which they display paste studs. Every city and
+provincial town of Spain has its _aficionados_ of bull-fighting. These
+amateurs talk learnedly upon _encierros_, _suertes_, and _pases por
+alto_. They are vain of their acquaintance with popular _toreros_, and
+they read all the literature of the beloved sport. The _Historia del
+Toreo_ is better known among these 'sports' than the poems of 'Herrera
+the divine.' At the _cafés_ they pore over the bull-fighting journals,
+_El Toréo_, _El Enáno_, and _La Lidia_.
+
+Mr. H. T. Finck describes the bull fight as 'the most unsportsmanlike
+and cowardly spectacle I have ever seen.' This author does not believe
+that bull-fighting is highly dangerous. 'No man,' he writes, 'who has a
+sense of true sport would engage with a dozen other men against a brute
+that is so stupid as to expend its fury a hundred times in succession on
+a piece of red cloth, ignoring the man who holds it.'
+
+The bull fight not dangerous! I can imagine the indignation of the
+devotees of the sport at such a suggestion. Personally, I am not in a
+position to affirm how great or how small is the peril to the man who
+finds himself alone in a ring, face to face with a savage Andalusian
+bull. I have, however, been told by a Spaniard, living in Madrid, that
+the fluttering of the red cloth certainly distracts the bull's attention
+from its combatant, and that the animal invariably closes its eyes when
+the _muleta_ is whisked in its face. This 'fact,' given on the authority
+of my Spanish friend, may throw a side-light on the art of the
+_matador_. But I am certainly not prepared to say that bull-fighting is
+without danger to the human performers in the tournament. Many lives
+have been lost in the arena, and injuries are of comparatively common
+occurrence. On October 7, 1900, Dominguin was killed at Barcelona; two
+novices were wounded at Carabanchel; Parrao was injured at Granada,
+Telilas had his collar-bone broken at Madrid, and Bombita was wounded at
+the same place. Such was one day's list of mishaps in the amphitheatres
+of Spain.
+
+Until infuriated by the lances and darts, many of the bulls are far from
+savage. There is the story of a bull in the arena, that recognised the
+voice of a lad, who had tended it on the plains, and came towards its
+friend with apparent pleasure at the re-meeting. On the other hand,
+there is the account of the bull of Muruve, who fought at Seville, in
+1898, and carried a horse and a _picador_ upon its horns from the
+barrier to the centre of the ring. A strong bull will sometimes toss a
+_picador's_ saddle high in the air; yet Mr. Williams tells us that two
+men are required to carry the saddle. Bulls frequently leap the
+_barrera_ of the arena, although the height is over five feet. 'At
+Málaga, some six years ago, a bull leaped over the barrier at precisely
+the same spot _fourteen_ times in swift succession. At Madrid, in 1898,
+another cleared _both_ barriers,' writes Mr. Williams, 'landing with his
+head among the spectators, but falling back into the _callejón_. On
+April 30, 1896, at Madrid, Ermitaño, the second bull of the _corrida_,
+cleared the barrier four times, jamming a carpenter between a pair of
+doors and severely injuring him. All the above I have myself witnessed;
+but other feats, perfectly authenticated, are even more remarkable.'
+
+The Plaza de Toros at Seville is a handsome building. It was constructed
+to seat fourteen thousand spectators. The chief fights take place on
+Domingo de Resurrección, and during the week of the _feria_, in April.
+The seats are arranged in boxes (_palcos_), the _asientos de barrera_
+(barrier seats) and the _asientos de grada_. A higher price is charged
+for seats in the _sombra_, or shade; while the cheaper positions,
+occupied by the poorer classes, are in the _sol_, or sunshine.
+
+It is fashionable to drive to the _corrida_ behind four or six horses or
+mules, with gay trappings and jangling bells. Hawkers, thieves,
+programme vendors and beggars throng around the _plaza_. The half-hour
+of waiting, preliminary to the first combat, is enlivened by the arrival
+of smart people and notabilities of the city, while the orchestra plays
+a selection of pieces.
+
+Reverte or Fuentes arrives, and is acclaimed by his admirers. The
+knowing _aficionados_, who have seen the doomed bulls in their
+enclosure, promise an excellent show. The seats gradually fill; there is
+a loud hum of conversation and a waving of fans by the _señoras_ in the
+_palcos_. At a signal from the President of the _corridas_, the ring is
+cleared of the groups of _toreros_ and their friends. Then the band
+strikes up, and the bull-fighters march out, with the _matadores_ in
+front of their attendants. They salute the President. The key of the
+bull enclosure is thrown down, an official unlocks the door, and into
+the arena canters the first bull, to encounter a charge from the
+_picador_. Sometimes the bull refuses to fight. The beast is lazy,
+good-tempered, or dazed. Not even the darts will enrage the creature. It
+gazes upon its tormentors with benign amazement. This poor sport; _toro_
+must be worried into a passion. An explosive dart is thrown at the bull.
+The fire burns into its nerves. It is more than the most placid bull
+nature can endure with patience. _Toro_ lowers its horns and rushes upon
+its assailants.
+
+The spectators, men, women and children, closely watch every move and
+double of the fighters. A _picador_ is thrown. The horse, with a ghastly
+dripping wound in its flank, rushes around the ring. It is met by the
+bull, gored, and tossed in the air. The wounded nag cannot regain its
+feet. Again and again the infuriated _toro_ vents its rage on the
+struggling horse. Presently, the bull's attention is drawn from the
+steed, and it turns to face the gaudy _matador_. A thrust of a dagger
+ends the convulsive kicking of the dying horse.
+
+With scientific precision, the swordsman flutters his _muleta_ in the
+bull's face. At each charge the _matador_ bounds aside, and the beast
+worries the red rag. At length, _toro_ stands snorting and pawing the
+ground. The magnificent brute surveys his enemy with hatred, and makes
+another rush. Again it is thwarted. Finally, the sword is plunged deftly
+into the creature's viscera. _Toro_ trembles, falls, and lies prone. The
+_coup de grace_ is administered with a big knife. There is deafening
+applause, the strains of the band, and the dead bull is dragged from the
+ring by a team of mules.
+
+'When I see children at the _corrida_, I sigh and think of the future of
+Spain,' said my Spanish friend. Such expression of opinion is almost
+treasonable. Long live the bull fight! Humanitarian cant is not to be
+taken seriously. It is not only the Spanish people who love the sport.
+'There are no more enthusiastic patrons of the bull ring in Madrid,'
+writes Mr. H. C. Chatfield Taylor, author of _The Land of the Castanet_,
+'than many of the foreign diplomats, and one remembers clearly the
+Secretary of the United States Legation, stationed in Madrid at the time
+of a former visit, saying that he was an annual subscriber, and had not
+missed a _corrida_ during his entire term of office.'
+
+
+THE LIFE OF THE FIGHTING BULL.
+
+In Great Britain our nobility and gentle-folk breed racehorses. In Spain
+the aristocracy and grandees rear bulls for the ring. The breeders of
+bulls are termed _ganaderos_. Around Seville, Jerez, Huelva and
+Valladolid are born the _toros bravos_. At the age of one year the bulls
+selected for the arena are branded, and sent on to the plains to graze,
+in charge of a _conocedor_, who is assisted by an _ayudante_. When the
+bulls are two years of age, they are tried for the first time to prove
+their pluck and pugnacity. At four years old they are put into huge
+enclosures of good pasturage, and in time of scarcity they are fed upon
+vetches, maize and wheat. From five to seven _toro_ is warrantable for
+the _lidia_. At his trial, at the age of two years, the owner of the
+herd invites a number of friends to the ranche. Young and clever
+horsemen attend these trials, and vie with one another in courage. The
+_caballeros_ are armed with the _garrochas_, lances about twelve feet in
+length, with short steel points. Visitors to Seville may often see
+parties of mounted sportsmen returning from these _tentadores_, or
+trials.
+
+A bull is separated from its companions. The horseman, carrying the
+_garrocha_, pursues the brute, and attempts to overturn it by a powerful
+thrust on the flank, delivered at full gallop. The horseman must be a
+bold rider, possessed of coolness and strong in the arm. If the charge
+is successful, _toro_ tumbles with its feet in the air. Another rider
+now takes up the attack. He has a sharper spear, and is called _el
+tentador_. Should the young bull refuse to charge, it is discarded as a
+_toro bravo_, and the slaughter-house or the life of labour awaits it.
+The chosen bulls are then christened, and entered upon the breeder's
+list of warrantable animals. In due time their names appear on the
+brilliant placards advertising the _corridas_ of Seville or Cadiz.
+
+'The _tentadero_ at the present day,' writes the authors of _Wild
+Spain_, 'affords opportunity for aristocratic gatherings, that recall
+the tauromachian tournaments of old. Even the Infantas of Spain enter
+into the spirit of the sport, and have been known themselves to wield
+the _garrocha_ with good effect, as was, a few months ago, the case at a
+brilliant _fête champêtre_ on the Sevillian _vegas_, when the Condesa de
+Paris and her daughter, Princess Elena, each overthrew a sturdy
+two-year-old; the Infanta Eulalia riding _á ancas_, or pillion-fashion,
+with an Andalucian nobleman, among the merriest of a merry party.'
+
+Travelling by rail across the wide and lonely plains of Southern and
+Central Spain, the stranger often sees large herds of bulls, quietly
+grazing in charge of an attendant, who leans upon a long wooden staff,
+and wears a plaid upon his shoulder. The Spanish travellers crowd to the
+window at the magical words _los toros_, and in an animated manner the
+points of the herd are discussed. This pleasant pastoral life lasts for
+five years of the bull's life, though during that time it has to endure
+the trial with the _garrocha_. The bulls are divided into three classes
+after the _tientas_, or trials, _i.e._, those of the first rank, the
+'brave bulls'; those of the second order, the _novillos_, which are used
+by second-rate _matadores_ and beginners, and those sentenced to death,
+or a life of toil. Amongst the most eminent strains of Andalusian bulls
+used for the ring are those of Cámara, Miura, Muruve, Pérez de la
+Concha, Conradi, Adalid, Ibarra, Saltillo, and Anastasio Martin.
+
+The animals are sold from four to eight at a time, according to the
+status of the _corrida_ for which they are purchased. If the distance to
+the ring is short, the bulls are driven by night through the country,
+and pastured in the daytime. They are led by peaceable cattle with bells
+hung from their necks. 'These intelligent beasts keep the wild ones
+together and out of mischief,' says Mr. Leonard Williams, 'with the
+same unerring watchfulness as a collie controlling a flock of sheep, and
+lightening to an incalculable extent the labours of the accompanying
+horsemen.' At night the bulls are driven into the town, the sides of the
+streets being barricaded. When the beasts are consigned to buyers at a
+long distance from the ranche, they are conveyed by rail in strong
+boxes.
+
+Just before the encounter in the ring, the _toros_ are confined in the
+_chiqueros_, dark dens with strong doors that are opened and closed by
+ropes pulled from above. Difficulty is often experienced in coaxing
+refractory animals into these cells. The operation is witnessed by
+_aficionados_, who pay a fee for the privilege.
+
+Among the best-known _garrochistas_ of modern times are the Señores Don
+Antonio Miura, Don Faustino Morube, Don Miguel Garcia, Don Guillermo
+Ochoteco, Don José Silva, Don Fernando Concha, Don Agusto Adalid, Don
+Angel Zaldos, Don Manuel Sanchez-Mira, Marques de Bogaraya, Marques de
+Guadalest, Don Frederico Huesca, and the Marques de Castellones. Two of
+the finest exponents of the art of wielding the _rejón_, or short
+lance--a weapon surviving from the early times of the _lidia_--are the
+Señores Heredia, Ledesma, and Grané. Mr. Williams says that there are
+not a dozen horsemen in Spain and Portugal who can successfully perform
+the feat of killing the bull with the _rejón_.
+
+'An animated spectacle it is on the even of the _corrida_,' write the
+authors of _Wild Spain_, 'when amidst clouds of dust and clang of bells,
+the tame oxen and wild bulls are driven forward by galloping horsemen
+and levelled _garrochas_. The excited populace, already intoxicated with
+bull-fever and the anticipation of the coming _corridas_, lining the way
+to the Plaza, careless if in the enthusiasm for the morrow they risk
+some awkward rips to-day.
+
+'Once inside the lofty walls of the _toril_, it is easy to withdraw the
+treacherous _cabestros_, and one by one to tempt the bulls each into a
+small separate cell, the _chiquero_, the door of which will to-morrow
+fall before his eyes. Then, rushing upon the arena, he finds himself
+confronted and encircled by surging tiers of yelling humanity, while the
+crash of trumpets and glare of moving colours madden his brain. Then the
+gaudy horsemen, with menacing lances, recall his day of trial on the
+distant plain, horsemen now doubly hateful in their brilliant glittering
+tinsel. No wonder the noble brute rushes with magnificent fury to the
+charge.'
+
+The bull fight of Spain and Portugal is the modern form of the
+gladiatorial shows of ancient Rome. At Urbs Italica, the Roman city of
+old, is the ring wherein many victims of Pagan persecution were forced
+to combat with fierce beasts. It is but a step upwards from this
+sanguinary sport to the tournament with bulls, introduced into Andalusia
+by the Moors. The fascination of the horrible is the motive that impels
+men to witness exhibitions involving risk of human life and cruelty
+towards animals. Our bull-baiting with dogs was certainly not more
+sportsmanlike than the Spanish duels between knights, armed only with
+the lance or sword, and a fierce bull of the plains. Yet bull-baiting
+was a favourite diversion of the British nation from the time of King
+John until about a hundred years ago. In the reign of Elizabeth
+bear-baiting was a fashionable recreation in London, and there were
+'Easter fierce hunts, when foaming boars fought for their heads, and
+lusty bulls and huge bears were baited with dogs' (_Sports of England_).
+
+When public opinion began to recoil from such barbarous amusements,
+Windham, in the House of Commons, made a brilliant speech in defence of
+the sport of bull-baiting, and the Bill for its abolition was rejected.
+That was in 1802. Yet, no doubt, a number of our countrymen of that
+period were accustomed to denounce the atrocious cruelty of the Spanish
+bull-fighters.
+
+Statute 5 and 6, William IV., in 1835, made bull-baiting and
+cock-fighting illegal. The Act enjoined 'that any person keeping or
+using any house, pit, or other place, for baiting or fighting any bull,
+bear, dog, or other animal (whether of a domestic or wild kind), or for
+cock-fighting, shall be liable to a penalty of £5 for every day he shall
+so keep and use the same.' In 1837 the provisions of this Act were
+extended to Ireland.
+
+We must remember, therefore, that a high stage of culture and refinement
+must be attained before nations will consent to abandon cruel and
+dangerous contests between men and brutes, or between beasts. Even in
+Spain there is a growing revolt from the exhibitions of combats between
+bulls and other animals, which are sometimes given in the big towns. In
+these fights--which take place in a cage in the centre of an arena--a
+wretched, half-fed lion or elephant is pitted against a bull.
+Cock-fighting still flourishes in the Peninsula. It is popular in
+Seville, and like bull-fighting, the sport has its _aficionados_ in
+every town and hamlet. Sunday, after Mass, is the favourite day for a
+display of cock-fighting. These _funciones gallisticas_ have been
+described by one or two writers upon Spain, who agree that the diversion
+is of a degrading character.
+
+Those among my readers who are interested in bull-fighting, its history
+and its anecdotes, will find a chapter on 'Tauromachia' in that
+fascinating work _Wild Spain_, by Mr. Abel Chapman and Mr. Walter J.
+Buck. A full account of the sport, and the most modern of all the
+numerous contributions to the literature of the bull ring, is that in
+the three special chapters of Mr. Leonard Williams's _The Land of the
+Dons_, published in 1902.
+
+
+
+
+CHAPTER XV
+
+_Information for the Visitor_
+
+
+Most English visitors to Seville travel by way of Paris, Irún, the
+Spanish frontier town, and Madrid. By this route the interesting towns
+of Vittoria, Burgos, Valladolid and Segovia may be visited should the
+tourist's time permit. Many travellers break their journey at Madrid,
+spend a day or two in that city, and proceed by the night-express to
+Seville. For comfort, it is advisable to take the south express _train
+de luxe_ from the Quai D'Orsay, Paris. This train is made up of
+first-class carriages only, and provided with sleeping berths, for which
+there is an extra charge. By the ordinary express trains the journey is
+slower, and the traveller has to provide his sleeping accommodation in
+the shape of rugs and pillows. A pillow may be hired at most of the
+large Spanish railway stations for one peseta, _i.e._, sevenpence
+half-penny in British money.
+
+Railway travelling in Spain is not luxurious. The first-class
+compartments are usually stuffy, and at night they are ill-lighted,
+while the second-class carriages will not compare with the English
+third-class. Compartments of the _tercera clase_ (third-class) are
+uncomfortable and cushionless. They may be used for short day journeys
+in Spain by the stranger who wishes to come into touch with the people.
+As a rule, the third-class passengers are quite orderly in behaviour,
+and the foreigner need not fear to travel with them. Still, from the
+point of view of comfort, the Spanish third-class cannot be recommended,
+especially to ladies.
+
+The journey by rail from Madrid is across the monotonous plains of La
+Mancha, made world-famous by the exploits of Don Quixote, through
+interminable olive gardens, wide grass meadows, and by groups of bare
+and fantastic rocks, to ancient Córdova. Thence we reach the fertile
+land of Andalusia, follow the windings of the clay-stained Guadalquivir,
+and come into the district of the cactus and almond tree, and a
+semi-tropical climate.
+
+Before leaving the railway station square, the stranger must submit to
+the inspection of his luggage by the customs' officers (_consumos_), who
+are on the watch for taxed articles. Usually the search is a mere
+formality, as English visitors are rarely regarded as 'suspects.' Assure
+the officer that you have nothing to sell, and he will in most instances
+refrain from overhauling your baggage.
+
+Hotel omnibuses, cabs and outside porters await the arrival of every
+train at the Estación de Cordoba. The fare for a one-horse carriage to
+any part of Seville, with one or two passengers, is a peseta, and for
+each piece of luggage the charge is from half-a-peseta to a peseta. The
+driver expects a _propina_ ('tip') of at least half-a-peseta. Avoid
+hotel touts and loafers who crowd outside the railway station.
+
+_Hotels._--The majority of English and American visitors stay at the
+Hôtel de Madrid, at the corner of the Plaza del Pacifico. It is a large
+house, with a court in the Moorish style, adorned with palms. The
+position is central. The boarding terms are from about twelve pesetas
+per day, but the charge is from about fifteen pesetas in the spring
+season. The Hôtel de Paris is also in the Plaza del Pacifico. Here the
+tariff is about ten pesetas per diem, and the cuisine is of the
+first-class Spanish order.
+
+Smaller, but comfortable, hostelries are Hôtel de Roma and the Hôtel
+Europa, with a pension tariff of ten pesetas. If the visitor desires to
+see something of the life of Spanish people of the middle-class, he will
+prefer to take up his quarters in one of the minor hotels. Such a house
+is that of Juan Zamanillo, Hôtel de la Victoria, in the Plaza Nueva. The
+charge here is from five pesetas a day, which includes a comfortable
+bedroom, with clean linen and mosquito curtains to the bed, luncheon
+(_almuerzo_), and dinner (_comida_). The Victoria is frequented by
+English artists, and the proprietor is accustomed to English guests. The
+head waiter is an intelligent man. In hotels of this order the sanitary
+arrangements are Spanish. Even in the first-class houses of Spain these
+arrangements need improvement. On the other hand, the rooms are
+scrupulously clean, the cuisine very fair, and the bedrooms comfortable.
+
+At most of the hotels there is an extra charge for the early breakfast
+(_desayuno_), which consists of a cup of chocolate, flavoured with
+cinnamon, or of _café con leche_ (coffee with milk), and a small roll
+without butter. Many Spaniards take a cup of coffee in their bedrooms
+about half-past eight in the morning, and do not eat until luncheon,
+which is usually served in Seville from eleven till one. Visitors who
+are accustomed to a substantial breakfast often find themselves somewhat
+faint by the hour of _almuerzo_. The two meals are much alike in their
+courses. Soup, fish, meat or poultry, salad, cream cheese of Burgos,
+fried potatoes, various kinds of cakes and fruit are served at luncheon
+and dinner. The table wine is provided free of charge, but it is often
+of a very inferior quality, and should be used sparingly, especially in
+hot weather. A cheap, palatable wine is the Rioja. Mineral waters can
+be had at all the hotels and _cafés_.
+
+At the Spanish houses, as distinguished from the hotels mostly
+frequented by foreigners, Andalusian dishes form the chief part of the
+_menu_. Shad, sea-bream and codfish, garnished with onions, are served
+cold. _Pollo con arroz_ (fowl with rice), and curried rice, with cockles
+and sausages, are favourite dishes. One course is usually composed of
+stewed mutton, or beefsteaks grilled. The meal begins with eggs, boiled,
+poached, or made into savoury omelettes. Those visitors who do not enjoy
+the flavour of garlic should say to the waiter, "_No ajo, sirvase_,"
+_i.e._, "No garlic, if you please," before ordering an omelette. In the
+larger hotels the cookery is usually French, with an occasional dish of
+the country.
+
+_Cafés._--Spaniards spend a good share of their leisure time in the
+_cafés_. In Seville the chief resorts of this kind are in the Calle de
+las Sierpes, the Calle Tetuan, and the Plaza Nueva. It is the custom in
+Spain to make business appointments and to arrange friendly meetings in
+the _cafés_. The drinks are coffee, chocolate, tea, wines, liqueurs, and
+mineral waters. Coffee is usually taken black, with cognac. The spirits
+are _caña_, _agua ardiente_, and cognac. A favourite liqueur is
+anisette. At some of these houses Bass's ale and Scotch whisky can be
+obtained. The Spanish bottled cider (_sidra_) is a refreshing drink,
+mixed with lemonade, in hot weather.
+
+An English medical practitioner, Dr. Dalebrook, resides in the Calle
+Albareda, leading out of the Calle Tetuan. A guide, whom I can recommend
+as well-informed, is Señor Carlos Rudé, 22 Otumba. Señor Rudé is known
+as "Charles" by the English visitors. He speaks English well, and can
+obtain entrance to private collections of paintings in the city.
+
+A large stock of interesting photographs of Seville, pictures and
+characters is kept by Señor Julio Beauchy, 24 Calle de Rioja.
+
+       *       *       *       *       *
+
+A LIST OF BOOKS UPON SEVILLE, OR CONTAINING REFERENCES TO THE CITY.
+
+_History._
+
+     'Sevilla' (A volume in the series '_España_')--Don Pedro de
+     Madrazo.
+
+     'Annales de Sevilla'--Don Ortiz de Zuñiga.
+
+     'Sevilla Histórica,' etc.--By 'A Son of Seville.'
+
+     'Histoire des Arabes d'Espagne' (3 vols.)--De Circourt.
+
+     'Memoirs of the Kings of Spain' (5 vols.)--W. Coxe.
+
+     'History of Spain and Portugal'--Dunham.
+
+     'Ferdinand and Isabella'--Prescott.
+
+     'History of the Reformation in Spain'--T. M'Crie.
+
+     'The Ottoman and the Spanish Empires'--L. Ranke.
+
+     'History of the Reign of Philip II.'--R. Watson.
+
+     'Philip II.'--Prescott.
+
+     'Charles V.'--Armstrong.
+
+     'Recherches sur l'histoire et la littérature de l'Espagne'--Dozy.
+
+     'Spain'--H. E. Watts.
+
+     'The Moors in Spain'--S. Lane-Poole.
+
+     'The Inquisition'--Llorente.
+
+     'The Story of Spain'--E. E. and S. Hale.
+
+     'Historia de la Ciudad de Sevilla'--Joaquin Guichot.
+
+     'Historia de Sevilla'--Alonso Morgado.
+
+     'Antigüedades Prehistóricas de Andalucia'--Miguel de Gongora.
+
+_Art._
+
+     'Descripción Artística de la Catedral de Sevilla'--Cean Bermudez.
+
+     'Seville Mosque Cathedral' (Paper Architect. Society)--R. H.
+     Carpenter.
+
+     'An Architect's Note Book in Spain'--D. Wyatt.
+
+     'Annals of the Artists of Spain'--Sir W. Stirling-Maxwell.
+
+     'Spanish and French Painters'--G. W. Smith.
+
+     'Velazquez'--G. C. Williamson.
+
+     'The Industrial Arts of Spain'--J. F. Riaño.
+
+     'La Giralda'--A. Alvarez Benavides.
+
+     'Alcázar de Sevilla'--J. Gestoso y Pérez.
+
+     'La Imprenta en Sevilla.'
+
+     'Velazquez: Life and Work'--G. H. Stokes.
+
+     'Renaissance Architecture and Ornament in Spain'--A. N. Prentice.
+
+     'Seville Cathedral' (article in 'Macmillan's Magazine,' May
+     1903)--Havelock Ellis.
+
+_Literature._
+
+     'History of Spanish and Portuguese Literature' (2
+     vols.)--Bouterwek.
+
+     'History of Spanish Literature'--Ticknor.
+
+     'The Spanish Drama'--G. H. Lewes.
+
+     'Vida de Cervantes'--M. F. Navarette.
+
+     'Tipografía Española'--Mendez.
+
+     'Spanish Literature'--H. Butler Clarke.
+
+     'Life of Cervantes '--J. Fitz-Maurice-Kelly.
+
+     'Cervantes'--H. E. Watts.
+
+_Social and General._
+
+     'Letters from Spain'--Doblado (Blanco White).
+
+     'Handbook for Spain'--R. Ford.
+
+     'Old Court Life in Spain'--F. M. Elliott.
+
+     'The Bible in Spain'--Geo. Borrow.
+
+     'Spanish Vistas'--G. P. Lathrop.
+
+     'Voyage en Espagne'--T. Gautier.
+
+     'Spain and Portugal' (Handbook)--Karl Baedeker.
+
+     'The Zincali'--Geo. Borrow.
+
+     'A Summer in Andalusia' (2 vols.)--R. Bentley.
+
+     'Seville' (article in 'Harper's Magazine,' March 1901)--Arthur
+     Symons.
+
+     'Spanish Cities'--C. A. Stoddard.
+
+     'The Land of the Castanet'--H. Chatfield-Taylor.
+
+
+
+
+INDEX
+
+
+A
+
+Abdelasis, 19, 20.
+
+Abdelgafar, 22.
+
+Abdelmelic, 21, 22.
+
+Abdelola, 19.
+
+Abderahman I., 21.
+
+Abu Abdallah, 24.
+
+Abu el Kásim, 26.
+
+Abu Said, Red King, 37.
+
+Alcázar, 6, 23, 30, 35, 39, 61, 63, 65, 88, 110-128, 237.
+
+Aleman, author, 139.
+
+Alesio, painter, 101.
+
+Alfonso, the Wise, 6, 34-36.
+
+Almohades, 28, 30, 31, 32, 73, 110, 213.
+
+Almoravides sect, 26-29.
+
+Amalaric, 13.
+
+Aqueduct, 11.
+
+Archbishop's Palace, 205.
+
+Arfian, artist, 153.
+
+Arms of city, 241.
+
+Augustus, 11.
+
+Averroes, 25.
+
+Avila, 5.
+
+Ayub, 20.
+
+Ayuntamiento, 63, 211.
+
+
+B
+
+Barca, Hamilcar, 8.
+
+Bartolomé, San, church, 193.
+
+Bazan, author, 144.
+
+Berbers, 17, 18, 27.
+
+Bermudez, 149, 179.
+
+Bernardo, San, church, 194.
+
+Bizet's _Carmen_, 141.
+
+Black Prince, 42.
+
+Blanco White, 59, 69.
+
+Bonifaz, Admiral, 31-32.
+
+Books relating to Seville, 266-268.
+
+Borrow, George, 5, 140-141, 232.
+
+Buckle, 26, 188.
+
+Bull-fights, 225, 242-261.
+
+Byron, 5, 139, 240.
+
+
+C
+
+Caballero, Fernan, author, 139.
+
+_Cafés_, 265.
+
+Campaña, painter, 107, 151-152, 163, 177, 237.
+
+Cano, A., artist, 95-96, 160, 177.
+
+Caridad Hospital, 161, 205-208.
+
+Carlos V., 63, 123, 127, 128, 176, 187.
+
+Caro, historian, 131.
+
+Cartagena, 8.
+
+Cartuja, 236.
+
+Casa Abades, 202.
+
+Casa Pilatos, 39, 62, 124, 132-134.
+
+Casa Taveras, 201.
+
+Casanova, sculptor, 91.
+
+Catalina, Santa, church, 191.
+
+Cathedral, 67, 73, 85-109.
+
+Cato, 6.
+
+Cepero, Don, 168, 209, 210.
+
+Cervantes, 6, 67, 135-139, 212, 241.
+
+Céspedes, artist, 103.
+
+Cid, 28-30.
+
+Columbus, Christopher, 6, 25, 43-46.
+
+Columbus, Fernando, 106.
+
+Columbus Library, 211.
+
+Condé, historian, 24.
+
+Córdova, 2, 20, 21, 41, 73, 81, 127, 263.
+
+Corpus Christi, 230.
+
+Court of Oranges, 73, 95.
+
+Custodia, 102.
+
+
+D
+
+Dancart, artist, 105.
+
+Dancing, 25, 231-232;
+  in cathedral, 228.
+
+Delicias, 81.
+
+Dello, painter, 147.
+
+Don Quixote, 138.
+
+Dunham, historian, 92.
+
+
+E
+
+Edward VII. at Seville, 71.
+
+Egidius, Protestant preacher, 54.
+
+El Begi, the Sage, 24.
+
+El Greco, 107, 183.
+
+Englishmen and Inquisition, 58-59.
+
+English sailors, 239.
+
+Ermenigild, 13-15.
+
+Eslava, composer, 228-229.
+
+Eyck, J. Van, 147.
+
+
+F
+
+Fabrica de Tabacos, 211, 236
+
+Feria of Seville, 225-226;
+  street of, 235-236.
+
+Fernandez, painter, 149, 205.
+
+Fernando I., 27.
+
+Fernando III., San, 31-34, 104, 113.
+
+Finck, H. T., 220, 222, 252.
+
+Fishermen of Seville, 239.
+
+Floods in Seville, 2.
+
+Frutet, F., painter, 183.
+
+
+G
+
+Gautier, 5, 86.
+
+Gever, architect, 73.
+
+Gil, San, church, 191.
+
+Giordano, painter, 99.
+
+Gipsies, 226, 232-234.
+
+Giralda Tower, 23, 24, 70, 73, 77-82, 86, 95, 110, 237.
+
+Golden Tower, 113.
+
+Góngora, 135, 142.
+
+Goya, 102, 107, 178, 197, 246.
+
+Granada, 23
+
+Guadalquivir, 1, 2, 5, 11, 21, 22, 69, 113, 224, 238, 243.
+
+Guide to Seville, 265.
+
+
+H
+
+Hamilcar Barca, 8.
+
+Hasdrubal, 8.
+
+Hernandez, painter, 100.
+
+Herrera, 96, 131, 137, 156, 163, 164, 179.
+
+Herrera El Mozo, 155.
+
+Horse racing, 224, 225.
+
+Hospital Civil, 210.
+
+Hotels, 263-265.
+
+
+I
+
+Ingunda, 14.
+
+Inquisition, 49-60.
+
+Isabella the Catholic, 42, 44, 48-51, 60, 61, 122.
+
+Isidoro, San, 6, 13, 15-16, 193.
+
+Italica, 8, 11, 12, 81, 176, 259.
+
+
+J
+
+James, Henry, 192.
+
+Juan I., 121.
+
+Julian, San, church, 194.
+
+Justa and Rufina, 194-198.
+
+Justi, Professor, 147, 172.
+
+
+K
+
+Keys of Seville, 33.
+
+King of the Suevi, 14.
+
+
+L
+
+Lathrop, G. P., 220, 221.
+
+Leal, Valdés, artist, 96, 99, 100, 160-161, 180, 209.
+
+Leandro, San, 6, 13.
+
+Lebrixa, scholar, 143, 144.
+
+Leighton, Lord, 146, 149.
+
+Leovigild, 13.
+
+Library of Cathedral, 129.
+
+Llorente, historian of Inquisition, 57-58, 60.
+
+Lonja, 74, 205.
+
+Losada, Doctor, 58.
+
+Lucia, Santa, church, 193.
+
+
+M
+
+Macarena, suburb, 234, 235.
+
+M'Crie, historian of Inquisition, 50, 54.
+
+Magellan, 46, 47.
+
+Majos of Seville, 219, 241.
+
+Marcos, San, church, 190.
+
+Maria de Padilla, 37, 41, 114.
+
+Marmolejo, painter, 100, 153.
+
+Maxwell-Stirling, 148, 157, 172, 183, 208.
+
+Michelangelo, 105.
+
+Miguel of Florence, 74.
+
+Mir, 14.
+
+Montañez, 67, 100, 108, 185, 186, 210, 228.
+
+Moors, 22, 28, 30, 31, 62, 65, 66, 67, 69, 73, 77, 88, 109, 110,
+       113-114, 123, 124, 129, 132, 190, 202.
+
+Morel, sculptor, 106.
+
+Mosque of Seville, 20, 23, 73-82.
+
+Motamid II., 28.
+
+Mozart, 141.
+
+Munebrega, inquisitor, 57.
+
+Murillo, 99, 101, 102, 103, 104, 168-175, 177-179, 209;
+  statue to, 212.
+
+Musa, 17, 19.
+
+
+N
+
+New World, discovery of, 25, 68.
+
+Niculoso, designer, 117.
+
+Novels of Cervantes, 135-139.
+
+Nuñez, painter, 149.
+
+
+O
+
+Olmedus, 54.
+
+Omnium Sanctorum, church, 191.
+
+
+P
+
+Pacheco, 67, 106, 108, 131-132, 154-155, 167.
+
+Palomino, painter, 157.
+
+Passion Plays, 231.
+
+Paula, San, church, 191.
+
+Pedro, the Cruel, 6, 36-42, 115, 120.
+
+Pedro de Pampeluna, 146, 211.
+
+Peninsular War, 71.
+
+Philip II., 64, 115.
+
+Philip III., 67.
+
+Philip V., 67.
+
+Phœnicians, 7-8.
+
+Pizarro Hernando, 6, 47, 48.
+
+Plague, 70, 71.
+
+Plaza de Toros, 225, 253.
+
+Ponce de León, 57.
+
+Prado de San Sebastian, 51.
+
+Prescott, 138.
+
+Printing in Seville, 43.
+
+Prosperity, 48, 49.
+
+Puerto del Perdón, 74.
+
+Puigblanch, 51.
+
+
+R
+
+Recared, King, 16.
+
+Riaño, architect, 101, 103, 211.
+
+Ribera, painter, 170.
+
+Roderic, the Goth, 17, 18.
+
+Roelas, artist, 99, 177, 179.
+
+Roldan, artist, 108.
+
+Romans, 8-12.
+
+Romerias, 230.
+
+Rossini's _Barber_, 141.
+
+Roque, San, church, 193.
+
+Rueda, dramatist, 130.
+
+
+S
+
+Sagrario, 77, 108.
+
+Saints of Seville, 82, 194-198.
+
+Salvador, San, church, 193.
+
+Sanchez, artist, 148.
+
+Schlegel, 13, 62.
+
+_Semana Santa_, 228-230.
+
+Siege of Seville, 32-34.
+
+Sierpes, Calle de, 218, 219.
+
+Silver Tower, 30.
+
+Singing in _cafés_, 232.
+
+Sturmio, artist, 95, 153, 163.
+
+
+T
+
+Tablas Alfonsinas, 103.
+
+Tarik, 20.
+
+Theudisel, 13.
+
+Toledo, 199.
+
+Torquemada, 57, 61.
+
+Torriggiano, sculptor, 185.
+
+Trajan, 12, 32.
+
+Triana, 32, 24, 57, 232.
+
+Trinidad, church, 194.
+
+
+U
+
+University of Seville, 62, 70, 210.
+
+
+V
+
+Valdés, Juan, painter, 207.
+
+Valer, the Protestant, 52-54.
+
+Vandals, 12.
+
+Varela, artist, 194.
+
+Vargas, fresco painter, 82, 101, 102, 107, 150, 151, 197.
+
+Vasquez, painter, 153.
+
+Velazquez, 165-168, 170, 212.
+
+Visigoths, 17, 129.
+
+Vos, painter, 183-184.
+
+
+W
+
+Walls of Seville, 11.
+
+Watts, H. E., 17, 137.
+
+Wilkie, David, 174.
+
+Williams, Leonard, 225, 242, 245, 249, 253.
+
+Wiseman, Cardinal, 141.
+
+Witiza, 18.
+
+Women of Seville, 219-222.
+
+Wyatt, Digby, 134, 202, 205.
+
+
+X
+
+Xeres, 17.
+
+
+Y
+
+Yusuf, 21, 27, 28.
+
+
+Z
+
+Zuñiga, Ortiz de, 205, 266.
+
+Zurbaran, 104, 156-159, 165, 169, 170, 177, 180-182, 211.
+
+THE END
+
+_Colston & Coy. Limited, Printers, Edinburgh._
+
+
+A List of the Volumes in
+
+The Mediæval Town Series
+
+"_That most charming series of books._"--NOTES & QUERIES
+
+"_There was ample room for a series which should put into the
+traveller's hand a compact_ résumé _of what the research of local
+historians had discovered and arranged. This series has gone far to
+provide for this want. Such volumes as "Assisi" and "Florence" are
+indispensable companion-volumes to Baedeker._"--TIMES
+
+"_The series is one of the first-rate things in the bookmarket._"--DAILY
+NEWS
+
+"_An extremely pleasing series.... The volumes are fully illustrated,
+and the letterpress, charmingly written, is a perfect mine of
+information._"--GRAPHIC
+
+"_The intelligent traveller has not been long in recognising their
+worth._"--GUARDIAN
+
+"_Brought out with the dainty care for both artist and reader that we
+have a right to expect from Aldine House._"--SATURDAY REVIEW
+
+"_For the library they are perfection, a pleasure to handle, as they are
+also a pleasure to read._"--DAILY TELEGRAPH
+
+"_They are guide-books, books for study, and books for reference, and at
+the same time little galleries of art._"--ILLUSTRATED LONDON NEWS
+
+_London: J. M. Dent & Co._
+
+_Aldine House, Bedford Street, W.C._
+
+1903
+
+_List of Volumes_
+
+_With numerous Topographical Drawings, Reproductions from Paintings and
+Sculptures, Maps, and Plans. Fcap. 8vo (pocketable). In grey cloth and
+limp green paste grain roan bindings._
+
+     ASSISI. By LINA DUFF GORDON. Illustrated by HELEN M. JAMES and
+     NELLY ERICHSEN.{*}
+
+[_Second Edition._
+
+"Miss Duff Gordon has told the story of Assisi exceedingly well and
+produced one of the very best volumes that have yet appeared in the
+series."--_Times._
+
+     BRUGES. By ERNEST GILLIAT-SMITH. Illustrated by HERBERT RAILTON and
+     EDITH CALVERT.{**}
+
+"The wonder is how Mr. Gilliat-Smith has so cleverly managed to outline
+all this material, and to describe all to be seen within such narrow
+limits."--_World._
+
+     CAIRO. By STANLEY LANE-POOLE, Litt.D., M.A. Illustrated by J. A.
+     SYMINGTON and OTHERS.{**}
+
+"A really good guide-book to Cairo. As a work of condensation, which
+nevertheless remains both attractive and instructive, the book is much
+to be recommended."--_Spectator._
+
+     CHARTRES. By CECIL HEADLAM. Illustrated by HERBERT RAILTON.{**}
+
+"There is no exaggeration in saying that it is the best book in the
+language on the town and church of which it deals. Everything is
+here."--_Speaker._
+
+     CONSTANTINOPLE. By WILLIAM HOLDEN HUTTON. Illustrated by SYDNEY
+     COOPER.{*}
+
+"A delightful book which we cordially recommend to travellers visiting
+the Stambul."--_Athenæum._
+
+     FLORENCE. By EDMUND G. GARDNER. Illustrated by NELLY ERICHSEN.{**}
+
+[_Third Edition._
+
+"We recall few, it any, works of a similar kind which contrive to
+display so complete a picture of a historic city.... A guide which every
+tourist should take with him to Florence."--_Spectator._
+
+     MOSCOW. By WIRT GERRARE. Illustrated by HELEN M. JAMES.{*}
+
+"A very pretty and handy guide to the city, which can easily be slipped
+into the pocket of the tourist and certainly ought to find its way
+there."--_Speaker._
+
+     NUREMBERG. By CECIL HEADLAM. Illustrated by HELEN M. JAMES, and
+     with Wood-cuts from Photographs.{*}
+
+[_Third Edition._
+
+"The general history is remarkably well done, and the descriptive and
+biographical part is as cleverly done as the historical
+outline."--_Morning Post._
+
+     PERUGIA. By MARGARET SYMONDS and LINA DUFF GORDON. Illustrated by
+     H. M. JAMES.{*}
+
+[_Fourth Edition._
+
+"Possesses charm as well as information, style as well as learning Work
+more sympathetically rendered we have rarely seen"--_Outlook._
+
+     PRAGUE. By COUNT LÜTZOW. Illustrated by NELLY ERICHSEN.{*}
+
+"It is reasonable to prognosticate a great success for this charming
+little book.... Let us hope that our countrymen will rise refreshed and
+instructed."--_Athenæum._
+
+     ROME. By NORWOOD YOUNG. Illustrated by NELLY ERICHSEN.{**}
+
+[_Second Edition._
+
+"All that distinguishes travel from sight-seeing. A complete series of
+the events, buildings, personalities and ideas which will most interest
+the better kind of traveller."--_Monthly Review._
+
+     ROUEN. By THEODORE ANDREA COOK. Illustrated by HELEN M. JAMES and
+     JANE E. COOK.{**}
+
+[_Second Edition._
+
+"This is your true COOK to conduct you on your next visit to Normandy.
+Erudition, charming vivacity of style, and most excellent
+illustrations."--_Punch._
+
+     TOLEDO. By HANNAH LYNCH. Illustrated by HELEN M. JAMES.{*}
+
+"No intelligent reader of the brilliant little monograph is likely to
+forget easily the pleasure which will have been derived from a perusal
+of its pages."--_Speaker._
+
+     VERONA. By ALETHEA WIEL. Illustrated by NELLY ERICHSEN and HELEN M.
+     JAMES.{**}
+
+"Verona's story faithfully told by one who knows, who loves, and
+understands it."--_Times._
+
+_In Preparation_:
+
+     EDINBURGH. By OLIPHANT SMEATON, M.A.
+
+     OXFORD. By CECIL HEADLAM
+
+     CAMBRIDGE. By the Very Rev. C. W. STUBBS, D.D., Dean of Ely
+
+     AVIGNON. By ELLEN MARRIAGE
+
+     SIENA. By EDMUND G. GARDNER
+
+     CANTERBURY. By Dr SEBASTIAN EVANS and FRANK B. GOLDNEY, F.A.S.
+
+     LONDON. By H. B. WHEATLEY
+
+     FERRARA. By ELLA NOYES
+
+     RAVENNA. By EDMUND G. GARDNER
+
+     VENICE. By THOMAS OKEY
+
+_Price per Volume_:--
+
+{*} _Cloth 3/6 net; Roan 4/6 net._
+
+{**} _Cloth 4/6 net; Roan 5/6 net._
+
+
+_Mediæval Towns_
+
+The enjoyment of foreign travel is so largely dependent upon the
+sympathetic appreciation of the charms and treasures of the place
+visited that a tour may be wholly marred by an indifferent or ignorant
+guide; and so rarely is that charming companion to be found whose local
+knowledge is co-extensive with his artistic instincts, that one has
+perforce often to pursue one's journeys in search of the picturesque
+unattended. In such circumstances the MEDIÆVAL TOWN SERIES fills the
+breach, furnishing a guide whose knowledge is that of an authority,
+whose descriptions do not weary us with their garrulity, and whose
+opinions we may treasure in the safety of our coat pocket; to which,
+also, we may always refer with pleasure when we wish to revive faded
+recollections.
+
+[Illustration: _Specimen Text Illustration_]
+
+Artist and author have both made the objects and scenes described the
+subject of careful personal observation, and are consequently able to
+impart to their work that charm of local colour which lends vitality to
+their pictures; every old-time thoroughfare and weather-beaten fabric
+supplies some legend of saint or hero, and as the story of these
+mediæval towns progresses, the reader's imagination is kindled until the
+very spirit of the past pervades the page.
+
+     * * * _This page is set in the type of the series._
+
+       *       *       *       *       *
+
+
+Alterations in the text made by the etext transcriber:
+
+
+Abdelgfar=>Abdelgafar
+
+Abdelgafr=>Abdelgafar {2}
+
+Gránada=>Granada
+
+then it its pristine splendour=>then in its pristine splendour
+
+Francico=>Francisco {2}
+
+Alfonzo=>Aflonso {2}
+
+she had seem a fight=>she had seen a fight
+
+peceptions=>perceptions
+
+The ascetic artist was born in Seville, in 1502, and died there about
+the year 1658=>The ascetic artist was born in Seville, in 1502, and died
+there about the year 1568
+
+Capella de San Hermenegildo=>The Capilla de San Hermenegildo
+
+Hermenigildo=>Hermenegildo {2}
+
+Francisan Convent=>Franciscan Convent
+
+Alcazár=>Alcázar {3}
+
+Franciso Pacheco=>Francisco Pacheco
+
+Emilio Pardo Bazan=>Emilia Pardo Bazan
+
+mannnerists=>mannerists
+
+Chasuble on San Ildefenso=>Chasuble on San Ildefonso
+
+San Ildefenso=>San Ildefonso
+
+Sacristiá=>Sacristía {numerous}
+
+Calices=>Cálices {3}
+
+La Anunciación de Neustra Señora=>La Anunciación de Nuestra Señora
+
+Neustra Señora de la Concepción=>Nuestra Señora de la Concepción
+
+Sacristia=>Sacristía {6}
+
+Sacristiá de los Cálices=>Sacristía de los Cálices {2}
+
+La Anunciación de Neustra Señora=>La Anunciación de Nuestra Señora
+
+Martinez Moñtanes=>Martinez Montañes
+
+Mahommedan=>Mohommedan
+
+nine fountain=>nine fountains
+
+cannnot=>cannot
+
+Spaniard are conservative=>Spaniards are conservative
+
+A suvival=>A survival
+
+it Morisco remains=>its Morisco remains
+
+Sevillaños=>Sevillanos
+
+smart poople=>smart people
+
+A bull is separted=>A bull is separated
+
+'Sevilla Historica,'=>'Sevilla Histórica,'
+
+'Antigüedades Prehistoricas de Andalucia'=>'Antigüedades Prehistóricas
+de Andalucia'
+
+'Descripción Artistica de la Catedral de Sevilla'=>'Descripción
+Artística de la Catedral de Sevilla'
+
+'Tipografia Española'=>'Tipografía Española'
+
+Dukes of Alcala=>Dukes of Alcalá
+
+Fábrica de Tabácos=>Fábrica de Tabacos
+
+Domenico Theotocopuli & Dominico Theotocopuli=>Doménico Theotocópuli
+
+Vìrgen de la Rosa=>Virgen de la Rosa
+
+Erminigild=>Ermenigild
+
+Cap de los Evangelestas=>Cap de los Evangelistas
+
+Sevilla Historica=>Sevilla Histórica
+
+Pedro Villegas Marmolego, 1520-1597=>Should be: Pedro Villegas
+Marmolejo, 1519-1596.
+
+Patio de los Naranjas=>Should be: Patio de los Naranjos
+
+
+
+
+FOOTNOTES:
+
+[A] This and other interesting pictures may be seen by applying to the
+owner of the collection.
+
+[B] In _Sevilla Histórica_ the names of Juan Norman, Alonso Rodriguez
+and Gonzalo Rojas are mentioned as architects employed before 1507.
+
+[C] _See_ chapters on 'the Churches' and upon the 'Artists of Seville.'
+
+[D] There is an excellent Catalogue, with a short historical memoir of
+each artist, which can be purchased at the entrance of the Museo, for
+the trifling sum of one _peseta_. It is, of course, in Spanish.
+
+[E] The titles of the pictures are given in Spanish in order to
+facilitate their identification in the Catalogue.
+
+[F] The picture has been recently presented to the Museo, by the Infanta
+Da Maria Luisa Fernanda, and is only mentioned in the Catalogue, in a
+short notice at the end of the book.
+
+[G] See separate chapter.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Story of Seville, by Walter M. Gallichan
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SEVILLE ***
+
+***** This file should be named 38009-0.txt or 38009-0.zip *****
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+The Project Gutenberg EBook of The Story of Seville, by Walter M. Gallichan
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Story of Seville
+
+Author: Walter M. Gallichan
+
+Illustrator: Elizabeth Hartley
+
+Release Date: November 13, 2011 [EBook #38009]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SEVILLE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+
+[Numerous typographical errors, as well as many (but not all) of the
+mis-placed or missing accents of Spanish words, have been corrected.
+Please see the list of these at the end of this etext.
+(note of etext transcriber)]
+
+[Illustration: image of the book's cover]
+
+
+
+
+_The Story of Seville_
+
+          "He who Seville has not seen,
+          Has not seen a marvel great."
+
+    "To whom God loves He gives a house in Seville."
+
+_Popular Spanish Sayings._
+
+[Illustration: _Saints Justa y Rufina_
+
+_From the painting by Goya_]
+
+
+
+
+_The Story of Seville
+by Walter M. Gallichan_
+
+_With Three Chapters on the Artists
+of Seville by C. Gasquoine Hartley
+Illustrated by Elizabeth Hartley_
+
+[Illustration: colophon]
+
+_London: J. M. Dent & Co.
+Aldine House, 29 and 30 Bedford Street
+Covent Garden, W.C._ * * 1903
+
+_All Rights Reserved_
+
+
+
+
+PREFACE
+
+
+In the story of Seville I have endeavoured to interest the reader in the
+associations of the buildings and the thoroughfares of the city.
+
+I do not claim to have written a full history of Seville, though I have
+sketched the salient events in its annals in the opening chapters of
+this book. The history of Seville is the history of Spain, and if I have
+omitted many matters of historical importance from my pages, it is
+because I wished to focus attention upon the city itself. I trust that I
+have succeeded in awaking here and there an echo of the past, and in
+bringing before the imagination the figures of Moorish potentate or
+sage, and of Spanish ruler, artist, priest and soldier.
+
+Those who are acquainted with the history of Spain will appreciate the
+difficulty that besets the historian in the matter of chronological
+accuracy, and even in a narration of many of the main events. The
+chronicles of the Roman, Gothic and Moorish epochs are hardly accepted
+as reliable. Patriotic bias and religious enthusiasm are elements that
+frequently mislead in the making of history, though the Spaniard is not
+alone in the commission of error in this respect.
+
+Seville abounds with human interest. The city may at the first glance
+slightly disappoint the visitor, but he cannot wander far without a
+growing sense of its fascination. Most of the noteworthy buildings are
+hidden amidst narrow alleys, for the designers of the city have shown
+great economy in utilising space. It is therefore difficult to gain
+large general views of Seville, unless one ascends the Giralda, while
+the obtrusion of modern dwelling-houses and stores often mars the view
+of fine public edifices. But the modernity of Seville seldom strikes one
+as wholly out of place and in sharp contrast to the ancient monuments.
+The plan is Morisco, and the impression conveyed is partly Moorish and
+partly medi�val. In a word, Seville brings us at every step closely in
+touch with antiquity.
+
+For the chapters on the Artists of Seville I am indebted to C. Gasquoine
+Hartley (Mrs. Walter M. Gallichan), who has devoted much study to the
+art of Spain. The drawings by Miss Elizabeth Hartley were prepared while
+I was gathering material for the book in Seville, and the illustrations
+will be found to refer to the text. I have also to thank my brother, Mr.
+F. H. Gallichan, for his plan of the city.
+
+The frontispiece photograph of Goya's picture of SS. Justa and Rufina
+was reproduced in the _Art Journal_ as an illustration to an article on
+"Goya" by C. Gasquoine Hartley. My thanks are due to Messrs. Virtue &
+Company for permission to reproduce the picture in this book.
+
+WALTER M. GALLICHAN.
+
+       THE CRIMBLES,
+    YOULGREAVE, BAKEWELL,
+    _August 20, 1903_.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I
+
+                                                                    PAGE
+
+_Romans, Goths and Moors_                                              1
+
+CHAPTER II
+
+_The City Regained_                                                   26
+
+CHAPTER III
+
+_Seville under the Catholic Kings_                                    62
+
+CHAPTER IV
+
+_The Remains of the Mosque_                                           73
+
+CHAPTER V
+
+_The Cathedral_                                                       85
+
+CHAPTER VI
+
+_The Alc�zar_                                                        110
+
+CHAPTER VII
+
+_The Literary Associations of the City_                              129
+
+CHAPTER VIII
+
+_The Artists of Seville_                                             146
+
+CHAPTER IX
+
+_Velazquez and Murillo_                                              165
+
+CHAPTER X
+
+_The Pictures in the Museo_                                          176
+
+CHAPTER XI
+
+_The Churches of the City_                                           187
+
+CHAPTER XII
+
+_Some Other Buildings_                                               201
+
+CHAPTER XIII
+
+_Seville of To-day_                                                  213
+
+CHAPTER XIV
+
+_The Alma Mater of Bull-fighters_                                    242
+
+CHAPTER XV
+
+_Information for the Visitor_                                        262
+
+_Index_                                                              269
+
+
+
+
+ILLUSTRATIONS
+
+
+                                                                   PAGE
+
+_SS. Justa and Rufina, from the painting by_
+GOYA (_photogravure_)                                      _Frontispiece_
+
+_Roman Amphitheatre at Italica_                                        1
+
+_The Guadalquivir_                                                     3
+
+_Roman Walls_                                                          8
+
+_The Pillars of Hercules and Julius C�sar_                            11
+
+_Moorish Fountain in the Court of Oranges_                            23
+
+_Roman Capital_                                                       25
+
+_Old Walls of the Alc�zar_                                            41
+
+_Sword of Isabella_                                                   49
+
+_Plaza San Francisco_                                                 55
+
+_Fountain in Bath, Alc�zar_                                           66
+
+_Puerta del Perd�n_                                                   75
+
+_Stone Pulpit in Court of Oranges_                                    78
+
+_Cuerpo de Azucenas_                                                  79
+
+_The Giralda_                                                         84
+
+_Pinnacle of the Cathedral_                                           87
+
+_Puerta Mayor--The Central Door of the
+Cathedral_                                                            89
+
+_Pinnacle of the Cathedral_                                           91
+
+_Interior of the Cathedral_                                           97
+
+_Patio de las Doncellas_                                             111
+
+_In the Garden of the Alc�zar_                                       125
+
+_Cancela of the Casa Pilatos_                                        133
+
+_The Guardian Angel_ (MURILLO)                              _facing_ 172
+
+_The Conception_ (MURILLO)                                  _facing_ 178
+
+_The Road to Calvary_ (VALD�S LEAL)                         _facing_ 180
+
+_Saint Hugo in the Refectory_ (ZURBARAN)                    _facing_ 182
+
+_The Crucifixion_ (MONTA�ES)                                _facing_ 186
+
+_Minaret of San Marcus_                                              190
+
+_Puerta de Santa Maria_                                              195
+
+_Patio del Casa Murillo_                                             203
+
+_Amphora_                                                            212
+
+_Patio del Colegio_, _San Miguel_                                    215
+
+_The Golden Tower_                                                   223
+
+_A Roof Garden_                                                      238
+
+_Arms of Seville_                                                    241
+
+_Plan of City_                                              _facing_ 268
+
+[Illustration: Roman Amphitheatre at Italica]
+
+
+
+
+The Story of Seville
+
+
+
+
+CHAPTER I
+
+_Romans, Goths and Moors_
+
+    'The sound, the sight
+     Of turban, girdle, robe, and scimitar
+     And tawny skins, awoke contending thoughts
+     Of anger, shame and anguish in the Goth.'
+
+     ROBERT SOUTHEY, _Roderick_.
+
+
+Seville the sunny, the gem of Andalusia, is a city in the midst of a
+vast garden. Within its ancient walls, the vine, the orange tree, the
+olive, and the rose flourish in all open spaces, while every _patio_, or
+court, has its trellises whereon flowers blossom throughout the year.
+Spreading palms overshadow the public squares and walks, and the banks
+of the brown Guadalquivir are densely clothed with an Oriental verdure.
+
+The surrounding country of the Province of Sevilla, _La Tierra de Maria
+Santisima_, is flat, and in the neighbourhood of the city sparsely
+wooded. On the low hills of Italica and San Juan de Aznalfarache, the
+Hisn-al-Faradj of the Moors, olive groves cover many thousands of acres.
+The plain is a _parterre_ of wide grain fields, and meadows of rife
+grass, divided by straight white roads, with their trains of picturesque
+mule teams and waggons, and their rows of tall, straight trees. Here and
+there the cold grey cactus serves as a fence, but there is no other kind
+of hedgerow.
+
+Far away, across the yellow wheatfields, and beyond the vine-clad slopes
+of the middle distance, rise the huge shoulders and purple peaks of wild
+sierras.
+
+The Guadalquivir, rolling and eddying in a wide bed, takes its tint from
+the light soil and sand, and is always turbid, as though in spate. Below
+Seville, on the left bank of the river, stretch the great salt marshes,
+or Marismas, haunted by the stork, the heron, and innumerable wildfowl.
+Here, among the arms of the tidal water, the cotton plant is cultivated.
+Winter floods are a source of danger to Seville, especially when a
+south-west wind is blowing and the tide ascending the river. Then the
+Guadalquivir overflows its banks and deluges the town and the flat land,
+drowning live stock and destroying buildings. In 1595 and 1626 occurred
+two of the worst floods, or _avenidas_, on record. The flood of 1626
+washed away the foundations of about three thousand houses.
+
+[Illustration: The Guadalquivir]
+
+It is probable that the southern kingdom of Andalusia derived its name
+from the Vandals, who overran the country after the Roman occupation.
+The region was then known as Vandalitia, or Vandalusia. Lower Andalusia
+has been said to be the Tarshish of the Bible. The Phoenicians called
+the land Tartessus, or Tartessii. Nowadays Andalusia includes the
+provinces of Sevilla, Huelva, Cadiz, C�rdova, Ja�n, Granada and
+Almeria, and has a population of over three millions. Seville is the
+capital, the seat of an archbishop, and a university town. The traveller
+from Northern Europe will feel the spirit of Spain upon him as he
+approaches Seville from Cadiz or C�rdova through a semi-tropical country
+under a burning blue sky. He will note everywhere the influence of the
+Arab in the architecture of modern public buildings, churches and
+dwelling-houses, in the tortuous, narrow streets, in the features,
+language, music and garb of the people, and in many of the customs of
+the district. The character of the landscape is strange, the atmosphere
+vivid, and the distant objects show sharply against the horizon. For
+leagues he will traverse groves of olive, or vineyards, and pass across
+wastes purple with the flower of the lavender or scarlet with poppies.
+
+Seville of to-day is white, clean and bright. Gautier noted that the
+shadows of the houses in the narrow thoroughfares are blue, in contrast
+to the white of the dazzling buildings at noon. During the _siesta_ of
+the hot months, the streets are deserted daily for about four hours,
+shutters screen the rooms from the blinding sunshine, and awnings are
+drawn across the roofs of the _patios_. In the evening the town awakens,
+and the _plazas_ and alleys are thronged and gay until two in the
+morning. Everyone endeavours to lead an _al fresco_ life, and to
+conserve physical energy in this city of eternal sunshine. Unlike Toledo
+and Avila, where the houses are sombre and the doors heavy and barred,
+as though the towns were inhospitable, Seville opens wide the gates of
+its beautiful courts so that the passer-by may peep within.
+
+'Seville is a fine town,' wrote Lord Byron, in a letter, during his stay
+in Spain in 1809. We may regret that he had so little to say about the
+fascinating capital. George Borrow, who lived for a time in the Plazuela
+de la Pila Seca, near the Cathedral, speaks in rapturous phrases of the
+view of Seville and the Guadalquivir. 'Cold, cold must the heart be
+which can remain insensible to the beauties of this magic scene, to do
+justice to which the pencil of Claude himself were barely equal. Often
+have I shed tears of rapture whilst I beheld it, and listened to the
+thrush and the nightingale piping their melodious songs in the woods,
+and inhaled the breeze laden with the perfume of the thousand orange
+gardens of Seville.'
+
+The city is rich in antiquities, in historic buildings associated with
+illustrious names, in works of art and in sumptuous palaces. A great
+company of the spirits of famous kings, warriors, explorers, authors,
+painters and priests spring up in the imagination as one stands in the
+aisles of the splendid Cathedral, or dreams amid the roses and the
+tinkling fountains of the secluded gardens of the Alc�zar. Here, to this
+prized and fertile territory of southernmost Spain, came Publius
+Cornelius Scipio and Cato. Trajan, Hadrian and Theodosius were born at
+the municipium of Italica, a few miles from modern Seville. El Begi,
+'the most accomplished scholar of Spain,' spent the greater part of his
+life in the city.
+
+San Isidoro and San Leandro lived here. Moorish monarchs and Christian
+sovereigns ruled from the palace, and in their turn attacked and
+defended the fair city. The figures crowd before the mind's
+eye--Ferdinand III., who redeemed the town from the Moriscoes, Alfonso
+(_El Sabio_) the Learned, Pedro I. the Cruel, and Ferdinand and Isabella
+the Catholic. We see the fair, blue-eyed Genoese youth, Christoforo
+Colombo, or Columbus, the maker of the modern prosperity of Seville,
+who, after achieving fame, was alternately petted and punished by his
+sovereigns. We picture the triumphant return of Hernando Pizarro to the
+city, with half a million pesos of gold, and a great treasure of silver.
+
+Lope de Rueda, 'the real father of the Spanish theatre,' a gold-worker
+of Seville; Fernando de Herrera, the poet; the mighty Cervantes, who
+spent three years of his life in the Andalusian capital; Velazquez,
+Zurbaran, Roelas, Murillo and minor artists of note were either born in
+the city or closely associated with it.
+
+For the present we must take a look back into the dim and remote period
+when the Phoenicians came to wrest the soil of Southern Spain from the
+race of mingled Celtic and Iberian blood. It is at this uncertain date
+that the history of Seville may be said to begin.
+
+       *       *       *       *       *
+
+We learn from the historians of Phoenicia that the shrewd, practical
+and industrious people of that marvellous ancient civilisation were
+great colonisers. 'The south of Spain,' writes Professor George
+Rawlinson, 'was rich in metallic treasures, and yielded gold, silver,
+copper, iron, lead and tin.' In their quest for valuable metal, certain
+Phoenician explorers discovered the Peninsula of Iberia, and in the
+mineral-yielding region watered by the Guadalquivir they founded the
+colony of Tartessii. Doubt exists whether Tartessii was the name given
+to the plains of the Guadalquivir or to a town. Strabo, Mela and Pliny
+state that the Phoenicians built a town and called it Tartessus. Was
+this town the foundation of Seville? No one will attempt to give an
+authoritative answer, though it has been stated that the town was not
+Cadiz, the Gades of the Phoenicians. Two cities of considerable
+importance appear to have been the marts of the Phoenician _Sephela_,
+or plain, and it is not wholly improbable that Seville was one of them.
+
+[Illustration: Roman Walls]
+
+In the choice of new territory for the development of mining and
+agriculture, the enterprising colonists displayed much intelligence.
+They settled upon a soil that will bring forth richly without artificial
+stimulation.
+
+The hill ranges produced vines and olive trees, yielding fine wine and
+ample oil. Tunny and other fish were plentiful in the sea, and the
+rivers afforded large eels.
+
+This is all that can be known of the Phoenician colony in Southern
+Spain. We are beginning to tread upon firmer historic ground when
+Hamilcar Barca landed at Cadiz in 237 B.C., after a series of victories
+in Africa, and subdued Andalusia. Hasdrubal, son-in-law of the
+conqueror, was the founder of Cartagena, or New Carthage, the centre of
+Carthaginian rule in Spain, and the wealthiest city of the Peninsula.
+
+But during the second Punic War the Romans invaded Iberia, and gained
+all the eastern coast from New Carthage to the Pyrenees. Plutarch says
+that Publius Cornelius Scipio came to Spain with eleven thousand
+soldiers, seized Cartagena, reduced Cadiz, and founded the city of
+Italica, near Seville. Hispalis was the Roman name given to the city on
+the Guadalquivir until C�sar changed the name to Julia Romula. The city
+then became the capital of Roman Spain, a centre of industry, and a
+fortress. A splendid aqueduct, which has partly endured to this day, was
+constructed to bring a plentiful supply of water from the hills. The
+aqueduct was extended by the Almohades in 1172, and forms one of the
+interesting monuments of the Roman and Arab colonisers. Around the city
+were reared high walls, with watch towers, and many strong gates. It is
+said that the walls of Seville were five miles in length, and it has
+been stated that they were once ten miles long. Within the gates were
+palaces, temples to the honour of the Sun, Hercules, Bacchus and Venus,
+and other fine edifices.
+
+Under Augustus, Spain was part of the Roman Empire. In Seville the rule
+of the conquerors was beneficent, and the original inhabitants were
+fairly governed, while the city was extended and new crafts introduced.
+Under the Romans, Christianity came to the Peninsula, and Seville was
+made the seat of a bishop. The remaining portions of the great aqueduct,
+the wall, the two high granite columns in the Alameda de Hercules, with
+the statues of Julius C�sar and Hercules upon them, the shafts of the
+columns discovered in the Calle Abades, and the beautiful fragments of
+capitals and statues in the Museo Arq�l�gico are the chief vestiges of
+Seville in the days of the Romans. At Urbs Italica, 'the camp of the
+Italians,' there still exists a grass-grown, mouldered amphitheatre, the
+only remnant of a mighty town.
+
+Built on the slopes once dotted with the tents of the aboriginal hamlet
+of Sancios, Italica lies about five miles to the west of Seville, amid
+olive gardens and wheatfields. The circus is a ruin; but the passages
+can be followed below the tiers of seats, and one may peer into the dens
+once tenanted by the lions and other fierce beasts. Bees hum amongst the
+wild thyme, lizards creep on the worn stones, and a tethered ass grazes
+in the arena. The glory of Rome has departed; the plaudits from those
+deserted and grassy seats have not been heard for centuries; and blood
+has ceased to redden the floor, where fragrant herbs now spring and
+butterflies sun themselves on fallen masonry. Here is all that is left
+of Italica, the home of Trajan and Hadrian, and the asylum for Scipio's
+aged warriors. For a period the decaying town was known as Old Seville,
+and tons of its masonry were removed to build Seville the New.
+
+Rome fell, and the Silingi Vandals swarmed into the country, captured
+Hispalis, and made it the seat of their empire. This period in the
+history of Seville is dark, and beset with difficulty for the annalist.
+About the year 520 a great horde of Goths spread over Andalusia. They
+seized the Vandal capital, but afterwards established a new capital of
+their own at Toledo.
+
+[Illustration: The Pillars of Hercules and Julius Ce�sar]
+
+Amalaric was the first of the Gothic monarchs who sat on the throne in
+Seville. He reigned probably from about the year 522. Theudis ruled in
+Seville (531 to 548), and we read that he was murdered there after an
+attempt to expel the Byzantine troops of Justinian from Africa.
+Theudisel, or Theudigisel, was general to Theudis, whom he succeeded as
+ruler at Seville. Theudisel shared the fate of his predecessor on the
+throne. After a reign of eighteen months, he was killed by the
+sword-thrusts of a dozen nobles of his retinue, while taking supper in
+his palace. This 'monster of licentiousness' was wont to kill all women
+who repelled his addresses, and his assassination was a work of
+vengeance on the part of outraged fathers and husbands among his
+courtiers.
+
+Schlegel says the Goths were ready converts to Christianity, but 'in the
+Arian form.' At a later period of their supremacy in Spain there came a
+wider adherence to orthodox Catholicism, and the civil power was largely
+in the hands of the bishops and clergy. The most influential bishop of
+this day was Saint Isidore (San Isidoro) who held office in Seville. His
+brothers, Leander and Fulgentius, were also prelates, and his sister,
+Florentina, was made a saint. Saint Leander was the elder brother of
+Isidore, and through him the youth received his education after the
+death of his parents. The pupil was earnest and diligent in his studies,
+and as he grew to manhood he zealously assisted his brother, who then
+held the See of Seville, in converting the Goths from the heresy of
+Arius.
+
+Dissensions between the orthodox and the Arians caused great strife and
+family bitterness among the ruling class. During the reign of King
+Leovigild rebellions broke out in Castile and Le�n. The leader of the
+rebels was Leovigild's own son, Ermenigild, who had married Ingunda,
+daughter of Brunichilda and of Sigebert. Ingunda professed the orthodox
+faith, while Gosvinda, the second wife of Leovigild, was of the Arian
+sect. A rivalry arose between the two dames. According to Gregory of
+Tours, Gosvinda determined that Ingunda should be compelled to embrace
+the heterodox creed. One day when the two disputants were together,
+engaged in hot controversy, the fanatical Gosvinda gripped Ingunda by
+the hair of her head, threw her to the ground, trod upon her, and bade
+an Arian priest baptize the prostrate woman.
+
+This incident not unnaturally brought about a quarrel between Leovigild
+and his son. Ermenigild was then ruling in Seville, while Leovigild
+maintained his court at Toledo. The trouble grew when Leander, the uncle
+of Ermenigild, persuaded the young man to forsake Arianism. His father
+was deeply angered, and vowed that the Gothic crown should never come to
+an apostate. The Archbishop of Tours states that the father was the
+first to take up arms after the rupture, but other historians suppose
+that the turbulent Ermenigild began the hostilities.
+
+This domestic difference led to serious warfare. Ermenigild was besieged
+in Seville by his father's forces, after begging aid from Mir, King of
+the Suevi, in Galicia. Mir started with an army to assist the rebellious
+prince, but on the way he was defeated by Leovigild, and forced to aid
+the monarch. For a year Ermenigild resisted the siege of Seville. The
+people were on the point of starvation when he resolved upon
+capitulation. Nothing remained but flight, and the prince made his
+escape from the city and reached C�rdova. There he was captured,
+divested of his regal garments and authority, and banished to Valencia.
+Very soon the strife was renewed. Ermenigild, panting for a reprisal,
+solicited aid from the Greeks and rebels of the east coast, and invaded
+Estremadura. His father went to meet him with a force of his bravest
+men. The attack was made by Leovigild, who drove his son's army from
+Merida into Valencia, and took the young man a prisoner.
+
+The King was stern, but he could not act ungenerously towards his foe
+and son. He offered Ermenigild pardon and favour on condition that he
+would reject his heretical faith. The rebel refused the terms; he would
+rather remain in his dungeon than practise hypocrisy. Again the father
+besought the son, through an Arian priest, to renounce his false
+doctrine, and again Ermenigild was resolute. In a passion, he cursed the
+cleric, crying: 'As the minister of the devil, thou canst only guide to
+hell! Begone, wretch, to the punishments which are prepared for thee!'
+This was more than Leovigild could bear. He immediately sentenced his
+son to death. The legend of Ermenigild's last days relates that on the
+night of his execution a light from Paradise shone in his cell, and that
+angels watched over the grave, singing hymns in his praise. Ermenigild
+was sainted, and one of his bones is at Zaragoza.
+
+It was in this time of religious stress and civil discord that Saint
+Isidore of Seville began his labours. For about thirty-six years he
+ruled as governor of the church in the city. His hand was open towards
+the poor, and he preached with fervid eloquence. It is to the industry
+of Isidore that Spain owes respect, for his writings are the only basis
+for a history of the chief events during the Gothic epoch. He wrote the
+_Historia de Regibus Gothorum, Wandalorum et Suevorum_, and one of the
+celebrated books of study of medi�valism, _The Etymologies or Origins of
+Things_.
+
+San Isidore's philosophy was Platonic and Aristotelian. In theology he
+followed the teaching of St. Gregory the Great. He was a puritan in his
+attitude towards the play.
+
+'What connection,' he writes, 'can a Christian have with the folly of
+the circus games, with the indecency of the theatre, with the cruelty of
+the amphitheatre, with the wickedness of the arena, or with the
+lasciviousness of the plays? They who enjoy such spectacles deny God,
+and, as backsliders in the faith, hunger after that which they renounced
+at their baptism, enslaving themselves to the devil with his pomps and
+vanities.'
+
+The gift of oratory possessed by Saint Isidore was predicted in his
+infancy by the issue of a swarm of bees from his mouth. His body was
+laid to rest, in 636, in Seville.
+
+When King Fernando decided to collect all the bones of martyrs and
+saints that he could find in the cathedrals and burial grounds, he
+raised an army and came to Seville, which was then under the Moors. Ibn
+Obeid, the chief of the Moriscoes, favoured Fernando's scheme, and
+allowed the King to enter the city to search for the remains of Justus.
+These bones could not be found; but while the seekers were at their task
+the spirit of Saint Isidore appeared to them, and said that the remains
+of Justus could not be discovered, as it was ordained that they should
+rest at Seville. Saint Isidore then offered his own remains for removal,
+and his embalmed corpse was taken to the Church of John the Baptist, in
+Le�n, in 1063.
+
+Until the time of Recared I. the Goths in Spain remained Arians. When
+they forsook their early faith, they adopted a ritual which differed
+from that of the Catholics. It was not until the reign of Alfonso VI.
+that the Roman service was used throughout the land. The civil law of
+the Goths was founded on the _Forum Judicum_ of the Romans. This lengthy
+code became later the _Fuero Juzgo_, and was eventually adapted to the
+community by Alfonso X. in 1258, and known as the _Siete Partidas_, or
+Seven Sections. Under the Gothic code slavery was permitted, and great
+power was vested in the hands of the nobility.
+
+'The old Roman civilisation,' writes Mr. H. E. Watts, in his _Spain_,
+'which the Celtiberians had been so quick to adopt, sat awkwardly on
+these newer barbarians. It was a heritage to which they had not
+succeeded of nature, and a burden too great for them to support? The
+Romans had made one nation of Spain. The Visigoths were not much more
+than an encampment.' When the Berbers, new converts to Mohammedanism,
+began to cast envious eyes upon lovely Andalusia, the Goths were
+demoralised through easy living in a southern clime. Spain had become a
+nation of lords and serfs, and the slaves, the mass of the people, had
+no heart to fight for the land that had been wrested from them.
+
+When Tarik, lieutenant of Musa, came with a force of seven thousand
+Berbers to battle for the Prophet and to conquer Spain, the Gothic King,
+Roderic, hastily collected an army of defence and advanced towards
+Xeres. Theodomir, Governor of Andalusia, had learned that the invaders
+were marching from Algeciras, where they landed on the 30th of April
+711. The Berbers had many horsemen, well-equipped and valiant, while
+Roderic possessed only a small number of mounted men.
+
+It was not until 19th July that the decisive and memorable battle was
+fought. The Gothic King met his foes on the banks of the Guadalete
+(_Wad-el-leded_) 'the river of delight.' It is said that the combat
+lasted for seven days. The Goths, though enervated, had not wholly lost
+their prowess, and they strove desperately with the fierce host of
+Tarik. So bravely fought the defenders that the Moors grew disheartened;
+but their leader, sword in hand, and calling upon Allah, told his troops
+that they had no vessels with which to escape from the country. The
+Berbers must win or perish. Spurring his steed, Tarik dashed into the
+Gothic ranks, cleaving a way as he rode, and inspiring his followers to
+a supreme effort. Roderic also rallied his soldiers to a last stand. His
+army numbered more than that of the Berber general, but the men were
+ill-trained, and no match for the desperate enemies who had battled in
+many campaigns.
+
+Some Spanish historians assert that the sons of Witiza, the King
+dethroned by Roderic and sentenced to death, aided by other traitors,
+deserted their companies and joined the Berbers. It has also been
+recorded that Count Julian, whose daughter was dishonoured by Roderic,
+had allied himself with the foe in Africa. These stories have not,
+however, been accepted by later chroniclers.
+
+The battle was to the Moors. Roderic was either killed on the field by
+Tarik himself, or taken prisoner and released to spend the rest of his
+days in a monastery. One account states that Tarik slew his opponent,
+and sent the head to Musa, who had it conveyed to the Court at Damascus.
+The beaten Goths retreated rapidly before the advancing army. Some
+followed Theodomir into Murcia, others went to the Asturian mountains.
+The band of the Andalusian Governor was pursued by the enemy and routed;
+and Theodomir was compelled to surrender and to confess fealty to the
+Khalif. Upon this condition the Governor was allowed to possess Murcia
+and parts of Valencia and Granada, his territory being known as Tadmir.
+
+Seville was soon in a state of siege. Envious of the good fortune of his
+lieutenant, Musa came to Andalusia with eighteen thousand Arabs of
+valour. He was assisted in command by his sons Abdelola and Meruan. His
+eldest son, Abdelasis, remained in authority in Africa. The Sevillians
+made a valiant defence of their beautiful city; but after several weeks
+of siege Musa led his army through the gates. From that hour, until its
+capture by Fernando III., the Andalusian capital was in the hands of the
+Moors. Carmona and neighbouring towns were also seized by Musa.
+
+After the subjection of Seville, the Arab general started upon a
+campaign. It appears that Musa had not left an efficient force within
+the city walls, for the inhabitants rose and attempted to expel their
+victors. Hearing of the trouble, Musa sent his son Abdelasis into Spain
+to quell the revolt in Seville. Abdelasis used suasion first; but the
+natives were in arms and ardent to regain the city. They prepared for a
+second siege. With much slaughter, the son of Musa put down the
+rebellion of the newly-conquered citizens, and proceeded through the
+south of Spain, winning battles everywhere. Musa was so gratified by his
+son's successes that he appointed him ruler of the annexed territory.
+
+Abdelasis had a reputation for humane conduct towards the vanquished
+people. He fell in love with Egilona, widow of the unfortunate Roderic,
+and made her first a member of his harem and afterwards his wife. That
+he respected her is shown by the fact that her counsel was always sought
+in affairs of government.
+
+The Berber King of Seville was to learn that the throne is not the most
+peaceful resting-place after war's alarms. Scandal was set abroad that
+Abdelasis was scheming to become sole ruler of the Berber dominion, and
+this report reached the ears of Suleyman, brother and heir of the
+Khalif. There is no doubt that Suleyman resented the favour shown to
+Musa and his sons, while he feared that Abdelasis might one day contest
+with him for sovereignty. Seized by this fear, the heir to the crown
+gave secret orders for the killing of the three sons of the great
+commander, Musa.
+
+One day, while Abdelasis was taking part in the devotions within the
+Mosque of Seville, hired murderers crept up to him and stabbed him to
+death. The two brothers of Abdelasis shared the like fate. The head of
+the King was sent to the Khalif at Damascus, who caused it to be shown
+to Musa. Then the brave general, gazing in anger upon his sovereign,
+cried aloud: 'Cursed be he who has destroyed a better man than himself!'
+The distracted Musa fell sick through grief, and soon died.
+
+There is another account of the death of Musa. His jealousy of Tarik,
+who conducted the first successful campaign in the Peninsula, led the
+general to treat his inferior officer with indignity. The friends of
+Tarik at Damascus, in the Court of the Khalif, breathed vengeance upon
+Musa, and prevailed upon the monarch to punish his commander-in-chief. A
+party of arrest seized Musa in his camp, and brought him before the
+Khalif, who commanded that he should be degraded and publicly beaten.
+The disgrace broke Musa's heart and caused his death.
+
+Abdelasis was succeeded by Ayub, who acted as Viceroy of the Khalif. The
+new ruler preferred C�rdova to Seville, and thither he removed with his
+retinue. For a long period the city was one of lesser importance; but it
+gained greatness and independence under Abul K�sein Mohammed in 1021. In
+the time of Abbad and Al-Motamid II. the population of the town rose to
+four hundred thousand, and the grandeur of the place rivalled, if it did
+not exceed, that of C�rdova. In 1078 proud C�rdova was subject to
+Seville, and the ancient metropolis of the Moors in Spain was falling
+into decay, while 'the pearl of Andalusia' was shining in its chief
+splendour.
+
+Abderahman I., Emir of C�rdova, in 777, made a bold stroke by
+proclaiming himself Khalif and sole ruler of Spain. It is not necessary
+to recount the victories of Abderahman. He came in triumph to Seville
+and was bade welcome. 'His appearance, his station, his majestic mien,
+his open countenance,' writes Dunham, 'won the multitude even more
+perhaps than the prospect of the blessings which he was believed to have
+in store for them.' Abderahman's rule in Seville laid the foundation of
+the city's prosperity. He narrowed the channel of the Guadalquivir, and
+made the river navigable; he built residences, and laid out gardens, and
+transplanted the palm tree into Spain. We read that the Moorish King was
+honourable, bold and generous, and possessed of a fine sense of justice.
+He encouraged letters, and was a benefactor of educational institutions.
+The King was also a poet, and loved the society of intellectual men.
+
+Although the peaceful arts flourished in Seville at this period, the
+city was frequently the scene of battle. Conspiracies, factions and
+revolts constantly disturbed Spain, and during the reign of Abderahman
+several rival chiefs made assault upon Seville. One of these was Yusuf,
+who raised troops, took the fort of Almodovar, and moved towards Lorca.
+There he was met by Abdelmelic, general of Abderahman, who overcame the
+rebel force, killed the leader, and sent his head, after the Oriental
+manner, to the King. The trophy was displayed at C�rdova. But the
+rebellion was not quelled by Abdelmelic's victory. Yusuf's three sons
+gathered an army and made attacks upon Toledo, Sidonia, and Seville.
+Another insurrection broke out at Toledo, under one of Yusuf's
+relatives, Hixem ben Adri el Fehri.
+
+Upon the advice of Abderahman's first minister, the King proposed an
+amnesty, to last for three days. Hixem accepted the terms, and gained
+pardon. But he abused the King's clemency at a later date, and came
+with a body of troops to the gates of Seville. There was hard fighting,
+but the Governor, Abdelmelic, preserved the city and drove away the foe.
+Strife was again caused by the Wali of Mequinez, one Abdelgafar, who
+came bent upon the capture of Seville. The Wali was encountered by
+Cassim, young son of Abdelmelic. Fear seized the youthful officer, and
+he fled with his soldiers. He was met by his father, who drew his dagger
+and killed the young man, saying: 'Die, coward! thou art not my son, nor
+dost thou belong to the noble race of Meruan!' The Governor then pursued
+the enemy, but they escaped him, and came near again to Seville.
+Abdelmelic hurried to the Guadalquivir, and in a night fight he was
+overcome and received a wound. The troops of the Wali poured into the
+city. But in spite of his injury the Governor entered Seville, and after
+a furious combat expelled the host of Abdelgafar. The Wali was
+afterwards caught and killed on the bank of the Xenil. In reward for his
+bravery, the King made Abdelmelic Governor of Eastern Spain.
+
+It is stated that, in 843, a fleet of ships, manned by Norman pirates,
+sailed up the Guadalquivir. The pirates made a sudden raid upon Seville.
+The inhabitants were taken by surprise, the town was robbed, and the
+thieves made good their escape to the river.
+
+Seville in the days of Moorish might was one of the fairest cities on
+earth. Beautiful palaces were built upon the sites of the Roman halls,
+gardens were shady with palms, and odorous with the blossom of orange
+trees, and there were hundreds of public baths. The streets were paved
+and lighted. In winter the houses were warmed, and in summer cooled by
+scented air brought by pipes from beds of flowers.
+
+Poetry, music and the arts were cultivated; the philosopher and the
+artist were held in respect. There were halls of learning and great
+libraries, which were visited by scholars from all parts of Europe.
+
+[Illustration: Moorish fountain in the Court of Oranges]
+
+The Alc�zar, the Mosque, the lordly Giralda Tower and other remains
+testify to the ancient splendour of Seville. It was the Moor who applied
+the method of science to the cultivation of the plains, who bred the
+cattle, introduced the orange tree, and planted the palm in the city.
+Granada and Seville were centres of silk-growing. Here were manufactured
+the damascened swords and other weapons, and beautiful metal work of
+divers kinds, which was in demand all over Spain for centuries. Moorish
+civilisation was unsurpassed for its handicrafts and architectural
+decorations. Long after the Christian reclamation of Seville, the
+_Mud�jar_, or Moor, living under the new rule, was employed by the State
+to construct bridges and to build castles, to design houses, and to
+decorate them with the wonderful glazed tiles and imperishable colours.
+
+Among the learned Moors of Seville the most eminent was Abu Omar Ahmed
+Ben Abdallah, known as El Begi. Abu Omar's father had spared no cost in
+providing for his son's education. He employed as tutors the greatest
+scholars of the time, and sent the lad to Africa, Syria, Egypt and
+Khorassan in order to confer with sage men and doctors of repute. At the
+age of eighteen years Abu Omar was wonderfully cultured, and as he grew
+to middle age there was no man who could surpass him in knowledge of
+arts and sciences. 'Even in his earliest youth, the Cadi of that city,
+Aben Faweris,' says Cond�, 'very frequently consulted him in affairs of
+the highest importance.' El Begi, the Sage, was born in Seville and
+lived there during most of his life.
+
+Many philosophers must have mused in this cultured age amid the orange
+trees of the court of the magnificent mosque. From the summit of the
+Giralda, astronomers surveyed the spangled sky, making observations for
+the construction of astronomical tables. Chemists questioned nature in
+the laboratories by means of careful experiments, and mathematicians
+taught in the schools. There were seventy public libraries in Andalusia;
+the library of the State contained six hundred thousand volumes, and the
+catalogue included forty-four tomes. Scholars also possessed large
+private libraries. There was no censorship, no meddling with the works
+of genius. Men of science were encouraged to investigate every problem
+of human existence. Abu Abdallah wrote an encyclop�dia of the sciences.
+The theory of the evolution of species was part of the Arab education.
+Moorish thought was destined to influence Spain for ages. The discovery
+of the New World was due to the Mohammedan teaching of the sphericity
+of the earth, and it was the work of Averroes that set Christopher
+Columbus thinking upon his voyage of exploration.
+
+The Moors in Seville were not only a cultured and devout community. They
+were commercial and manufacturing, weavers of cotton, silk and wool,
+makers of leather and paper, and growers of grain. In their hours of
+recreation they played chess, sang and danced. Their dances have
+survived to this day in the south of Spain, and may be witnessed in the
+_caf�s_ of Seville and Malaga.
+
+[Illustration: Roman Capital.]
+
+
+
+
+CHAPTER II
+
+_The City Regained_
+
+     'All the intellect of the country which was not employed in the
+     service of the church was devoted to the profession of arms.'
+
+     BUCKLE, _History of Civilisation_.
+
+
+In 1023 Abu el K�sim Mohammed, then Cadi of Seville, raised a revolt
+against the Berber rulers of Andalusia. The rising was successful, and
+the town once more became a capital. Under the Abbadid dynasty, and the
+rule of Motadid and Motamid, Seville was secure and peaceful. Stirring
+days came with the rise of the Almoravides in the eleventh century. In
+Morocco, Yussuf, son of Tashfin, had been inspired to wage battle in the
+name of a reformed religion. The Almoravides, or Mourabitins, _i.e._,
+'those who are consecrated to the service of God,' were a fanatical sect
+led by an intrepid warrior. They had made havoc in Northern Africa,
+deposing sovereigns and seizing territory. Now they were to make history
+in Spain.
+
+Under Alfonso III. the Spaniards of the northern and central parts of
+the Peninsula had prospered in their arduous task of stemming the
+advance of the Moors northwards. Spain had won back Asturias, Galicia,
+and part of Navarre, and in time Le�n and Castile were restored to
+Christian rule. But under Almanzor, a most redoubtable commander, Le�n
+fell, and the whole population of its capital was slaughtered. The death
+of Almanzor, in 1002, brought about vast changes for the Moorish
+kingdom in the south of Spain. There was no great leader to control the
+fortunes of Islam. The territorial governors were in constant dispute,
+and often at war one with the other. It was a golden opportunity for the
+soldiers of the Cross.
+
+In 1054 Fernando I., a sagacious ruler of Le�n and Castile, made a
+crusade against the Moors of Portugal, and brought the King of Toledo to
+his knees. He besieged Valencia and brought his troops into Andalusia.
+Under Alfonso VI., Toledo was recovered, amid the rejoicings of the
+Christian host, who anticipated a speedy delivery from the Morisco
+domination. The coming of Yussuf and his fierce Almoravides dashed the
+hopes of Alfonso's army. Finding themselves encompassed with growing
+dangers, the Moors of Spain begged the assistance of the powerful
+Almoravides. A conference of the Moorish rulers was held at Seville, and
+a message sent to Yussuf. The Almoravide King was astute. At first he
+displayed but little sympathy for his brethren in Spain. But the offer
+of Algeciras induced him to promise aid, and he came with a strong army
+of Moors and Berbers. Alfonso was informed that a profession of belief
+in the creed of Mahomet would spare him from certain death. The
+Christian sovereign replied by allying himself with Sancho of Navarre,
+and bringing a force to meet Yussuf. Between Badajoz and Merida the
+armies met in a terrible conflict. Alfonso was forced to retreat, and
+for the present Yussuf offered no further demonstration of his military
+skill.
+
+Next year the King of Morocco returned to Spain with his army, and
+exhorted the Moors of Andalusia to unite with him in a war of
+extinction. The petty sovereigns showed but little enthusiasm for a
+campaign. Probably they distrusted Yussuf's motives. Such suspicion was
+not without a basis, for when the Almoravides came for the third time,
+the monarch plainly stated that he purposed to annex all the remaining
+Mohammedan region. With a hundred thousand men, Yussuf took Seville and
+Granada. Alfonso came to the assistance of the Sevillians with a force
+of twenty thousand; but the Almoravides seized the city, and held it
+until the days of the Almohades in 1147.
+
+Alfonso then sought the alliance of France to assist his nation in
+expelling the African invaders. But the power of the Almoravides grew.
+C�rdova was their seat of government, and Seville was one of their most
+important cities. The Moriscoes in Spain were no longer an independent
+race, but under the sway of Morocco. Motamid II. doubtless rued the hour
+when he sought aid from Yussuf. Fair Seville had passed out of his
+hands.
+
+At this time there arose the famous Cid, the revered warrior and type of
+Spanish chivalry. Many are the legends and ballads extolling the bravery
+of this champion of Christendom. Some of the stories of his deeds are so
+improbable that certain historians of Spain have regarded the hero as a
+character of fable; but Professor Dozy has investigated the old
+chronicles, both Spanish and Moorish, and reached the conclusion that
+there _was_ a Cid, a mighty soldier and a devout Catholic, named Rodrigo
+Diez de Bivar. There is no doubt that the Cid loved the field of battle
+from his youth, and that he was ever ready to fight, sometimes for the
+Christians, and sometimes for Moorish chieftains at war with one
+another. In the end he became a valorous freebooter, with a following of
+the sons of noble families. The Cid came at least on one occasion to
+Seville as an emissary of King Alfonso to Motamid, to collect sums due
+from the Arab ruler. Motamid was then at strife with Abdallah, King of
+Granada, who was assisted by certain Christian _caballeros_, including
+Garci Ordo�ez, formerly standard-bearer to Fernando. The Cid endeavoured
+to restrain the King of Granada from making war upon Motamid's city, but
+Abdallah was not to be influenced for peace. He went forth and was met
+by the combined armies of the Cid and Motamid of Seville, and defeated
+with much loss. Ordo�ez and the Christian cavaliers were taken
+prisoners. The Cid took his tribute, and certain costly gifts for
+Alfonso from Motamid, and departed. Soon after this episode in
+Andalusia, Alfonso heard that Rodrigo, the Cid, had retained some of the
+presents sent by the King of Seville. This report was set going by Garci
+Ordo�ez in revenge for his defeat at the hands of the Cid and Motamid,
+and the tale was credited by King Alfonso. There was already prejudice
+against the Cid in the royal mind, and Alfonso was still further
+displeased when his general went to attack Abdallah without permission.
+When he heard that, to crown all, the Cid had exhibited dishonesty,
+Alfonso was wroth, and banished Rodrigo from the kingdom. But the Cid
+gained immense power and homage as an independent sovereign, and when
+Alfonso was in sore need of a general to fight for him against the
+Almoravides, he approached the gallant Rodrigo with assurances of
+friendliness, and solicited his aid. Perhaps the missive of Alfonso went
+astray; at anyrate, the Cid did not at once respond to the King's call
+for help. This apparent apathy incensed Alfonso. Again he sought to
+punish the Cid, confiscating his estates and imprisoning his wife and
+children. And again the invincible Rodrigo proclaimed himself a king on
+his own account. He died in 1099, and at his death his territory was
+taken by Yussuf, the Almoravide. The Cid's bridle, worn by his steed,
+Babieca, hangs in the Capilla de la Granada, in the south-east corner of
+the Court of the Oranges at Seville.
+
+The Almoravides appear to have been an exceedingly energetic and
+turbulent race. They were, indeed, too fond of warfare, for they were
+constantly fighting amongst themselves when they were not at war with
+the Christians. Under their dominion every ruler of a city who could
+raise troops called himself sovereign, and made attack upon the governor
+of the nearest wealthy centre. The Almoravide rule was not so just and
+prudent as that of the Moors who preceded them, and the people groaned
+under its despotism. Conquest by the Almohades came as a redemption from
+the tyranny of the Almoravides.
+
+In Northern Africa, the land of prophets and of new sects, Mohammed, son
+of Abdalla, proclaimed himself the _Mehdi_, and gained the adherence of
+a great horde of devotees. These Unitarians were even more fervent in
+piety than the Almoravides. The _Mehdi's_ general, Abdelmumen, soon
+became the victor of Moorish Spain. Seville was secured by the invaders
+in 1147, and remained under the Almohade rule till 1248. The Almohades
+built the great mosque, with its high minaret, part of the structure
+being formed of stonework of the Roman period; the Alc�zar, a huge
+palace, which extended as far as the bank of the Guadalquivir to the
+Golden Tower, and many other magnificent edifices. The palace of the
+Moorish sovereigns at Seville was erected in the form of a triangle,
+with the chief gate at the Torre de la Plata (Silver Tower), which stood
+in the Calle de Ataranzas until 1821, when it was taken down.
+
+Trade revived in the city after its capture by the Almohades; the
+weavers, the metal-workers, and the builders and the decorators of
+houses found constant employment under the new ruler, Abu Yakub Yussuf.
+The Christian Spaniards saw a revival of the Mohammedan fortunes, and
+lamented the influx of this vigorous infidel host. Earnest prayers were
+addressed to the knights of the Cross in all the nations of Europe
+beseeching succour for the faithful in Spain. Pope Innocent III.
+declared a crusade, and called upon foreign Christian rulers to aid the
+Spaniards, with the result that a number of French and English crusaders
+travelled to Spain. A memorable battle was fought in the Sierra Morena,
+the range dividing Castile from Andalusia, and the Almohade army was
+almost destroyed. After this repulse the Moors never made a military
+demonstration of any importance in Castile, but remained in Andalusia
+and the southern districts. Seville and C�rdova each had a different
+governor; the Almohade unity was ruptured, and the empire was crumbling.
+
+We have now reached the last days of the Morisco rule in Seville. The
+deliverer, Fernando III., the adored Saint Fernando, came to the throne
+at an auspicious hour, and upon his accession made ready for war upon
+the Mohammedans. In 1235 C�rdova was taken by Fernando, and Ja�n and
+other towns fell into his hands. Assisted by Aben Alhamar, King of
+Granada, who had been compelled to yield allegiance to the victorious
+Fernando, the Christian monarch marched upon Seville. The inhabitants
+prepared for a stubborn defence. A Moorish fleet guarded the mouth of
+the Guadalquivir, while the troops of the Almohades awaited attack
+within the city. Fernando sent war vessels from the Biscayan coast to
+San Lucar to attack the Moorish fleet. The navy was in the command of
+Admiral Raymond Boniface (Ramon Bonifaz), and in an engagement the
+Moorish ships were driven from their position. Bonifaz lived in Seville
+after the capture of the town. On the front of a house in Placentines,
+now the shop of a dealer in antiquities, there is this inscription in
+Spanish and French: '_Esta casa fu� cedida por el Santo Rey D. Fernando
+III. � su almirante D. Ramon Bonifaz cuando conquesto � Sevilla
+libertando del dominio Sarraceno_.'
+
+The infidels next made a stand on land, but failed to overcome the army
+of Fernando. For fifteen months Seville was besieged. Provisions were
+brought into the town from the surrounding district of Axarafa, thirty
+miles long, on the right bank of the Guadalquivir. This
+highly-cultivated region is said to have contained a hundred fertile
+farms. Seville was connected with the suburb of Triana (the town of
+Trajan) by a bridge of boats and a chain bridge. The boat-bridge was
+broken by Fernando during the siege by launching heavy vessels upon it.
+But still the defenders held out behind their high, broad walls, driving
+back the charges of the Christians against the sturdy gates, and raining
+missiles from the towers. At length, when Triana and Alfarache were in
+the hold of Fernando's force, and all food supplies cut off, the
+defenders were forced to yield. On 23rd November Fernando made a
+triumphal entry. The vanquished ruler, Abdul Hassan, who had proved a
+most courageous defender, was offered territory and money if he would
+continue to live in Seville, or in a city of the kingdom of Castile, as
+a dependent officer of the King. The Moor proudly rejected these terms;
+he preferred to leave the scene of his defeat, and with thousands of his
+people he departed for Africa. It is stated that three or four hundred
+thousand Moors had quitted Seville before its capture. If this is true,
+only a few Almohades remained in the place. Those who elected to stay
+were bade to render the same tribute to Fernando as they had been in the
+habit of paying to their princes. Such as desired to return to their
+country were offered the means of travelling and protection.
+
+The triumphant King, escorted by his troops, the loyal inhabitants and
+the clergy, proceeded to the mosque. Christian bishops purified the
+temple, and dedicated it to the service of God and the Virgin, and a
+high and imposing Mass was celebrated. Amid festivities and ceremonies,
+Fernando took possession of Seville and all its rich treasure. He
+occupied the Alc�zar, then in its pristine splendour, and divided the
+houses and land around the city among his knights.
+
+The Christian King was brave, and his treatment of the conquered shows
+that he had a strain of mercy in his nature. He was, however, an
+intensely bigoted pietist, for at Palencia he set fire with his own
+hands to the faggots to burn heretics. His austerities were excessive,
+and fasting is said to have weakened his body. Fernando died from dropsy
+at Seville, four years after his conquest of the town. On his deathbed
+he called his son Alfonso, bade him farewell, and exhorted him to follow
+justice and clemency. Then, amid deep sorrow in the city, the King took
+the Mass, and passed away. In 1671 Fernando III. was canonised by Pope
+Clement X.
+
+The keys of Seville, which were given up by the Governor at the
+surrender of the city, may be seen in the cathedral. One key is of
+silver, and bears the inscription: 'May Allah grant that Islam may rule
+for ever in this city.' The other key is made of iron-gilt, and is of
+_Mud�jar_ workmanship. It is lettered: 'The King of Kings will open; the
+King of the Earth will enter.' San Fernando's shrine is on view in the
+cathedral on May 30, August 22 and November 23, when honour is paid to
+the body of the sainted monarch by the soldiers of the Seville garrison,
+who march past with the colours lowered.
+
+In the collection of paintings in the house of Se�or Don Joaquin
+Fernandez Pereyra, 86, Calle Betis, Triana, there is a picture
+attributed to Velazquez, and said to have been painted by him at the age
+of twenty-eight, representing the Sultan of Seville handing the keys of
+the city to San Fernando.[A] It is said that Velazquez painted himself
+as model of the King. If the work is not that of the master, it is by an
+artist of parts. The colour is good, and the horse well drawn and
+painted.
+
+Fernando III. was succeeded by his son Alfonzo X., _El Sabio_, 'the
+Learned.' He occupied the Palace of the Alc�zar, and devoted his leisure
+to the study of geometry, ancient laws, history and poetry. The King
+wrote verse to the Virgin in the Galician dialect, which resembles the
+Portuguese tongue, and was, for his age, a versatile and accomplished
+scholar. His ambition was great, and though he was called 'the Learned,'
+he was prone to serious error in the conduct of the affairs of
+government. He attempted to take Gascony, which was then in the
+possession of Henry III. of England, and governed by Simon de Montfort.
+The King's military enterprises were costly, and as they failed, the
+people resented the increase of taxes, and especially the measure of
+direct taxation. When Alfonso presented Algarve to the King of Portugal,
+with his natural daughter, Beatrice de Guzman, the nobles rebelled under
+the King's brother, Felipe, and were aided by the King of Granada.
+Alfonso invited the malcontent party to a conference of arbitration at
+Burgos. The knights were appeased; but the King was forced to yield his
+ground, and to make many concessions. Upon the death of Alfonso's eldest
+son, Fernando, a dispute arose concerning the heir to the crown.
+Fernando left two sons, born to him by Blanche, sister of Philip IV. of
+France. The second son of Alfonso, Sancho, was announced as rightful
+successor, but this proclamation was a cause of offence to Philip IV.,
+who claimed that the eldest child of his sister was the lawful heir to
+the throne of Castile. The King of France demanded that Alfonso should
+restore the dowry to Blanche, and allow her and the children to come to
+France. Alfonso refused the request. War was then declared by Philip of
+France; and further anxiety was caused by the disloyalty of Sancho, who
+took the lead of the discontented party, and laid siege to Toledo,
+C�rdova, and other towns. The King was at his wit's end. He begged aid
+from Morocco, from the infidels, while, at the same time, he desired the
+Pope to excommunicate Sancho. Eventually the quarrel between King and
+Prince was patched up. Alfonso appears to have cherished affection for
+his unruly son, for upon hearing, soon after the reconciliation, that
+Sancho was seriously ill, the King died of grief.
+
+So closed the troubled career of Alfonso el Sabio. He was a type of the
+bookish student, a great reader, but without a knowledge of human
+nature, and devoid of aptitude for governing a nation. In his fondness
+for book-learning, and his incapacity for ruling, Alfonso may be
+compared to James I. of England. It is claimed to the credit of the
+learned monarch that he encouraged the arts and education in the royal
+city of Seville, and founded the university. He loved the retirement of
+his study in the beautiful Alc�zar rather than the council seat; but, at
+the same time, he had a craving for power and wished to extend his
+realm. Alfonso the Learned presented a reliquary to the chapter of the
+cathedral, which may be seen among the treasures. His body rests in the
+Capilla Real (Royal Chapel), where it was interred in 1284.
+
+There is but little of interest to record in the annals of Seville until
+the time of Pedro I. Under Alfonso XI., a great council was held in the
+city to discuss plans for defending Andalusia from the Emperor of
+Morocco, who had landed in Spain with a powerful army. The King of
+Portugal attended the conference and promised his support, and in a
+battle fought near Tarifa the invading force was driven back. During the
+reign of Alfonso XI., the Earl of Derby and the Earl of Salisbury came
+to Spain, to fight for Christianity, and to offer amity to the martial
+King.
+
+With the death of Alfonso XI., we come to the days of his son, Pedro I.,
+the most renowned of all the Christian sovereigns who made court at the
+capital of Andalusia. The reign of Pedro el Cruel abounds with so much
+'incident' from the story-teller's point of view, that many tales,
+ballads and plays of Spain are concerned with the exploits of this
+remarkable King. In some of the narratives he is portrayed as a
+veritable monster of cruelty and perfidy; in others he is represented as
+a severe, but just, monarch, with sympathy for the lower classes. Pedro
+was sixteen when he came to the throne. Fearing an attempt on the part
+of Enrique (son of Alfonso XI. by his mistress, Leonora de Guzman) to
+seize the crown, Pedro contrived to lure Leonora to Seville, and to
+imprison her in the Alc�zar. From this dungeon the wretched woman was
+sent to other prisons, until she was done to death. There was no limit
+to Pedro's ferocity when his malignity was aroused. His deeds suggest an
+insane lust for bloodshed, and a delight in the infliction of suffering.
+He killed with his own hand, or by the aid of bravoes, all relatives,
+rivals and dangerous persons who came within his power. His first wife
+was Blanche of Bourbon, niece of King John of France; but he deserted
+her in two days, to return to his mistress, the lovely Maria de Padilla.
+When Pedro's fancy fell upon the handsome Juana de Castro, he declared
+that his union with Blanche was invalid, and induced the Bishops of
+Salamanca and Avila to perform a marriage service. Soon after the
+wedding Pedro left his bride, and insolently avowed that he had only
+experienced a passing passion for her.
+
+One day Abu Said, King of Granada, wrote to Pedro of Seville, begging an
+audience of him that he might seek his help in resisting an enemy,
+Mahommed-ibn-Yussuff. To this request Pedro acceded. Abu Said, escorted
+by three hundred of his court, and a number of menials, journeyed to
+Seville, and was received most graciously by the King, who gave orders
+that the visitor and his retinue should be well cared for in the
+Alc�zar. The Red King, Abu Said, possessed a splendid treasure of
+jewels. Among the precious stones was the famous ruby which now
+decorates the royal crown of England. It is possible that the Moorish
+King intended to present certain of his gems to Pedro, for we read that
+he brought his treasure with him to Seville. But his host, hearing how
+fine a store of jewels lay within his reach, commanded a number of hired
+murderers to purloin the treasures by force. The guest and his nobles
+were surprised in their apartments; they were stripped of their
+valuables and money, while the Red King was deprived of the very clothes
+that he wore. Dressed in common raiment, and seated upon a donkey, the
+unfortunate Abu was taken, amid the derision of the rabble, to a field
+without Seville, and there executed with thirty-six of his courtiers.
+Pedro's excuse for his treachery and cruelty was that the King of
+Granada had betrayed him in his war with Aragon, a charge that could not
+be founded.
+
+Among the beauties of Seville of that date was the Se�ora Urraca Osorio.
+When Pedro saw her, he vowed to bring her within his power. At first he
+paid her compliments and endeavoured to win her favour by flattery and
+gifts. Urraca was a proud woman. In all likelihood she recoiled from
+this brutal flatterer and deceiver of women, and not even his kingly
+rank could induce her to pay the least heed to his addresses. No one
+dared to foil Pedro; the _se�ora_ doubtless surmised the revenge that
+the King would plan against her. Yet she bravely refused to lend her ear
+to his proposal, preferring death to the forfeiture of her self-respect.
+Then Pedro threatened a terrible punishment. Urraca still refused.
+Faggots were piled in the market square of the town, and the persecuted
+lady was led forth and burned to death in public.
+
+The people of Seville seem to have been hypnotised by their cruel
+sovereign. For these horrible deeds they even offered pleas of
+extenuation, and, according to some Spanish historians, Pedro was one of
+the most popular of the kings that lived in the city after its
+restoration to the Christians. A certain Bohemian strain in the King's
+character no doubt appealed to a mass of his subjects. He was credited
+with sympathy for the labouring class and a desire to protect the people
+against the tyranny of the nobles. Where his own personal interests were
+not concerned, Pedro the Cruel sometimes evinced that sense of equity
+that led Felipe II. to describe him as 'the Just.' But in private
+matters Pedro displayed no trait of justice and no hint of magnanimity.
+
+Now and then Pedro would muffle himself in his _capa_, don his sword,
+and wander from the palace after dark to the low quarters of Seville.
+He liked to study the life of the _Mud�jares_, the Jews, and the
+artisans, and to rub shoulders with his subjects when they were scarcely
+likely to recognise him. One night the King was roaming in the alleys of
+the city, keeping an eye upon all who passed by, and probably hoping
+that he might find an unlucky watchman off his guard and neglecting his
+duty. Suddenly a passing hidalgo pushed against the King. Pedro abused
+the stranger; there was an altercation, and swords were whipped out of
+their sheaths. In the dim light of the thoroughfare the combatants
+clashed blades, and engaged in a duel to the death. Presently the King's
+opponent received a thrust in a vital part of the body, and falling to
+the pavement, he lay bleeding to death. A few weeks before this night's
+encounter Pedro had forbidden street-fighting, on penalty of capital
+punishment for the unwary custodians of order in the city.
+
+With a grim smile, the King sheathed his weapon and went home to the
+Alc�zar, musing upon the consternation of the authorities when the
+corpse of the _caballero_ was discovered. Next morning he sent for the
+Alcalde, or Mayor of the city. 'Sir,' said Pedro, 'you fully understand
+that I hold you accountable for any breach of the peace that occurs in
+the streets of Seville?' The Mayor humbly responded that he knew the
+fresh regulation which his majesty had been pleased to enforce. At that
+moment a page brought word to the King that the dead body of a hidalgo
+had been found, early that morning, in the plaza near where the Casa
+Pilatos now stands. 'What means this?' demanded Pedro, turning to the
+affrighted Alcalde. 'If the murderer of this gentleman is not found in
+two days, understand that you will be hanged.' The Mayor's face was
+white as he bowed himself from the royal chamber. With a sinking heart
+he prepared himself for his fate. There was scarcely any hope of
+tracking the assassin in forty-eight hours.
+
+The wretched Mayor sat down in his room to meditate upon the best means
+of tracing the criminal. Meanwhile the story of the murder was abroad,
+and people were talking of the affair. The gossip reached the ears of an
+old woman, who went at once to the Alcalde, telling him that she had
+seen a fight from her bedroom window late during the previous night. The
+combatants appeared to be gentlemen, but to make sure, she lit a candle
+and leaned out of the window. One man had his back towards her, and she
+could not see his face. But of the identity of his opponent she was
+quite certain: _it was his majesty the King, and no other_. When she
+saw, beyond a doubt, that it was the King who plunged his blade into the
+hidalgo's breast, she felt terrified, blew out the candle, and withdrew
+her head from the window.
+
+'Thank God!' cried the Mayor, seizing the old woman's hand. Then he
+hurried to the Alc�zar, sought a hearing from the sovereign, and said
+that he had found the murderer of the hidalgo. The King smiled. 'Indeed,
+your majesty,' said the Alcalde, 'I can let you look him in the face
+when he hangs on the gallows.' 'Good!' replied Pedro, still smiling
+incredulously.
+
+Hastening to the quarter of the Moorish artisans, the Mayor ordered them
+to make a cunning effigy of the King, and to bring it to him without
+delay. A few days after, the Alcalde requested his majesty to attend the
+hanging of the criminal in the Plaza de San Francisco. Greatly curious,
+Pedro came to the place of execution. And there, upon the gibbet, he saw
+a dummy of himself dangling from the rope. Struck with the humour and
+ingenuity of the Mayor's device, the King said: 'Justice has been done.
+I am satisfied.' The street where Pedro fought with the hidalgo is
+called the Calle della Cabeza del Rey Don Pedro, and the alley where the
+old woman lived is known as the Calle del Candilejo, or 'street of the
+candlestick.'
+
+[Illustration: OLD WALLS OF THE ALC�ZAR.]
+
+In visiting the Alc�zar we shall have more to recall of the career of
+Pedro the Cruel. The palace is haunted with memories of the King and of
+Maria de Padilla. Pedro was fond of Seville and preferred the Alc�zar to
+any other residence. He made many alterations in the palace, built the
+rooms around the Patio de la Monteria, and brought material for their
+construction from the remains of Moorish edifices in Seville, C�rdova,
+and other places.
+
+When Pedro caused his unfortunate wife, Blanche, to die in prison, from
+the dagger, or by poison, his subjects were at length aroused to
+indignation. The insensate ruler was bringing the nation to the verge of
+ruin by his misdeeds. France resented the dastardly murder of Blanche of
+Bourbon, and the King vowed revenge on Pedro. Enrique, brother of Pedro,
+was fighting for the crown, and had been proclaimed Sovereign at Toledo;
+while the Sevillians, who had long endured their King's severities and
+condoned his cruelties, were up in arms and threatening the royal
+palace. Pedro fled from Seville, and came eventually into Aquitaine, to
+the court of the English Black Prince at Bordeaux. The chivalrous Black
+Prince espoused the cause of Pedro against Enrique, pitying the fugitive
+King who had been forced to leave his country. In return for his
+support, Pedro offered his English ally a large sum of gold, and the
+great ruby stolen from Abu Said in the Alc�zar of Seville.
+
+The campaign was decided in favour of the King of Spain, but its
+hardships cost the Black Prince his life. Pedro was again acknowledged
+King. His downfall was, however, fast approaching. Enrique conquered his
+brother, soon after the departure of the English army, and came to see
+him at Montiel in La Mancha. It is said that Pedro was treacherously
+drawn into a trap. In any case, he fell by the dagger of his brother
+Enrique; and so ended violently the life of one who had lived in
+violence and bloodshed.
+
+As our story is more concerned with the city of Seville than with the
+fortunes of the rulers of Spain, we may resume the narration at the time
+of Isabella and Fernando. No incidents of signal importance occurred in
+Seville between the death of Pedro I. and the accession of the famous
+Catholic Queen. With the reign of Isabella, the city became the theatre
+of events that influenced the whole of the nation, and indeed the whole
+of Christendom.
+
+It was at this time that the arts and letters of Spain began to revive.
+In Seville the year 1477 is the date of the first setting up of a
+printing press, by one Theodoricus el Aleman (the German). Konrad
+Haebler, in his work on _The Early Printers of Spain and Portugal_, says
+that for fifteen years the only printers in the city were German
+immigrants. One of the early important books printed in Seville was
+Diego de Valera's _Cronica de Espa�a_. In 1490 a firm of printers, under
+the title of Four German Companions, opened business, and in three years
+published nine volumes, while two years later there was a rival press
+owned by another German.
+
+It was in 1493 that the city saw the return of the great Columbus from
+his first voyage. For a long time the blue-eyed, dreamy Genoese,
+Christoforo Colombo, had mused upon the scientific works of the
+cultivated Moors, and speculated upon the existence of other lands far
+away across the restless ocean. Sceptics laughed at the dreamer; the
+clergy frowned at his impudent theories; but a few bold adventurers were
+inspired by his enthusiasm.
+
+The story of his setting forth has been often told. Let us welcome the
+sunburnt explorer upon his return to Seville on Palm Sunday 1493. The
+wondering people are all anxious to catch sight of Cristobal Colon, the
+Italian, who claims to have discovered a New World. He passes down the
+streets, a tall, brawny man, bronzed, with red hair, which became white
+at the age of thirty. To those who question him he replies with dignity
+and courtesy, becoming eloquent as he describes the marvels of the vast
+country beyond the sea. The whole city is talking of the great news; the
+foreign sailor is the hero of the hour. And now those who doubted
+Colon's sanity are singing his praises in all the public meeting-places
+of Seville. An office for the administration of this new country is
+instituted in the city. From the Queen and her Consort to the seller of
+water in the streets, everyone utters the name of the explorer with
+admiration. The ecclesiastics, who declared that it was impious to
+assert that the earth is a globe, are vexed that they have been found
+wrong in their arrogant statements. They continue to quote from the
+Pentateuch, and the writings of St. Chrysostom, St. Jerome and St.
+Augustine to show that pious authority was on their side.
+
+Queen Isabel had encouraged the Genoese sailor in his project, and the
+wealthy Pinzon family, of Palos, had assisted him with means, some of
+them also accompanying the explorer on his first voyage. Columbus was
+made an admiral, and promised further support in his expeditions. In May
+1493 he started again, having with him fifteen hundred men and a fleet
+of fifty vessels. The crews of these ships were made up of adventurers,
+gold-seekers, idlers and a sprinkling of scoundrels selected by the
+Government. In the company there were priests, and it was through the
+machinations of one of them, Father Boil, that Christopher Columbus
+incurred the displeasure of Isabel and Fernando. By every ship that was
+bound for Spain from the New World, Boil sent complaints of Columbus.
+Unfortunately, Isabel lent her ear to these slanders, and sent Francisco
+Bobadilla to dismiss Cristobal Colon, and to take his place. Bobadilla
+took possession of Columbus's charts and papers, put him into chains,
+and sent him, like a felon, in the hold of a ship to Spain.
+
+It is pitiful to read of the degradation of this honest and brave man,
+whose energies built up the prosperity of Spain, and made Seville one
+of the busiest cities of Europe. He laid his case before the Queen and
+Fernando, and vowed that he had in no sense neglected his duty towards
+the country of his adoption. We know that he was 'forgiven,' but the
+insult offered to him preyed upon the sensitive mind of the explorer.
+Yet he again resolved to visit the land that he had discovered; and in
+1503 he left Spain with four worn-out ships. A year later Columbus
+returned for the last time. The people of San Lucar, at the mouth of the
+Guadalquivir, welcomed back a captain in shattered health, and a crew
+wearied by hardship and exposure.
+
+Columbus now longed to settle quietly in Seville, and to end his days
+there. He found that his popularity was waning, and that his rents had
+not been collected properly during his absence. With the death of Isabel
+he lost royal patronage. His last voyage had cost him much; but the
+people of Seville believed him to be immensely rich, whereas his income
+was now meagre. 'Little have I profited,' writes Columbus, in a letter,
+'by twenty years of service, with such toils and perils; since, at
+present, I do not own a roof in Spain. If I desire to eat or sleep I
+have no resort but an inn; and for the most times have not wherewithal
+to pay my bill.'
+
+In his last days we picture Christopher Columbus bending over the
+manuscripts, which may be seen in the Biblioteca Columbina, the library
+at Seville founded by the natural son of Columbus. One of the
+manuscripts treats upon biblical prophecy. It was written to appease the
+Inquisitors, who, to the last, suspected the discoverer of heresy.
+Writing of this Apologia, Washington Irving says that the title and some
+early pages of the book are by Fernando Columbus; 'the main body of the
+work is by a strange hand, probably by Friar Gaspar Gorricio, or some
+other brother of his convent.' There are signs in the hand-writing that
+Columbus was old and in poor health when he wrote the work. The
+characters are, however, distinct. There are passages from the Christian
+Fathers and the Bible, construed by the author into predictions of the
+discovery of the New World.
+
+The gallant voyager was now prematurely aged, though he had led an
+abstemious life. Disappointment at the neglect of the world no doubt
+preyed upon his spirits in these last days of his career, for it is said
+that he possessed 'a too lively sensibility.' Upon the whole, Columbus
+was ill-used by Spain, though his memory is revered. It is the old, sad
+story of worth and genius. In 1506 Cristobal Colon died in a poor
+lodging at Valladolid. He left a son, born to him by his mistress,
+Beatrix Enriquez. In his will Columbus left money to Beatrix.
+
+Great honour was paid to the body of the famous explorer. Columbus was
+buried in the parish church of Santa Maria de la Antigua. Some years
+later the Sevillians desired that the remains should be removed to their
+city, and they were then carried to the Carthusian monastery of Las
+Cuevas, to the Chapel of St. Ann, or of Santo Christo. The house of Las
+Cuevas was a fine one, celebrated for its pictures and treasures, and
+surrounded with orange and lemon groves. But the bones of Columbus were
+not to remain in Seville. They were taken, in 1536, to Hispaniola, and
+laid in the principal chapel of the Cathedral of San Domingo. Finally
+the remains were removed to Havanna.
+
+While paying due respect to Christopher Columbus, we must not forget the
+great services rendered to the country generally, and to Seville, by
+Fernando de Magallanes, or Magellan, who embarked at that port in August
+1519 with five vessels. Passing the Canary Islands and Cape Verde, the
+Portuguese explorer reached Brazil, and went south to Patagonia, 'the
+land of giants,' arriving eventually at the dangerous straits which bear
+his name. Magellan never returned to Spain. Only two of his ships
+reached the Moluccas, and of the five that started but one came back to
+Seville on the homeward journey.
+
+These were the days when Seville was a bustling port of embarkation, and
+a great storehouse for treasure from America and the Indies. A fever of
+emigration seized the adventurous spirits of Andalusia; and Andrea
+Navigiero, a Venetian ambassador, who journeyed through Spain in 1525,
+says that the population of Seville was so reduced that 'the city was
+left almost to the women.'
+
+The discoveries and conquests of Pizarro, who came to Seville after his
+first voyage, added to the enthusiasm for emigration. But Pizarro found
+it a hard matter to raise money for the expenses of a second expedition.
+He contrived, however, to man three ships, and was about to start, when
+the Council of the Indies sought to inquire into the state of the
+vessels. Fearing that he might be hindered from his scheme, the explorer
+set sail at San Lucar, in great haste, and made for the Canary Islands.
+
+It was in January 1534 that Hernando, brother of Francisco Pizarro, was
+directed to return to Seville with a great hoard of treasure. The Custom
+House was filled with ingots, vases and ornaments of gold, and the
+inhabitants were much interested in the splendid spoil. Hernando Pizarro
+came later under a charge of cruelty to the subject race of South
+America. In his _Spanish Pioneers_, Mr Lummis tells us that 'Hernando
+was for many years imprisoned at Medina del Campo, and that he died at
+the age of a hundred. His brother, Francisco, who was born at Truxillo,
+in Estremadura, was a swineherd in his boyhood. Fired with the spirit
+of romance and adventure, the lad deserted his herd of pigs and ran away
+to Seville, where he found scope for his restless energy, and was able
+to influence seafaring men to accompany him on a cruise of discovery.
+
+Seville was now at the height of its commercial prosperity. There was a
+constant come and go of trading vessels; the silk trade was greatly
+developed, and leather was made for the markets of Spain. Isabel took
+much interest in the improvement of the commerce of the city. When she
+ascended the throne, Seville was notorious for its gangs of thieves and
+criminals of all kinds, while the surrounding country was insecure
+through the numbers of bandits who waylaid and robbed traders and
+farmers on the roads. The Queen determined to stamp out crime by
+rigorous measures. She held a court in the _salon_ of the Alc�zar, and,
+in the Castilian custom, presided over the hearing of criminal charges.
+Once a week, Isabel sat in her chair of state, on a da�s covered with
+gold cloth. For two months she conducted a crusade against robbery in
+the city, recovering a great amount of stolen property, and condemning
+many offenders to severe penalties. Her severity struck alarm among the
+vagabond and thieving population, and probably terrified a number of the
+people who had reason to fear justice. Four thousand subjects left the
+town. The respectable burghers grew concerned, dreading that this
+depopulation would injure the city and deprive it of workmen. A
+deputation of citizens waited upon Isabel and begged her to relax her
+austerity. The Queen was therefore prevailed upon to offer an amnesty
+for all offenders except those convicted of heresy.
+
+Isabel's fortunes as a ruler were largely determined by her charms. The
+Sevillians could not fail to worship the tall, fair young Queen, with
+the frank and beautiful countenance and blue eyes. Her very
+unconventionality delighted her court and the army; and when she rode at
+the head of her troops, in a suit of mail, with a sword by her side,
+every _caballero_ was ready to follow the fair commander through blood
+and fire. Isabel's sword, a pretty little weapon, is to be seen in the
+Real Armeria at Madrid.
+
+The Queen was one of those magnetic personages to whom all things are
+permissible. Even in modern times it is considered unseemly for a
+Spanish woman to engage in field sports, or any kind of athletic
+exercise; but the Spaniards of Isabel's day not only forgave, but
+revered, the Queen who sat on the judicial bench, donned masculine
+attire, carried weapons, and took a man's part in the government of her
+state. Had it not been for the terrible taint of bigotry, which led
+Isabel to sanction deeds of persecution and cruelty, her character would
+have presented an example approaching the excellence with which
+enthusiastic historians have credited it.
+
+[Illustration: Sword of Isabella]
+
+Four years after the accession of Isabel there began the reign of the
+Inquisition in Seville. When Alfonso de Hoyeda, Prior of the city, and
+Felipe de Barberis, Inquisitor of Sicily, persuaded Fernando that a
+crusade against heresy would replenish his exchequer by means of
+confiscation, the King was induced to listen to their proposal. At first
+Isabel recoiled from this scheme of torture and plunder. But her woman's
+mind and heart were not secure against the insidious influence of the
+priests, who used their utmost powers of suasion to convince her that
+Heaven approved of the destruction of heretics. Finally the Queen gave
+way; and the 17th of September 1480 saw the setting up of the tribunal
+of the Holy Office in the Dominican Convent of St. Paul at Seville.
+
+M'Crie, in _The History of the Reformation in Spain_, states that 'in
+the course of the first year in which it was erected, the Inquisition of
+Seville, which then extended over Castile, committed two thousand
+persons alive to the flames, burnt as many in effigy, and condemned
+seventeen thousand to different penances.' We must note, however, that
+according to Prescott these figures refer to several years and not to
+the opening years of the institution of the Holy Office in Seville. By
+the end of October 1481 it is recorded that three hundred persons had
+been burned to death in Seville. In about thirty-six years, four
+thousand victims went to the stake in the city, while many times that
+number were condemned to slavery, to perpetual imprisonment, to short
+terms, and to other punishments.
+
+'The modern Inquisition,' writes M'Crie, 'stretched its iron arms over a
+whole nation, upon which it lay like a monstrous incubus, paralysing its
+exertions, crushing its energies, and extinguishing every other feeling
+but a sense of weakness and terror.' Many of the Sevillians fled from
+the city and sought the protection of the Duke of Medina Sidonia, the
+Marquis of Cadiz, and the Count of Arcos.
+
+At this period a frightful pestilence swept over Seville, reducing the
+population by thirty thousand, and causing great suffering. The clergy
+resorted to prayer; charms and relics of the saints were displayed in
+the churches; but little or nothing was done in the way of preventing a
+spread of the plague by sanitation, or of alleviating the malady by
+medical science. It is a saddening picture--the people dying of the
+disease, thousands languishing in dungeons, and a multitude filled with
+fear lest they should succumb to the epidemic, or fall into the hands of
+the Inquisitors. Puigblanch, author of _The Inquisition Unmasked_,
+states that the number of the banished and the 'reconciled' in Andalusia
+from 1480 to 1520 was a hundred thousand. He asserts that forty-five
+thousand persons were done to death in the Archbishopric of Seville
+during this period.
+
+Without the city, on the Prado de San Sebastian, is the burning ground.
+As we stand there, the imagination conjures a procession accompanying a
+victim to the awful torture of the stake. The doomed man is an aged and
+devout Morisco, who has saved money by his industry. He has been found
+guilty of infidelity, and he has refused to partake of the Christian
+sacrament. He is dressed in the sanbenito, a yellow garment, with
+pictures of devils kindling a fire and burning faggots, and on his head
+is a fantastic conical cap of pasteboard, called the _coroza_. First
+comes a troop of soldiers to clear a path for the procession through the
+jostling rabble. The soldiers are followed by several priests in
+canonical vestments, and the boys of the College of Doctrine, who chant
+the liturgy. Then comes the convicted heretic, with a familiar on either
+side, and two friars, followed by the judges, ministers of government,
+and hidalgoes on horseback. In another procession comes the Inquisitors,
+and their standard of red, with the names and insignia of Pope Sixtus
+IV. and King Fernando upon it. The members of the Holy Office are
+escorted by esquires, and in the rear is a great mob of towns-people.
+But enough: imagination is at this point repelled. We turn away from the
+scene, and enter the shady gardens that stretch along the Guadalquivir,
+to scent the flowers and to listen to the thrush and nightingale.
+
+We cannot, however, close our perceptions to the fact that Seville
+played an important part in the Inquisition. In roaming the streets of
+the city, it is impossible to forget that this mighty instrument of
+fanaticism has left its impress on Spain. We remember that every son of
+Seville who dared to exercise his conscience in the matter of religious
+belief ran the risk of ending his life upon the Prado de San Sebastian.
+The terror of this institution must have blighted the lives of millions
+of Spaniards. And we are moved to the reflection that the good which
+Isabel performed with one hand was almost destroyed by the evil
+inflicted by the other.
+
+The story of Rodrigo de Valer, one of the first to embrace the Lutheran
+faith in Seville, is of deep interest. In the fashionable resorts of the
+town and at the jousts no youth was more popular than Rodrigo. He had
+charming manners, sat a horse gracefully, and could break a lance with
+the most skilful knights of the ring. His wealth procured him every
+pleasure; he gratified a taste for dress and spent much money upon
+horses. Suddenly he was missed from the dance and the tournament. His
+friends could not account for this changed mode of life. A passion for
+study had taken possession of the young man; and day after day he sat
+pouring over the Vulgate, and improving his knowledge of Latin, so that
+he might understand the book. In a few months Valer was able to quote
+long passages of the Bible from memory. Then he left his study and went
+back to his gay companions as an apostle of a new form of faith. He
+approached the clergy and the monks, and by argument endeavoured to
+convince them of the errors of their creed and ritual, appealing to the
+Bible as the criterion of religious truth. The priests were little
+inclined to listen to Rodrigo. But when they avoided him, the youth
+sought them, engaging them in discussion in the streets and striving to
+set forth his new doctrine. At length the indignant clerics of Seville
+brought the heretic before the Holy Inquisition. So cogent were his
+arguments that some of the members who secretly shared his opinions used
+their influence to save him from punishment. Fortunately Valer was of
+good family. He was declared to be insane, and spared from an extreme
+penalty, but his estates were taken by the tribunal.
+
+Rodrigo's relations now strove to dissuade him from renewing his
+endeavours to reform the Church. What could one helpless man achieve
+against the whole weight of authority? But Rodrigo was full of zeal. He
+began again to denounce the teaching of the clerics, inspired by the
+belief that others would soon follow him. For the second time he was
+arrested on a charge of heresy and sentenced to imprisonment for life.
+
+In the Church of St. Salvador, where Rodrigo was taken on days of
+festival, the fervent youth would rise after the sermon and condemn the
+teaching of the pulpit. Only his rank saved him from the flames. He was
+eventually imprisoned in a monastery of San Lucar, where he died at the
+age of fifty. Valer's sanbenito was displayed for a long time in the
+metropolitan church of Seville. It was inscribed: 'Rodrigo de Valer, a
+citizen of Lebrixia and Seville, an apostate, and false apostle, who
+pretended to be sent of God.'
+
+The teaching of Valer was not without fruit. He was the founder of a
+small, but fervent, sect of Lutheran Christians in Seville, whose
+doctrines gradually found acceptance among a number of the people. One
+of the reformed party was Juan Gil, known as Doctor Egidius, preacher in
+Seville Cathedral, who was joined by Vargas and the celebrated
+Constantine Ponce de la Fuente. M'Crie says that 'the small society in
+Seville grew insensibly, and became the parent stock, from which
+branches were taken and planted in the adjacent country.' Persecution
+was inevitable. Egidius was denounced and thrown into prison, while
+Vargas was murdered, and Ponce de la Fuente banished. After a long
+incarceration, Egidius returned to Seville; but he caught a fever, and
+died in a few days. De Montes says that the writings of Egidius, which
+were never printed, were worthy of praise. The Doctor wrote commentaries
+on Genesis and the Psalms, and while in prison he composed an essay on
+'Bearing the Cross.'
+
+Protestantism spread in Seville at this time. There was a church under
+the care of Doctor Christobal Losada, which met in the house of a lady
+of rank, Isabel de Baena, and was attended by the nobles Don Juan Ponce
+de Le�n and Domingo de Guzman. In the Dominican Monastery of St. Paul,
+in the Nunnery of St. Elizabeth, and especially in the Convent of San
+Isidro del Campo, the new doctrines found disciples.
+
+One of the victims of the Inquisition was Torrigiano, the Florentine
+sculptor, whose statue of St. Jerome is in the Museo Provincial at
+Seville. The monument of Henry VII. in Westminster Abbey is the work of
+this artist, who ended his days in the cells of the Inquisitors' prison
+in Seville, in 1552. There is no doubt that many of the hapless
+prisoners died of diseases contracted in the insanitary dungeons of
+Seville and Triana, for Olmedus, one of the sufferers, describes the
+dens as vile in 'nastiness and stench.' The ordinary gaols were crowded,
+and many persons were immured in the Castle of Triana, and in the
+convents of the city.
+
+[Illustration: Plaza San Francisco]
+
+At Triana resided Gonzales-Munebrega, Archbishop of Tarragona, whose
+name was coupled with that of Torquemada as a ruthless persecutor. This
+officer of the Inquisition might be seen by the trembling populace
+walking in the castle gardens, accompanied by a guard of servants.
+Munebrega wore rich clothes of purple and silk, and maintained great
+pomp. He exhibited extreme cruelty, and scoffed at the sufferings and
+cries of the tortured.
+
+Llorente and Bernaldez relate some sickening details of the savage modes
+of torment imposed upon the victims of the Inquisition in Seville. It is
+not necessary that the tales of horror should be retold here. The first
+_auto-da-f�_ celebrated in the city was in 1559, when Don Juan Ponce de
+Le�n and several other apostates were committed to the flames in one of
+the chief plazas. Ponce de Le�n was described as 'an obstinate Lutheran
+heretic.' The heroic Doctor Juan Gonzalez, of Moorish ancestry, was
+burnt upon the same day for preaching Protestant doctrines. We see him
+leaving the Triana gaol on the morning of execution, 'cheerful and
+undaunted,' though he was accompanied by his two sisters, both of whom
+were condemned to the stake, and had left behind in the prison his
+mother and two brothers. The Doctor sang the 109th Psalm, and attempted
+to console his sisters, whereupon a gag was thrust into his mouth.
+
+'When they were brought to the place of execution,' writes M'Crie, 'the
+friars urged the females, in repeating the creed, to insert the word
+_Roman_ in the clause relating to the Catholic Church. Wishing to
+procure liberty to him to bear his dying testimony, they said they
+would do as their brother did. The gag being removed, Juan Gonzalez
+exhorted them to add nothing to the good confession which they had
+already made. Instantly the executioners were ordered to strangle them,
+and one of the friars, turning to the crowd, exclaimed that they had
+died in the Roman faith.' Doctor Christobal Losada, the pastor of the
+Protestant church in Seville, suffered death courageously upon the same
+day.
+
+Isabel de Baena, who allowed meetings of the Protestants in her house,
+and Maria de Bohorques were among the women of high birth who were
+burned in Seville. The story of the last-named lady has been told in a
+romance by a Spanish writer, entitled _Cornelia Bororquia_. Maria de
+Bohorques came into the grip of the Holy Office before the age of
+twenty-one. She was a pupil of Egidius, and a diligent student of the
+Scriptures. When seized and tortured by the Inquisition, she refused to
+name those of her friends who shared her belief. Do�a Maria was then
+sent to the stake.
+
+Llorente recounts that two Englishmen were burned at one of the _autos_
+of Seville. Nicholas Burton, a merchant of London, who traded with
+Spain, arrived with his vessel at San Lucar while the persecution was
+raging in Seville. Somewhat imprudently, Burton spoke contemptuously of
+the Inquisition, though M'Crie states that the accusation of insolence
+was false. Burton was burnt alive, together with William Burke, a seaman
+of Southampton, and a Frenchman, named Fabianne. The Holy Office then
+seized Burton's cargo; but a part of it belonged to a London tradesman,
+who sent one John Frampton to Seville, with a power of attorney, to
+recover the goods. Frampton failed to make good his claim after four
+months of negotiation, and he returned to England to find greater
+powers. When he landed again in Spain, the agent was arrested, put in
+chains, and thrown into the dungeon of Triana. The charge against him
+was that he had a volume of Cato in his bag. He was questioned as to his
+creed, and ordered to repeat the Ave Maria. Subjected to the torture of
+the rack, the wretched man was forced to confess anything that his
+torturers desired. Frampton was imprisoned for two years, and then
+granted his freedom. His 'Narrative' is to be found in Strype's
+_Annals_.
+
+The unfortunate Constantine Ponce de la Fuente, who was one of the most
+active members of the reformed church in Seville, was seized by the
+Inquisition, and confined in an underground cell for two years, when
+dysentery put an end to his sufferings. In 1781 the last martyr perished
+in the flames at Seville. 'I myself,' writes Blanco White, 'saw the pile
+on which the last victim was sacrificed to human infallibility. It was
+the unhappy woman whom the Inquisition of Seville committed to the
+flames, under the charge of heresy, about forty years ago. She perished
+on a spot where thousands had met the same fate.' A traveller in Spain,
+named Wiffen, says: 'In the year 1842, whilst travelling in that
+country, I found myself in the Alameda Vieja of Seville, in front of the
+house formerly occupied by the Inquisition, where several of the
+prisoners were confined who were burned at the _auto-da-f�_ of 1560.'
+
+Such is the story of the Inquisition in Seville. I have not willingly
+dwelt upon this dark page in the history of the fair city. But it has
+been necessary to refer to the chronicles of this reign of terror; for
+the institution of the Holy Office in Seville is a matter of historic
+importance, and no record of the town could be in any sense complete if
+the annals of the Inquisition were overlooked. And in changing to a
+happier theme it is necessary that I should point out the repugnance
+that masses of the people of Seville exhibited towards the introduction
+of this engine of persecution in the city. Llorente, the Spanish
+historian of the Inquisition, tells us that when Fernando and Isabel
+commanded the Governors of the provinces to supply inquisitors and
+assistants to the royal capital, the inhabitants regarded the arrival of
+the agents of the Holy Office with extreme dissatisfaction, and that
+difficulty was experienced in collecting together 'the number of persons
+whose presence was necessary to the legal opening of their assembly.'
+
+Let us view the city of Isabella the Catholic in a brighter aspect. In
+the year 1490 an ambassador from Lisbon came to the Alc�zar of Seville
+to confer with the Queen concerning a proposed marriage between young
+Alonso, heir to the Portuguese throne, and Isabel, the Infanta of
+Castile, and the dearly-loved namesake of the royal mother. It was with
+mingled sentiments of joy and sadness that Isabel consented to the
+union. The month of April was chosen for the ceremony of betrothal, and
+it was arranged that feasts and tournaments should succeed the official
+celebration. Great preparations were made for the festivities. The lists
+were constructed on the bank of the Guadalquivir; hangings of costly
+material draped the galleries erected for the spectators of the jousts,
+and the royal palace was prepared for the reception of noble guests,
+knights of prowess, and their dames and daughters. On the first day of
+the _f�tes_ a splendid procession passed through the streets to the
+lists, where thousands of the nobility were seated, all anxious to
+witness a combat in the arena between King Fernando and one of his most
+accomplished knights. The charming Infanta delighted everyone as she
+came with her seventy ladies-in-waiting, in court dress, and her hundred
+gallant pages as bodyguard. It was a scene which the people long
+recalled. All the rank and loveliness of Castile and Andalusia were
+around the arena when the sports began; the mail and weapons of the
+combatants glistened in the dazzling sunlight of the green meadow; and
+loud were the plaudits when his majesty broke his first lance in a
+furious and exciting tilt with a renowned esquire and champion of the
+lists. Throughout the tournament, Fernando acquitted himself as a true
+knight of the order of chivalry, displaying much courage and a great
+knowledge of the art of the tourney. In the autumn Isabel bade adieu to
+her daughter. A great retinue came to the Alc�zar, to accompany the
+Princess to Portugal, in charge of the Cardinal of Spain and the Grand
+Master of St. James.
+
+By the Sevillians, Isabel appears to have been feared as well as
+worshipped. The aliens in the city, all except those who chose to
+embrace the Catholic faith, had, indeed, good reason to fear their
+Queen. Isabel's treatment of the Jews cannot be called humane, but she
+enjoined just conduct towards her Indian subjects. The Queen was humble
+in her obedience to the Chief Inquisitor, Torquemada, and ever ready to
+listen to the counsels of her spiritual guides. Towards heresy she
+showed no clemency, and her measures for dealing with bandits and other
+criminal offenders were excessively severe. But the romantic personality
+of Isabella the Catholic will always appeal to the imagination of the
+Andalusians.
+
+
+
+
+CHAPTER III
+
+_Seville under the Catholic Kings_
+
+     'In her own interior Spain had an arduous problem to solve--she had
+     to overcome the old energetic resistance of a whole people--the
+     tolerably numerous descendants of the former lords and conquerors
+     of the country who still adhered to the Arabian manners and
+     language, and even in part professed the doctrines of the
+     Mohammedan.'--SCHLEGEL, _Philosophy of History_.
+
+
+Seville in the sixteenth century was at the height of its prosperity. We
+have seen how the discoveries of Columbus, Magellan, and the brothers
+Pizarro enriched the city, brought vessels to the port with costly
+store, and opened a vast foreign trade. In every quarter of the town the
+hum of industry was heard. The Morisco artisans, who had become
+'reconciled' to the Christian creed, laboured in stone and metal, and
+there were silk weavers, leather workers, potters, and gold and silver
+smiths. One hundred and thirty thousand persons worked at the looms,
+which were numbered at sixteen thousand.
+
+Learning and the arts benefited by the increase of the city's wealth.
+The university, founded by Alfonso the Learned, was extended; the
+cathedral library was enlarged, and Seville became famous for its poets,
+historians, romance writers, and playwrights. Pacheco, painter and poet,
+had his circle of gifted artists and men of letters; and the doors of
+the Casa Pilatos, the beautiful mansion of the Dukes of Alcal�, were
+open to all the lovers of learning and the students of art. Sculptors
+and painters were constantly employed upon works of art for the royal
+palace, the cathedral, and the churches. The _Mud�jar_ architects and
+builders were engaged by rich dons, who had prospered by the discovery
+of the New World, to design and erect sumptuous residences in the
+Morisco style. Charitable institutions, such as the Hospital de la
+Caridad, were founded and liberally endowed, and an asylum for foundling
+children was built in the Calle de la Cuna. The highly ornate Casa de
+Ayuntamiento, or City Hall, was designed by Diego de Ria�o, and Hernan
+Ruiz built the upper part of the Giralda.
+
+The Emperor Charles V., one of the wisest rulers of Spain, occasionally
+made his residence at the Alc�zar during the palmy days of Seville,
+though he favoured Segovia and Valladolid. The marriage of the monarch
+with Isabella, daughter of Emanuel, King of Portugal, was celebrated in
+the Alc�zar of Seville with much splendour, and the ceremony was
+followed by feasts and diversions. Isabella of Portugal was a gifted
+woman, and extremely beautiful, and the union proved very happy. Charles
+was at this time highly admired in the city; but at a later date even
+the loyal Sevillians showed their displeasure with the Emperor. Certain
+of the merchants of the town disregarded the royal command that all the
+bullion brought in by the India fleet should be stored in the warehouse
+of the Board of Trade, and kept there in case the Government required to
+raise funds quickly for war expenses. The owners of the gold naturally
+preferred their shipments to the Government bonds promising repayment.
+They therefore secretly removed the bullion to their own houses. This
+action angered Charles, as the same practice enraged Philip at a later
+date, and the Emperor ordered the culprits to be put in chains, sent to
+prison, and to be deprived of their possessions. The command was heeded
+at once; and the merchants, and the officials who had connived at the
+misdemeanour of removing the bullion, were conveyed under a strong guard
+to Simancas. One of the offenders was put on the rack and died under
+torture. The gold was, however, never recovered by the State.
+
+The gorgeous Sal�n de Carlos V. was constructed in the royal palace
+during the reign of the Emperor, who also laid out the gardens on a new
+plan, and built the handsome pavilion in the grounds.
+
+Philip II. had been on the throne for many years before he paid his
+first visit to the southern metropolis. The King loved his mountain
+palace, the Escorial, where he passed his days in writing records of his
+reign, sending dispatches, and shooting with the gun and crossbow.
+Prescott says: 'It was a matter of complaint in the Cortes that he thus
+withdrew himself from the eyes of his subjects.' Even in his visits to
+Madrid, Segovia and Seville, Philip avoided society, and shut himself up
+in his closet with a great heap of papers on his table. When he
+travelled, the King rode in a close carriage, and tried to avoid the
+gaze of his subjects. As he grew older he developed a still stronger
+aversion to being seen abroad.
+
+In 1570, at the time of the preparations for the great war with the
+Turks, the recluse-King came to Seville. His entry was made the occasion
+of a splendid ceremonial and a demonstration of loyalty on the part of
+the inhabitants. Philip came from C�rdova, and was met on the outskirts
+of the city by the officials and soldiery. Taking his oath to respect
+the privileges of the city, the Sovereign rode through the crowded
+streets in pomp, accompanied by knights and guards. A splendid canopy
+was held by the chief justices over the King's head as he proceeded to
+the Cathedral to take part in a solemn service. The monarch then took
+up quarters in the Alc�zar, which he occupied for a fortnight. During
+his stay in Seville, Philip appeared at the _f�tes_ which had been
+arranged for his entertainment. To show their homage to the King, the
+people of the city subscribed a hundred thousand ducats as a donation
+towards the cost of Philip's marriage with his fourth wife, Anne of
+Austria.
+
+The heavy expenses of the war in the Netherlands and with Turkey led to
+a despotic method of obtaining pecuniary supplies. Philip needed money,
+and to secure it as quickly as possible, he ordered that the officials
+of the Casa de la Contrataci�n at Seville should seize the cargoes of
+gold and silver that had just arrived in the port. This action aroused
+much indignation in the city, and the people grew incensed when the
+command was again given to confiscate the bullion consigned to merchants
+of Seville. When a number of treasure ships were on their homeward
+journey, the King sent Admiral Alvaro de Baz�n to the Azores to
+intercept the vessels; and immediately upon the arrival of the fleet at
+San Lucar, the whole of the shipment was sent to Santander, and from
+that port to Flanders.
+
+Under Philip II. the Church in Seville rose to great power, and
+increased in wealth. The Archbishop of the city received an income of
+eighty thousand ducats a year, and the minor clergy profited by the
+King's patronage of the Church. It is not surprising that many of the
+sons of families of rank and position crowded into the profession of
+priest, and that the number of persons in holy orders soon swelled
+enormously. Arts and handicrafts were not considered gentlemanlike
+pursuits; the industry of the city was relegated to Spaniards of low
+birth, to the _Mud�jares_, and to aliens. The _caballero_ of Seville
+aspired to join the Church Militant, or to enter the army. When Philip
+III., the Good, came to the throne there were no less than fourteen
+thousand chaplains in the diocese, while a hundred clerics were on the
+staff of the Cathedral alone.
+
+[Illustration: FOUNTAIN IN BATH, ALC�ZAR.]
+
+The oppression of the Moriscoes in the city became severer in the days
+of Philip II. Doubt was cast upon the genuineness of belief among the
+'reconciled' Moors, and they were bidden to cease reading books in the
+Arabic language, to abandon their ceremonies, to change their mode of
+dress, and to speak in Spanish. The public baths, built by the cleanly
+Moriscoes, were destroyed in every city, and the _Mud�jares_ were even
+forbidden to bathe in their own houses. These mandates exasperated the
+Moriscoes throughout Andalusia. They rebelled and fought desperately;
+but after frightful bloodshed and suffering, they were quelled and
+broken down, never to regain their ancient sway. The suppression of the
+heretics was complete by the time of Philip III. And at this time began
+the decline of Seville's prosperity.
+
+When Philip V. reigned, the sixteen thousand looms of the city had been
+reduced to less than three hundred, and the population was thinned to 'a
+quarter of its former number of inhabitants.' In the fruitful district
+around Seville the vineyards and olive gardens were in a state of
+neglect, and fields once fertile became wastes. Trade declined rapidly
+with the extirpation of heresy. The industrial population was deprived
+of its most skilful and industrious members when the last band of
+Moriscoes quitted the city. In the seventeenth century Andalusia
+suffered fearful poverty. Whole villages were deserted, the land was
+going out of cultivation, and the tax-collectors were enjoined to seize
+the beds and such wretched furniture as the indigent peasants possessed
+in their cheerless houses.
+
+When Philip II. died, loyal Seville honoured the departed King by a
+magnificent funeral service in the Cathedral. A monument, forty-four
+feet square, and forty-one feet in height, was designed by Oviedo, at a
+cost of fifteen thousand ducats. Monta�es, the famous sculptor, whose
+work is to be seen in several of the Seville churches, produced some of
+the statuary to adorn the monument, and the young Pacheco, then unknown,
+assisted in the decoration. On November 25, 1598, the mourning multitude
+flocked to the dim Cathedral. While the people knelt upon the stones,
+and the solemn music floated through the long aisles, there was a
+disturbance among a part of the congregation. A man was charged with
+deriding the imposing monument, and creating a disorder in the holy
+edifice. He was a tax-gatherer and ex-soldier of the city, named Don
+Miguel de Servantes Saavedra. Some of the citizens took his side, for
+there was a feud between the civil and ecclesiastical authorities of
+Seville, and the tax-gatherer had merely shown public spirit. The
+brawler, whom we know as Cervantes, was expelled from the Cathedral with
+his companions, and order was restored. But he had his revenge. He went
+to his room and composed a satirical poem upon the tomb of the King,
+which was soon published and read everywhere in the city. Here is one of
+the English translations of the poem:--
+
+TO THE MONUMENT OF THE KING AT SEVILLE.
+
+    'I vow to God I quake with my surprise!
+     Could I describe it, I would give a crown--
+     And who, that gazes on it in the town,
+     But starts aghast to see its wondrous size;
+     Each part a million cost, I should devise;
+     What pity 'tis, ere centuries have flown,
+     Old Time will mercilessly cast it down!
+     Thou rival'st Rome, O, Seville, in my eyes!
+     I bet the soul of him who's dead and blest,
+     To dwell within this sumptuous monument
+     Has left the seats of sempiternal rest!
+     A fellow tall, on deeds of valour bent,
+     My exclamation heard. "Bravo!" he cried,
+     "Sir Soldier, what you say is true, I vow!
+     And he who says the contrary has lied!"
+     With that, he pulls his hat upon his brow,
+     Upon his sword hilt he his hand doth lay
+     And frowns--and--nothing does, but walks away.'
+
+The discovery of the New World, with its opulence of treasure, and the
+expulsion of the Moriscoes, did not yield a permanent prosperity to
+Seville. Even before the death of Philip II., the few far-sighted and
+reflective men doubted whether a great influx of gold and silver, and
+the annihilation of freedom of thought, were likely to benefit Spain,
+either in the material or spiritual sense. The gold fever seized like a
+frenzy upon the avaricious, and the early colonisers turned their backs
+upon any country that lacked precious minerals. Nothing save gold and
+silver was considered valuable. As a consequence these minerals became
+redundant, and in the meantime the cultivation of the land at home and
+abroad, and the development of manufactures, were neglected. No one had
+the enterprise to prevent the silting up of the tidal waters of the
+Guadalquivir, and so Seville lost its importance as a busy port.
+
+While nobles were fighting for gold, and harrying heretics, briars and
+weeds were spreading over the fields that the patient Moors had tilled
+and made marvellously fertile. The establishment of the _alcavala_ tax
+upon farming produce and manufactured articles hastened the decline of
+agriculture and of crafts in Andalusia. Finally, under the Bourbons,
+Cadiz became the rival of Seville, and the Council of the Two Indies was
+removed to the southern port in 1720. In good or ill fortune Seville
+remained loyal, winning for itself the title of: _Muy noble, muy leal,
+muy heroica � invicta, i.e._, 'Very noble, very loyal, very brave and
+invincible.'
+
+Some interesting pictures of Seville at the close of the eighteenth and
+beginning of the nineteenth centuries are to be found in the _Letters
+from Spain_, by D. Leucadio Doblado, written in 1824. Doblado is the
+pseudonym of Blanco White, son of the British Vice-Consul at Seville in
+those days. White was born in the city in 1775, brought up as a
+Spaniard, and sent to the University. His parents were very austere
+Catholics, but reading and study developed a sceptical tendency in young
+White's mind, and he subsequently came to England and was well-known in
+Unitarian circles.
+
+In his _Life_, Blanco White describes the quaint ceremony of entrance
+into the University of Seville. 'Every day of the week preceding the
+admission, the candidate was obliged to walk an hour in the principal
+quadrangle of the college, attended by one of the servitors, and his own
+servant or page--a needy student who, for the sake of board, lodgings
+and the cast-off clothes of his master, was glad in that humble capacity
+to go through the course of studies necessary for the profession--Divinity,
+Law or Medicine--which he intended to follow.' The custom of the
+_caravanas_ was a trying ordeal for the student. He was compelled to run
+the gauntlet of the gibes of a mob of spectators, as a trial of his
+patience. No physical violence was permitted, except when a candidate
+lost his temper. An irascible victim was speedily ducked in the basin of
+the fountain of the quadrangle. Ladies came to see the sport. When White
+passed through this ordeal, he was dressed in fantastic garments, and
+led by his tormentors by a rope.
+
+In 1800, Blanco White saw the outbreak of yellow fever that ravaged the
+city. The plague began in Triana, and the infection was said to have
+been brought from Cadiz by seamen. As in previous instances of
+pestilence, there was no enforced isolation of the diseased, and no
+relief of the suffering poor. Prayers were offered for succour in the
+Cathedral and the churches, and a special service of the Rogativas, used
+in the times of severe affliction, was performed on nine days after
+sunset. One of the choicest relics of the Cathedral, a piece of the True
+Cross, or _Lignum Crucis_, was exhibited as a charm on the Giralda
+Tower. Many persons advised that a wooden crucifix, in one of the
+chapels of the suburbs, should be also employed. It had been of great
+service in the plague of 1649, staying the epidemic after half of the
+inhabitants had been destroyed. A day was fixed for the solemn ceremony
+of blessing the four winds of heaven with the True Cross from the
+Cathedral treasury. The great fane was crowded with supplicants. As the
+priest made the sign of the Cross, with the golden casket containing the
+_Lignum Crucis_, a frightful clap of thunder made the Cathedral tremble.
+In forty-eight hours the deaths increased tenfold. The heat, the
+polluted air of the Cathedral, the infection that spread among the
+worshippers, and the fatigue of the service caused a great spread of the
+fever in the city. Eighteen thousand persons perished from the
+pestilence.
+
+During the Peninsular War, Soult's troops did considerable damage to
+parts of Seville. The church that contained the bones of Murillo was
+pillaged by the soldiers, and the tomb of the great painter was
+destroyed. On February 1, 1810, the city surrendered with all its stores
+and arsenal, and Joseph marched in. The French force had appeared before
+Seville in January 1810. 'In Seville all was anarchy,' writes Sir W. F.
+P. Napier, in his _History of the War in the Peninsula_; 'Palafox and
+Montijo's partisans were secretly ready to strike, the ancient Junta
+openly prepared to resume their former power.' It was a time of revolt
+in the city; mobs went through the streets, calling for the deposition
+of the Junta, and vowing violence against the members. Seville was
+besieged for the last time in 1843, at the time of Espartero's regency.
+An account of the siege is given in _Revelations of Spain_, by an
+English Resident, who writes: 'I saw full twenty houses in different
+parts of the city--this was about the entire number--which Van Halen's
+shells had entirely gutted. The balls did limited damage--a mere crack
+against the wall, for the most part a few stones dashed out, and there
+an end. But the bombs--that was indeed a different matter! Wherever they
+fell, unless they struck the streets, and were buried in the ground,
+they carried destruction. Lighting on the roof of a house, they
+invariably pierced through its four or five floors, and bursting below,
+laid the building in ruins.' Probably not more than twenty lives were
+lost through the bursting of the shells. Most of the men of the city
+were defending the walls, and the women took refuge in the churches. The
+Cathedral sheltered a large number of women and children, who slept and
+cooked there. The Junta of Seville occupied the Convent of San Paolo
+during the siege.
+
+Edward VII. of England, when Prince of Wales, paid a visit to Seville,
+and spent several days in the city, in 1876.
+
+We have now briefly surveyed the more interesting events in the history
+of the city and noted incidents in the lives of eminent Sevillians from
+the time of the Goths until the present century.
+
+
+
+
+CHAPTER IV
+
+_The Remains of the Mosque_
+
+     'I have never entered a mosque without a vivid emotion--shall I
+     even say without a certain regret in not being a
+     Mussulman?'--ERNEST RENAN, _Islamism and Science_.
+
+
+In the year 1171, Abu Yakub Y�suf, the conquering Moor, began the
+building of a mighty _mezquita_, or mosque, in the captured city of
+Seville. The important work was given into the hands of a famed
+architect, one Gever, Hever, or Dj�bir, the correct spelling of whose
+name has puzzled the historians. Gever is said to have been 'the
+inventor of Algebra.' Whether he really designed the Mosque is difficult
+to determine. Some Spanish writers have asserted that the first stage of
+the Giralda Tower was commenced in the year 1000 of the Christian era
+'by the famous Moor, Herver.' From the discovery, at a great depth, of
+certain pieces of Roman masonry, it is supposed that an amphitheatre
+once occupied the ground now covered by the Cathedral, the Giralda, and
+the Court of the Oranges.
+
+There is no doubt that the Mosque of the Almohade ruler was a vast and
+noble building, resembling in most of its characters that of C�rdova.
+The minaret, now called the Giralda, is certainly one of the most
+ancient buildings in the city. It is recorded that the Moorish
+astronomers used the tower as an observatory. Probably the minaret
+served the double purpose of praying-tower and astronomical outlook. In
+building the tower the remains of ruined Roman and Gothic structures
+were used by the Moors, just as the Christians afterwards employed
+portions of the mosques and palaces for building their temples. The
+original minaret was about two hundred and thirty feet in height. At
+each corner of the minaret stood four huge brass balls, which were
+thrown down in the earthquake of 1395.
+
+If we enter the precincts of the old Mosque by the Puerta del Perd�n, in
+the Calle de Alemanes, we shall see the bronze-covered doors which may
+have formed one of the entrances to the building. The bronze has been
+spoilt by paint, but one can note the distinctly Moorish character of
+these great doors. This gate was reconstructed by Alfonso XI. after the
+victory of Salado. In its present state it dates from 1340. Bartolom�
+L�pez added the plateresque ornamentations about 1522. The sculptures
+over the doorway are statues of St. Peter and St. Paul, an Annunciation
+and the Expulsion of the Money Changers from the Temple. Before the
+Lonja was built, the merchants of Seville used the court within as an
+exchange. Hence the relief of the Expulsion, a fine piece of carving by
+the Italian, Miguel, representing Christ chastising the money changers
+from the Temple. Miguel of Florence was one of the early Renaissance
+sculptors who came to Spain.
+
+Under the archway of the Gate of Pardon is a modern shrine. At almost
+all hours of the day sin-stricken supplicants, chiefly women, may be
+seen kneeling on the stones before the altar.
+
+[Illustration: Puerta del Perd�n]
+
+Through the gateway we enter the quiet retreat of the Patio de los
+Naranjas, or the Court of the Oranges, which formed the courtyard of the
+ancient Morisco temple. The lofty Cathedral is before us; on the left
+towers the imposing Giralda, and to the right hand is the Sagrario,
+or parish church. There is a beautiful Moorish fountain in the centre of
+the court, with an octagonal basin. Every Morisco _patio_ had its
+fountain, orange and lemon trees, and marble seats. In the walls of the
+Sacristry of the Sagrario, we shall find further traces of the Moorish
+decoration in the form of _azulejos_ which belonged to the original
+Mosque.
+
+The _patio_ is smaller than that of the _mezquita_ of C�rdova, and with
+the exception of the few relics which I have described, there is not
+much suggestion of former grandeur.
+
+But imagination calls forth the figure of a Mueddjin upon the minaret,
+chanting the _Ady�n_, or call to prayer, as the sun tints the sky at its
+setting. The worshippers repair to the baths to purify themselves for
+devotion by washing their bodies. 'Regularly perform thy prayer at the
+declension of the sun,' says the Sura, 'at the first darkness of the
+night and the prayer of daybreak; for the prayer of daybreak is borne
+witness unto by the angels.' Five times during the day the pious
+Mohammedans spread their mats here, and prayed to Allah.
+
+The Crescent has vanished from the Giralda. A figure of Christian faith
+stands there in its stead, and from the Cathedral issue the strains of
+the choristers and the swelling of the organ. For long centuries this
+spot in the heart of Seville has been dedicated to worship. Romans,
+Visigoths, Moors and Catholic Christians each in their day of power have
+bent the knee to their deities upon the ground which we are now
+treading. It is a strange, composite fane! The lower part of the Giralda
+is Moorish, the upper part Christian. In the middle of the Court of the
+Oranges we have the Moslem fountain; and in the wall is a stone pulpit
+from which many eminent Catholic divines have preached against heresy.
+The Giralda, incorporated with the Cathedral, dominates all, but it is
+the most Moorish feature of the great pile.
+
+[Illustration: Stone Pulpit in Court of Oranges.]
+
+We must now inspect the minaret. Our way is through the Capilla de la
+Granada of the Cathedral. Here we may see one more monument of the
+Moors, a horseshoe arch, once a part of the Mosque. Within, suspended
+from the roof, is a huge elephant's tusk, a bridle, said to have
+belonged to the Cid's steed, and a stuffed crocodile, a present from the
+Sultan of Egypt, who sent it to Alfonso el Sabio, with a request for the
+King's daughter as wife.
+
+The ascent of the Giralda is not laborious. We can walk up the inclined
+plane without losing breath; and at each window of the stages there are
+lovely peeps of the city and the vast plain of the Guadalquivir. From
+these windows there are fine outlooks upon the Cathedral, and the
+details of its wonderful buttresses can be well studied as we ascend
+stage by stage. The stages, or _cuerpos_, of the tower are all named.
+
+We soon arrive at the Cuerpo de Campanas, where there is a peal of
+bells. Santa Maria is a ponderous bell which cost ten thousand ducats.
+It was set up in the year 1588 by the order of the Archbishop Don
+Gonzalo de Mena. This bell is vulgarly called 'the plump' by reason of
+its great bulk and weight. Its note is deep and resonant, and can be
+heard all over the city, and far away in the country, when the wind is
+favourable.
+
+[Illustration: Cuerpo de Azucenas]
+
+Another _cuerpo_ is that of the Azucenas, or white lilies, so called on
+account of its architectural urns, with ironwork flower decorations. El
+Cuerpo del Reloj (the Clock Tower) contained the first tower-clock made
+in Spain. It was put in its place in the presence of King Enrique III.
+The present clock was the work of Jos� Cordero, a monk, and it dates
+from 1765. It is said that portions of the old clock were used by
+Cordero.
+
+Around the more modern part of the Giralda is an inscription in Latin:
+_Turris Fortisima Nomen Domini_. Each word of the motto occupies one of
+the faces of the tower. The Cuerpo de Estrellas, or Stage of the Stars,
+is so named in allusion to the decorations of its faces. Notice the
+_ajimez_ windows as you ascend the tower. The fourth and last _cuerpo_
+is the Corambolas, or billiard balls, referring to the globes of stone
+in the decoration.
+
+We emerge upon a gallery below the great statue of La F�, thirteen feet
+in height, and made out of bronze by Bartolom� Morel, in 1568. This
+figure of a woman is a vane, which moves with every wind in spite of its
+size and weight. It is a wonderful piece of workmanship. The head of the
+Faith is crowned with a Roman helmet, and in the woman's right hand is
+the great standard of Rome in the time of the Emperor Constantine. In
+the left hand the figure holds a palm branch, a symbol of conquest. The
+true name of the statue is La F� Triumfante; but in the common speech of
+Seville it is spoken of as Victoria, Giraldillo, Santa Juasma, and El
+Mu�eco.
+
+Don Alfonso Alvarez-Benavides, in his little book on _La Giralda_,
+published in Seville, tells us that the statue of the Faith has suffered
+several lightning strokes. One of these attacks severely scorched the
+upper section of the tower. In the afternoon of April 26, 1884, during a
+terrific thunder-storm, a shower of sparks fell upon the Giralda and
+caused much damage. Again, on the 18th of June 1885, lightning assailed
+the building. The work of restoration began in the year 1885, and was
+completed in 1888, under the direction of Fernandez Casanova.
+
+It was in 1568 that Hernan Ruiz erected the highest _cuerpo_ of the
+minaret by order of the Cathedral authorities. Ruiz was often employed
+by the Church, and his work may be seen in the restored _mezquita_ of
+C�rdova.
+
+The Giralda is about three hundred feet in height. As the surrounding
+country is level, we can command a very wide expanse from the gallery
+below the statue of the Faith. Looking over the roofs and dome of the
+Cathedral, we see the Plaza de Toros, and the suburb of Triana, on the
+opposite bank of the Guadalquivir. Among the low hills beyond the
+Cartuja, to the right of Triana, is the ancient Roman amphitheatre of
+Italica, while in the extreme distance are blue mountains.
+
+Beyond the Alc�zar we note the Parque, the Delicias, the Prado de San
+Sebastian, and the red clay hills of Coria on the right bank of the
+broad river. Further away are the interminable marshes bordering the
+estuary, and beyond is San Lucar. Below us is the Archbishop's Palace
+and the gardens of the Alc�zar. Seville is spread beneath us like a huge
+map. We look down on roof gardens, into _patios_, along the white,
+narrow _calles_, into the _plazas_, and across the housetops to the
+fertile land beyond the Roman walls.
+
+It is a prospect that inspires the spectator. Fair, sunny, fruitful
+Andalusia stretches around for league upon league, under a burning blue
+sky. The air is clear; there is scarcely a trace of smoke from the
+myriad chimneys of the city. No town could be brighter and cleaner. We
+are above the brown hawks that nest in the niches of the Cathedral. They
+float on outspread wings over the buttresses. The passengers in the
+streets are like specks; the trees in the Court of the Oranges are but
+shrubs. It is one of the finest panoramas in Spain. One is reluctant to
+descend from this breezy platform, and to turn one's back upon the fine
+bird's-eye view of Seville and the surrounding landscape.
+
+It is a misfortune that sun, wind and rain have almost expunged the
+frescoes that decorate the niches of the Giralda. They were the work of
+Luis de Vargas, who painted the altar-piece in the Chapel of the
+Nativity in the Cathedral. Vargas was a pupil of Perino del Vaga in
+Italy. One of the paintings on the Giralda represented the Saints of
+Seville, St. Justa and St. Rufina, who protect the tower from harm, and
+other subjects were scenes in the lives of saints and martyrs. Vargas
+also executed the fresco of Christ bearing the Cross, or the _Calle de
+Amargura_, on the outside of Patio de los Naranjas. The picture was
+restored by Vasco Pereyra, in 1594. We read of Luis de Vargas that he
+was extremely devout. He practised austerities and mortifications, and
+slept with a coffin by his bedside, to remind him of the insecurity of
+this earthly life. The ascetic artist was born in Seville, in 1502, and
+died there about the year 1568.
+
+Like the monument of London, and many other high towers, the Giralda has
+often been used by suicides. A number of despairing persons have thrown
+themselves from its summit.
+
+[Illustration: The Giralda]
+
+
+
+
+CHAPTER V
+
+_The Cathedral_
+
+    'How reverend is the face of this tall pile,
+     Whose ancient pillars rear their marble heads
+     To bear aloft its arched and ponderous roof,
+     By its own weight made steadfast and immovable,
+     Looking tranquillity.'--WILLIAM CONGREVE.
+
+
+'Let us build such a huge and splendid temple that succeeding
+generations of men will say that we were mad.' So said the pious
+originators of Seville Cathedral, in the year 1401. After one hundred
+years, the temple was still unfinished, and to this day masons are at
+work upon the dome.
+
+When San Fernando captured the city of Seville from the Moors, and made
+it his capital, the Mosque, which stood on the site of the Cathedral,
+was consecrated to the service of the Christian faith. It was used for
+Catholic worship until its disrepair became a reproach. Then the Chapter
+decided to erect a worthier fane, one which would astonish posterity.
+The Cathedral should be huge and magnificent, rivalling in its area all
+the other cathedrals of Spain. Toledo Cathedral is 'rich'; Salamanca,
+'strong'; Le�n, 'beautiful.' The Cathedral of Seville is called the
+'great.'
+
+In point of size the edifice ranks third among the cathedrals of Europe.
+It is the largest Gothic cathedral in the world, larger than Cologne and
+Milan. The superficial areas of the great cathedrals are as follows:--
+
+    St. Peter's  230,000 feet square
+    C�rdova      160,000
+    Seville      125,000
+    Milan        110,000
+    St. Paul's    84,000
+
+In 1511, five years after the practical completion of the building, the
+dome gave way. It was re-erected by Juan Gil de Honta�on, an architect
+who subsequently designed the new Cathedral of Salamanca (1513). The
+original architects are supposed to have been of German nationality.[B]
+Earthquake shocks endangered a part of the structure at a later date,
+and Casanova, who restored the Giralda Tower, superintended the
+renovation, which was begun in 1882. Six years after Casanova's
+restoration, the dome again collapsed, and from that time until to-day
+the work of repair has proceeded.
+
+Th�ophile Gautier, writing of this splendid pile, states:
+
+'The most extravagant and most monstrously prodigious Hindoo pagodas are
+not to be mentioned in the same century as the Cathedral of Seville. It
+is a mountain scooped out, a valley turned topsy-turvy; Notre Dame at
+Paris might walk erect in the middle nave, which is of frightful height;
+pillars as large round as towers, and which appear so slender that they
+make you shudder, rise out of the ground or descend from the vaulted
+roof, like stalactites in a giant's grotto.'
+
+In Caveda's description of the Cathedral, we read: 'The general effect
+is truly majestic. The open-work parapets which crown the roofs; the
+graceful lanterns of the eight winding stairs that ascend in the
+corners to the vaults and galleries; the flying buttresses that spring
+lightly from aisle to nave, as the jets of a cascade from cliff to
+cliff; the slender pinnacles that cap them, the proportions of the arms
+of the transept and of the buttresses supporting the side walls; the
+large pointed windows that open between them, one above another, just as
+the aisles and chapels to which they belong rise over each other; the
+pointed portals and entrances--all these combine in an almost miraculous
+manner, although these are lacking the wealth of detail, the airy grace,
+and the delicate elegance that characterise the cathedrals of Le�n and
+Burgos.'
+
+[Illustration: Pinnacle of the Cathedral]
+
+It was during the long and exhausting endeavours of the Castilian Kings
+to expel the Moors from Spain, that gold and treasure was paid into the
+coffers of the Chapter for the cost of erecting the marvellous
+Cathedral of Seville. Bishops, deans and clergy forfeited one half of
+their stipends to meet the heavy charges of architects, artists, stained
+glass designers, masons, carvers, and innumerable craftsmen and
+labourers. An army of artists and mechanics was employed upon the vast
+work. During the century of construction, the Catholic kings who resided
+in the Alc�zar, showed great interest in the undertaking, while the
+noble families subscribed liberally towards the cost, and the poor gave
+of their slender store of pesetas.
+
+The exterior of the Cathedral is a type of the finest Spanish Gothic
+architecture, though the incorporated Giralda Tower is distinctly
+Morisco, and much older in style. Within the consecrated precincts, we
+may see traces of the _Mud�jar_ handicraftsmen amid early Gothic and
+Renaissance architectural details.
+
+The Cathedral consecrated ground contains within its confines the
+Moorish Patio de los Naranjas, the high minaret, the Columbus Library,
+offices of the Chapter, and the Church of the Sagrario. There are nine
+doors to the Cathedral proper, and a gateway with doors, leading to the
+Patio de los Naranjas, or Court of the Oranges.
+
+
+THE EXTERIOR OF THE CATHEDRAL.
+
+From the Calle del Gran Capitan, on the west side of the Cathedral, one
+may gain a conception of the extent and the magnificence of the
+building. It is best to begin our inspection of the doors from this
+side. Here we shall find three entrances, or _puertas_. The chief door
+is in the centre. It is elaborately decorated, and is in fine
+preservation. Thirty-two figures stand in niches. Over the door is a
+beautiful relief of the Assumption by Ricardo Bellver.
+
+[Illustration: Puerta Mayor.
+
+THE CENTRAL DOOR OF THE CATHEDRAL]
+
+Puerta del Bautismo, or San Juan, is embellished with sculptures by
+Pedro Millan, which deserve careful inspection. The third doorway is the
+Puerta del Nacimiento, or San Miguel. This is also adorned by the
+sculpture of Pedro Millan. The upper part of the Cathedral viewed from
+this side is not of much beauty. It is modern, dating from 1827.
+
+[Illustration: Pinnacle of the Cathedral]
+
+At the south side of the Cathedral is the Puerta de San Crist�bal, or de
+la Lonja, added by Casanova in 1887. As we make the circuit of the
+edifice, we shall see the turrets and numerous pinnacles of the roof.
+The effect is impressive and bewildering. Centuries of labour are here
+represented in noble form and beauty of outline. The flying buttresses
+are especially graceful and the great dome is majestic in its
+proportions. Cean Bermudez compares the Cathedral with 'a high-pooped
+and beflagged ship, rising over the sea with harmonious grouping of
+sails, pennons and banners.'
+
+In the east fa�ade are the Puerta de los Campanillas and the Puerta de
+los Palos. These doors are magnificently decorated with sculptures by
+Lope Marin, executed in the year 1548. There are three entrances on the
+north side. That leading from the Court of the Oranges is named the
+Puerta del Lagarto, from the stuffed crocodile which hangs from the
+ceiling. The Puerta de los Naranjas is in the centre of the court. This
+door is kept closed except on days of festival. The third door is the
+unfinished one bearing the name of the Puerta del Sagrario.
+
+       *       *       *       *       *
+
+As we survey this immense monument of the Christian faith, we are led to
+muse upon the power of the early Catholic Church in Spain. It was no
+half-hearted belief that urged men of all ranks of society to deny
+themselves in contributing to the huge outlay that went to the planning,
+erection and decoration of this mighty Cathedral.
+
+The dictates of the Chapter ruled the councils of the State and the
+conferences of kings and courtiers. When the throne lost power, the
+bishop's chair gained in authority. In the reign of Philip III. the
+Cathedral of Seville had no less than one hundred clergy on its staff.
+Dunham, in his _History of Spain_, states that 'half a dozen could
+assuredly have been sufficient for the public offices of devotion.' But
+there was no question of restricting the number of ministers and
+confessors in these days of perfervid devotion. It was considered
+heretical to even speak of stinting the wealth that was freely poured
+into the coffers of the hierarchy. To this devotion and liberality we
+owe the great treasure-house of art beneath whose broad shadow we stand.
+The painters, sculptors and craftsmen were under the patronage of the
+Church; they could not have subsisted without such patronage. And in
+most cases they gave their services gladly, for their heart was in their
+labours, and devotion inspired them. Few desired any other kind of
+employment; the highest service was that of holy religion.
+
+A great faith, such as the Romish, inspires its devotees to the building
+of resplendent temples. The Christians would not merely imitate the
+Moors in the beauty and richness of their churches. They pledged
+themselves to excel the magnificence of the _mezquitas_, and to show
+mankind that God is honoured most devoutly by those who spare neither
+wealth nor industry in the setting up of fanes dedicated to His worship.
+We cannot grasp the Spanish character until we realise that its keynote
+in the past was profound piety and deep loyalty towards the Church and
+the Crown. The cathedrals of Spain are testimony to this devotion to the
+Christian creed. They are solemn historic memorials of faith.
+
+Worshippers in the Seville Cathedral are reverential; there is no
+apparent insincerity in their responses and genuflexions. In Italy and
+France there is a less manifest reverence during divine services. But
+the Spanish temperament has remained religious through all the stress of
+heretical days and the changing fortunes of its dynasties. It is not
+only the women who are devout, for many men are present at the
+celebrations in the cathedrals and churches. Very imposing are these
+Spanish services in the half-light of the _capillas_:
+
+    'Dim burn the lamps like lights on vaporous seas;
+     Drowsed are the voices of droned litanies;
+     Blurred as in dreams the face of priest and friar.'
+
+The organ music is often superb, and the choristers are highly trained.
+Besides the organ, reed and string instruments are used to accompany the
+singing during important festivals. The smoke of incense mounts in the
+lofty naves and aisles; the altars glow with candle-lights, and the
+sweet, rich voices of the boys hover under the vaulted roofs. Rich and
+poor alike sit or stand upon the flagged floors. The preachers are often
+very eloquent, and they preach in the purest form of the Castilian
+language.
+
+The dim light of the interior of the Cathedral is a hindrance to the
+full enjoyment of the very numerous works of art that adorn the chapels.
+This gloom is characteristic of the Spanish cathedrals and churches. The
+best time in the day to inspect the pictures in Seville Cathedral is
+before eight in the morning. It is an early hour; but the light is then
+fairly good, and the chapels are usually quiet. I advise the visitor to
+spend several hours in the Cathedral, if he desires to study the inner
+architecture, carvings, pictures and statues. A mere ramble through the
+naves and a peep into one or two of the _capillas_ will not suffice. It
+is well to select a portion of the interior for each day's inspection.
+Shun the loafers who offer their services as guides. They have no
+knowledge of the art treasures, and they possess a faculty of invention.
+
+I trust that my description will assist the stranger in his tour of the
+Cathedral. The chief objects of art are indicated, or briefly described,
+in the remaining part of this chapter. The account is not to be taken as
+exhaustive. A thorough treatise on the architecture of the building
+alone would require more space than I have at my command, and it might
+prove somewhat tedious to the reader who is not acquainted with the
+technical terminology of architecture.
+
+
+THE INTERIOR OF THE CATHEDRAL.
+
+Enter by the Puerta del Lagarto, in the Patio de los Naranjas. One's
+first impression when within the Cathedral is that of its magnitude and
+the 'frightful height,' which struck Th�ophile Gautier. The length,
+exclusive of the Capilla Real, is three hundred and eighty feet; the
+width is two hundred and fifty feet. The nave is one hundred and
+thirty-two feet in height, and over fifty feet in width.
+
+There is great dignity in the lofty columns, and a sense of vastness
+possesses us as we gaze upwards. The floor is of fine marble. It was
+laid in the years 1787 to 1795.
+
+_The Capilla de los Evangelistas_ is the first chapel near to the
+_puerta_. It has a fine altar piece in nine parts, the work of Hernando
+de Sturmio, containing a picture of the ancient Giralda. The paintings
+are on panel, and the brown tints are characteristic of the early
+Sevillian School of Art.
+
+By the Puerta de los Naranjas, the great door on this side of the
+Cathedral, there are two altars. One is the Altar de la Asunci�n, and
+the other is dedicated to La Virgen de Bel�n. The Assumption picture as
+executed by Carlo Maratta. The face of the Virgin is clear, but somewhat
+dark in tone, and the light is not favourable for viewing the picture.
+On the other side of the doorway the light is better. The altar is
+adorned by a painting of the Virgin, from the brush of the famous Alonso
+Cano. It is a rather conventional presentment of Holy Mother, but the
+features are not without beauty. On the whole, the painting is not
+equal in merit to most of the works of the last Andalusian master. The
+hands and feet of the figure are finished with the care characteristic
+of Cano's art.
+
+Alonso Cano has been called the 'Michelangelo of Spain.' He studied in
+Seville under Pacheco and Juan de Castillo, and painted pictures for
+some of the religious houses. Cano was also a sculptor and architect. He
+was forced to leave the city after wounding an antagonist in a duel. In
+1651 he was appointed a Canon of Granada, and during his residence in
+the old Moorish city, Cano painted works for the churches. The artist
+was of an irritable disposition; but he spent the latter part of his
+life in religious exercises, and gave freely to the poor. He died in
+poverty, in 1667, and received alms from the Church.
+
+Writing of Alonso Cano, in his _Spanish and French Painters_, Mr Gerard
+W. Smith says: 'Although he was never in Italy, his fine feeling for
+form, and the natural charm and simplicity of his composition, suggest
+the study of the antique, while in painting, the richness and variety of
+his colouring could hardly be surpassed.'
+
+_The Capilla de San Francisco_ is next to the altar of Alonso Cano. Here
+we may try to see a painting of the Glorification of St. Francis by
+Herrera el Mozo, and one of the Virgin and San Ildefonso, by Juan Vald�s
+Leal. Herrera's picture is not of value. He was a much less capable
+artist than his father, Francisco Herrera el Viejo (the elder), from
+whose roof the mozo ran away to Italy. Upon his return to Seville, the
+young man was so conceited and affected in his painting that he failed
+to produce any fine work. The Glorification of St. Francis and the
+picture by Leal can be scarcely seen in the sombre shadows of the
+chapel.
+
+[Illustration: Interior of the cathedral]
+
+_The Capilla de Santiago_ adjoins the last chapel. There are two
+paintings here; one by Juan de las Roelas of St. James (Santiago) and
+one of St. Lawrence (San Lorenzo) by Vald�s Leal. Roelas was painting in
+Seville at the time of Herrera the Elder. He is said to have studied art
+in Venice. The finest work of this artist is to be seen in the Church of
+San Isidoro.[C] In the Capilla de Santiago there is a dilapidated tomb
+of Archbishop Gonzalo de Mena, who died in 1401.
+
+_The Capilla de Escalas_ contains two pictures of note by Luca Giordano,
+strong in character, drawing, and colour. Over the tomb of Bishop
+Baltasar del Rio, who died in 1540, is an altar relief of the Day of
+Pentecost by a Genoese artist.
+
+_The Capilla del Bautisterio_ has one of Murillo's finest works,
+representing St. Anthony of Padua's Vision of the Child Jesus. Part of
+this picture was cut out and stolen in 1874. It was traced to New York,
+and restored to the Cathedral a few months later. The picture was
+originally painted for the Capuchin Convent in 1656, and afterwards came
+into the possession of the Chapter. A Baptism of Christ, also the work
+of Murillo, is above this painting. In this chapel is the font of holy
+oil, which is consecrated in Holy Week. This _pila_, or monument, was
+made by Antonio Florentin in 1545-1546. It is used for the exposition of
+the Host, and is exhibited near the Puerta Mayor in Easter Week.
+Originally the _pila_ was a tall construction of three storeys on
+columns, with a large cross. Between the columns were coloured figures
+of saints. Some of the effigies were modelled in clay, and others were
+carved from wood. They were beautifully designed. In 1624 the building
+was altered and spoiled by the addition of another storey of the
+composite order. 'Its effect in the midnight service is superb,' writes
+Sir Stirling Maxwell, 'when blazing with church plate and myriads of
+waxen tapers it seems a mountain of light, of which the silver crest is
+lost in the impenetrable gloom of the vaults above.'
+
+On the west side of the Cathedral, which we have now reached, is the
+Altar de la Visitaci�n, with pictures by Marmolejo and Jer�nimo
+Hernandez. By the principal door is another altar, that of Nuestra
+Se�ora del Consuelo, with a painting by one of Murillo's pupils, Alonso
+Miguel de Tobar. Close to the Puerta del Nacimiento we shall find some
+fine works by Luis de Vargas, the celebrated fresco artist. There are
+three _capillas_ on this side of the building, called the Capilla de los
+J�comes, the Capilla de San Leandro, and the Capilla de San Isidoro.
+They may be passed by, as they contain no important works of art.
+
+At the Puerta del Nacimiento we reach the south aisle, and come to
+
+_The Capilla de San Laureano_, with a tomb of Archbishop Alonso de Exea,
+who died in 1417.
+
+_The Capilla de Santa Ana_ is the next chapel on the south side. Here
+there is an interesting old altar, with several pictures painted in the
+early part of the fifteenth century.
+
+_The Capilla de San Jos�_ contains a notable work by Juan Vald�s Leal,
+the Marriage of the Virgin, and a poor picture by Antolinez.
+
+_The Capilla de San Hermenegildo_ is noteworthy for the image of the
+saint by Monta�ez, and the tomb of Archbishop Juan de Cervantes by
+Lorenzo de Breta�a. The marble of the tomb is much worn.
+
+_The Capilla de la Antigua_ is a larger chapel, with fourteenth-century
+decorations of the altar. There is also a fine monument to Cardinal
+Mendoza, executed in 1509 by the Italian Miguel. The figures are very
+quaint. Adjoining this chapel is the Altar de la Gamba, with the
+Generacion by Luis de Vargas, a famous picture described in the art
+chapters of this book. The immense painting opposite is St. Christopher,
+by Mateo Perez de Alesio, painted in 1584.
+
+For painting the San Cristobal Alesio received four thousand ducats. The
+saint is quaintly clad in hose, and the figure is gigantic. Sir Stirling
+Maxwell draws attention to the fine colouring of the parrot seen in the
+distance. Mateo de Alesio, who was an Italian by birth, died in the year
+1600.
+
+Passing through the _Capilla de los Dolores_, which is unimportant, we
+come to the splendid _Sacrist�a de los C�lices_, built by Ria�o and
+Gainza in the years from 1530 to 1537. Diego de Ria�o, sculptor and
+designer, was often employed by the Cathedral authorities. He delighted
+in lavish and fantastic embellishment, and introduced the Italian
+methods of ornamentation. Martin Gainza was of the same school. He was
+an architect and sculptor of great repute, and he assisted Ria�o in much
+of his work.
+
+The Crucifix is the work of Monta�ez. It was removed from the Cartuja
+Convent. Murillo's _Angel de la Guarda_, or Guardian Angel, is in this
+sacristy. This picture was presented to the Cathedral by the Capuchins
+in 1814. It is one of the best of Murillo's works. Borrow much admired
+the _Guarda_, and Sir Stirling Maxwell describes the diaphanous drapery
+of the child's dress in terms of praise. The angel holds a child by the
+hand, and points to heaven. Notice the rich colouring of purple and
+yellow in the vesture of the angel.
+
+On the same wall are the _Ecce Homo_, the Virgin, and St. John, the work
+of Morales; St. Dorothy by Murillo; a painting of Fernando de Contreras
+by Luis de Vargas; Piet� and Death of the Virgin by a German artist, and
+a picture by Juan Nu�ez of the fifteenth century.
+
+Goya's fine painting of St. Justa and St. Rufina is here. Elsewhere in
+this book I have told the legend of these guardian saints of the
+Giralda. Goya's conception of them is unconventional, and unlike that of
+Murillo, who represents the two maidens with halos around their heads.
+We have the figures of two charming potter-girls in Goya's picture, two
+creatures of earth, lovely, but not ethereal. The Holy Trinity of 'El
+Greco' (the Greek) is one of the interesting examples of this great
+Toledan artist's work. Zurbaran is represented in the Sacrist�a by his
+painting of St. John.
+
+_The Sacrist�a Mayor_ is in the Renaissance style. It was built by the
+designers of the Sacrist�a de los C�lices about the year 1532. Campa�a's
+admirable Descent from the Cross is here, but the picture has been
+indifferently restored. There is also a work of Murillo, SS. Leandro and
+Isidoro.
+
+The Cathedral Treasury is in this sacristy. One of the principal objects
+of interest is the splendid _custodia_, used for carrying the Host. It
+is the work of Juan d'Arphe, a celebrated gold-worker, who was born in
+Avila in 1535. In 1564 he constructed the _custodia_ of that city, and
+in 1580 began a work of a similar character for Seville Cathedral. Many
+designs were submitted for the inspection of the Chapter, but Juan
+d'Arphe's was chosen as one unequalled in Spain. The _custodia_ is about
+twelve feet high, round in form, with four storeys, each one supported
+by twenty-four columns. Some of the columns are Ionic; the rest are
+Corinthian and composite in design. Between the columns are a number of
+statuettes, and the base and cornices are profusely adorned with
+bas-reliefs. In the first storey there was originally seated a figure of
+Faith, but it was changed in 1668 for one of the Virgin of the
+Conception, when the _custodia_ was restored by Juan Segura. The second
+storey is the repository of the Host, and in the third and fourth
+storeys are figures of the Church Triumphant and the Holy Trinity.
+Crowning the edifice was a small dome and cross, which was replaced in
+1668 by a statue of the Faith. The _custodia_ is of beautiful and simple
+design.
+
+The _Tablas Alfonsinas_, a reliquary, given to the Church in 1274 by
+Alfonso el Sabio, are in the Treasury. Crosses, plate and sacerdotal
+vestments are among the treasures. The canonical robes date from the
+fourteenth century. The keys of Seville, yielded to Fernando el Santo on
+the day of conquest, are also shown here.
+
+_The Capilla del Mariscal_ adjoins the Sacrist�a Mayor. In this chapel
+is the great altar-piece of Pedro Campa�a, restored in 1880. The work is
+in ten parts, representing scenes in the life of Christ, and containing
+portraits of Marshal Pedro Caballero and his family.
+
+_The Sala Capitular_ was the work of Ria�o and Gainza. It was begun in
+1530 and finished in 1582. The plateresque decorations are very
+beautiful. Note the fine ceiling, the marble medallions, and the
+pavement. Murillo's Conception is here, and the Four Virtues of Pablo de
+C�spedes. There is a picture of San Fernando by Pacheco, the
+father-in-law and instructor of Velazquez. The ovals between the windows
+were the work of Murillo. This _sala_ is close to the Puerta de los
+Campanillas, and beyond this entrance, on the east side of the
+Cathedral, is
+
+_The Capilla de la Concepci�n Grande_, containing a monument to
+Cardinal Cienfuego, a modern work. The other small chapel on this side
+is that known as
+
+_The Capilla de San Pedro_. Here are nine pictures by Zurbaran, well
+worthy of notice, and a tomb of Archbishop Diego Deza, restored in 1893.
+
+_The Capilla Real_ is between the two smaller chapels of the east end.
+In design this chapel is Renaissance. The decorations are luxuriant and
+there is a high dome. Gainza began to build the chapel in 1541, and his
+work was carried on by Hernan Ruiz, who planned the choir of C�rdova
+Cathedral, and afterwards by Juan de Maeda.
+
+On the chief altar is a figure of the Virgin of the Kings, dating from
+the thirteenth century. It was presented to San Fernando by St. Louis of
+France. The fair hair is real; the crown that adorned the head was
+stolen in 1873. On each side of the doorway are tombs. One is that of
+Alfonso el Sabio, and the other is the tomb of his mother.
+
+The shrine of the adored San Fernando is in front of an altar. In the
+Pante�n are the coffins of Pedro el Cruel, his mistress Maria de
+Padilla, the Princes Fadrique, Alonso and Pedro, and others. Over San
+Fernando's coffin is the ivory figure of the Virgin of Battles, which
+the King carried upon his saddle when he went to the wars. The monarch's
+pennant and sword are also displayed.
+
+Murillo's Mater Dolorosa is in the sacristy of this _capilla_. There are
+portraits of St. Ignatius and St. Francis Xavier, by Pacheco.
+
+In the later styles of the Capilla Real we may see examples of the
+Grotesque, or _Estilo Monstruoso_, with which the buildings of Seville
+abound. Diego de Ria�o's work in the Ayuntamiento, or City Hall, is full
+of instances of this development of fanciful design and bizarre effect.
+Gainza, the collaborator of Ria�o, is responsible for the articulations
+and curious, lavish adornment of the Royal Chapel of the Cathedral. The
+sacristy of the _capilla_ was built and decorated by Gainza after plans
+by Ria�o. We may now inspect the stained-glass windows, in which we
+shall find the influence of Italian artists. It must be noted that art
+in Spain has been profoundly influenced by Italy. Michelangelo is
+reverenced by Spanish artists. Many of the early Spanish painters went
+to Italy to study, and brought back with them new ideas and fresh
+methods of painting. 'Spanish artists,' writes Professor Carl Justi,
+'did their best to Italianize themselves in the studios of Roman and
+Florentine masters.'
+
+Cristobal Micer Aleman was the first to introduce the art of staining
+glass into Seville. Until 1504 stained glass windows had not been seen
+in the city, and Aleman was the designer of the first painted window of
+the Cathedral. Sir Stirling Maxwell states that in 1538 the Church paid
+Arnao of Flanders, Carlos of Bruges, and other artists the sum of ninety
+thousand ducats for staining the windows of Seville Cathedral. The work
+was not completed until twenty years later. The chief window pictures
+are the Ascension, Jesus and Mary Magdalen, the Awakening of Lazarus,
+and the Entry into Jerusalem. The Resurrection is the work of Carlos,
+and other pictures are by the two brothers Arnao.
+
+The isolated _Capilla Mayor_ has an altar-piece of wood, and a silver
+image of the Virgin by Alfaro. The painted scenes are from the
+Scriptures. Crowning the retablo are a crucifix and large statues of the
+Virgin and St. John. Dancart, the designer of the retablo, was of the
+Flemish school of decorative carvers. The work was begun about 1482 and
+finished in 1526.
+
+Between the _Coro_ (choir) and the Chief Chapel an enormous candelabrum
+is displayed during Semana Santa, or Holy Week. It is called the
+Tenebrario, and it was constructed by Bartolom� Morel, a
+sixteenth-century sculptor. The structure is twenty-six feet high, and
+it is ornamented with several small images. During the imposing
+celebrations of Semana Santa, the candelabrum is lit by thirteen
+candles. Twelve of these lights represent the apostles who deserted
+their Master; the thirteenth candle stands for the Virgin, and when the
+twelve have been extinguished, the thirteenth still burns as a symbol of
+Mary's fealty to the Saviour.
+
+_The Coro_ was much injured by the collapse of the dome. Two grand
+organs were destroyed at this time. One of the most interesting objects
+preserved in the choir is the facistol, or choristers' desk, of
+Bartolom� Morel, adorned with highly-finished carvings. The choir stalls
+were decorated by Nufro Sanchez, a sculptor of the fifteenth century,
+whose work suggests German influence. They are beautiful examples of
+carving.
+
+_The Coro_ is entered by either of the two doors of the front or
+_Trascoro_. There is a handsome marble fa�ade; a painting of the Virgin
+by an unknown hand, and a picture said to be from the brush of Francisco
+Pacheco, the artist, author and inquisitor. The white marble frontage is
+adorned with bas-reliefs of the Genoese school, exhibiting fine feeling.
+Italian influence is manifest in the picture of the Holy Mother, which
+is highly decorative in style.
+
+Close to the _Coro_, near the chief entrance on that side of the
+Cathedral, is the tomb of Fernando Col�n, son of Cristobal Col�n
+(Columbus). The slab is engraved with pictures of the discoverer's
+vessels. An inscription runs: '_� Castilla y � Le�n mundo nuebo di�
+Colon:_' _i.e._, 'To Castile and Le�n Columbus gave the New World.'
+
+The student of architecture and painting will find ample examples of
+varied styles of art in this great repository of sculpture, frescoes and
+panel pictures. He will be able to trace the development of
+architectural design from the fifteenth to the nineteenth century, both
+in the exterior and interior of the immense Cathedral. The art of the
+_Mud�jar_, the Fleming, the Italian, the German and the Spaniard are
+here represented in masonry, decoration, stained glass, and upon canvas.
+Wandering designers and craftsmen of the Middle Ages looked upon Spain
+as a land of plenty. They came from Flanders, Italy and Genoa, and found
+favour with the wealthy Chapter of Seville. The artists employed to
+adorn the Cathedral range from Juan Sanchez de Castro, 'the morning star
+of Andalusia,' in 1454, to Francisco Goya, the last great painter of
+Spain.
+
+Many of the so-called Spanish school of artists were aliens who settled
+in the country. Pedro Campa�a was, for example, a native of Brussels.
+For twenty years he studied in Italy, and his Purification of the Virgin
+shows the Italian influence. Sturmio was probably a German named Sturm.
+Dom�nico Theotoc�puli, called '_El Greco_,' was a Greek. Mateo Perez de
+Alesio was an Italian, who lived in Seville, and died at Rome in 1600.
+
+Luis de Vargas, the painter of the Nativity picture in the Cathedral,
+whose fresco work is to be seen elsewhere in the city, was a student of
+the Italian method. Vargas was a man of profound piety. He was born in
+Seville in 1502. After his death, scourges used for self-inflicted
+penance were found in his room, and by his bed was a coffin in which
+the ascetic painter used to lie in order to meditate seriously upon
+life.
+
+The religious devotion of Luis de Vargas is exhibited in the spirit of
+his work. This reverential treatment of sacred subjects is
+characteristic of all the Sevillian painters. In their art they
+worshipped. Martinez Monta�ez, or Monta�es, the sculptor, was a zealous
+Catholic. In his coloured statues we perceive a melancholy reflection of
+his sombre mind, a pathos expressing itself in realistic conceptions of
+a suffering Christ and a sorrowful St. Francis Xavier. These tinted
+statues appeal powerfully to the imagination of the Sevillian populace.
+Many of the images were made for the solemn processions of Semana Santa.
+
+Among the artists employed in adorning the Cathedral there was not one
+more devoted to the Church than Pacheco. He was censor of art for the
+Inquisition, and in his writings we find precise counsels upon the
+fitting method of painting sacred pictures. To Pacheco the faith was of
+far greater moment than art. He was a close friend of Monta�ez, whose
+statues he sometimes coloured.
+
+_The Sagrario_ adjoins the Cathedral, and may be entered from the Court
+of the Oranges. The building serves as a parish church, and occupies the
+ground of the old _Sagrario_. It was begun in 1618 by Miguel Zum�rraga,
+and completed in 1662 by Lorenzo Fernandez. The vaulted roof is
+remarkable. Pedro Roldan painted the retablo, which was formerly in the
+Francisan Convent. The convent stood in the Plaza de San Fernando, or
+Plaza Nueva, as it is sometimes called. Roldan was a contemporary and
+follower of Monta�ez. There is an important image of St. Clement by
+Pedro Duque Cornejo. The statue of the Virgin is the work of the devout
+Martinez Monta�ez.
+
+Beneath the church is the vault of the Archbishops of Seville. The
+terra-cotta altar is exceedingly decorative. In the sacristy there are
+some splendid _azulejos_, which formed part of the old Morisco mosque.
+
+
+
+
+CHAPTER VI
+
+_The Alc�zar_
+
+    'How Sultan after Sultan with his Pomp
+     Abode his destined Hour, and went his way.'
+
+     RUB�IYAT OF OMAR KHAYY�M.
+
+
+The richest monument of Almohade might in Seville is the beautiful
+Alc�zar, or 'Castle,' which stands at but a stone's-throw from the
+remains of the great mosque. It is a palace of dreams, encompassed by
+lovely perfumed gardens. Its courts and salons are redolent of Moorish
+days, and haunted by the spirits of turbaned sheiks, philosophers,
+minstrels, and dark-eyed beauties of the harem. As we loiter under the
+orange trees of quiet gardens, we picture the palace as it was when
+peopled by the chiefs and retinues of swarthy skin in the time of
+Abdelasis, and contrast what remains of the primitive structure and
+Morisco decoration with the successive additions by Christian kings.
+
+The nightingales still sing among the odorous orange bloom, and in the
+tangles of roses birds build their nests. Fountains tinkle beneath
+gently moving palms; the savour of Orientalism clings to the spot. Here
+wise men discussed in the cool of summer nights, when the moon stood
+high over the Giralda, and white beams fell through the spreading boughs
+of the lemon trees, and shivered upon the tiled pavements.
+
+[Illustration: Patio de las Doncellas]
+
+In this garden the musicians played, and the tawny dancers writhed and
+curved their lissome bodies, in dramatic Eastern dances. _Ichabod!_
+The moody potentate, bowed down with the cares of high office, no longer
+treads the dim corridor, or lingers in the shade of the palm trees, lost
+in cogitation. No sound of gaiety reverberates in the deserted courts;
+no voice of orator is heard in the Hall of Justice. The green lizards
+bask on the deserted benches of the gardens. Rose petals strew the paved
+paths. One's footsteps echo in the gorgeous _patios_, whose walls have
+witnessed many a scene of pomp, tragedy and pathos. The spell of the
+past holds one; and before the imagination troops a long procession of
+illustrious sovereigns, courtiers, counsellors and menials.
+
+       *       *       *       *       *
+
+The historians of the Alc�zar suppose that the original structure was
+erected in 1181 for Abu Yakub Y�suf. Between the Puerta del Le�n, in the
+Plaza del Triunfo, and the Sala de Justicia there are parts of the wall
+which are said to date back to the Roman times. It is generally asserted
+that the Moorish palace was reared on the ruins of a Roman pr�torium,
+and that the original work was undertaken in the eleventh century. In
+its pristine form the Alc�zar was of triangular design, and the
+buildings and gardens occupied a much greater space than they cover at
+the present day. The chief _puerta_ was originally at the Torre de la
+Plata, formerly standing in the Calle de Ataranzas, but pulled down in
+recent years; while another point of the triangle was at the Torre del
+Oro, on the bank of the Guadalquivir. Within these precincts there were
+vast halls, council rooms, dormitories, baths and gardens. The remaining
+portions of the walls and the towers show that the ancient fortress was
+very strong; and one can understand the difficulty experienced by
+Fernando the Good during his long siege of the citadel.
+
+In the Plaza de Santo Tomas is the Tower of Abdelasis, which was once
+part of the palace. It was from this tower that Fernando floated the
+Christian standard after the capture of the Alc�zar. The chief entrance
+in our day is in the Plaza del Triunfo. It is called the Gate of the
+Lion (Puerta del Le�n). We pass through, and come into the Patio de las
+Banderas (Court of the Banners), so called because a flag was hoisted
+here during the residence of the sovereign in the palace. The _patio_ is
+surrounded by modern offices, and planted with orange trees. A roofed
+passage on the right side of the court leads to the wonderful _Mud�jar_
+halls and the salons of the Catholic kings. The passage is the Apeadero,
+or 'halting-place.' It was built by Philip V. The fa�ade is in the
+Baroque style.
+
+Turning to the right from the Apeadero, we follow a corridor to the
+Court of Do�a Maria Padilla, the mistress of Pedro the Cruel. The court
+is planted with orange and lemon trees and big palms. Arched galleries
+of a modern character seem out of place here. But in a moment we come
+into the Patio de la Monteria with its beautiful Moorish fa�ade. The
+_ajimez_ windows, the cusped arches, and the decorations of this doorway
+are fine examples of Almohade art. There is an inscription in early
+Gothic characters, over the door, stating that 'the most noble and
+powerful Don Pedro, by the grace of God, King of Castile and Le�n,
+caused these fortresses and palaces to be built in the era of _de mill
+et quatrocientios y dos_' (of C�sar). The date is 1364 A.D.
+
+We follow a passage to the Patio de las Doncellas (Court of the
+Maidens). This large and lofty hall has twenty-four beautiful Morisco
+arches, and singularly rich ornamentations. The fifty-two marble columns
+are of the Renaissance period, and were substituted between the years
+1540 and 1564 for the original pillars. Notice the glazed tiling
+decorations of brilliant colouring. These date from the time of Pedro
+the Cruel, who added to the ancient palace until little of the original
+remained. Notwithstanding, the style is distinctly Moorish, and the
+decoration was the work of _Mud�jares_, whose quaint _azulejos_ may be
+here studied to advantage.
+
+The Sal�n de Embajadores adjoins the Court of the Maidens. This was the
+Hall of the Ambassadors. It is about thirty-three feet square. The dome
+is of the _media naranja_ or 'half orange' shape, the favourite design
+of the Moorish architects. On the walls are portraits of the monarchs of
+Spain. This is the most sumptuous of the salons of the Alc�zar; the
+walls veritably dazzle the spectator with their richness of colouring.
+Not one inch of space on the arches, walls and doorways is left without
+an ornate pattern. The doors of the salon are massive and finely
+decorated. In this hall Charles V. was married to Isabella of Portugal.
+
+The Comedor, or dining-room, opens out of the Hall of Ambassadors on the
+west side. We find in this room the latest restorations of the palace.
+Here, on September 21, 1848, was born the Infanta Do�a Maria Isabel de
+Orleans y Borb�n, Condesa de Paris. The bedroom of Isabella the Catholic
+adjoins the Comedor.
+
+Returning to the Hall of the Ambassadors, we enter the room of Philip
+II., and pass through it to the small Patio de las Mu�ecas. Note the
+pigmy figures in the ornamentation, which give the name of the Dolls'
+Court to this chamber. The upper parts of the gallery are modern, and
+were constructed in the years 1855 and 1856, at the time of the last
+extensive restoration of the Alc�zar.
+
+The Sal�n of the Princes, approached from the Patio de las Mu�ecas, is a
+spacious hall, in the mixed styles of the _Mud�jar_ and the plateresque.
+The Dormitory of the Moorish Kings should be inspected. Then cross the
+Patio de las Doncellas to the Sal�n de Carlos V. This chamber has a
+remarkably fine ceiling, and beautiful decorations of _azulejos_, made
+by Cristobal de Augusta, an Italian, who worked in Triana in 1577. From
+the salon we may enter the room of Maria de Padilla.
+
+The upper apartments of the Alc�zar can be viewed by special permission.
+I would strongly urge the visitor to obtain this permission. If he
+applies to the _conserje_ at the Palace of Pedro, he will be informed
+that admission is impossible without an order from the King of Spain.
+Such was my experience. I then asked for an order at the offices in the
+Patio de las Banderas, but the courteous officials were firm in their
+refusal, stating that 'no one but the King can give permission to visit
+the upper part of the Alc�zar.' Still determined, I ventured to address
+His Majesty by letter, and in a few days I received a reply from the
+Intendencia General de la Real Casa y Patrimonio at Madrid. The letter
+was written by the royal secretary, and is a beautiful example of the
+ornate caligraphy in which educated Spaniards delight. I was told that
+'the Se�or Marqu�s de Ir�n, Alcaide of the Reales Alc�zares, would grant
+me the desired permission.'
+
+At the hotel I inquired where the Marqu�s de Ir�n resided. No one knew.
+My host searched through a Seville directory. The name of the Marqu�s de
+Ir�n was not to be found in its pages. Finally, armed with the letter
+from the royal palace, I presented myself at the offices in the Patio de
+las Banderas, and displayed the missive.
+
+The effect was magical. The officials were even more polite than before.
+One of them wrote a note, which he asked me to give to the _conserje_,
+and I was bowed out of the office. The _conserje_ in the Patio de la
+Monteria scanned the open-sesame. And at last I gained entrance to the
+upper apartments of the Royal Alc�zar.
+
+The visitor who has secured his permit will be rewarded. There is much
+to see in these chambers. Notice, first of all, the fine staircase
+constructed at the end of the sixteenth century. The seventeenth-century
+tapestries in the salons are magnificent examples of this art. Most of
+the subjects are Dutch; some are copies of pictures by David Teniers. In
+the first hall, at the head of the principal staircase, there is some
+handsome artesonada ceiling decoration of the fifteenth century.
+
+In the Oratory of the Catholic Kings there is the most notable specimen
+of ceramic art to be seen in Spain. It is a lovely retablo of
+_azulejos_, designed by Franciso Niculoso, an Italian, in 1504. Niculoso
+introduced this kind of _azulejo_ painting into Seville. The central
+picture represents the Visitation of the Virgin to St. Isabella. A
+smaller subject is the Annunciation, and there is a curious genealogical
+tree of the Saviour. The decorations are fantastic.
+
+In the Comedor there is a splendid laced ceiling of _Mud�jar_
+workmanship, dating from the fifteenth century. The walls are covered
+with interesting tapestry pictures.
+
+Step on to the balcony of the Hall of the Ambassadors, and admire the
+roofing, the columns, and wealth of Oriental ornamentation. In the rooms
+of the Infantas there are _Mud�jar_ ceilings of the fifteenth and
+sixteenth centuries. The portraits of princes and other royal personages
+are not of much artistic importance. There is a picture by Goya, a very
+spirited portrait of Do�a Maria, wife of Don Carlos IV. Goya was the
+last of the great painters of Spain. A number of his works are in a
+gallery of the Prado Museum at Madrid, but very few of his paintings are
+preserved in Seville. This example in the Alc�zar deserves the visitor's
+notice.
+
+One of the most interesting apartments on the upper floors of the royal
+palace is the bedroom of Pedro el Cruel. The _dormitorio_ is sumptuous
+with _Mud�jar_ decorations of the sixteenth century. Near the doorway
+are four heads painted upon the wall. They are the heads of four
+disloyal justices who incurred the anger of their sovereign, and were
+condemned to death. The paintings throw a light upon the character of
+Pedro, who, no doubt, surveyed them with satisfaction whenever he
+entered the chamber. It is probable that the King feared assassination,
+for from this part of the palace there is a staircase descending to the
+quarters formerly occupied by the guards and royal bowmen. The story
+runs that Pedro had this stairway made in order to communicate with his
+faithful servant Juan Diente, a famous marksman with the bow.
+
+In the Dormitory of Queen Isabel there is a copy of Murillo's _Ecce
+Homo_, and various portraits of monarchs. The Sal�n Azul (Blue Room) is
+so named on account of the colour of its silk tapestries. The pastel
+paintings in this apartment are by A. Muraton, representing Queen Do�a
+Isabel, the Infanta Do�a Isabel, King Alfonso XII., and the Marquesa de
+Novaliches. There are also eighteen miniatures painted upon ivory.
+
+The modern bedroom has a Coronation of the Virgin, the work of Vicente
+L�pez, a copy of a Murillo, and another of Raphael's Holy Family.
+
+Let us saunter now in the sunny gardens of the Alc�zar. We can reach
+them through the Apeadero, and by the steps leading from the tank at the
+entrance. The reservoir is full of carp, some of them of corpulent
+proportions. A few small fish may be seen basking near the surface of
+the water, but the bigger and warier carp do not often show themselves.
+Roses cluster about the steps, and twine on all the railings. We come to
+a tree-grown court, with a gallery running on one side, and an arched
+entrance to the Baths of Maria de Padilla. This garden is called El
+Jardin del Crucero. The underground bath is cool, and it is a rest to
+the eyes to escape for a few minutes from the dazzling sunlight of the
+gardens. Here the lovely Maria, faithful mistress of the ferocious
+Pedro, was wont to bathe in warm weather.
+
+To show their homage to the monarch's consort, the chivalrous courtiers
+came hither when the fair bather had taken her bath, and drank of the
+water in which she had washed her white limbs. It is said that these
+devoted servitors used sometimes to carry away some of the water in
+vessels 'to drink it with enjoyment.'
+
+Pedro el Cruel, of all the Christian sovereigns who lived in the
+Alc�zar, was the most attached to the palace. He lavished money upon the
+building of the apartments which we have just inspected, and employed
+the cleverest _Mud�jar_ designers and craftsmen. In the Hall of Justice
+he heard charges against criminal offenders; in the gorgeous salons he
+received illustrious guests, discoursed with his officers, and played at
+draughts with his courtiers. His image arises before the imagination as
+we stray under the lemon and orange trees of his quaint and charming
+pleasure-grounds. Coming to the throne in his sixteenth year, Don Pedro
+decided upon making Seville his capital.
+
+We have read in the historical sections of our account of the city how
+he earned the title of 'El Cruel.' But the story of his treachery
+towards his half-brothers has not been related.
+
+Don Fadrique, Master of the Order of Santiago, and half-brother of Pedro
+el Cruel, having confessed allegiance to the King, came one day to
+Seville, after a campaign with rebels in Murcia. The Master of Santiago
+went to the Alc�zar with the intention of paying a visit to his
+half-brother, the King. Pedro was playing at backgammon in his private
+apartment of the palace when Don Fadrique came to him.
+
+The monarch received his general with genial courtesies, and bade him
+stay in the Alc�zar. Leaving Pedro for a while, the Master went to the
+rooms of Maria de Padilla. He found her agitated and pale, but the
+sadness of her beautiful countenance did not cause him to suspect what
+lay upon her mind. Maria knew that Pedro longed to rid himself of all
+possible claimants to the throne. His eldest half-brother Enrique was in
+France, plotting against the Castilian throne. Pedro still dreaded a
+rising under Fadrique. He apparently doubted his professed fealty, and
+he had planned his murder. It is said that the Master of Santiago
+received hints of the fate that awaited him. But he returned to the
+quarters of the King, who was in company with several members of his
+court.
+
+Pedro had shut himself in an inner room, which had a wicket to it. From
+the wicket he shouted to his soldiers: 'Kill the Master of Santiago!'
+The bowmen obeyed. Fadrique drew his sword and made a stand, but he was
+soon overpowered, and struck down by blows on the head. The Master's
+servants were next seized and slaughtered. One of the train ran to the
+room of Maria de Padilla, pursued by his assailants, and threw himself
+behind Do�a Beatrice, one of Maria's daughters. Pedro was among the
+pursuers. He tore the man from the arms of Beatrice, stabbed him, and
+gave him into the hands of his assassins. Returning to the room where
+Don Fadrique was expiring, Pedro saw that his half-brother was still
+breathing. Drawing his dagger, the King gave it to an attendant, and
+commanded him to kill the Master outright.
+
+During the siege of Seville by Fernando el Santo, the fortified palace
+was the chief point of attack. The massive walls of the Alc�zar long
+resisted the assault of the besiegers. But the beleaguered Moors were at
+length compelled to offer surrender to the knights of the Cross. On the
+day of St. Clement the gates were thrown open, and San Fernando rode
+into the courtyard. In the King's hand was a sword; on his saddle the
+ivory image of the Holy Virgin. By his side rode Don Garcia de Varga and
+his brother Don Diego, the Cond� Lorenzo, Pelago, and other brave
+cavaliers. The Khalif of the Alc�zar escaped by the gate near the
+Hospital del Sangre. Henceforward, the palace was to be the residence of
+the kings of Castile.
+
+In 1379 Juan I. lived in the Alc�zar. The King ascended the throne
+without opposition. Trouble arose soon with Portugal, and Juan marched
+at the head of thirty-four thousand soldiers into the enemy's territory.
+The Portuguese had a small force of only ten thousand men, including a
+few Englishmen. Near the village of Aljubarrota the armies met. There
+was a great battle, in which the Portuguese troops fought valiantly, and
+drove back the invaders.
+
+Don Juan was ill and weak during the engagement. He was carried on a
+litter by his knights, and in the retreat, the King was put on a mule,
+and hurried from the scene of action to the Tagus. Here the monarch
+embarked in a small boat for Lisbon, whence he returned to Seville to
+mourn his defeat in the seclusion of the Alc�zar.
+
+Isabel and Fernando often sought the tranquil paths of this garden. The
+Catholic Queen and her Consort lived here in great state, in the palmy
+days of Seville, dispensing justice, listening to the counsels of
+Torquemada and the officers of the Holy Inquisition, and consulting with
+Columbus regarding the expansion of their realm and the development of
+trade with the New World. Many were the hours passed by the blue-eyed,
+fair-haired Queen in the private chapel.
+
+The pious Philip II. came here, though he preferred his mountain palace
+of the Escorial. He ordered the portraits of the Kings of Spain to be
+painted in the Hall of the Ambassadors. As we have read, Philip incurred
+the resentment of the Sevillian merchants by his confiscation of their
+ingots. But the prelates and clergy of the city honoured the sovereign,
+who always supported the Church and favoured the priests. In his reign
+the Primate of Spain was almost as wealthy as the Pope. The Archbishop
+of Seville received an income of eighty thousand ducats a year.
+
+Philip spent his time at the Alc�zar in his usual daily labours, writing
+like a clerk in his private room until the small hours of the morning.
+Every morning he attended Mass. The King lived simply, for he feared the
+gout. But in spite of this form of frugality, Philip spent his revenue
+freely in maintaining a large household. In his retinue there were
+fifteen hundred persons, including forty pages, all of noble family.
+
+In the Queen's train there were twenty-six ladies-in-waiting, and four
+physicians were in constant attendance on Her Majesty. We may picture
+Philip moodily roaming in the gardens, dressed in black velvet, with a
+plumed cap. From his neck was suspended the fine jewel of the Golden
+Fleece. He wore sober clothes, and changed his suits once every month
+for new ones. His wear, like the cast of his mind, was sombre. A dread
+of society possessed the King, and in his later days he became more
+taciturn and morose.
+
+'I am absolute King,' was the boast of the despotic Philip. His ambition
+was to attain power, to extend his kingdom beyond the seas, and to crush
+out heresy. Yet Tennyson's love-dazzled Mary is made to ask, as she
+gazes upon the face of the Spanish King, in a miniature painting:
+
+    'Is this the face of one who plays the tyrant?
+     Peruse it; is it not goodly, ay, and gentle?'
+
+These gardens evoke reflections upon the ever-changing fate of Spain. We
+gaze at relics of the Moors, and remember the eight hundred years of
+that sanguinary history of the expulsion of the infidels. Yet everywhere
+there are traces of that mighty civilisation built up by Morisco
+knowledge and industry. The _Mud�jar_ has touched the palace and the
+gardens with his magic wand. Fernando, Pedro, Philip, Carlos--all the
+Catholic sovereigns--preserved the Moorish style of decoration, and
+borrowed from the art of the hated race.
+
+Passing under a handsome gateway, represented in one of our
+illustrations, we come to a fountain surrounded by a tiled pavement, and
+overshadowed by trees. Before us is the Pavilion of Carlos Quinto, with
+a fine ceiling and _azulejos_. This summer-house was built by Juan
+Hernandez in 1543. Turn to the left, and inspect the archway in the
+wall, and the curious mural paintings. We may then retrace our steps to
+the pavilion, and pass another tank and a grotto till we reach the maze
+and a tangled garden beyond it. This is the Garden of the Labyrinth.
+Further, we may not ramble.
+
+In 1626 a theatre stood in the large _patio_ near the Puerta del Le�n,
+by which gate we must leave the Alc�zar. The playhouse was of oval form,
+with three balconies, and one part of the theatre was reserved for
+ladies. The travelling actors who visited Seville preferred this theatre
+to any other in the city, as is shown by the archives of the palace. In
+the year 1691 the theatre was entirely destroyed by a great fire, and
+not a stone of the old building remains.
+
+The singular mingling of Christian and Moorish architecture and
+adornment in the modern Alc�zar is characteristic of Seville. We find
+the same mixture of styles in the Casa Pilatos and in other mansions of
+the city. Even the railway station at the termination of the C�rdova
+line affords an example of the perpetuation of Morisco design and
+decoration. It is this Moorish influence that lends a strange interest
+to Seville. Some writers have declared that these mixed styles of
+architecture are anomalous. There is certainly an air of the grotesque
+in the combination of _Mud�jar_ windows, cusped arches, columns, and
+_azulejos_, and Renaissance and Gothic features. But despite the element
+of incongruity, the effect is often pleasing, while the mingling of the
+styles is especially interesting from the historical point of view.
+
+In our inspection of the Sevillian monuments we are able to estimate the
+enormous sway that the Moors exercised upon the Andalusian mind. That
+influence will probably endure for very many centuries to come.
+Spaniards may abhor the faith of Allah, and detest the children of
+Mahomet; but they have never refused to learn the arts of the Moors, nor
+to apply them to the building of sacred and secular edifices. In the
+poorest villages of Southern Spain we rarely fail to notice some trace
+or another of the Moorish builder.
+
+[Illustration: In the Garden of the Alc�zar.]
+
+The Orientalism of the Alc�zar remains in spite of the pseudo-Moorish
+restorations and the Renaissance additions. It is perhaps an atmosphere,
+a suggestion, rather than the reality. Still, the pile is a very
+remarkable monument, and every stone of it has its tale to tell of
+memorable scenes and great events. One is tempted to linger hour after
+hour in the dreamy gardens, watching the gaudy butterflies and the
+peering, green lizards, and thinking of the bygone greatness of Seville.
+
+Let us conjure one more illustrious figure to the view before we quit
+the palace grounds. Here the Emperor Charles V. roamed with his young
+bride, Isabella of Portugal. The portraits of Charles show a well-knit
+figure, and a good forehead, with the projecting lower jaw
+characteristic of his family. He was fond of music, and was accounted
+well cultured. Mr. Edward Armstrong tells us, however, in his _Emperor
+Charles V._, that the sovereign was a 'singularly bad linguist.' He knew
+only a few words of Spanish after he had ruled Castile and Aragon for
+two years. 'French was his natural language, but he neither spoke nor
+wrote it with any elegance.' The Emperor's knowledge of theology was
+scanty; and though he was a stern defender of the Catholic faith, he
+could scarcely read the Vulgate.
+
+Isabella was but twenty-three years of age at the time of her marriage
+with Charles. She was, however, no child. Her intelligence was quick.
+The Princess was short, spare in body, with a clear white skin. The
+wedding was celebrated in Seville, in March 1526. For the honeymoon the
+Emperor and his bride visited C�rdova and Granada.
+
+Charles liked the seclusion of his palace in Seville. 'Not greedy of
+territory, but most greedy of peace and quiet,' was the description of
+the monarch by Marcantonio Contarini, in 1536. He was strongly attached
+to his wife; he was fond of children, and kept pet animals, 'including a
+parrot and two Indian cats.' The Emperor was interested in gardening,
+and he introduced the carnation into Spain. At table he was a glutton,
+and unable to exercise self-control over his greedy appetite. It was
+said that Charles five times drained a flagon, containing nearly a quart
+of Rhenish wine, during a single meal. We need not be surprised that he
+suffered from severe attacks of gout. Yet he would not forego the
+pleasures of the table, and when his physician warned him that beer was
+injurious to his constitution, the Emperor refused to give up drinking
+it.
+
+In dress Charles was economical. He went to Italy in a shabby suit,
+hoping by his example to check the tendency to extravagance displayed by
+his courtiers and the nobles of Spain. His servants were sometimes in
+tattered clothes.
+
+'A fine taste for art seemed inborn in Charles,' writes Mr. Armstrong.
+'Before he ever set foot in Italy he had summoned Italian architects and
+sculptors to build the splendid Renaissance palace at Granada, which was
+destined to remain unfinished.... Music was a passion from boyhood. The
+Emperor's choir was the best in Europe. To his choristers he was most
+generous, for when their voices broke he would educate them for three
+years, and afterwards, if they recovered voice, he would give them the
+preference for places in his chapel.'
+
+
+
+
+CHAPTER VII
+
+_The Literary Associations of the City_
+
+     'Among no other people did the spirit and character of the middle
+     age, in its most beautiful and dignified form, so long continue and
+     survive in manners, ways of thinking, intellectual culture, and
+     works of imagination and poetry, as among the
+     Spaniards.'--SCHLEGEL, _Philosophy of History_.
+
+
+We have noted that in the Visigoth and Moorish periods Seville was a
+centre of literature and the arts. The Christians had their St. Isidore,
+a famed historian and theological writer, and the Moriscoes acclaimed
+the sagacious El Begi, 'whose knowledge was a marvel.' Many Moorish
+scribes laboured in the city before San Fernando regained it for the
+Spaniards; but very few of their names have lived through the stress of
+turbulent times, when every man was for fighting, and art and letters
+languished.
+
+When we reach the fifteenth century, we find that certain enterprising
+German printers set up presses in Seville, and that books, such as Diego
+de Valera's _Cronica de Espa�a_, were printed and published.
+
+The printing press gradually destroyed the wonderful art of the
+illuminated missal, in which the monks excelled, and letterpress began
+to supersede manuscript. In the Cathedral Library of Seville is the
+great Bible of Pedro de Pampeluna, in two volumes. It was transcribed
+for Alfonso the Learned, and the work is perhaps unmatched. Rich
+illuminations abound in the pages, testifying to the skill and the
+patience of the artist.
+
+But this industry, followed with such zeal by the clergy, was soon
+lost. With the advent of machinery more books were produced, and they
+came into the hands of the people, who in the pre-printing days were
+unable to purchase the costly volumes of manuscript.
+
+At this time also secular dramas began to take the place of mystery
+plays. The theatre has remained one of the favourite recreations of the
+Spanish people, and on the modern stage serious plays, dealing with
+social problems, are often produced. Among the playwrights of Spain the
+name of Lope de Rueda is held in reverence, for it was he who opened the
+way for them. 'The real father of the Spanish theatre' was a native of
+Seville, and by trade a goldsmith. From 1560 to 1590, the dramas of Lope
+de Rueda were performed in Seville. Cervantes may have been influenced
+by this pioneer of dramatic art, for, as a youth, he saw Lope de Rueda
+act.
+
+In his zenith, the player's stage consisted of half-a-dozen planks, laid
+upon four benches. There was no scenery. Old blankets served as curtain
+and 'back sheet.' Between the acts a few singers sang without any
+instrumental accompaniment. With such primitive paraphernalia this
+Thespian travelled about with his company of mummers, writing his own
+dramas, and acting in them. He died about the year 1567.
+
+Contemporary with Lope de Rueda and Cervantes was Domingo de Bercerra,
+who was born in the city in 1535. During the campaign with the Turks, he
+was seized by Moorish pirates and taken prisoner with Cervantes to
+Algiers. De Bercerra is known for his translation of Giovanni della
+Casa's _Il Galateo_. Hieronimo Carranza, who wrote _Philosophia y
+destreza de las Armas_, and Juan de la Cueva, writer of plays and poems,
+lived in Seville at this time.
+
+We now enter upon an era memorable in the literary annals of the city.
+This is the period when Seville could boast of her scholars, poets,
+dramatists and historians, and lay claim to distinction as possessing
+the most cultured circle of writers and artists in the whole of Spain.
+Fernando de Herrera, born in 1534, in Seville, holds a high position
+among Spanish poets. His _Canci�n � Lepanto_, a poem in celebration of
+the victory of Lepanto, 'deserves,' says Mr. Butler Clarke, 'to be
+placed side by side with the first eclogue of Garcilaso as one of the
+noblest monuments of the Spanish tongue.'
+
+Rodrigo Caro, the historian, and one of the Sevillian authors, says in
+his _Illustrious Men, Natives of Seville_, that Herrera 'understood
+Latin perfectly, and wrote several epigrams in that language, which
+might rival the most famous ancient authors in thought and expression.
+He possessed a moderate knowledge of Greek.' The prose writings of 'the
+divine Herrera' are marked with the same beauty as his poetry. He wrote
+a great general history of his country, up to the reign of Carlos V.,
+and earned from Lope de Vega the title of 'the Learned.'
+
+We learn that Fernando de Herrera was a tall man, with a handsome
+countenance, thick curling hair, and a beard. The love of his life
+appears to have been 'spiritual'; he was enamoured of Eliodora, Countess
+of Gelves. This adoration was of the nature of that manifested by Dante
+for Beatrice. The poet calls his divinity 'Love,' 'Sun,' and 'Star,' but
+there is an unreality in his odes to the Countess. We read, too, that
+Herrera was well read in philosophy, and expert in mathematics.
+
+At this time there were two resorts in Seville for authors, artists, and
+men of culture. One was the house of the refined and versatile Pacheco,
+Canon of the Cathedral; the other was the Casa Pilatos, the mansion of
+the Duques de Alcal�. In the circle of Francisco Pacheco we shall find
+all the notable painters and poets of Seville; C�spedes, Cervantes, and
+Velazquez, who married Pacheco's daughter, were frequenters of the
+Canon's hospitable house. It was Pacheco who collected and published
+Herrera's poems, under the patronage of the Cond� d'Olivarez, and to him
+we owe the preservation of some wonderful fragments of a poem on the art
+of painting, composed by Pablo de C�spedes. These selections were quoted
+by Pacheco in his treatise on art, and one of the finest passages is
+that of counsel to an artist in painting a horse. Except for these
+portions, nothing remains of the poem of C�spedes, which was a work of
+high merit, written in the purest form of the Castilian language. The
+author was a man of conspicuous ability. He painted, wrote, carved
+statuary, and designed buildings.
+
+The genial Pacheco is perhaps better known as a writer upon painting,
+and a maker of Latin verse, than as an artist with the brush. His great
+book on art, _Arte de la Pintura_, was published in 1649. It is
+anecdotal, technical and historical, and displays the credulity of the
+writer in regard to the miraculous. He had the honour of training
+Velazquez, his future son-in-law, and the satisfaction of discovering
+the power of his young pupil.
+
+We will now take our way to the Casa Pilatos, which stands in the
+_plaza_ of that name. Passing under a gateway, we enter a court. On the
+right is a very beautiful ironwork door in the _Mud�jar_ form. An
+attendant opens it, and we pass into an inner _patio_, surrounded by
+busts, portions of antique sculpture, and two statues of Athena. In the
+centre is a fountain. The _casa_ was designed by Moorish artists, early
+in the sixteenth century, for Don Pedro Enriquez, and his wife Do�a
+Catalina de Ribera. A descendant, Don Fadrique, who had travelled in
+Palestine, added the so-called Pr�torium, and probably named the mansion
+after Pontius Pilate. There are unlettered persons in Seville who will
+assure you that Pilate lived in the house.
+
+[Illustration: Cancela of the Casa Pilatus.]
+
+The third Duke of Alcal�, Fernando Enriquez de Ribera, established a
+great library here, and the Casa Pilatos was the rendezvous of a
+polished coterie. The Duke collected pictures, procured Roman relics
+from Italica, and had cabinets of coins and medals, and cases containing
+manuscripts. He was an amateur painter, a patron of the fine arts, and
+the encourager of struggling genius. Pedro de Madrazo, in his _Sevilla y
+Cadiz_, states that 'the Casa Pilatos is an august representation of the
+architectural genius of the sixteenth century; memorable for the
+reunions of Pacheco, C�spedes, the Herreras, G�ngora, Jauregui, Baltasar
+de Alc�zar, Rioja, Juan de Arguizo, and Cervantes.'
+
+Other writers describe the architecture of the palace as pseudo-Moorish.
+It is indeed a mixture of Gothic, Moorish, and Renaissance designs,
+adorned with _azulejos_, the decorations being _Mud�jar_ for the greater
+part. Pacheco, the friend of the Duke de Alcal�, painted the salon.
+
+Mr. M. Digby Wyatt, in his valuable work, _An Architect's Note Book in
+Spain_, describes the Casa Pilatos as possessing two special 'points of
+architectural value,' _i.e._, 'the entirely Moresque character of the
+stucco work at a comparatively late date, and the profuse use of
+_azulejos_ or coloured tiles. It is ... in and about the splendid
+staircase that this charming tile lining, of the use of which we have
+here of late years commenced a very satisfactory revival, asserts its
+value as a beautiful mode of introducing clean and permanent
+polychromatic decoration.'
+
+In the principal garden there are remains from Italica. The orange,
+lemon and jasmine grow profusely in this sunny, sheltered corner of the
+city. Here the cultured Duke Fernando Enriquez de Ribera discoursed with
+his illustrious guests, when the stars twinkled and the air was sweet
+with the odour of the jasmine and rose. No doubt Francisco Pacheco
+brought his pupil Velazquez to the symposia. We can picture Cervantes
+relating the story of his imprisonment in Algiers, or diverting the
+company with anecdotes of the thieves and sharpers of Seville, whose
+exploits are recorded in his novel of _Rinconete y Cortadillo_. G�ngora,
+the poet, whose affectations and 'Gongorisms' offended George Henry
+Lewes, probably read his verses to a critical audience in the salon. Wit
+vied with wit, scholar discussed with scholar, and artists discoursed
+upon the new methods of painting. This was the intellectual centre of
+Seville, where kindred souls uttered their deepest thoughts, assured of
+sympathy and of comprehension. When the courtly owner of the palace
+died, his library, his treasures and curiosities were removed to Madrid,
+and Sevillian men of letters and painters lost a true friend.
+
+In 1588, Miguel de Servantes Saavedra, otherwise Cervantes, lived in the
+city. In his twenty-first year, while at Madrid, he had written a
+pastoral poem called _Filena_, some sonnets and canzonets. A few years
+later he obtained a position as chamberlain to Cardinal Julio Aquaviva
+at Rome; but he was not long in Italy. The love of adventure inspired
+him to enlist in the expedition force sent by Philip II. against Selim
+the Grand Turk. At the famous battle of Lepanto the young soldier
+received a wound in the left hand, which necessitated amputation. The
+surgeons bungled, and Cervantes lost the use of his arm. Still, he
+continued to serve as a private soldier in the ranks.
+
+In 1575, Cervantes was aboard a galley called the _Sun_, and when
+journeying from Naples to Spain, he and the entire crew were captured,
+and borne to Algiers as prisoners. For five years he lay in a dungeon
+until a sum was paid in ransom. Upon returning to his native land, he
+joined his mother and sister at Madrid, and there he led a studious
+life for three years. His fighting days were at an end. He had seen
+strange things in foreign lands, and greatly enriched his store of
+experience of life. Henceforward he gave of his knowledge of the world,
+and toiled as a writer of poetry, dramas and marvellous romances. His
+struggle with fortune was severe. He wrote thirty comedies without
+gaining recognition. At this time he married Do�a Catalina de Solazar y
+Palacios y Vozmediano.
+
+In Seville there lived two relatives of the soldier-dramatist. They were
+merchants, with a large business, and it is said that they offered
+Cervantes employment. Mr. J. Fitz-Maurice Kelly tells us that the author
+obtained a post in the Real Audencia in Seville, probably that of
+tax-gatherer. Cervantes himself relates that 'he found something better
+to do than writing comedies.' Whether he sat on a stool in the
+mercantile office of his relations, or travelled as a tax-collector in
+Andalasia, is perhaps not quite certain. At anyrate, the dramatist
+continued to produce plays. He sought an appointment as
+Accountant-General of the new kingdom of Granada, or as Governor of
+Secomusco in Guatemala, or as Paymaster of the galleys at Cartagena, or
+as Corregidor in La Paz. His application was unnoticed, and it was not
+until 1808 that the document was unearthed. It is a story of hardship,
+neglect and disappointment. The soldier who had lost an arm in combat
+with his country's foes, the genius whose name was to reach the far ends
+of the civilised world, was forced to go begging for situations, which
+were refused to him. He still plied his pen for poor returns in the way
+of money. For Rodrigo Osorio he agreed to write six comedies at fifty
+ducats each. The price was not to be paid unless each play was 'one of
+the best ever presented in Spain.' Was there ever a more arbitrary
+contract? It is doubtful whether Cervantes received anything for this
+work. Then came the quarrel between the Church and the Stage.
+Playwrights and actors were banned, and four months before the death of
+Philip II. all the theatres were closed.
+
+The clouds lifted slightly. In 1595 'Miguel Cervantes Saavedra of
+Seville' won the prize offered by the Dominicans of Zaragoza for a
+series of poems in honour of St. Hyacinthus. He appears to have earned
+his living at this period as a tax-gatherer. Sometimes he was to be
+found at Pacheco's house, and at the Casa Pilatos. Cervantes discerned
+the genius of Herrera, and the two poets became friends. A sonnet in
+praise of Herrera was written by Cervantes.
+
+Fresh trouble beset the unfortunate author. 'About this period Cervantes
+fell into the first of his money troubles,' writes Mr. Watts, in his
+_Miguel de Cervantes_, 'in connection with his office. Having to remit a
+sum of 7,400 _reals_ from Seville to Madrid, he entrusted it to the
+hands of one Simon Freire, as his agent. Freire became bankrupt, and
+fled from Spain. This involved Cervantes in a debt to the crown, for
+which, being unable to pay, he was thrown into prison. Having reduced
+the amount by what he recovered from the bankrupt estate of Freire to
+2,600 _reals_, Cervantes was released after a detention of three months.
+Neither then, nor at any time afterwards--although the affair hung over
+him to trouble him for many years--was there any charge implicating his
+own personal rectitude.'
+
+Cervantes' pictures of the seamy side of Sevillian life were drawn
+vividly in his _picaresco_ novels. The tales contain phrases in
+_Germania_, or thieves' argot, showing that the author closely observed
+his types of low life. It was not until he had reached his fifty-seventh
+year that he finished the first part of _Don Quixote de la Mancha_. The
+great romance was partly written during Cervantes' imprisonment in La
+Mancha. There are three versions of the circumstances that brought about
+his confinement. One account is that Cervantes made himself unpopular as
+a tax-gatherer. But could that be made a felony or misdemeanour meriting
+gaol? Another story relates how he became a factory-owner, and polluted
+the Guadiana with waste matter; while a third report ascribes his
+punishment to the offence of uttering satires upon a lady.
+
+In 1605 _Don Quixote_ was published, in a quarto volume, by Juan de la
+Cuesta of Madrid. Within seven months the book had reached its fourth
+edition. W. H. Prescott, in his essay on 'Cervantes,' states that two
+editions were issued in Madrid, one in Valencia, and one in Lisbon. Yet
+the author was not relieved of the burden of poverty. Fame sounded his
+name far and wide. But he had sold the copyright of his romance. And
+although his reputation was established beyond all doubt, he does not
+appear to have been in a position to obtain worthier remuneration for
+his labours. What is perhaps more strange, the leading incidents of his
+life were scarcely known in Spain when his first biographer, Mayans y
+Siscar, essayed a history of the great writer's career. Seven towns
+claimed him as a native when Tonson, in London, issued the first English
+edition in 1738.
+
+'If Cervantes, like his great contemporary, Shakespeare, has left few
+authentic details of his existence,' writes Prescott, 'the deficiency
+has been diligently supplied in both cases by speculation and
+conjecture.'
+
+In 1616 Cervantes fell sick of a dropsy. He was then in the sixty-ninth
+year of his age. After a brief illness, the genius expired, receiving
+the extreme unction as a devout Catholic.
+
+In the Calle de Santa Clara in Seville is the Casa de los Marqueses de
+Castromonte, a house mentioned by Cervantes in his novel, _La Espa�ola
+Inglesa_ ('The Spanish-English Lady'). This _novela_ relates the
+adventures of a Cadiz maiden, who was carried to England by one of the
+Earl of Essex's captains in 1596.
+
+We must now quit the stately Casa Pilatos, with its great literary
+traditions, and briefly note a few more of the writers who are
+associated with Seville. One of these is the novelist Cecilia Boehl von
+Faber, of German descent, who wrote under the _nom de plume_ of Fern�n
+Caballero. This gifted authoress wrote several novels of social life in
+Spain, in which she did not flinch from attacking faulty institutions.
+She had even the courage to condemn the national pastime of
+bull-fighting, an institution that very few Spaniards have ventured to
+call in question. Fern�n Caballero lived in the street that bears her
+pen-name, and a tablet will be found upon the house which she occupied.
+
+Mateo Aleman, author of _Guzman de Alfarache_, who is sometimes ranked
+next to Cervantes, lived in the parish of San Nicolas. Alberto Lista,
+the poet, also resided in Seville.
+
+Lord Byron was here in August 1809. In a letter he writes:--
+
+'We lodged in the house of two Spanish unmarried ladies, who possess
+_six_ houses in Seville, and gave me a curious specimen of Spanish
+manners. They are women of character, and the eldest a fine woman, the
+youngest pretty, but not so good a figure as Donna Josepha. The freedom
+of manner, which is general here, astonished me not a little; and in the
+course of further observation, I find that reserve is not the
+characteristic of the Spanish belles, who are, in general, very
+handsome, with large black eyes, and very fine forms.' ...
+
+The elder of the two ladies presented Byron with a tress of her hair,
+measuring about three feet in length, and begged a lock of his
+lordship's hair in return.
+
+I have already mentioned Blanco White, who was born in Seville, and
+wrote _Letters from Spain_, in the name of Leucadio Doblado. His
+reminiscences should be read for the pictures of Sevillian society, in
+the early part of this century. White's _Life_, by J. H. Thorn, was
+published in London, in 1845.
+
+Th�ophile Gautier spent some time in the city, and related his
+impressions in his _Voyage en Espagne_, which is the most ably written
+of all books upon Spanish places and people. The author of _Mademoiselle
+de Maupin_ excels in his descriptions of Seville, its monuments,
+paintings, and its life and character. He praises the charms of
+Sevillian _do�as_, declaring that they 'quite deserve the reputation for
+beauty which they enjoy.'
+
+The eccentric George Borrow came to Seville to distribute the
+Scriptures, as an agent of the Bible Society. His experiences with the
+clerical authorities of the city are recounted in _The Bible in Spain_.
+It is not strange that the priests of 'the Spanish Rome' resented the
+intrusion of the English Protestant missionary, and it was fortunate for
+Borrow that the Inquisition days were of the past. Otherwise, he would
+have suffered in the manner of the hapless Lutherans of Ponce de Le�n's
+time. As it was, the heretical _colporteur_ had seventy-six copies of
+the New Testament confiscated. The books had been placed in the keeping
+of a bookseller. Borrow was never timid. He went straight to the
+ecclesiastical governor, and asked why the Testaments had been seized.
+The dignitary's reply was that the books were 'corrupting,' and he
+soundly reproved the audacious Protestant for venturing to disseminate
+such dangerous literature in orthodox Seville.
+
+George Borrow does not write in flattering terms of the Andalusians. He
+says: 'I lived in the greatest retirement during the whole time that I
+passed at Seville, spending the greater part of each day in study, or in
+that half-dreamy state of inactivity which is the natural effect of the
+influence of a warm climate. There was little in the character of the
+people around to induce me to enter much into society. The higher class
+of the Andalusians are probably upon the whole the most vain and foolish
+of human beings.' ...
+
+Such was Borrow's opinion of the society of Seville. He appeared to be
+quite as contemptuous of the frivolous rich class as he was of most
+scholars and literary men. Fashionable London was never able to
+'lionise' Bohemian Borrow. He loved 'the wind on the heath,' the song of
+the waves on the Norfolk coast, the purple _sierras_ of Spain, and the
+company of those children of nature, the _Kaulos_ of Britain and the
+_Zincalis_ of Castile. Elsewhere, however, in his writings, George
+Borrow speaks highly of the Spaniards in general. It was the pretensions
+of 'respectability,' whether in Spain or England, that called forth his
+pungent sarcasms.
+
+We must not forget that a famous prelate of the Roman Catholic Church,
+Cardinal Wiseman, was born at Seville, in 1802.
+
+It is perhaps not out of place in this chapter to allude to the
+attraction that Seville has possessed for three great musical composers.
+Mozart laid the scene of his _Don Juan_ and _Figaro_ in the city.
+Bizet's _Carmen_ is concerned with Seville; and most famous of all in
+local interest is Rossini's _Barber_. Rossini's opera is still popular
+in Spain. I saw it acted by an excellent company at C�rdova, in May
+1902.
+
+The dispersal of the cultured circle of Casa Pilatos would seem to mark
+the hour of the beginning of the decline of literature and the arts in
+Seville. We may feel astonishment that the writers of the Inquisition
+times were able to publish any works save those of theology, church
+history, or devotion. But we must remember that Pacheco was a cleric,
+that G�ngora was a priest, and that Rioja held a post in the Holy
+Office. Antonio, the bibliographer, was a canon of the Cathedral, and
+Cervantes was a staunch Catholic. These authors were safe; they were
+either priests of the Church or sworn defenders of the faith.
+
+Philosophers, scientific writers, and heterodox thinkers were unable to
+survive their environment. New thought was stamped out as soon as it was
+uttered, and it was seldom indeed that bold spirits dared to express
+innovating opinion. The greatest writer could scarcely subsist upon the
+earnings of his pen. He was forced, as in the case of Cervantes,
+Calderon, and Lope de Vega, among many other authors, to enter the army.
+The choice lay between the military and the ecclesiastic professions.
+Outside of these no man possessed a status.
+
+With the decline of literature in Spain, the teaching that science is an
+evil spread everywhere. In the seventeenth century, on the authority of
+Spanish historians, the arts had fallen into decay. At the same time the
+trade of Seville greatly suffered. The city was reaping the harvest of
+trouble sown by the Inquisition, with its disastrous proscriptions of
+scientific inquiry, and its taboos upon learning and the arts. Not only
+were Bibles burnt publicly in Seville and elsewhere, but secular books,
+treating upon many subjects, were thrown to the flames, in the height of
+the Inquisition fanaticism. At the end of the fifteenth century six
+thousand volumes were thus destroyed at Salamanca. Such wanton acts
+contributed to the causes that brought the downfall of Spain. When
+C�rdova, Granada and Seville were under the Saracen rule, the conquered
+Christians were protected in their religious rights, and there was no
+restraint upon knowledge. These cities possessed excellent schools and
+huge libraries. The Arabic and Spanish languages were both spoken, and
+there was an Arabian translation of the Bible. Unfortunately, the
+Christians failed to profit by this example of rational tolerance when
+they again came into power.
+
+Classical learning was fostered in Seville by Antonio de Lebrixa, who
+lectured in the University, about 1473. Lebrixa had studied for ten
+years in Italy. He was opposed by the Sevillian clergy, who claimed sole
+authority in instruction; but fortunately Lebrixa found favour with
+influential persons, and so contrived to save himself from persecution.
+Queen Isabella had lessons from the learned Lebrixa, who may be called
+the Erasmus of Spain. But the royal tutor narrowly escaped the awful
+punishments of the Holy Tribunal, under Deza, Archbishop of Seville, and
+successor of Torquemada. The Inquisitor-General commanded the
+manuscripts of Lebrixa to be seized, and accused him of heresy for
+making corrections on the text of the Vulgate, and for his exposition of
+passages of Scripture.
+
+'The Archbishop's object,' wrote Lebrixa in an Apologia, 'was to deter
+me from writing. He wished to extinguish the knowledge of the two
+languages on which our religion depends; and I was condemned for
+impiety, because, being no divine but a mere grammarian, I presumed to
+treat of theological subjects. If a person endeavour to restore the
+purity of the sacred text, and points out the mistakes which have
+vitiated it, unless he will retract his opinions, he must be loaded with
+infamy, excommunicated and doomed to an ignominious punishment!'
+
+'Is it not enough that I submit my judgment to the will of Christ in the
+Scriptures? Must I also reject as false what is as clear and evident as
+the light of truth itself? What tyranny! to hinder a man, under the most
+cruel pains, from saying what he thinks, though he express himself with
+the utmost respect for religion! to forbid him to write in his closet or
+in the solitude of a prison! to speak to himself, or even to think! On
+what subject shall we employ our thoughts, if we are prohibited from
+directing them to those sacred oracles which have been the delight of
+the pious in every age, and on which they have meditated by day and by
+night.'
+
+Lebrixa here eloquently announces the right of the layman to translate
+the Scriptures and to expound religion. He claims that liberty of
+inquiry and of speech which belongs to every man. His case is typical of
+the vast difficulties that encompassed all thinkers of his age.
+
+Science and letters were not only hindered by the Church. Some of the
+kings of Spain were hostile towards learning, while others were
+apathetic. Carlos IV. instructed his Prime Minister to inform the heads
+of universities that 'what His Majesty wanted was not philosophers, but
+loyal subjects.' It was no uncommon custom of the inquisitors to enter
+private libraries, and to carry away such books as they considered
+heretical or dangerous.
+
+In Seville, therefore, as elsewhere throughout Spain, institutions
+tended to crush out the genius of authors, and to discourage philosophy
+and science. We cannot wonder that Emilia Pardo Bazan, a modern Spanish
+writer, should say: 'Perhaps our public is indifferent to literature,
+especially to printed literature, for what is represented on the stage
+produces more impression.' It has also been said that the upper classes
+of Madrid would rather spend their money on fireworks or on oranges than
+on a book.
+
+But Spain possesses to-day four or five gifted novelists, who give their
+readers true pictures of modern life and manners. Valdes and Galdos are
+social influences. Their books are eagerly read and discussed by the
+young intellectual spirits in whose earnestness lies the hope of Spain.
+
+
+
+
+CHAPTER VIII
+
+_The Artists of Seville_
+
+BY C. GASQUOINE HARTLEY
+
+     'Beauty, like all other qualities presented to human experience, is
+     relative.'--WALTER PATER.
+
+
+'The art of Spain was, at the outset, wholly borrowed, and from various
+sources: we see heterogeneous, borrowed elements assimilated sometimes
+in a greater or less degree, frequently flung together in illogical
+confusion, seldom, if ever, fused into a new harmonious whole by that
+inner welding fire which is genius; and we see in the sixteenth century
+a foreign influence received and borne as a yoke, because no living
+generative force was there to throw it off; and finally we meet this
+strange freak of nature--a soil without artistic initiative bringing
+forth the greatest initiator in modern art--Diego Velazquez.'
+
+These words, which form a portion of the address delivered by the late
+Lord Leighton to the students of the Royal Academy Schools, in the year
+1889, epitomise the salient points in the artistic history of Seville.
+An almost impenetrable gloom shadows the early records of her art. Only
+one work remains to testify to the skill of her artists, during the
+thirteenth century. This is a rare old Bible, written on vellum and
+richly illuminated. It was transcribed for Alfonso, the Wise, by Pedro
+de Pampeluna, in the thirteenth century, and its numerous miniatures
+represent the pristine efforts of the Sevillian school of painting.
+
+During the fourteenth and fifteenth centuries, the artists of Seville
+were wholly dominated by the Flemish school. The great master of the Low
+Countries, Jan van Eyck, visited the Peninsula, and from that time the
+Flemish influence continued to increase in potency. Flemish works of art
+were largely imported into Spain, and three Flemish artists, according
+to Professor Carl Justi, were employed in the court of Isabella la
+Catolica. The Gothic characteristics of the Northern school are manifest
+in all the pictures of this period. They may be readily recognised by
+their long lean figures, their definite, almost harsh outlines, and
+their rich colours, which are frequently embellished with gold.
+
+The pictures painted during these years bear little trace of Italian
+influence, although we know that in the year 1466 a Florentine painter,
+Dello, who belonged to the school of Giotto, was living in Seville. No
+authentic works from his hand remain, but he amassed great wealth, as a
+proof of which we are told that he always painted in an apron of stiff
+silk brocade.
+
+Many of these paintings, dating to the fourteenth and fifteenth
+centuries, bear no signature. They are classified without distinction as
+the _Escuela Flamenca_, and the Spaniards apparently regard them with
+scant reverence. They are all interesting, while many of them possess
+great charm, and reveal well-developed artistic power. The Gothic
+influence is dominant, but a distinctly Spanish tendency can frequently
+be discerned. Local dress and customs are often depicted, and the
+pictures are executed with the relentless vigour, which is the specific
+characteristic of the early Spanish school. Examples of these
+Hispano-Flemish pictures will be found in the Museo, in the _Cap de
+Santa Ana_ and the _Cap de la Antigua_, in the Cathedral, and in many of
+the churches.
+
+The earliest Sevillian artist of whom we have any distinctive record is
+Juan Sanchez de Castro, who lived in the city from 1454 to 1516. Sir W.
+Stirling-Maxwell calls him 'the morning star of the school of
+Andalusia.' He quickly absorbed the Flemish influence, and his works are
+wholly Gothic, both in conception and manner of treatment. No details of
+his life are extant, but the wreckage of time has spared his work, and
+we can still study both a fresco and a panel painting executed by his
+hand.
+
+In the Church of San Julian, situated in the _plaza_ of that name, is a
+giant San Cristobal, painted by Sanchez in 1484. It is executed in
+tempera upon the wall of the church, close to the principal entrance.
+The figure of the saint is of enormous size, entirely subordinating the
+remainder of the composition, thus producing an effect of exaggeration
+and lack of proportion. The fresco has unfortunately been repainted, and
+little of the old master's work remains, except his signature and the
+date 1484.
+
+Of infinitely greater value is his painting on panel, preserved among
+the pictures collected by the late Se�or D. Manuel L�pez Cepero, which
+may now be seen in the house of Murillo, described elsewhere in these
+pages. The picture is painted upon a panel of wood, covered with canvas
+and carefully prepared plaster, as was the manner of the early masters,
+who did none of their work hurriedly, and devoted much time to the
+painstaking preparation of their materials. The picture may be regarded
+as a typical instance of the Hispano-Flemish manner. The conventional
+grief, symbolised by the drooping eyelids, falling tears and set
+countenances of the women; the harsh outlines; the extreme length of the
+reclining figure of the Christ, all bear the imprint of the Gothic
+school. The picture deserves much study. Its decorative proportions,
+extreme simplicity and harmony of colour can hardly be praised too
+highly. It is a meritorious herald of the work of the Sevillian artists.
+
+Juan Nu�ez, the pupil of Sanchez, continued to imitate the manner of his
+master. His finest work is a composition, representing the _Pi�ta_. It
+was painted for the Chapter of the Cathedral, during the latter half of
+the fifteenth century, and now hangs in the _Sacrist�a de los C�lices_,
+where many of the choicest treasures of art are preserved. The Virgin
+supports the dead body of the Christ; St. Michael and St. Vincent are at
+her side, while kneeling ecclesiastics pray below. The Flemish manner
+still prevails, and the Gothic stiffness of the Saviour's figure bears a
+strong resemblance to the work of Sanchez. Cean Bermudez praises the
+picture very highly, and states that it is not inferior to Albert D�rer
+in colour and arrangement of the drapery. Like many of the early
+religious painters, Nu�ez appears to have been destitute of a sense of
+humour, and in a picture of St. Michael and St. Gabriel, painted for the
+Chapter of the Cathedral, he depicted the saints adorned with
+gaily-coloured peacocks' wings.
+
+The Hispano-Flemish manner was perfected by Alezo Fernandez, who came
+from C�rdova, in 1525, to work in Seville Cathedral. Lord Leighton
+considers him 'the most conspicuous among the Gothic painters,' and
+without doubt, his work marks a further advancement in the development
+of the Andalusian school. It bears testimony to advancing knowledge. For
+the first time we perceive clearly the growth of a distinctive Spanish
+style. The Flemish manner is still strongly visible, but from out of
+this eclecticism emerges that forceful effort after truth and natural
+expression, which is the conspicuous characteristic of the Spanish
+school. His finest picture is the Virgen de la Rosa, in the Church of
+Santa Ana, at Triana. The charm of this work is very great. The mellow
+splendour of its tones, and the lofty spirit in which it is conceived
+render it a study of high merit. Other pictures by this master may be
+seen in the Palacio Arzobiscopal, where hang the Conception, the Birth
+of the Virgin, and the Purification, three works of great interest; and
+in the Church of San Julian, where there is a fine altar-piece. The
+figure of San Pedro depicted upon the left of the composition is one of
+the ablest; beside him is San Antonio, while San Julian and San Josef
+stand upon the left. Over the altar are representations of the
+Incarnation and the Crucifixion.
+
+During the opening years of the sixteenth century a new influence from
+without was imposed upon the Spanish school of painting. The Italian
+Renaissance extended to Spain, and this movement, which in Italy
+produced the brilliant group of the _quatrocentisto_, fell upon the
+artistic genius of Spain as a deadening blight. It was alien to the
+temper of the Spanish nation. The simple, truthful directness of their
+early mode was forgotten; gradually their art became steeped in a
+hopeless mannerism.
+
+Luis de Vargas, who was born in Seville in 1502, was the first
+Andalusian artist, whose work testifies to the Italian influence. He
+spent many years studying in Italy. He was a devout Catholic, and like
+all the artists of Seville was supported by the munificence of the
+Chapter of the Cathedral. Unfortunately his frescoes, upon which his
+reputation, according to Cean Bermudez, largely rested, have been almost
+entirely obliterated. Dim traces of them may be seen upon the Giralda
+Tower, and upon the outer wall which encloses the Court of the Oranges;
+but it is impossible to appraise the work of De Vargas from these
+time-spoilt relics.
+
+Of his panel paintings only a small number have been preserved. They are
+simple, yet powerful in design; the colour is fresh, and the drawing is
+good. They are specially noteworthy for the charm with which women are
+portrayed, a characteristic unusual among the artists of Spain. The
+earliest known work of De Vargas was The Nativity, which was painted for
+the Chapter of the Cathedral, in 1555, and placed over the Altar del
+Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the
+figure of the Virgin, as she stands gazing upon her babe, 'bears a
+simple dignity not unworthy of Raphael.' The grouping of the figures is
+admirable. Notice especially the peasant, as he kneels and offers his
+basket of young doves. The care bestowed upon the execution of the
+details shows that De Vargas had not yet forgotten the example of the
+early masters. The goat, the sheaf of corn, the Spanish pack-saddle, all
+the accessories are painted with Flemish accuracy.
+
+The Temporal Generation of our Lord, in the south transept of the
+Cathedral, adjacent to the colossal figure of San Cristobal, is
+generally considered the masterpiece of Luis de Vargas. It is an
+allegorical composition, representing Adam and Eve adoring the infant
+Christ, who rests in the arms of the Virgin. The picture is lacking in
+charm, but the figures are finely conceived, and executed with power.
+Indeed, the life-like drawing of Adam's leg has given the picture its
+name of _La Gamba_ (the leg). It is reported that the Italian Perez de
+Alesio, the painter of the giant San Cristobal, exclaimed when gazing
+upon his handiwork, 'The whole of my figure is of less merit than the
+leg of Adam.'
+
+Greater than Luis de Vargas was the Flemish painter Pedro Campa�a, who
+came to Spain and settled in Seville in the year 1548. He had spent many
+years in Italy, studying in Rome, and his pictures bear the impress of
+a combined Flemish-Italian influence. He stayed in Seville for
+twenty-four years, and is always identified with the artists of
+Andalusia. His finest picture, The Descent from the Cross, was painted
+for the Church of Santa Cruz in the year he came to Seville, 1548. The
+strength and realism of this work are truly majestic. It is, without
+doubt, the finest picture painted by the Italian mannerists in Seville.
+It exerted great influence upon the artists of a later day. Pacheco
+declared that its realism was so overmastering that he did not care to
+be left alone with it in the dimly-lighted chapel. Murillo spent long
+hours in earnest contemplation of the picture. He was wont to perform
+his devotions before it, and once, when asked why he sat watching the
+picture so intently, he is reported to have answered, 'I am waiting
+until those men have brought the body of our Blessed Lord down the
+ladder.' It was beneath this picture that the favourite master of
+Seville chose to be buried. The picture now hangs in the _Sacrist�a
+Mayor_ of the Cathedral. It was rescued from the Courts of the Alc�zar,
+where it had been wantonly flung by the French, during the War of
+Independence, and tolerably restored by Joaquin Cortes, in 1882.
+
+Seville contains many other works by the Flemish master. In the _Cap de
+Mariscal_, in the Cathedral, is a very beautiful Purification of the
+Virgin. The charm and simple grace of the fair-haired maiden, who stands
+upon the left of the picture, contrasts vividly with the form of the
+beggar beneath. The half-length portraits of the Mariscal Don Pedro
+Cabellero and family, which also hang in the chapel, are individual and
+life-like. There is little trace of Italian influence in the rendering
+of these figures; they are all painted with Flemish carefulness. Other
+works of Campa�a may be seen in the Church of San Pedro and the Church
+of Santa Ana, at Triana. The individuality of Campa�a can hardly be too
+strongly emphasised. His pictures possess many of the essential and
+distinctive attributes, which characterise the work of the greatest of
+the Sevillian artists.
+
+Contemporary with Luis de Vargas and Pedro Campa�a--the masters of the
+early Italian mannerists--worked a group of artists of lesser fame.
+Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for
+the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568,
+executed an altar-piece for the Church of Our Lady of the Pomegranate,
+in the Court of the Oranges; and other works since destroyed, for the
+Cathedral. Alonso Vasquez painted many pictures for the Cathedral and
+the Convents of St. Francis and St. Paul. The few of these works which
+remain may be seen in the Museo, where they hang neglected, fast rotting
+in their frames. These artists closely imitated the style of De Vargas.
+
+More individuality is revealed in the works of Pedro Villegas Marmolego,
+1520-1597, an artist whose pictures are extremely rare. The Virgin
+visiting Elizabeth, which hangs over the _Altar de la Visitaci�n_ in the
+Cathedral, is a good example of his work, and displays his charm as a
+colourist. The garments of both the Virgin and Elizabeth are beautiful
+with radiant harmony. The works of Francesco Frutet--like Campa�a a
+Flemish artist trained in Italy, who came to Seville, about the year
+1548--will be noticed in the account of the Museo.
+
+Another foreigner, who worked in Seville during this period, was
+Sturmio, probably a German, who, in 1554, painted nine pictures on panel
+for the _Cap de los Evangelistas_, in the Cathedral. These studies are
+important, for they afford the earliest instance of the fine brown
+tones distinctive of the Sevillian school. The central picture depicts
+St. Gregory saying Mass, while around him are grouped the fourteen
+evangelists, and the saints of the city. Santas Justa and Rufina, the
+holy maids, frequently portrayed by the artists of Seville, are among
+the best.
+
+The work of all these artists, who may be classified as the early
+Italian mannerists, reveals a distinctive personality. The individuality
+of the artist constantly breaks forth, through the strong Italian bias,
+while traces are often revealed of the truthful expression of the early
+Hispano-Flemish mode.
+
+As the sixteenth century drew to its close, the tendency to adopt a
+style of affected mannerism was largely augmented in the work of the
+artists of Andalusia, the result being a corresponding loss of national
+individuality. All that was essentially Spanish was for the time
+forgotten, submerged in an imported Italianism. The pictures of these
+later mannerists are dreary and almost entirely without interest. Their
+work may be readily identified by the conventional conceptions, the flat
+tones, the dry, hard colours, and the utter lack of that element of
+charm, so essential to all works of art.
+
+Juan del Castillo, 1584-1640, and Francisco Pacheco, 1571-1654, may be
+regarded as types of this phase in the record of Andalusian art. Their
+reputation rests largely upon the renown of their pupils. Juan del
+Castillo was the master of Murillo and Alonso Cano, and the chief
+interests incited by the study of his work, rests in tracing the
+influence he may have exercised in moulding the work of the Sevillian
+favourite. His best picture is the Assumption, in the Museo, in which
+the figure of the Virgin has some merit.
+
+Francisco Pacheco, the father-in-law and devoted teacher of Diego
+Velazquez, claims our attention as an individual, rather than as an
+artist. He painted innumerable pictures, which may still be viewed in
+the Cathedral, the churches and the Museo, but none rise above the level
+of mediocrity. They are carefully executed and rarely offend the rules
+of drawing, but they are all hopelessly 'mannered,' and entirely devoid
+of individual imagination.
+
+We owe a debt of gratitude to Pacheco for his _Arte de la Pintura_, a
+treatise upon the principles of art, and the lives of the artists of
+Spain, published in Seville in 1649. In style the work is pompous and
+prolix, and often very tedious, but as a record of the lives of the
+Sevillian artists it possesses great value. Pacheco was the Inquisitor
+of Art, or Familiar of the Inquisition. His authority under the Holy
+Office was great, and it was his duty to see that no indecorous or
+indecent pictures found their way into the churches. Here is a copy of
+the commission which was granted to him: 'We give him commission and
+charge him henceforward that he take particular care to inspect and
+visit all sacred subjects which may stand in shops or in public places;
+if he finds anything to object to in these he is to take the picture
+before the Lords, the Inquisitors.'
+
+The degraded Italian taste was carried to its uttermost limits by
+Herrera El Mozo (the younger), 1622-1625, who, by a strange anomaly, was
+the son of the man, who was the first to break completely away from the
+trammels of the pseudo-Italian manner. His works may be viewed in the
+Cathedral and the Museo; they instance the degradation which had been
+brought upon the art of Seville, by the unintelligent adoption of an
+alien style.
+
+It is a relief to revert to the work of those men, whose sturdy Spanish
+spirits refused to bend beneath the yoke of conventional tradition. The
+work of the cleric, Juan de la Roelas, 1560-1625, bears little, or no,
+trace of the degenerate pseudo-Italianism, although his pictures are not
+exempt from foreign influence. They are Venetian in colour, soft, yet
+free, in their drawing. They exhibit many of the features, afterwards
+amplified in the work of Murillo. His finest composition is the Death of
+San Isidore, in the parish church, dedicated to that saint. The theme of
+the picture is the transit of the holy man, Archbishop of Seville,
+during Gothic days. Many figures fill the canvas, but with true artistic
+unity, the interest is centralised upon the dying saint, who rests upon
+the ground, clad in dark mantle and finely-painted pontifical robes.
+Subtle discernment is manifested in the grouping of the figures. The
+aged fathers are thrown into distinct relief, by the youthful bloom of
+the children who kneel beside them. The shadowy forms of the
+worshippers, as they kneel in the receding aisles of the church, lend
+atmosphere to the study. The heavens are depicted above, and in the
+midst of a blaze of glowing light, the Virgin awaits with Christ, the
+coming of the saint.
+
+San Santiago, destroying the Moors in the battle of Clavigo, which hangs
+in the Cathedral, affords another fine instance of the work of Roelas.
+Three more of his pictures may be seen in the University--The Holy
+Family, The Nativity, and the Adoration of the Shepherds, while several
+hang in the Museo. A figure of a black-robed kneeling saint, in the Holy
+Family, is said to be the portrait of Roelas.
+
+Francisco de Herrera, 1575-1656, termed, el Viego (the Elder) to
+distinguish him from his son, possessed a character of unusual vigour.
+The traditions which have survived, reveal the temper of the man. His
+methods were eccentric. He worked with a dashing pencil, and it was his
+custom to employ any implement, which presented itself as convenient. It
+is reported that upon one occasion, when short of a brush, he painted a
+picture with a spoon. His fame induced numerous artists--the young
+Velazquez being among them--to seek his studio; but his irascibility was
+so great that few of them remained. He broke many a maul-stick across
+their shoulders, and frequently he was left without a single pupil to
+execute his mandates.
+
+It is said that one day, when this had occurred, he rushed into the
+kitchen, and insisted upon the serving-maid becoming his attendant; and
+amidst oaths and blows, he forced the trembling girl to prepare a canvas
+for the composition he desired to execute. His turbulent spirit led him
+into difficulties, and he was accused--whether falsely or not it is now
+impossible to say--of coining money. To escape punishment he sought
+sanctuary in the College of the Jesuits, where he painted the Legend of
+St. Hermingild, now in the Museo. In the year 1624 Philip III. came to
+Seville, and visited the college. In common with all the house of
+Austria, the King had a fine appreciation of art, and when he saw the
+work of Herrera, he at once recognised its merits, and desired to see
+the artist. Herrera knelt at the King's feet, and told the reason of his
+confinement in the convent. 'What need of silver and gold has a man
+gifted with a talent like yours? Go, you are free,' was the answer of
+the King.
+
+Such was the nature of the man, whose cogent individuality
+re-established a national Spanish style. His pictures are distinguished
+for their vigorous force. Sir W. Stirling-Maxwell calls him 'the most
+remarkable of the painters, who learnt their art solely in Andalusia';
+while Palomino, often termed the Spanish Vasari, says that the boldness
+of his manner conveys to his figures the appearance of being painted in
+relief. Several of his pictures are now in the Museo; the Cathedral
+possesses none, but there is one in the Church of San Bernardo, which,
+in spite of dirt and dim lighting, affords a fine instance of the power
+of Herrera. In the upper portion the Lord is shown with a band of
+attendant angels, while below St. Michael divides the sinful from the
+righteous. The canvas is overcrowded; a fault in which the majority of
+the compositions of Herrera share, and the form of St. Michael is
+somewhat uncouth, but the picture is full of power, and many of the
+figures, especially among the hosts of the wicked, are drawn with a fine
+freedom of handling.
+
+Francisco de Zurbaran, a peasant, born in Estremadura, in the year 1598,
+was the veritable follower of Herrera. His work more fully than that of
+any other artist typifies the genius of Spain. Lord Leighton speaks of
+him 'as a man of powerful personality, in whom more than any of his
+contemporaries, the various essential characteristics of his race were
+gathered up--its defiant temper, its dramatic bent, its indifference to
+beauty, its love of fact, its imaginative force, its gloomy fervour, its
+poetry, in fact, and its prose.'
+
+He was the pupil of Juan de las Roelas, but his work soon eclipsed that
+of his master. From the very first he cast from him all mannered
+tradition, and determined unflinchingly to follow natural methods. He
+copied all objects directly from Nature, and while still a lad working
+in the studio of Roelas, he refused to paint drapery, without having it
+placed upon a lay figure to represent the living model. He has been
+termed the Spanish Caravaggio from his strict adherence to Nature, and
+his delight in breadth and strong contrasts of light and shadow. As he
+saw Nature thus he painted her, without desire to soften or to
+idealise. His one purpose was to portray conscientiously the exact
+impression of the objects he beheld. And for this reason he may be
+designated the herald of Velazquez. His pictures lack the facility, the
+charm and the impelling force of the great master; but in their
+adherence to Nature and strict nationality of style they are in nowise
+inferior. The Adoration of the Shepherds, the fine picture in our
+National Gallery, formerly ascribed to Velazquez, is now held to be the
+work of Zurbaran. His colour is above all praise; his tints, although
+sombre, have at times, as Sir W. Stirling-Maxwell justly remarks, 'the
+depth and brilliancy of Rembrandt.'
+
+His earliest work was a series of pictures, illustrative of the life of
+the Apostle Peter, which he painted for the Chapter of the Cathedral.
+They may still be inspected in the _Cap de San Pedro_, but unfortunately
+the deficiency of light renders it well-nigh impossible to see them.
+
+The celebrated Death of St. Thomas Aquinas, and the remarkable series of
+pictures, painted for the Chartreuse monks of Santa Maria de las Cuevas,
+are now in the Museo.
+
+For the Church of the Hospital del Sangre he painted eight small
+pictures of female saints. They are portraits of the beauties who
+reigned in the city during the life of Zurbaran, and are among the most
+charming of the pictures of women to be found in Seville. Especially
+mark Santa Matilda in her crimson robe, embroidered with gold and
+pearls, Santa Dorotea in lilac, and Santa I�es in purple, and bearing a
+lamb in her arms.
+
+The fame of Zurbaran was overshadowed by Murillo, who became the central
+figure in the artistic life of Seville, during the latter half of the
+seventeenth century.
+
+The position Murillo occupies in the record of Andalusian art is so
+significant, that it appears fitting to notice his work, and that of his
+brilliant contemporary Velazquez, in a separate chapter; and to conclude
+this brief chronicle of the Sevillian artist with two names--Alonso Cano
+and Juan de Vald�s Leal, the last painters of Andalusia, whose work is
+worthy of special note.
+
+Alonso Cano, 1601-1667, was not born in Seville, but came to the city,
+when quite young, to receive instruction from Pacheco and Juan de
+Castillo. He painted pictures for the Carthusians, and the other
+convents and churches, but a duel, fought with a brother artist, in
+1639, drove him from the city. The finest instance of his work in
+Seville is Our Lady of Bethlehem, in the Cathedral. It was painted in
+Malaga for Se�or D. Andres Cascentes, who presented it to Seville. The
+light is dim, and it can only be seen by the glow from the tapers which
+burn upon the altar. It is somewhat conventional in treatment, and bears
+distinct traces of Italian mannerism. Yet the picture is not without
+charm, and the Spanish national note is not entirely absent. The hands
+and feet are painted with extreme care, and the crimson robe and
+dark-blue mantle of the Virgin are exquisite in colour. The picture may
+be regarded as typical of his work. One of his chief faults was
+repetition, and he was frequently accused by his contemporaries of
+copying from the works of other masters; a charge which he is said to
+have challenged, with the following answer: 'Do the same thing, with the
+same effect as I do, and all the world will pardon you.' His power as an
+artist has been somewhat over-estimated, and his claim to be called 'the
+Michelangelo of Spain' rests solely upon the fact that he was sculptor
+and architect as well as painter.
+
+Juan de Vald�s Leal, 1630-1691, lived until the time when Andalusian
+art was fast approaching its decline. His early life was embittered by
+jealousy of Murillo, and much of his energy was expended in useless
+quarrels with his brother artists. His pictures are mannered, but the
+best are vigorous, and their main defects are due to hasty execution. He
+appears to have had no power to finish his work; when he tried to be
+careful he became weak. The Museo contains many of his pictures. The
+Virgin bestowing the Chasuble on San Ildefonso in the _Cap de San
+Francisco_, in the Cathedral, is one of his finest works. The two
+pictures in the Hospital de la Caridad were painted to illustrate the
+vanity of worldly grandeur. They are theatrical, and have little
+'literary' attraction, but the execution exhibits a certain power. In
+one of them a hand holds a pair of scales, in which the sins of the
+world--represented by bats, peacocks, serpents and other objects--are
+weighed against the emblems of Christ's Passion; in the other, which is
+the finer composition, Death, with a coffin under one arm, extinguishes
+a taper, which lights a table spread with crowns, jewels and all the
+gewgaws of earthly pomp. The words _In Ictu Oculi_ circle the gleaming
+light of the taper, while upon the ground rests an open coffin, dimly
+revealing the corpse within.
+
+It was this picture which caused Murillo to remark that it was something
+to be looked at with the nostrils closed. To which rather uncertain
+praise Leal is reported to have replied, 'Ah, my compeer, it is not my
+fault, you have taken all the sweet fruit out of the basket and left me
+only the rotten.'
+
+With the death of Vald�s Leal, at the close of the seventeenth century,
+the long chain of artists, who had made the name of Seville famous,
+terminates. He left behind him no painter of specific merit. The artists
+who remained were dreary conventionalists, without originality, mere
+copyists of those who had preceded them. The study of their work yields
+neither pleasure nor profit. It is better to leave the record of the
+artists of Seville, while the memory of her greatest masters is still
+vivid, than to trace the slow decay of her art into feeble mediocrity.
+
+       *       *       *       *       *
+
+_Note._--In order to facilitate the finding of the works of the artists
+mentioned in this chapter, this list is appended, naming their chief
+pictures, and the places where they may be found.
+
+   Artists.                 Pictures.               Where Situated.
+
+  Pedrode Pampeluna        Illuminated Bible.      Library of the Cathedral.
+   (thirteenth century).
+
+  Juan Sanchez de          Fresco of San           San Julian.
+   Castro (1454-1516)       Cristobal.
+          "                Painting on panel       House of Murillo.
+                            of the Entombment.
+
+  Juan Nu�ez (fifteenth    Pi�ta.                  Sacrist�a de los
+   century).                                        C�lices, Cathedral.
+
+  Alezo Fernandez          Conception.             Palacio Arzobiscopal.
+   (worked in Seville
+   about 1508).
+          "                Birth of the Virgin.    Ditto.
+          "                Purification.           Ditto.
+          "                Virgen de la Rosa.      Santa Ana, Triana.
+          "                Altar-piece.            San Julian.
+
+  Luis de Vargas           Frescoes.               The Giralda Tower.
+   (1502-1568).                                     Outer Wall of the
+                                                    Court of the Oranges.
+          "                The Nativity.           Altar del Nacimiento,
+                                                    Cathedral.
+          "                Temporal Generation     Altar de la Gamba,
+                            of Our Lord.            Cathedral.
+          "                Portrait of Don         Ditto.
+                            Juan de Medina.
+
+  Pedro Campa�a            The Descent from        Sacrist�a Mayor,
+   (1503-1580).             the Cross.              Cathedral.
+          "                Purification of the     Cap de Mariscal,
+                            Virgin.                 Cathedral.
+          "                Portraits.              Ditto.
+          "                Altar-piece.            San Pedro.
+          "                Retablo, with           Santa Ana, Triana.
+                            fifteen paintings.
+
+  Antonio de Arfian       Frescoes on the          St. Mary Magdalen,
+   (1537-1587).            History of St.           Triana.
+                           George.
+
+  Juan Bautista Vasquez   Altar-piece.             Altar of Our Lady of
+   (worked in                                       the Pomegranate,
+   Seville about 1568).                              Court of the
+                                                    Oranges.
+
+  Alonso Vasquez          Various works.           Museo.
+   (_d._ 1648).
+
+  Pedro Villegas          Virgin visiting          Altar de la Visitaci�n,
+   Marmolego               Elizabeth.               Cathedral.
+   (1520-1597).
+          "               Doubtful Works.          Museo.
+
+  Francesco Frutet        Several Works.           Museo.
+   (worked in Seville
+   about 1548).
+
+  Sturmio (worked in      St. Gregory saying       Cap de los Evangelistas,
+   Seville about 1554).    Mass.                    Cathedral.
+          "               Evangelists.             Ditto.
+          "                Saints.                 Ditto.
+
+  Herrera, el Mozo        Several Works.           Cathedral.
+   (1622-1685).
+          "                     "                  Museo.
+
+  Juan de las Roelas      Martyrdom of St.         Museo.
+   (1560-1625).            Andrew.
+          "               Other works.             Ditto.
+          "               Death of San             San Isidore.
+                           Isidore.
+
+  Juan de las Roelas       San Santiago.           Cap de Santiago,
+   (1560-1625).                                     Cathedral.
+          "                Holy Family.            The University.
+          "                Nativity.               Ditto.
+          "                Adoration of the        Ditto.
+                            Shepherds.
+
+  Herrera, el Viego        Legend of St.           Museo.
+   (1576-1656).             Herminigild.
+          "                Other works.            Ditto.
+          "                St. Michael and the     San Bernardo.
+                            Hosts of the Wicked.
+
+  Juan de Castillo         Assumption.             Museo.
+   (1584-1640).
+          "                Other pictures.         Ditto.
+          "                Virgin and Child.       House of Murillo.
+          "                Other works.            The Churches.
+
+  Francisco Pacheco        Many works.             Museo.
+   (1571-1654).
+          "                     "                  House of Murillo.
+          "                     "                  Cathedral.
+          "                     "                  Churches.
+
+  Francisco de Zurbaran    Legend of St.           Cap de St. Pedro,
+   (1598-1661).             Pedro.                  Cathedral.
+           "               Death of St.            Museo.
+                            Thomas Aquinas.
+           "               Other works.            Ditto.
+           "               Eight Female            Hospital del Sangre.
+                            Saints.
+
+  Alonso Cano              Our Lady of             Altar de la Virgin
+   (1601-1667).             Bethlehem.              de Belen, Cathedral.
+
+  Juan de Vald�s Leal      San Ildefonso.          Cap de St. Francisco,
+   (1630-1691).                                     Cathedral.
+          "                Pictures illustrating   Hospital de la
+                            the vanity              Caridad.
+                            of worldly grandeur.
+          "                Many works.             Museo.
+
+
+
+
+CHAPTER IX
+
+_Velazquez and Murillo_
+
+     'The more the artist studies Nature, the nearer he approaches to
+      the true and perfect idea of art.'--Sir J. REYNOLDS.
+
+
+On the 15th of June, in the year 1599, Diego Rodriguez de Silva y
+Velazquez was born in Seville. Eighteen years later affords the record
+of birth of Murillo. Contemporary, or nearly so, they began their lives
+in the same environment, yet from their earliest youth they tended to
+develop upon divergent lines. The young Velazquez, at the age of
+thirteen, became the pupil of the vigorous Herrera, while Murillo
+entered the school of the academic Juan de Castillo.
+
+It was reserved for Velazquez to break away from the traditional
+limitations of the Sevillian school, while the work of Murillo was to
+develop them to their fairest fruition.
+
+The national manner, begun by Herrera and developed by Zurbaran, was, by
+the genius of Velazquez, carried to perfect fulfilment.
+
+The grave and truthful simplicity of his pictures is unsurpassed among
+the artistic records of any nation. His supreme effort was directed to
+the portrayal of Nature. With unerring judgment he selected the
+essential details of a composition, and painted them with unflinching
+fidelity. He depicted each colour precisely as the lighting of his
+canvas revealed it to him. He is the master of chiaroscuro, by the
+perfect unity of his tones. His style is wholly personal, his pictures
+bear pre-eminently the mark of individual expression. From his earliest
+youth this was his method of work. 'He kept,' Pacheco tells us, in the
+account he gives of his pupil and son-in-law, in his _Arte de la
+Pintura_, 'a peasant lad, as an apprentice, who served him as a study in
+different actions and postures--sometimes crying, sometimes
+laughing--till he had grappled with every difficulty of expression; and
+from him he executed an infinite variety of heads, in charcoal and chalk
+on blue paper, by which he arrived at certainty in taking likeness.' In
+this way did Velazquez train his power; and we are able to comprehend
+the wonderful portraits, which have rendered the House of Austria
+familiar to the world, when we picture the youth drawing his slave,
+again and yet again, in different attitudes and ever varied changes of
+expression.
+
+This, then, was the divergence between the methods of Velazquez and
+Murillo. The one painted Nature as she was; the other depicted men and
+women as they never could be, but in the guise of saints, according to
+the desires of the Catholic Church. It is in this dis-similarity of
+their aims, that we shall find the explanation of the fact, which cannot
+fail to impress the visitor to Seville, that, while the city abounds in
+the works of Murillo, no single picture from the hand of Velazquez is to
+be found in Cathedral, Church or Museo. The city of his birth is
+destitute of any commemoration of his genius, if we exclude a few
+pictures, of very doubtful authenticity, to be found in some of the
+private collections.
+
+The art of Seville was maintained by the munificence of the Church.
+Painting was the handmaid of the Catholic religion. Pictures were
+painted for the glory of God; they were valued as aids in the due
+performance of religious observance rather than as works of art. For
+the artist whose supreme desire was to follow truth Seville was no home.
+Realism was opposed to the very essence of the Catholic mind. The
+medi�val spirit did not exist in Velazquez, the most modern of all the
+old masters; he yearned for a freer and wider scope for the development
+of his genius.
+
+In March, 1621, Philip III. died, and was succeeded by his young son,
+Philip IV., who at once began to collect about the throne the literary
+and artistic genius of the day.
+
+Accompanied by Pacheco, Velazquez went to Madrid and craved an audience
+of the King. The favour was denied, and after some months of waiting,
+the young artist returned to Seville. Next year he again sought the
+metropolis. One of the Canons of Seville Cathedral, Don Juan Fonseca,
+had obtained a post in the King's service; Velazquez painted his
+portrait. It was carried to the palace before it was dry, and in an hour
+the whole court had seen it. 'It excited the admiration of the capital,'
+writes Pacheco, exulting in the success of his favourite, 'and the envy
+of those of the profession, of which I can bear witness.' Velazquez's
+position was assured. He was formally received into the King's service,
+and became a member of the royal household. His genius was lost to
+Seville. He is classed among the artists of Castile, and to study his
+works it is necessary to visit, not Seville, but the Prado Museo, at
+Madrid.
+
+Of the pictures he painted in his youth none remain in Seville. The most
+famous are The Water Carrier, or Aguador, now in the collection of the
+Duke of Wellington, at Apsley House; The Omelet belonging to the late
+Sir Francis Cook; St. John in Patmos and The Woman and the Dragon, the
+property of Sir Bartle Frere; The Epiphany in the Prado Museo; and The
+Adoration of the Shepherds in the National Gallery.
+
+The Water Carrier and The Omelet are studies of street life, finished
+with great care; a class of picture known as _bodegones_, often painted
+by the Spanish artists. The former is the finer work. It is a
+magnificent instance of Velazquez's power during his student days.
+
+Either a study for this picture, executed by Velazquez himself, or a
+copy by one of his pupils, can be seen in the house of Murillo. The
+courteous owner, Se�or Don L�pez Cepero, is always willing to show his
+valuable collection of pictures. He believes the work to be a genuine
+Velazquez, and it is just possible that it may be so, and in any case it
+is a study of much interest. The Corsican water-seller, clad in his
+brown frock, a well-known figure in the streets of Seville, hands a
+glass of water to a boy, while in the distance another figure is dimly
+discerned, with his face buried in an earthenware mug. The background is
+very dark; the figures alone stand in the light. There is no scenery,
+and the accessories are painted with absolute truth.
+
+       *       *       *       *       *
+
+While the art of Velazquez was unsuited to the city of his birth, the
+works of Murillo breathed the very spirit of the life around him. His
+pictures represent the religious emotion of his period; they may
+fittingly be termed, 'the embodied expression of Spanish Catholicism,
+during the seventeenth century.'
+
+This fact in a large measure accounts for the popularity of Murillo, and
+the rapid recognition which his merits received at the hands of his
+countrymen. His art appealed pointedly to the hearts of the people; the
+expression of his genius was comprehensible to them all. He speedily
+became the favourite artist in Spain, and his fame gradually extended
+throughout Europe.
+
+Murillo's artistic career may be divided into four periods. During the
+first he was needy and unrecognised, gaining a precarious livelihood by
+painting rude pictures for the Feria, a weekly fair, held every Thursday
+at the northern end of the Old Alameda, in front of the Church of All
+Saints. The artistic training he had received was slight. Juan de
+Castillo, who, as a relative of the family, had taught the boy free of
+charge, left Seville, and the young Murillo was too poor to enter the
+schools of Herrera, Pacheco, or Zurbaran. He was obliged to toil with
+strenuous effort to support himself and his sister, who was dependent
+upon him.
+
+We can picture the future genius of Seville, standing in the market of
+the Feria, exposing his pictures for sale. He would often paint them
+while he waited, or would alter each composition to suit the fancy of an
+intending purchaser. Ambitious dreams fired his imagination. Pedro de
+Moya, an artist friend, had been to Rome, and had returned imbued with
+the glories of the metropolis of art. Murillo aspired to visit Italy,
+and with this hope he toiled, until he had saved a sufficient sum to
+take him to Madrid. He at once sought the counsel and protection of his
+old friend Velazquez. The court artist received him with the utmost
+kindness. He gave him lodging in his own apartments, and obtained
+permission for him to work in the Royal Galleries. A new world was
+revealed to the young Murillo. For two years he worked, then Velazquez
+advised him to go to Italy, to continue his studies in Rome, or
+Florence. He offered him letters of introduction, and did all in his
+power to induce him to undertake the journey, but for some reason
+Murillo declined his offer and returned to Seville.
+
+His earliest work was to paint a series of studies of the Legend of St.
+Francis, for the Franciscan Convent, formerly situated behind the Casa
+del Ayuntamiento. They at once assured his fame; the unknown artist
+became the most popular painter in opulent Seville. The only person who
+failed to acknowledge his genius was Francisco Pacheco. Jealous for the
+fame of Velazquez, and unable to forgive the lack of appreciation which
+Seville had tended to his favourite, he makes no mention of Murillo or
+his works, in his _Arte de la Pintura_; a curious omission only to be
+accounted for by private enmity.
+
+None of the Franciscan cycle of pictures are in Seville, and only two,
+The Heavenly Violinist, and The Charity of St. Diego, are in Spain. They
+were carried away by the French during the War of Independence.
+
+The influence of the two years Murillo had spent in Madrid can readily
+be traced in these early paintings. The outlines are distinct and in
+some cases hard; while the tone of the shadows, and the treatment of the
+lights follows the method of the realists, and affords little or no sign
+of the melting indecision of outline, the manner so prevalent in his
+later work. The pictures belonging to this period are said to be painted
+in the _Estilo Frio_, or cold style. The best instance in Seville, is La
+Anunciaci�n de Nuestra Se�ora, in the Museo.
+
+In his later work Murillo abandoned the influence of Ribera, Zurbaran,
+Velazquez and the Spanish realists; he developed a manner more personal,
+and more in harmony with the mystic trend of his emotions. His outlines
+became softer, and his forms rounder, while his colour began to assume
+tones of melting transparency. A Spaniard writing of his work at this
+period remarks that his flesh tints seem to be painted '_con sangre y
+leche_' (with blood and milk).
+
+The first picture painted in this manner, which is known as the _Estilo
+Cal�do_ (warm style), is Nuestra Se�ora de la Concepci�n, executed for
+the brotherhood of the True Cross, in 1655, for the sum of 2500 _reals_.
+To this period belong the fine portraits of St. Leander and St. Isidore,
+in the _Sacrist�a Mayor_, of the Cathedral; the Nativity, which formerly
+hung behind the high altar, until it was carried away by Soult; and the
+celebrated St. Anthony of Padua, receiving the infant Christ, still to
+be seen in the _Cap del Bautistero_.
+
+The portraits of St. Leander and St. Isidore are among the finest
+instances of the powers of Murillo. All the accessories are painted with
+the utmost care, and perhaps the only criticism which can be offered is
+that the figures are rather short. These portraits must be classified
+with Murillo's fine _genre_ studies--those charming representations of
+gipsy life and beggar boys, by which he is largely known in this
+country, but of which Seville unfortunately possesses not a single
+example.
+
+The Nativity of the Virgin was received by Seville with a burst of
+enthusiasm. The St. Anthony was painted in 1565, the Chapter paying for
+it the sum of 10,000 _reals_. The light in the dim chapel renders it
+very obscure. A brown-frocked monk kneels at a table, and gazes at the
+Heavenly Child, who descends towards him. Upon the table rests a vase of
+lilies, and the story runs that they were so life-like that the birds,
+flying around the Cathedral, used to come and peck at them, while
+Murillo was engaged in painting them. The picture was restored, and
+almost repainted in 1833, which has doubtless done much to destroy its
+charm.
+
+Shortly after this time Murillo adopted his third and last manner, known
+as "el Vaporoso," in which the outlines are entirely lost, obliterated
+in a misty effect of light and shade.
+
+The first pictures painted in this method were executed for the Church
+of Santa Maria la Blanca, to illustrate the legend of our Lady of the
+Snow. They were carried away by the French and placed in the Louvre; but
+were rescued, and are now in the Acad�mia de Belles Artes, at Madrid.
+The Virgin, appearing to the wife of a Roman senator, and telling her
+where she will find the patch of snow upon which to erect a church to
+her honour, is one of the loveliest of Murillo's conceptions.
+
+The great cycle of pictures for the Hospital de la Caridad were painted
+about this time, being completed between the years 1660 and 1674. Three
+of the pictures stand in their original position, Moses striking the
+Rock, The Miracle of the Loaves and Fishes, and the Charity of St. Juan
+de Dios. The figure of the Prophet, in Moses striking the Rock, Sir W.
+Stirling-Maxwell says, 'is one of impressive dignity.' Clad in pale
+yellow robe and violet mantle, he occupies the central position in the
+picture. Behind him stands Aaron, with mystic breastplate, and robe of
+subdued white. Around the two prophets are grouped numerous figures,
+men, women and children, all quenching their thirst with feverish
+eagerness. This has given the picture its name of La Sed (the thirst).
+The figures bear no resemblance to the men and women of Palestine, they
+are ordinary Spanish peasants, such as Murillo would see in the streets
+around him. This custom of introducing common types into his scriptural
+compositions, Professor Carl Justi considers as one proof of
+Murillo's genius. The personality of Christ, in the Miracle of the
+Loaves and Fishes, lacks the force of the ancient prophet, and the work
+as a whole is inferior to its companion picture. The Angel appearing to
+St. Juan de Dios, as he sinks under the burden of a sick man, well
+represents the later manner of Murillo. In colour this picture is good,
+the tones are finer than in either of the other works. The five
+remaining pictures, which completed this great series, were carried away
+by Soult. The finest, St. Elizabeth of Hungary washing the Feet of
+Beggars, is now at Madrid. The Return of the Prodigal is in the
+collection of the Duke of Sutherland. Two others, The Healing of the
+Paralytic, and Abraham with the Angels, are in England, while the last,
+St. Peter released from Prison, is in St. Petersburg.
+
+[Illustration: THE GUARDIAN ANGEL
+
+_Murillo_]
+
+The final work of importance undertaken by Murillo, was the execution of
+a series of twenty pictures for the Capuchin Convent of the Franciscans.
+The convent was destroyed in 1835, when its treasures were scattered.
+The greater number of the pictures are now in the Museo; the immense
+altar-piece of the Porciuncula is in Madrid; while the Angel de la
+Guarda is in the _Sacrist�a de los C�lices_, having been presented to
+the Cathedral, by the Franciscans, in 1814. There is great beauty in
+this composition; which was founded upon the text, Matthew xviii. 10.
+
+An angel, in a rich yellow robe and royal purple mantle, points with one
+hand to heaven, while with the other she tenderly leads a lovely child.
+It is painted with great lightness of touch; the diaphanous drapery of
+the child's dress has a transparency of texture rarely seen in Spanish
+pictures.
+
+The life of Murillo was nearing its completion. He worked until its
+very close; and devotion to the art he loved was the immediate cause of
+his death. In 1678 he painted for the Hospital de los Venerables a very
+fine Conception, which has since been lost; he also executed two
+pictures for the Augustine Convent, now in the Museo. In 1681 he was
+summoned to Cadiz to paint an altar-piece for the Capuchins of that
+city. The work was nearly completed, when he fell from the scaffolding,
+upon which he was standing in order to reach upper portions of the
+picture. He received an internal injury, and returned to Seville to die,
+on April 3, 1682.
+
+The whole city sorrowed for his loss. His obsequies were conducted with
+great magnificence. His bier was carried by four marquesses and four
+knights. He was buried in the Church of Santa Cruz, beneath his
+favourite picture, The Descent from the Cross, by Pedro Campa�a. The
+spot was marked by a simple marble slab, upon which was engraved,
+according to his own desire, his name, the figure of a skeleton, and the
+words '_Vive Meritorus_.'
+
+The position Murillo occupies in the heart of Andalusia is almost
+unprecedented. To this day a picture of great merit is in Seville termed
+a 'Murillo.' What Cervantes was in literature Murillo was in art. Sir
+David Wilkie justly remarks, in his comparison of Velazquez and Murillo,
+'Velazquez by his high technical excellence is the delight of all
+artists; Murillo, adapting the higher subjects of art to the commonest
+understanding of the people, seems, of all painters, the most universal
+favourite.'
+
+   Artist.             Pictures.               Where Situated.
+  Velazquez (?)       Water Carrier.          House of Murillo.
+   (1599-1660).
+       "              A few doubtful          Private Collections.
+                       works.
+
+THE PRINCIPAL WORKS OF MURILLO IN SEVILLE CATHEDRAL.
+
+   Artist.             Pictures.               Where Situated.
+  Murillo             Angel de la Guarda.     Sacrist�a de los
+   (1617-1682).                                C�lices.
+       "              SS. Leander and         Sacrist�a Mayor.
+                       Isidore.
+       "              Conception.             Sala Capitular.
+       "              St. Anthony of          Cap del Bautisterio.
+                       Padua.
+       "              Moses striking the      Hospital de la
+                       Rock.                   Caridad.
+       "              Miracle of the          Ditto.
+                       Loaves and Fishes.
+       "              Charity of St. Juan     Ditto.
+                         de Dios.
+       "              Seventeen works         Museo.
+                       from the Capuchin
+                       Convent, and
+                       other works.
+
+          Other Pictures in many of the Churches.
+
+
+
+
+CHAPTER X
+
+_The Pictures in the Museo_
+
+     'The office of art is to educate the perception of beauty.'
+
+     EMERSON.
+
+
+In the south-western quarter of Seville, in the midst of a palm-shaded
+_plaza_, stands the Museo Provincial, a picturesque structure, whose
+history dates back to the thirteenth century. It was originally a
+monastery, founded by the pious San Fernando, in the year 1249, for the
+monks of the order of the Merced, whose duty it was to redeem the
+Christian captives taken from the Infidel. Sumptuously rebuilt by Carlos
+V., it was a religious house of great wealth during the fifteenth and
+sixteenth centuries.
+
+Little of the former glory now remains. The convent was destroyed, and
+the monks expelled in the year 1835. New uses were found for the ancient
+edifice. The Roman and Visigothic relics were brought from Italica, and
+stored within the quiet cloisters. Numerous pictures, rescued from the
+convents and churches by the efforts of Dean Manuel L�pez Cepero, were
+hung upon the walls of the old convent church. The sole relic of the
+banished order of the Merceds are the emblazoned arms of the
+brotherhood, which may still be seen upon the rich and curiously-panelled
+doors.
+
+The majority of the pictures hang in the Sal�n de Murillo, the name now
+given to the convent church. The collection cannot be taken as
+representative of the genius of Seville. There are numerous examples of
+the work of Murillo, more than half of the room is occupied by the
+canvases of the Sevillian favourite. There are some fine instances of
+the work of Zurbaran. The elder Herrera and Vald�s Leal are also well
+represented. But there are only two specimens of Luis de Vargas and Juan
+de las Roelas, while the works of Velazquez, Alonso Cano, Nu�ez, Campa�a
+and several other artists are entirely absent. The space which the
+compositions of these masters might have occupied is filled with
+comparatively worthless pictures, painted by the decadent artists, who
+lived during the eighteenth century.
+
+The pictures[D] are well lighted, in a tolerable state of preservation,
+and are arranged with some method.
+
+The compositions of Murillo immediately attract attention. There are
+more than twenty in number, almost all of which are ranged in the nave
+of the Sal�n. The seventeen pictures, painted for the Capuchin Convent,
+are the most important. The finest is Santo Tom�s de Villanueva
+socorrierdo � los pobres[E] (rendering succour to the poor). Murillo
+esteemed this picture above all his works, and was wont to call it _su
+lienzo_ (his own picture). In literary conception the work has much
+merit. It is executed in the misty, _vaporoso_ manner. The light is
+skilfully handled and the figure of the saint is well realised. Robed in
+black, and bearing a white mitre in his hand, he stands at the door of
+his Cathedral, ministering to the needs of a beggar; whose feeble form,
+clad in filthy rags, affords a fine contrast with the calm beauty of
+the saint. Penurious men and women, waiting to be relieved, stand
+grouped in the foreground. The little urchin, who exultingly exhibits
+the _maravedis_ which have fallen to his share, is a typical Murillo
+beggar-boy.
+
+The two fine pictures of San Antonio with the infant Jesus are both
+instances of Murillo's latest manner. A similar picture is the Virgin
+revealing herself to San F�lix de Cantalicio. The outlines in all three
+pictures are obliterated, lost in a haze of misty vapour. The deposition
+of the drapery in St. Leander and St. Buenaventura is admirable. The
+picture of Santas Justas y Rufina, supporting the famous Giralda Tower,
+to guard it from the ravages of the tempest, should be compared with the
+picture of the same saints by Francisco Goya, in the _Sacrist�a de los
+C�lices_, in the Cathedral. In the composition of Goya we have an
+instance of a saintly subject treated in a realistic manner; Murillo
+follows the accustomed mode and depicts the maidens as holy saints,
+crowned with halos of glory.
+
+The fable that the picture of La Virgen con el Ni�o Jes�s was painted
+upon a serviette has no foundation, as can readily be seen by examining
+the panel upon which the study is painted. The story, which is very
+widely credited, says that the cook at the Capuchin Convent, having
+rendered Murillo some service, was asked by him what recompense he
+desired. He at once craved a sketch from the hand of the great master.
+Murillo, according to the fable, took the serviette which the cook was
+carrying, and with a few rapid touches of his brush created the picture,
+which is still noteworthy for the brilliancy of its tints.
+
+[Illustration: THE CONCEPTION
+
+_Murillo_]
+
+One of the sweetest of Murillo's Madonnas may be seen in El Nacimiento
+de Jesucristo (The Nativity). Cean Bermudez praises this picture very
+highly, while Antonio Ponz, a later Spanish critic, says that the stream
+of light which floods the picture is worthy of Correggio. There are four
+Immaculate Conceptions. In one the Virgin is supposed to be a portrait
+of the daughter of Murillo. Possibly the finest is the one termed 'la
+Grande,' although the difference between the pictures is very slight.
+
+At the farther end of the nave, close to the works of Murillo, is El
+Martirio de San Andres, by Juan de las Roelas, a huge composition,
+crowded with numberless figures. In spite of this defect the picture has
+power. The expression of the faces is individual and life-like, and the
+form of the martyr, bound to his double-cross, is well drawn. The chief
+merit of the work rests in its colour, which is Venetian in many of its
+tones. Very beautiful is the picture of Santa Ana teaching the Virgin to
+read. The drawing, especially of the hands, is defective, but the flesh
+tints are full of rich warmth, indeed, the colouring of the whole
+picture can hardly be too highly praised.
+
+Near to the Martyrdom of St. Andrew hang the Visi�n de San Basilio and
+the Apot�osis of San Hermenegildo, two works of great size, by Herrera
+el Viego. The latter is the finer composition as the canvas of the
+Vision is overcrowded and the interest of the work is not sufficiently
+centralised. San Hermenegildo is a noteworthy instance of the power of
+Herrera, and exemplifies his vigorous individual style. The favoured
+saint of Seville ascends to heaven in a flood of yellow glory, which
+reveals the steel blue of his cuirass, and the rich crimson of his
+flowing mantle. Two angels bear the axe and chain, the trophies of his
+triumph; while all around cherubs hover, waiting to crown with flowers
+the newly-martyred saint. Beneath are three figures--a fair-haired,
+kneeling boy, the son of San Hermenegildo, St. Isidore, robed and
+mitred, and King Leovigild, the Visigoth, who imprisoned and killed his
+brother for his defection from the Arian faith.
+
+Upon the same wall as the Santa Ana are the works of Juan de Vald�s
+Leal. They are of uneven merit, and traces of hurry and lack of careful
+completion may be discerned in almost all of them. One of the most
+interesting is, La Virgen, las tres Mar�as y San Juan, en busca (search)
+de Jes�s. The figures convey the idea of motion, while eager expectancy
+finds expression in look and gesture. The series of pictures
+illustrative of the life of San Jer�nimo are also interesting,
+notwithstanding the lack of harmony which mars several of the
+compositions. Entirely distinct are, La Concepci�n, and La Asunci�n.
+They are poor, both in drawing and colour; distinctly mannered, and
+devoid of simplicity and deep religious feeling.
+
+The works of Francisco de Zurbaran are collected in the old convent
+choir. In the centre is, La Apot�osis de Santo Tom�s de Aquino,
+considered by some critics the masterpiece of Zurbaran. It is a triple
+altar-piece, allegorically representing the death of the patron of the
+College of St. Thomas. The saint is ascending to heaven to join the
+blessed Trinity, the Virgin, St. Paul, and the hosts of glory. Below sit
+the venerable figures of the Doctors of the Church; on the right kneels
+the Bishop Diego de Dega, the founder of the college, while the Emperor,
+Charles V., with a train of ecclesiastics, stands upon the left. The
+dark, mild face of the figure immediately behind the Emperor is supposed
+to be the portrait of Zurbaran. As a work of art the picture is
+defective; it lacks charm, and the literary interest of the composition
+is too diffused. The execution is excellent, the colour, though sombre,
+is rich with a splendid mellowness of tone, while each of the heads
+bears the imprint of being a separate study.
+
+[Illustration: THE ROAD TO CALVARY
+
+_Valdes Leal_]
+
+The three studies of Carthusian monks amply manifest the charm which
+this allegorical composition lacks. La Virgen de las Cuevas, and San
+Hugo en el refectorio will be found on either side of the choir, while
+the third of the series, Confrencia de San Bruno con Urban II. hangs
+close to the St. Thomas. The genius of Zurbaran is disclosed in these
+scenes of monastic life. All three pictures are executed with remarkable
+fidelity, but the finest of the three is St. Hugo visiting the monks in
+their refectory. It is painted with realistic and individual truth. The
+monks, clad in the white robes of the Carthusians, sit around a table at
+their mid-day repast. In the foreground stands the aged figure of St.
+Hugo, attended by a young page. The saint has come to reprove the order
+for unlawfully dining upon flesh meat. His purple vestments supply an
+effect of fine colour, which contrasts with the dull white cowls and
+frocks of the brothers. What cold, passionless faces! Zurbaran has
+embodied the very spirit of asceticism. Each monk is a portrait,
+probably drawn from life. It is a perfect realisation of a monastic
+scene from the life of ancient Spain.
+
+We can only touch briefly upon the remaining pictures of Zurbaran. They
+are all worthy of study. Signs of weak drawing can often be detected,
+but the effort after truthful expression, and the entire absence of a
+desire to please by any special trick of manner will commend his work to
+every student. Note the simple, yet powerful, sincerity of his
+Crucifixion. Consider the manner in which he has depicted the boy Jesus
+in the picture, El Ni�o Jes�s. A boy clad in a simple gown of darkest
+grey; no halo surrounds his head, and upon his knees rests a twisted
+crown of thorns. One of the prickly spines has pierced the boy's
+finger, and with the verity of life Zurbaran depicts him pressing the
+finger to extract the thorn. The drawing of the figure is faulty and the
+execution of the little sketch is not equal to many of the other
+pictures, but the mode of treatment illustrates very convincingly the
+sincerity of the artist's purpose. Many of the studies of monkish
+figures are very fine. San Luis Beltr�n is a work of wonderful power.
+The careful painting of the hands, and the way in which every detail of
+the picture is subordinated to the whole effect deserve high praise.
+
+To turn from the works of Zurbaran to the pictures of Francisco Pacheco
+and Juan de Castillo is somewhat difficult. The hard, flat, lifeless
+portraits of the one, and the dull, faultily drawn, religious
+composition of the other, offer little inducement to linger. Were it not
+for the interest which attaches to these artists from the illustrious
+fame of their pupils, their very names would hardly be remembered.
+
+Equally disappointing are the majority of the remaining canvases, which
+hang in the nave of the Museo. The modern pictures appear out of place.
+The chief idea they convey is one of intense crudity of colour. Among
+the numerous pupils and imitators of Murillo not one is worthy of
+attention. The work of the pupils of Zurbaran reaches a somewhat higher
+level. The pictures of the Apostles, by the brothers Miguel and
+Francisco Polancos are good studies.
+
+[Illustration: SAINT HUGO IN THE REFECTORY
+
+_Zurbar�n_]
+
+In the nave are two pictures, both good and one of fine merit, executed
+by artists not belonging to the Sevillian school. La Sagrada Cena (The
+Last Supper), by Pablo de C�spedes, the artist of C�rdoba, 1538-1608,
+hangs upon the end wall of the nave, near to the Martyrdom of St.
+Andrew. The colour is good, there is a slight confusion of detail, but
+the picture is not without charm. The portrait of himself, by
+Dom�nico Theotoc�puli,[F] 1548-1625, better known as El Greco, the
+genius of Toledo, will be found near the door. It is a magnificent study
+and testifies to the power of the hand which executed it. Composition
+and technique alike, are above praise. The portrait is life-like in its
+reality; we grow to know the dark face of the artist, as he stands, with
+his brush and palette in his hand.
+
+Three other rooms, of small size, complete the Museo. The pictures they
+contain are not of great importance, but there are a few interesting
+canvases in the old sacristy, leading from the south transept of the
+Sal�n. Among them are several compositions of the early fifteenth
+century, classified as belonging to the _Escuela Flamenca_, by artists
+whose names have not been preserved. The tones in many of these antique
+pictures are wonderful, and they are all painted with a na�ve
+simplicity. The colour in the two compositions, El Se�or Coronado de
+espinas (thorns), and La Anunciaci�n de Nuestra Se�ora is especially
+good. The long lean figures and conventional grief depicted in El
+enterramiento del Se�or, strongly resemble the similar picture by
+Sanchez de Castro, in the house of Murillo.
+
+The works of Francisco Frutet will be found in this room. The finest, a
+grand triptych, entitled, Jes�s en el camino (road) del Calvario, is a
+work of much beauty. The central picture of the Crucifixion is finely
+conceived, and Sir W. Stirling-Maxwell thinks that several of the
+figures bear a resemblance to the Spasimo de Sicilia of Raphael.
+
+El Juicio Final, by Martin Vos, a Flemish painter, who worked in
+Seville during the early years of the sixteenth century, is a
+quaintly-conceived allegorical picture. This finest portion represents
+the hosts of the wicked. The drawing of the figures is good, but the
+canvas is much crowded.
+
+
+_The Statuary in the Museo._
+
+Before studying Spanish statuary, it is well to remember that this
+branch of art never attained to the same level in the Peninsula as the
+sister art of painting. The reason of this lack of development is not
+difficult to appreciate, when we remember that statuary was executed,
+almost without exception, for the religious uses of the Catholic Church.
+The images were needed to increase the pious fervour of the populace;
+they were carried in the religious processions, and often they were
+credited with miracle-working powers. The one necessity for a Spanish
+statue was that it should be an exact imitation of life. The more
+realistic the illusion, the greater was the power of the statue to
+conform to the requirements of the Church.
+
+It will readily be seen that marble--the substance most fitting for the
+artistic rendering of form, would not comply with these demands. Thus,
+in Spain, the classic marble was discarded, while wood and plaster were
+employed in its place. These substances could be readily coloured, or
+even covered with a canvas, like a skin, and then painted to counterfeit
+life. This barbaric custom--a relic of heathen days, did much to seal
+the doom of the art of sculpture in Spain. In seeking to imitate life
+the artists frequently rendered their statues grotesque. The ambition of
+art is not to be a deceptive imitation of nature. The true purpose of
+sculpture is to depict pure form; when it departs from this limitation
+it loses its distinguishing motive, the representation of repose, and
+becomes a degraded intermingling of the two arts of sculpture and
+painting.
+
+Yet, in spite of these limitations, there are several Spanish sculptors
+whose works deserve praise, and two of the most famous lived and worked
+in Seville.
+
+Pietro Torriggiano, of Florence, a roving soldier-sculptor, came to
+Spain, in the year 1520. He had journeyed in many lands, and to his
+skill we owe the fine tomb of Henry VII., in Westminster Abbey. He
+settled in Seville, and soon completed his great work, San Jer�nimo
+penitente, now in the north transept of the Museo.
+
+It is impossible to rightly estimate the value of this work in its
+present position. The bright colours of the modern picture, which forms
+its background, are entirely unharmonious. The penitent saint, with his
+sinewy, attenuated form, frowning brow and shaggy locks, needs to be
+seen alone. Its original home was a lonely grotto in the gardens of the
+Jeronimite Convent; and in such a place of quiet solitude we must
+picture it, before we can appraise its worth. Cean Bermudez twice
+visited it in company with Francisco Goya. It excited their unbounded
+admiration, and Goya pronounced it 'the finest piece of work of modern
+sculpture in Spain, and perhaps in the world.' Torriggiano fell under
+the ban of the Inquisition, and died in the prison of the Holy Office.
+
+Facing the San Jer�nimo, in the south transept, rests the Santo Domingo,
+of Martinez Monta�es, the most eminent sculptor of Seville, if not of
+the whole of Spain. The date of his birth is not recorded, but we know
+he was working in Seville in the year 1607; he died in 1649. Like its
+companion work of art the Santo Domingo suffers from its situation. Such
+works are utterly unsuited to the crowded gallery; they need the silent
+cloister, or quiet corner in some convent church. The saint kneels and
+scourges himself. The figure is of wood and of great dignity. The
+colouring is subdued, so as not to interfere with the fineness of the
+conception. The statue is a powerful study of asceticism.
+
+Finer than the Santo Domingo is the Crucifixion, by Monta�es, in the
+_Sacrist�a de los C�lices_, in the Cathedral. It is unrivalled among the
+statues of Spain. The anatomy is excellent, the sufferings of the Christ
+are portrayed with powerful reality.
+
+[Illustration: THE CRUCIFIXION
+
+_Monta�es_]
+
+
+
+
+CHAPTER XI
+
+_The Churches of the City_
+
+     'The different provinces of Spain differ from each other in their
+     architecture, as in their history; some of the buildings are purely
+     Moorish, others have a mixture of that style....' J. H. Parker,
+     _The Study of Gothic Architecture_.
+
+
+In order to appreciate the Andalusian character, it is essential that
+one should take into account the vast sway exerted by the Church in
+Spain. Devotion to piety has ever been one of the cardinal traits of the
+true Spaniard, and uncompromising faith in prelatical absolutism is
+considered one of the first virtues. In the long crusade against Saracen
+infidels, Arians, Jews, Protestants and apostates, men of high birth and
+wealth abandoned a life of ease to fight under the standard of Rome. To
+serve one's country as a priest or a soldier was the chief duty of the
+Christian.
+
+The wars of the country were fought to preserve the traditional faith.
+As early as the seventeenth century, the clergy possessed more power in
+Spain than in any other European country; and the sovereigns were
+pledged to protect the faith. The bishops were the king-makers, the
+predominant rulers of the nation. During the forty years' reign of
+Carlos V., the main object of the State was to suppress heresy, and this
+had been the ambition of all the rulers since Fernando the Saint.
+
+In the seventeenth century, the Church secured even greater power in
+temporal affairs; but this power began to wane when Florida Blanca, the
+new Minister, made a determined effort to lessen the dominance of the
+Church, in 1780. For diplomatic reasons, Blanca signed treaties with
+Turkey, Tripoli, Algiers and Tunis, thus exhibiting amity towards the
+very infidels, 'whom, in the opinion of the Spanish Church, it was the
+first duty of a Christian government to make war upon, and, if possible,
+to extirpate' (Buckle). The expulsion of the Jesuits was a part of the
+same policy. And now, for the first time for centuries, the secular
+authority gained supremacy over the spiritual class.
+
+The cathedrals and churches of Spain remain as instructive monuments of
+the powerful religious fervour of the Middle Ages. They were built by
+men of profound faith, by devotees who were ready to die for their
+creeds. Those who endowed the buildings gave ungrudgingly; rich and poor
+were liberal in contributing the means, and clerics sometimes yielded
+half of their stipends to assist in the cost of beautifying the
+venerated piles. One and all, those who subsidised the labour, the
+architects, masons, artists and carvers, were inspired by a deep faith.
+
+Such was the enthusiasm that produced the rich designs of rose windows
+like that of San Pedro in Avila, the doors of Toledo Cathedral, the
+marvellous architecture of Burgos Cathedral, and that of Le�n and many
+other sacred buildings in the Peninsula. When surveying with delight
+these examples of �sthetic inspiration, we must remember that the
+artists worked not only to charm men, but to show reverence to their
+God. Every curve, tracery and adornment was conceived in a spirit of
+pious homage and of religious duty.
+
+It is only when faith is enfeebled that we may observe the touch of
+indifference in the hand of the ecclesiastical builder and artist. There
+is nothing 'cheap,' nothing hasty, nothing paltry in the scheme and
+construction of the temples dedicated by medi�val believers to the
+worship of God and the Holy Virgin Mother. We may have outgrown the
+taste in certain forms of decoration, but the work will not strike us as
+ill-considered and commonplace. It stands as a testimony to the
+influence of faith and devotion upon the imagination and the artistic
+spirit.
+
+If the modern churches of Spain disappoint us, we must remember that in
+these days men have, to a marked extent, lost that tenacity of belief,
+which once urged them to expend a great share of their wealth upon the
+founding of splendid houses of worship. 'The temples made by hands' are
+to-day less beautiful than those of the age when creed ranked before
+country, and was the absorbing subject and the profoundest conviction of
+the Spanish mind.
+
+But the ancient cathedrals and churches endure as solemn memorials.
+Atmospheric influences do not cause crumbling and speedy decay in this
+land of dry winds and sunshine. The edifices were built to stand, and
+they have stood well the wear and tear of the centuries.
+
+Most of the Seville churches exhibit the art itself, or at least the
+artistic influence, of the Moorish designer. The reconciled and
+converted Morisco had to live among his conquerors. Why should he not
+set his hand to the building of their temples? The Christians were
+pleased to borrow from his designs, to imitate his half-orange cupolas,
+his graceful arches, his glazed tiles, ribbon decorations and _ajimez_
+windows. Why should he refuse to design churches, and erect and adorn
+them, for the good pay that the Christians offered? The _Mud�jares_, or
+'reconciled' Moors, became, therefore, the chief and most
+lavishly-remunerated artisans of Seville. In building the churches and
+mansions of the city, they no doubt experienced a compensation for
+their subjection in the thought that they were permitted to labour with
+a free hand, and to design and embellish sacred or secular buildings
+after the manner of their own nation. They had no faith to inspire them;
+the religion foisted upon them was repugnant to their consciences and
+minds. But they possessed a potent stimulus to good execution--the love
+of art for art's sake. This was their inspiration, and we may see its
+effect in many details of ecclesiastic architecture in the Sevillian
+churches.
+
+[Illustration: Minaret of San Marcos.]
+
+_San Marcos._--This church is of exceptional interest on account of its
+tower, a fine example of Morisco architecture, and its beautiful
+_Mud�jar_ portal. The tower is in the minaret form, and was no doubt
+built in imitation of the Giralda, which it resembles in miniature. It
+is seventy-five feet in height, and ten feet wide, the loftiest tower in
+the city, except, of course, the stupendous Giralda, which is reared
+over all other edifices. The church is of Gothic design, and dates from
+1478, though the much older tower and the chief portal are Arabian. The
+interior is not of much importance. It is said that the love-sick
+Miguel Cervantes used to ascend the tower of San Marcos to gaze around
+for one Isabel, a Sevillian beauty, who had entranced him. The church of
+San Marcos is approached from the Feria by the Calle de Castellar.
+
+_The Church of the Convent of Santa Paula_ is behind San Marcos, and
+within a few steps of that church. The _azulejos_ covering the walls are
+fine examples of sixteenth-century workmanship from the potteries of
+Triana. The reliefs of saints on the Gothic portal of the nunnery are
+from the design of Pedro Millan, a famous sculptor, and are the work of
+Niculoso of Pisa. From the convent we may retrace our steps to San
+Marcos, turn to the right, and follow the Calle San Luis to
+
+_Santa Marina._ The handsome Gothic portal of this church has some
+notable sculptures. It is said that the tower and the chapels are the
+remains of a mosque.
+
+_San Gil_ is on the left-hand side of San Luis, close to the Church of
+Santa Marina. It was originally a Moorish _mezquita_. The doorways are
+Gothic. The effigies of the Saviour and the Virgin within the church are
+attributed to Roldan, one of the pupils of Monta�ez.
+
+_Omnium Sanctorum_ is in the Plaza de la Feria. This church stands on
+the former site of a Roman temple, and it was built by Pedro the Cruel
+in 1356. It exhibits a mingling of Gothic and _Mud�jar_ architecture.
+There are three naves and three doors. On the tower are some noteworthy
+frescoes. Francisco de Rioja, the poet, lived in this parish.
+
+_Santa Catalina_ is situated in the _calle_ of that name. This church
+was also built on the ground once occupied by a Roman fane, and
+afterwards by a Mohommedan mosque. The fa�ade is another instance of the
+survival of Moorish art, while the principal chapel is Gothic. Within
+are three remarkable paintings by Pedro de Campa�a, a Flemish artist,
+who is claimed as one of the Sevillian school. These masterpieces of
+early Andalusian art are described in the chapter on the painters of
+Seville.
+
+The inspection of these churches would fill a long day. But there are
+several more fine _parroquias_ to be visited, for it must be remembered
+that the churches are the art museums of Spain, and no one can gain
+knowledge of the development of architecture, sculpture and painting in
+the country without spending a considerable portion of one's time in the
+dim, perfumed naves and chapels. The stranger will be impressed by the
+garish decoration of the interiors of many of the churches of Seville.
+Gilt is spread lavishly, and the effect is often tawdry. Some of the
+images are poor, especially in the modern churches, and one's taste is
+often shocked by their incongruity. The figures of the Virgin often lack
+dignity and beauty. But, as Mr. Henry James points out in his sketch
+'From Normandy to the Pyrenees,' in _Portraits of Places_, those images
+of the Holy Mother are 'the sentiment of Spanish Catholicism' of modern
+times. They are, therefore, instructive from that point of view.
+
+But from a devotional, as well as an �sthetic, standpoint, one is
+disposed to ask whether the sacred idols would not gain in nobility,
+pathos and stateliness if the Virgin were represented in the realistic
+garb of a Jewish woman of the people, instead of in modern dress, with
+trappings of lace and jewellery. It is with no disrespect towards
+Catholic prejudices in this matter that one expresses this view. The
+medi�val conception of the Madonna in painting appeals to the
+imagination, because in the works of the great masters there is beauty,
+simplicity and convincingness.
+
+In the northern district of the city, beyond the Convento de Santa
+Paula, we may, in a few minutes, reach--
+
+_Santa Lucia._--This church is now used for profane purposes; but its
+splendid Gothic portal remains. The Morisco tower is also notable.
+
+_San Roque_ is in the Barrio de San Roque, not far from Santa Lucia. The
+church was destroyed by fire in 1759, and rebuilt in 1769. It is not of
+great interest, though the arches of the naves are graceful, and the
+small tower is worthy of note. In times of flood, the Guadalquivir
+inundates this suburb, and the water flows into the church.
+
+_San Bartolom�_ may be reached from the last-mentioned church by the
+Recared � Industria and the Calle Tinte. The church was built on the
+site of a Jewish synagogue, after the expulsion of the Jews by the
+Catholic Kings of Spain. The _retablo_ and the sculpture of our Lady of
+Joy is antique and interesting.
+
+_Santa Maria de las Nieves, or la Blanca_, is close to San Bartolom�.
+Until the year 1391 this church was a synagogue. It has three small
+naves, marble columns, and plateresque ornamentation. The two doors are
+Gothic. There is a painting attributed to Murillo, and one of our Lady
+of the Augustias, with the dead Christ in her arms, by Luis de Vargas,
+the famous fresco painter.
+
+_San Salvador_ is in the centre of the city, behind the Audencia, and
+may be reached from Sierpes by the Calle de Gallegos. This church is not
+of much importance from its age; but it contains effigies by Monta�ez,
+the most celebrated being the figure of San Cristobal.
+
+_San Isidoro_ is built upon the ground where a fine mosque once stood.
+It is stated that St. Isidore was born upon this spot or close to the
+church. Juan de las Roelas painted the Translation of San Isidoro for
+the principal altar. There are also pictures by Murillo, Vald�s, and
+Tortolero, and a statue of Santa Catalina by Roldan the Elder.
+
+_San Julian_ should be visited for an inspection of the large painting
+of San Cristobal, the work of Juan Sanchez de Castro. The painting of
+St. Christopher has been retouched. It was executed in 1484, and the
+work is of great interest as an example of the art of the earliest
+Sevillian painter.
+
+I have now mentioned thirteen churches. There are more to visit.
+
+_San Bernardo_ is in the suburb of that name. It is built on the spot
+where a hermitage stood until 1593. The church has three wide naves. It
+should be visited for an inspection of the pictures. In the left nave is
+a painting of the Last Judgment, the work of Herrera the Elder.
+
+The _Cena de Jesus_ is by Francisco de Varela. It was executed in 1622,
+and is regarded as one of the finest works of that painter. The statues
+of St. Michael, the Faith, St. Augustine and St. Thomas are the work of
+Luisa Roldan. The organ of this church is one of the best in Seville.
+
+[Illustration: Puerta de Santa Maria]
+
+_The Convent Church of La Trinidad._ The associations of the church are
+of considerable interest. In the time of the Roman rule in Seville, the
+palace, ecclesiastical court, and dungeons of a governor were built upon
+this ground. The church is dedicated to the saints of Seville, Justa and
+Rufina, the guardians of the Giralda. When the Romans conquered the
+Spaniards, they sought to convert the subject-people to the Pagan
+religion. Among the potters of Trajan's town, now known as the suburb
+of Triana, were two girls, both of great beauty, named Justa and Rufina.
+The maidens were renowned for their Christian piety. They refused to
+worship the Roman gods, and in their zeal they became iconoclasts. Their
+image-breaking brought them beneath the tribunal; they were sentenced to
+extreme punishment. The wretched victims were scourged, and forced to
+walk barefooted on the bleak mountains of the Sierra Morena. But this
+persecution failed to shatter their fervent devotion to Christianity.
+They continued to protest against the religion of the Romans. Justa was
+imprisoned and slowly starved to death, while Rufina was cast to the
+lions in the arena.
+
+The portraits of the youthful saints have been painted by several of the
+Sevillian artists. Murillo's SS. Justa and Rufina is in the picture
+gallery at Seville. The treatment is conventional. The saints are
+holding a model of the Giralda in their hands, and the martyrs' palms.
+At their feet are broken crockery, showing the nature of their calling.
+To the left are the ruins of a building. The figures of the maidens are
+large, and halos surround their heads.
+
+In the same gallery are two pictures of the Sevillian saints by an
+unknown artist. One is a portrait of Santa Justa. The saint is holding a
+white vase and the martyr's palm in her hands. Santa Rufina, in the
+other painting, is bearing a plate and a palm branch. The Santa Justa is
+the more notable of these works. The conception is beautiful and the
+colouring subdued.
+
+H. Sturmio's painting of Justa and Rufina is in the Cathedral, and so is
+that of the celebrated Luis de Vargas. From the artistic standpoint, the
+picture of the two saints by Francisco Goya is the finest of all. It is
+to be seen in the _Sacrist�a de los C�lices_ in the Cathedral.
+
+In the crypt of the Convent Church of La Trinidad is shown a rock, to
+which the saints were bound when scourged by their persecutors. There is
+a poor shrine in a dim cellar; and the sacristan shows a long, dark
+passage, full of water, which is said to be a part of the Roman prison,
+where heretics were confined and starved to death. The story of the
+saints of Triana is legendary; but it is no doubt credited as actual
+history among the devout of the city.
+
+It is recorded that the martyrs incurred death for breaking a statue of
+Venus. Tradition is hazy concerning the place of their burial. In one
+account we learn that SS. Justa and Rufina were laid to rest in Burgos.
+Another historian assures us that they were buried in Seville, while a
+third story relates that their bones are in the mountainous Asturias, in
+the North of Spain.
+
+A big book might be written on the churches of Seville alone. There are
+so many of those edifices, and few of them are devoid of interest to the
+antiquarian, art lover, and student of ecclesiastical history. The
+amalgamated Moorish and Renaissance elements in the Seville churches
+lend a charm to the architecture and the adornments. This strange
+combination of styles is only to be found in the Christian churches of
+Spain. Almost everywhere we are confronted in Andalusia with this
+seeming incongruity, the employment of designs for religious edifices
+from the hand of the despised and detested _Mud�jar_. The phenomenon is
+strange and instructive. The zealous Catholic kings, sworn to the
+extirpation of the Moslems, allowed the Moors to build their churches in
+the style of temples devoted to Allah.
+
+The same monarchs who ordered the destruction of the beautiful Moorish
+baths in C�rdova and Seville were willing that Mohammedan genius should
+have full play in the design, construction and decoration of Christian
+temples.
+
+But, after all, was it not a question of necessity? When a nation has
+only two honourable professions, the military and the clerical, where is
+the scope for a development of skill in the industrial arts? The
+Moriscoes were martial, but they never neglected the peaceful
+occupations. Sadly had Spain to learn that the neglect of culture and
+the arts was the cause of her decline. Germans, Italians and Moors were
+employed in the erection and adornment of ecclesiastic and civil
+buildings. The Teutons Johann, and his son Simon, of Cologne, were the
+chief architects of Burgos; and it is probable that German designers and
+masons performed a large share in the building of Seville Cathedral. At
+Burgos, Toledo and Le�n we may note the influence of French architects.
+
+The interiors of the churches of Seville are so dark that it is often
+difficult to see the pictures clearly. Even on the brightest days the
+sunshine penetrates imperfectly through the stained windows, and in some
+cases the works of art are in the gloomiest chapel or recess of the
+building. The sacristans are usually to be found in or near the
+churches, and they are mostly courteous to the visitor, and anxious to
+point out the most important paintings, statues and relics. But in their
+desire to please, they sometimes ascribe the pictures to the wrong
+artist. A daub by an unknown artist becomes a work of Zurbaran, if the
+stranger appears to be greatly interested in that painter.
+
+Several spurious Murillos were shown to me. Now and then, the sacristan
+knows very little about the art treasures of his church. When you ask
+who painted a picture or carved an image, the attendant shrugs his
+shoulders, and murmurs _No se_ (Don't know). The boys who volunteer as
+guides are of no service to the visitor. In the chapter of information I
+have given the name of a reliable guide.
+
+
+
+
+CHAPTER XII
+
+_Some Other Buildings_
+
+  'Fair is proud Seville; let her country boast
+   Her strength, her wealth, her site of ancient days.'
+
+  _Childe Harold_, Stanza lxv.
+
+
+The _palacios_ and fine _casas_ of Seville are numerous. Some of them
+retain a distinctly _Mud�jar_ design in their architecture, and all of
+them possess an Oriental atmosphere or tone. One may spend many hours in
+visiting the courts of the big houses of the city. As a rule, the porter
+has instructions to admit strangers into the courts, but very rarely
+within the houses. But from the courts one may gain very considerable
+knowledge of the progress of architectural style in the dwelling-houses
+of the South of Spain, where, above all, we may trace the influence and
+art of the Morisco designer and craftsman.
+
+We will first visit the Casa de los Taveras, in the Calle Bustos Tavera.
+The house is principally celebrated as the scene of the tribunal of the
+Inquisition from 1626 to 1639. In the corridors is a collection of
+family portraits.
+
+Finer, from the point of view of architecture and adornment, is the Casa
+de los Marqueses de Torre Blanca, in the Calle de Santiago, number
+thirty-seven. It has a very beautiful _patio_, and a splendid marble
+staircase. These two houses are mentioned as well worth seeing in the
+little book _Sevilla Hist�rica_.
+
+Roaming in the Calle O'Donnell, I peeped into the court of number
+twenty-four. The fine _patio_ is surrounded with the heads of bulls
+killed in the arena. Number seventeen in the Calle Alfonso XII. is
+another handsome _casa_, with a typical court. Visitors may discover
+many sumptuous houses in this quarter of the city. The Casa Alba once
+had eleven courts and nine fountains. It is decidedly Moorish in build,
+with Renaissance details in the stucco-work. This beautiful palace, in
+the Calle de Due�as, was at one time owned by the Ribera family (the
+Dukes of Acal�). It was begun about 1483. The Casa Alba is larger than
+the Casa Pilatos, described in the literary chapter of this book.
+
+Mr. Digby Wyatt says of the Casa Alba, in his _Architect's Note Book in
+Spain_, that this is one of the rare instances of Renaissance
+ornamentations executed by Moorish workmen. 'For these, no doubt, they
+were furnished with drawings or models, since in no other parts of the
+same building, and especially in many beautiful rooms in the interior,
+where they have apparently been left to themselves, they have reverted
+partly to _Mud�jar_ work, and partly to the old types of geometrical
+enrichment, which may be regarded as specifically their own. Much of
+this is almost reduced to a flat surface by repeated coats of
+whitewash.'
+
+The Casa de los Abades is 'more Italian in its plateresque than is usual
+in other houses in Seville,' says Mr. Digby Wyatt. The mansion was built
+early in the fifteenth century, and was modified and embellished by the
+Pinedos, a Genoese family, in 1533. Mr. Wyatt tells us that: 'If it were
+not for the peculiar engrailed double edging to the arches, the thinness
+of the marble central window shaft, and a few Oriental turns here and
+there given to the foliage and enrichments of the mouldings, one
+could almost believe that this architecture was regular Genoese
+cinque-cento.' After the Pinedo family, the _casa_ came into the hands
+of the Abades, members of the Cathedral staff.
+
+[Illustration: Patio del Casa Murillo]
+
+A _Mud�jar_ window in the Fonda de Madrid has been sketched by Mr. Digby
+Wyatt in the afore-mentioned book. This is an _ajimez_ window, 'through
+which the sun shines.' It is of brickwork and was 'once covered
+apparently in Moorish fashion with thin plaster, excepting the column
+which is of white marble.'
+
+We may now visit the Palacio Arzobiscopal, the Archbishop's Palace, in
+the Plaza de la Giralda. The doors are in the plateresque style. You may
+enter the courtyard, and ascend the marble staircase, which is one of
+the most beautiful in the city. The _Sal�n_ contains some pictures that
+were formerly in the Cathedral. Among them are three paintings by Alejo
+Fernandez, an artist of the early Sevillian school, representing the
+Conception, Birth, and Purification of the Virgin. There are also
+pictures by J. Herrera and Juan Zamora.
+
+It is a few steps across the _plaza_ to the Casa Lonja. This Renaissance
+edifice was erected in 1583. The Academy of Painters formerly held their
+councils in the Lonja. It is now a library, and a repository of archives
+relating to the Indies. The _patio_ is fine, paved with marble, and
+surrounded by a double arcade. On the fountain is a statue of Columbus.
+A marble staircase, constructed in the time of Charles III., conducts
+the visitor to Achivo General de Indias.
+
+From the Casa Lonja pass down the Calle Santa Tom�s to the Hospital de
+la Caridad. This institution has a church, built by Miguel de Ma�ara. In
+the _Annales de Sevilla_, the author, Ortiz de Zu�iga, says that the
+record of the Brotherhood of the Holy Charity dates back to 1578, and
+that the institution had probably existed then for a century. The object
+of La Santa Caridad was to provide Christian burial for evildoers and
+offenders against the law of Spain. La Caridad is, however, associated
+with Don Miguel de Ma�ara Vicentelo de Leca, Knight of Calatrava, a Don
+Juan of Seville, who abandoned his profligate life, and became a devout
+pietist. In his youth, Ma�ara was a renowned duellist, a boon companion,
+and a gambler. He was generous to his friends in a spendthrift fashion,
+and he was cultured enough to expend large sums of his wealth upon the
+fine arts. Murillo was under his patronage and enjoyed his friendship.
+
+Don Miguel de Ma�ara was born in the year 1626, and is supposed to have
+married the _se�orita_ of the House of Mendoza. There are several
+stories of the young rake's career in Seville, and of his resolve to
+dedicate his riches to the service of the Church and to the poor of the
+city of his birth. One day a gift of some choice hams was sent to
+Ma�ara. In compliance with the regulations, the hams were detained by
+the customs' officers until the dues upon them were paid. The Don was
+extremely angered at the detention of the hams. He went out, in a
+furious passion, to upbraid the officials for the delay. As he paced
+fuming through the streets, 'the Lord poured a great weight upon his
+mind,' and Ma�ara was suddenly convicted of the sinfulness and folly of
+his life. Such is one account of Don Miguel's 'conversion.' Another
+annalist informs us that Ma�ara, while stumbling homewards after a night
+of carousal, saw a funeral procession approaching him. The priests and
+the usual torch-bearers accompanied the bier. Stepping up to the
+bearers, the young man said: 'Whose body is that which you are
+carrying?' The reply was startling: 'The body of Don Miguel de Ma�ara.'
+The prodigal reeled away, filled with horror; for he had looked upon the
+corpse, and seen his own features. Upon the next morning Ma�ara was
+found insensible in a church. It was the turning-point in his life. He
+became an ascetic and devotee. Because he liked chocolate, he refrained
+even from tasting that innocent beverage. He was seen no more among the
+dissolute of Seville, and his money went to the building and decoration
+of the Hospital and Church of the Holy Charity. In his treatise
+_Discurso de la Verdad_ (Discourse upon Truth) Don Miguel Ma�ara tells
+us of the hollowness of existence apart from holiness. He reflects often
+upon the solemnity of death, and the necessity for practising virtue and
+charity. His repute as an almsgiver of discretion was so great that one
+Don Gomez de Castro gave him an estate worth 500,000 ducats for
+charitable disbursement.
+
+In the Sala del Cabildo of La Caridad, you may see a portrait of the
+pious founder, painted by Juan de la Vald�s. Ma�ara has a sad, thin
+face. He is seated at a table covered with black velvet and gold, and he
+appears to be reading aloud. A charity lad is seated on a stool, with a
+book on his knees. Ma�ara's Toledan sword is exhibited in a case. He
+died in 1679, and bequeathed his fortune to the hospital, except some
+legacies to servants. To his confessor the Don presented his ivory
+Christ. His sister received a picture, which was upon his bedstead,
+representing the Saviour on the Cross. The work was said to be from the
+brush of Murillo.
+
+The founder was interred in the vault of the hospital church. There is a
+legend that, two months after burial, the corpse was found without any
+trace of decay. It is also related that by the touch of some documents
+which had belonged to Ma�ara, a knight of the Order of Santiago was
+cured of a headache.
+
+In Mr. C. A. Stoddard's account of La Caridad, in _Spanish Cities_, the
+name of the founder is given wrongly as Ma�ana. Mr. Stoddard writes that
+Don Miguel desired to be buried at the church door, with the epitaph
+upon his tomb: 'Here lies the worst man in the world.' Ma�ara was,
+however, buried in a vault of the church, and in the inscription upon
+the stone he was lauded as 'the best of men.'
+
+For viewing Murillo's pictures in the Hospital Church of La Caridad, it
+is best to seek admission in the afternoon. The Charity Hospital is
+built in the Greco-Romano style from designs by Bernard Simon de Pineda,
+or Pereda. Visitors should examine the five large _azulejos_ of the
+exterior, said to have been designed by Murillo, the friend of the
+founder. The centre is Charity, a woman with a child in each arm and a
+boy at her side. Other designs represent Santiago slaying Moors, and San
+Jorge spearing the dragon.
+
+Sir Stirling-Maxwell speaks of the Church of La Caridad as 'one of the
+most elegant in Seville.' The aisle widens beneath a lofty and ornate
+dome. One of the chief objects of interest is the famous retablo; but
+the church is mostly visited by admirers of Murillo. The eleven works of
+the master, which once adorned the building, were painted in four years.
+Soult carried away five of the paintings. Four of them were sold by the
+French marshal, and one was presented to the Louvre. Mr. Stoddard
+praises Moses and the Rock as one of the finest pictures of Murillo.
+There are three groups in the scene. Water gushes from a dark rock in
+the centre of the picture, and Moses, with hands folded, offers thanks
+for the miracle. Behind is Aaron, in an attitude of worship. The
+Israelites press forward to quench their thirst. _Le Sed_ (The Thirst)
+has been reproduced by engraving, and is well known.
+
+The other pictures by Murillo are the Infant Saviour, the Annunciation,
+and the San Juan de Dios. In the last painting the saint, assisted by an
+angel, is bearing a sick man to the hospital. Christ feeding the Five
+Thousand (_Pan y Peces_) and the Young John the Baptist are large
+pictures, showing Murillo's broad method.
+
+The curious paintings by Juan Vald�s Leal are described in the chapter
+on 'The Artists of Seville.' They are at the west end of the church.
+
+The court through which one enters the hospital is very handsome, and a
+good example of the Sevillian _patio_. A Sister of Charity conducts the
+visitor to the wards and to the council room of the institution. The
+sick and the convalescent recline upon their beds, and there is a hush
+in the long chambers. The patients are all men. They appear to be well
+cared for, and the wards are clean and sunny.
+
+In the Plazo de Alfaro, number seven, is the house where tradition
+states that Murillo lived. From the Plaza de Giralda follow the Calle de
+Barceguineria, and take the second street on the right hand side,
+passing the Church of Santa Teresa. Turn to the right at the end of the
+Calle de Santa Teresa. Murillo's house is in a corner of the Plaza de
+Alfaro. It is now occupied by the Se�ores L�pez Cepero, two cultured and
+courteous brothers, the nephews of a greatly respected dean of the
+Cathedral, who in his day collected a number of fine pictures, and did
+much to encourage artists in the city.
+
+Don Juan Maria L�pez Cepero speaks English well. I paid three visits to
+the historic _casa_ that he inhabits, and he told me that his house was
+open to all lovers of art who desire to see his collection of pictures.
+In the chapter on Sevillian artists will be found descriptions of some
+of the oil paintings in the Casa Murillo.
+
+Don J. L�pez Cepero showed me his beautiful garden, with its Moorish
+bath, frescoed walls, rose trees and carnations. The _patio_ is planted
+with palms, and on the walls are pictures. The mural paintings in the
+garden have been attributed to Luis de Vargas; but they are
+unfortunately almost obliterated. At the end of a long salon, covered
+with pictures, is the room wherein Murillo is said to have died on April
+3, 1682.
+
+I am indebted to Don L�pez Cepero for the opportunity of seeing his
+valuable pictures, for the information which he gave me concerning books
+upon Seville by Spanish authors, and for the permission granted to my
+collaborator to reproduce some of the paintings in photography. His
+services to me were most valuable, and I now repeat my thanks for his
+assistance.
+
+The University, founded by Alfonso the Learned, is in the Calle de la
+Universidad. In the rooms are portraits of St. Francis of Borja and of
+Ignatius Loyola by Alonso Cano, and a picture of a saint by Zurbaran.
+The University Church has a notable retablo by Roelas; an Annunciation
+by Pacheco, and statues of St. Francis of Borja and of Loyola by
+Monta�ez. There is a monument to Enriquez de Ribera, and one to his wife
+Catalina in the nave. The Don was the first owner of the Casa Pilatos,
+and a benefactor of the city. It was he who founded the excellent
+Hospital Civil, in 1500, in the Calle de Santiago. The building was
+reconstructed near the Puerta de la Macarena in 1559.
+
+The Hospital Civil is best reached by the tramway from the Plaza de la
+Constituci�n. It is surrounded by gardens, and has a charming _patio_.
+In the church of the hospital there are pictures of saints by Zurbaran,
+and the Apotheosis of St. Ermenigild and Descent of the Holy Ghost by
+Roelas.
+
+The most handsome of the Renaissance buildings in Seville is that of the
+Casa de Ayuntamiento, or City Hall, in the Plaza de la Constituci�n. It
+was designed by Ria�o in 1526. The ornate carved doors, and the
+plateresque ornamentations of the masonry are highly decorative, and the
+marble floors and vaulted ceiling within should be seen. In the
+Municipal Library of the Ayuntamiento is the banner of the city, of the
+fifteenth century, bearing a figure of San Fernando.
+
+We have not yet visited the Biblioteca Columbina, given to the city by
+Fernando, son of Christopher Columbus. It is in the Cathedral precincts,
+and can be entered from the Patio de los Naranjos (the Court of the
+Oranges). The beautiful illuminated Bible of Alfonso the Learned, by
+Pedro de Pampeluna, used to be shown here, but it has, I believe, been
+removed by the Chapter. The Columbus manuscripts are here, in glass
+cases. There is a copy of the _Tractatus de Imagine Mundi_, with notes
+by Columbus, and the famous treatise attempting to prove Scriptural
+prophecies concerning the discovery of the New World. A sword here
+exhibited is said to be that of Perez de Vargas, used by him in the
+capture of Seville. I have referred to the manuscripts of Christopher
+Columbus in the historical portion of this book.
+
+Close to the Fabrica de Tabacos is the Palace of San Telmo, the former
+residence of the Dukes de Montpensier. The building dates from 1734, and
+it was first used as a naval school. It passed into the hands of the
+Infanta Maria Luisa, widow of the Duke of Montpensier. The _palacio_ has
+been shorn of its splendour by the removal of most of its works of art.
+It is of little interest; but the garden is a beautiful shady retreat,
+with semi-tropical plants and trees.
+
+There are but few statues in the streets of the city. Velazquez has been
+honoured by a bronze figure, which stands in the Plaza del Duque de la
+Victoria. It was cast by Susillo in 1892. The monument to Murillo, in
+the Plaza del Museo, is also of bronze. It is the work of Sabino
+Medinia, and the cast was made in Paris in 1864.
+
+Number eleven in the Plaza del Duque de la Victoria is now a large
+drapery store. It was formerly the splendid palace of the Marquis de
+Palomares. It is a fine example of a Seville residence.
+
+As we wander from church to palace and alc�zar of this ancient and
+beautiful capital, we are often reminded of the words of Cervantes in
+_The Two Maiden Ladies_: 'Seville is a city of Spain, of which you
+cannot fail to have heard frequent mention, considered, as it is, to be
+one of the wonders of the world.'
+
+[Illustration: Amphora]
+
+
+
+
+CHAPTER XIII
+
+_Seville of To-day_
+
+     'To have seen real do�as with comb and mantle, real caballeros with
+     cloak and cigar, real Spanish barbers lathering out of brass
+     basins, and to have heard guitars upon the balconies.'--THACKERAY,
+     _Cornhill to Cairo_.
+
+
+'Many monuments, fine religious processions, splendid bull fights, and
+not much business,' was the pithy description of modern Seville given to
+me by an intelligent Basque _se�ora_, living in the Province of
+Santander. The picture is a good one. As to the monuments, we have seen
+that the city abounds with them. But it is not only the historic
+buildings, associated with the Romans, Goths, Berbers and Almohades,
+that lend the fascination of antiquity to Seville. The Andalusian
+features, the manners, the speech, the domestic habits, the music, songs
+and dances of the people remind us hourly, while in the city, of the
+Seville of a thousand years ago.
+
+A spell of Orientalism, strange and seductive, comes upon the stranger,
+as he sits on the marble benches under the palms in the Plaza de San
+Fernando, watching the olive-skinned _chicos_ at their evening pastime
+of mimic bull-fighting, or dancing, with quaint, slow movement of the
+feet and much swaying of the body, to a semi-barbaric accompaniment of
+clapping hands and a low chanting. The gaunt mules, with their Arabesque
+wool trappings and panniers, that pass slowly by, the water-sellers in
+their white garments and hemp-soled shoes, and the women with their
+black lace _mantillas_, which must surely be a survival of the
+Mohammedan veil, all serve to impress one with their suggestion of
+Moorish influence.
+
+Electric lights and electric tramcars scarcely mar the charming
+illusions of the Oriental and the medi�val in the Seville of to-day. The
+tokens of modernity are subservient; they do not jar continually as in
+Madrid, perhaps the most commonplace of Spanish cities. In Seville you
+cannot forget the Moriscoes, and the part they played in the making of
+the city, the memories of Christopher Columbus, the art of Velazquez and
+Murillo, the romances of Cervantes, and the traditions of the Mother
+Church of Christendom. Every step causes reflection upon the past. You
+are carried back to the Middle Ages from the ringing of matin bells till
+the midnight cry of the watchman.
+
+The costume of the Sevillian _caballero_--and remember that every man in
+Spain is a cavalier--has suffered, no doubt, in picturesqueness since
+the time of Don Quixote. But there is a real grace and a romantic charm
+in the winter _capa_, flung upon the shoulders, with one of its
+plenteous folds muffling the mouth, and another thrown back to show the
+gorgeous lining of amber, green, or crimson. One looks for the point of
+a scabbard, containing a good Toledan blade, below the cloak. It is not
+there, though the practice of carrying weapons still survives everywhere
+in the Peninsula.
+
+Once only have I seen the sword carried by a civilian in Spain.
+Travelling from C�rdova to Toledo by rail, I had as companion a young
+man who had provided himself with a cutlass and a revolver, in case of
+assault by robbers. The sword was thrust through the straps of his bag.
+Revolvers are frequently worn on a belt under the coat, and most of the
+working class carry the _navaja_, a knife with a long blade, a sharp
+edge, and a keen point.
+
+[Illustration: Patio del Collegio San Miguel.]
+
+There is, however, no need for the traveller to provide himself with a
+six-shooter or a dagger; indeed, the revolver hung at the head of the
+bed, as I have seen it in a Seville hotel, is not only superfluous, but
+the mere possession of arms is apt to cause surmises as to the valuables
+carried by the armed stranger, and may lead to the pilfering of his
+portmanteau.
+
+The custom of going about armed is just one of those medi�val usages
+that still prevail in spite of the suppression of brigandage and the
+protection of the railway trains and stations by the vigilant,
+well-trained and courteous Civil Guards. Spaniards are conservative;
+they cling to practices that are no longer necessary, and the carrying
+of knives and pistols is one of those quixotic characteristics of the
+race, which will probably survive for several generations. As a matter
+of fact, the stranger in Seville is as safe, to say the least, as he is
+in London. The species Hooligan is unknown in Spain, though, of course,
+there are thieves in the country as in every other quarter of
+Christendom throughout the globe. The _navaja_ is never worn and used
+ostentatiously. It is the weapon of the criminal population and the
+disreputable, and it is too often drawn in street broils and for
+vendetta purposes.
+
+It is not necessary that I should caution the visitor against wandering
+alone, after dark, in the low streets of the city, nor warn him that it
+is risky to engage professional guides, who are not well known for
+honesty, and recommended by one of the proprietors of the better-class
+hotels. I do not wish to alarm the timid traveller. One should point
+out, however, that highway robberies do occasionally occur in the
+country districts.
+
+Two years ago, in the neighbourhood of Granada, a party of travellers
+found themselves and the guides surrounded by ruffians on a
+mountain-side, and were submitted to a complete rifling of their pockets
+before they were allowed to proceed on their way. A friend of mine, an
+English artist, was one of the party. You are frequently told in Spain
+that brigandage has been entirely suppressed. It is quite true that the
+Civil Guards have almost exterminated the organised bands of brigands
+that used to infest the lonelier roads of the country. But, here and
+there, as in Galicia, robbers sometimes work in small parties on the
+high roads, after dark. In Seville, however, one may feel as secure as
+in any other continental city. The average Andalusian is honest. Railway
+porters, cabmen, and hotel servants expect a _propina_ or 'tip'; but
+they are seldom exacting, and rarely addicted to pilfering. The
+_propina_ is a national institution; but a small gratuity is, as a rule,
+gratefully received, and I have met porters and others who have refused
+a fee for their assistance. Railway servants and hotel waiters are so
+poorly paid in Spain that they rely largely for their living upon the
+generosity of travellers. There is, however, a protest afloat against
+the _propina_, and a society has been formed in Madrid to combat the
+custom of giving 'tips.'
+
+The smart or fashionable life of Seville may be studied, after five in
+the evening in the warm months, in the narrow central thoroughfare
+called Sierpes, or in the drives of the beautiful gardens bordering the
+Guadalquivir. The Calle de Sierpes signifies in English the street of
+the serpents. It is a street for foot passengers only, with many
+_caf�s_, wine bars, nick-nack stores, and superior hatters', tailors'
+and tobacconists' shops. In this quarter ladies will find a fine array
+of fans, _mantillas_ and showy Andalusian shawls. Some of these articles
+bear the label 'made in Austria.' The shawls worn by the _majas_, or
+Sevillian smart dames, and maidens of the middle and working class, are
+sometimes very beautiful. Yellow is a favourite hue, as it accords with
+the black which is universally worn by the women of southern Spain.
+
+The _majo_ costume, as 'sported' by the dandies of Sierpes, is correctly
+made up of a wide-brimmed brown or white felt hat, a shirt with a
+frilled front, and diamond or paste studs, a low waistcoat, or broad
+silk band around the middle, a short coat, resembling an Eton jacket,
+and trousers cut exceedingly tight across the hips. A _majo_ affects the
+dress and conversation of his ideal, the bull-fighter. He favours the
+tightest, thin-soled, pointed brown shoes, crops his hair, shaves his
+cheeks and chin clean, walks with a self-consciousness, and ogles and
+bandies repartee whenever he passes a _maja_. The loungers of Sierpes
+exhibit more or less amused interest in the English or American lady
+visitors. Their hats are a wonder to them; their serviceable travelling
+dresses appear severely plain, their coats masculine in fashion, and
+their shoes short, broad, and absurdly low in the heel.
+
+How different is the guise and demeanour of the Spanish _se�ora_! If she
+is of the upper rank of society, she may wear a Parisian hat and a dress
+in the English style; but her slow, erect and graceful walk proclaim her
+an Andalusian. She will not start and seem insulted when a man stares
+her full in the face, smiles, and exclaims: 'How lovely you are! Blessed
+be the mother who bore you!' A parting of the lips, perhaps a slight
+flush, show that she is pleased when the gallant turns to gaze at her.
+
+So much has been sung and written about the loveliness of the Sevillian
+_do�as_ that I may perhaps be taken to task if I do not join in the
+rapturous chorus. The beauty of the Andalusian women does not startle
+one immediately upon setting foot in Seville. It seems to me to be a
+charm that needs comprehension. Undoubtedly you may see a proportion of
+handsome faces among the ladies in the evening parade in the park, on
+the racecourse, at the bull fights, and in the theatres. If you expect
+to find that every other woman in Seville is a belle--well, I think you
+will be disappointed.
+
+'If Shakespeare is right in saying that there is no author in the world
+"teaches such beauty as a woman's eyes," then Andalusia easily leads the
+world in personal beauty.' So writes Mr. Henry T. Finck, in his
+_Romantic Love and Personal Beauty_. Byron comments in the same strain,
+and so does Blanco White, not to mention other authors. Perhaps Mr. G.
+P. Lathrop's description of the girls of the Seville tobacco factory
+may, by reason of its dispassionateness, be accepted as a fair estimate.
+In _Spanish Vistas,_ Mr. Lathrop writes: 'Some of them had a spendthrift
+common sort of beauty, which, owing to their southern vivacity and fine
+physique, had the air of being more than it really was.... The beauty of
+these Carmens has certainly been exaggerated. It may be remarked here
+that, as an offset to occasional disappointment arising from such
+exaggerations, all Spanish women walk with astonishing gracefulness, and
+natural and elastic step, and that it is their chief advantage over
+women of other nations.'
+
+The opinion of Washington Irving on the charms of the Seville fair may
+perhaps explain my qualification that the graces do not make a sudden
+and arresting appeal, but require reflection and comprehension, like
+many interesting works of art. Washington Irving says: 'There are
+beautiful women in Seville as ... there are in all other great cities;
+but do not, my worthy and inquiring friend, expect a perfect beauty to
+be staring you in the face at every turn, or you will be awfully
+disappointed.... I am convinced the great fascination of Spanish women
+arises from their natural talent, their fire and soul, which beam
+through their dark and flashing eyes, and kindle up their whole
+countenance in the course of an interesting conversation. As I have had
+but few opportunities of judging them in this way, I can only criticise
+them with the eye of a sauntering observer. It is like judging of a
+fountain when it is not in play, or a fire when it lies dormant and
+neither flames nor sparkles.'
+
+A true appreciation of the Sevillian dame is only possible to such as
+possess the wit to understand the quality known as _sal_ or 'salt.'
+Andalusian _sal_ has a flavour of its own. It is made up of _persiflage_
+and the quality called 'smartness.' _Sal_ is more esteemed than beauty
+in a woman; it is more fascinating than physical comeliness. 'The
+Andalusian women,' writes the author of _Costumbres Andaluzas_, 'has on
+her lips all the salt of the foam of two seas.' ... The woman of
+Andalusia 'is frank, passionate, loving or hating without taking the
+trouble to dissemble her sentiments.' She is 'life, light, fire'; she
+'is beauty illumined by the torch of Paradise,' etc. Such is the strain
+of Spanish gallantry.
+
+In the old days the ardent lover was wont to beat himself beneath a
+maiden's window, until the blood trickled down his back. Nowadays, the
+amorous cavalier waits below the casement, and when he catches a glimpse
+of the object of his devotion, exclaims: 'Your beauty ravishes me! Your
+eyes burn into my soul!'
+
+The peculiarly guarded life of the young Spanish woman, which is in part
+a relic of Orientalism, and in part traceable to her religion, forces
+her to develop ingenuity in attracting an admirer, and in her means of
+communicating with him.
+
+Mr. Lathrop, in his _Spanish Vistas_, says that the beggars around
+Seville Cathedral are sometimes the bearers of love letters to the
+ladies who attend the services and go to confession. A piece of silver
+is dropped into the mendicant's dirty palm, and a little note is
+transferred to the _se�orita's_ hand. And with eyes fixed modestly upon
+the ground, the maiden steps out of the portal of the sacred building,
+clutching the tender missive which she burns to read. In all countries
+stealthy courtship has its charm and romance for lovers; and in Spain
+the zest of wooing is quickened by the devices employed for clandestine
+assignations, and the secret conveying of gifts and letters from one
+lover to another. Our forthright British mode of love-making might
+appear almost barbarous to an Andalusian girl.
+
+The women of Southern Spain are short, and they incline to stoutness.
+Mr. Finck says that sexual selection 'is evolving the _petite_ brunette
+as the ideal of womanhood,' and that 'the perfected woman of the
+millennium will resemble the Andalusian brunette, not only in
+complexion, hair, eyes, gait, and tapering plumpness of figure, but also
+in stature.'
+
+Among the men of Seville one sees many slim, lissome, well-proportioned
+figures of medium height. Some of the _majos_ of Sierpes are of this
+type, and among the working class there are many good-looking,
+clean-limbed men. The masculine physiognomies impress me as being much
+more varied in contour and more expressive than those of the women.
+Faces that might be English are not uncommon among the men of Seville.
+But the true Andalusian features are distinctive, and have an Arab cast.
+The hair is dark, black or brown, and the skin olive or tawny. There is
+an unshaven look about many of the middle-class men. A _majo_ who
+dresses in the height of fashion will often go out to parade the streets
+with a three days' beard on his chin. But his hands will be
+scrupulously washed several times a day, and the finger nails will be
+carefully trimmed and polished.
+
+[Illustration: The Golden Tower]
+
+To see Sevillian society out of doors, go to the Parque Maria Luisa and
+the adjoining Paseo de las Delicias about five in the afternoon. This is
+the fashionable promenade, and here the _�lite_ of the city drive in
+open carriages daily. The costumes of the _se�oras_ are varied and
+stylish. Some of the ladies wear English gowns and hats, and one sees a
+few of the latest Paris fashions in dresses. But the majority have not
+discarded the _mantilla_ of black or white lace, and the fan is in every
+hand. A 'smart turn-out' is a sort of four-wheeled dogcart, drawn by
+four mules, with bells, and gay worsted ear-caps and worked bridles.
+The servants are dressed in London livery, the landaus are of French or
+English make, and many fine horses may be seen. _Caballeros_ ride upon
+prancing nags. Under the palms and orange trees there are seats filled
+with loungers, the women fanning themselves, the men smoking cigars or
+cigarettes. None but foreigners smoke a pipe in the streets of Seville.
+A _majo_ would not be guilty of such vulgarity.
+
+Beneath the odorous orange trees, where innumerable nightingales warble,
+one may watch the afternoon procession of carriages and pedestrians. A
+breeze blows from the wide Guadalquivir. It is cool by the ornamental
+water, where roses and camellias are rife. The blue uniform of an
+officer, the white duck trousers of a dandy, the sunshades of the ladies
+show amidst the greenery of the avenues. From the cavalry barracks comes
+the blare of bugles. In the Parque there are peacocks and a den of wild
+boars.
+
+In April, during the _feria_ week, there is horse-racing on the broad
+meadows beyond the Paseo de las Delicias. English horses, ridden by
+English jockeys, sometimes compete in the races. The grand stand is a
+large one, with a long enclosure. It is well filled on race days with
+the rank and fashion of Andalusia. One is struck with the gravity of the
+spectators as contrasted with the animation of a British crowd upon a
+racecourse. The people are thoroughly enjoying the spectacle; but they
+do not shout, and there is no ring of bellowing bookmakers. Backers of
+horses purchase a ticket at a little office in the enclosure. There is
+only one of these offices, and there are no betting men behind the ropes
+of the course.
+
+An element of pageant is introduced by the company of cavalry drawn up
+near the grand stand. When officers of the State arrive upon the course,
+they are saluted with a flourish of trumpets. A number of mounted men
+of the Civil Guard keep the course clear of pedestrians. The resplendent
+dresses of the ladies, the bright uniforms of the soldiers and the
+costumes of the jockeys make a brilliant scene in the dazzling southern
+sunshine.
+
+But horse-racing is not the national pastime of Spain. Bull-fighting is
+deemed the nobler sport, and Seville has been called 'the Alma Mater of
+the bull-fighter.'[G] I do not here propose to describe one of these
+combats. Such descriptions have perhaps occupied an undue space in many
+books about Spanish ways and customs. The most reliable accounts of
+bull-fighting are to be found in Mr. Williams's _The Land of the Dons_,
+and in _Wild Spain_, by A. Chapman and W. T. Buck.
+
+There is a handsome Plaza de Toros at Seville, built in 1870, with seats
+for fourteen thousand spectators. At Easter, and during the _feria_
+festivals in April, there are several fights in the arena, which are
+attended by immense crowds made up of all classes from the duke to the
+girls from the cigarette factory. The enthusiasm which bull fights evoke
+is so great that large crowds collect around the hotels, where the
+bull-fighters reside during Holy Week and fair time, in order to watch
+the heroes of the ring start for the Plaza de Toros.
+
+I was in Seville during the _feria_ of 1902, and I may now attempt to
+describe the scene on the Prado de San Sebastian. The city was thronged
+with sight-seers; every hotel and boarding-house was overcrowded, and
+hundreds of cattle and horse dealers, gipsies and itinerants slept on
+the fair ground in booths or upon the bare earth. I found the open space
+on the Prado covered with flocks of sheep and goats, droves of bullocks,
+horses, mules and donkeys, tended by picturesque herdsmen and muleteers
+in the dress of several provinces. An English carriage and pair of
+handsome horses paraded the ground, and changed hands at a high price.
+_Caballeros_ rode their steeds up and down, to show off their points,
+and gipsy 'copers' haggled and chaffered. In the long row of refreshment
+tents was one bearing the sign of _Los Boers_. I entered one of the
+booths, and ordered a _refresco_, a bitter, syrupy decoction, with a
+tang of turpentine. Men and women were sipping this beverage with much
+zest, and watching the continual procession of holiday-makers under the
+trees. Everyone was quiet, orderly and sober. I did not see one drunken
+or quarrelsome person on either of the fair days, which I think may be
+taken as a token of the sobriety of the Spaniards. The diversions of the
+_feria_ struck me as innocent, perhaps childish; but there was none of
+the coarseness and the squalor of a fair in England. There were only a
+few shows.
+
+The Gitanas had their tents, where they danced to _gorgio_ audiences,
+exacting exorbitant fees for each performance. Importunate gipsy dames
+stood at the doors of their tents, inviting the visitors to enter, and
+to taste their curious liquors, or to have their fortunes told. It was
+not easy to escape from these syrens, for they seized one's coat sleeve,
+and almost dragged one into their shows and booths. Some of the Gitana
+girls are remarkably handsome, and the gay colours of their clothing
+lend animation to this part of the _feria_.
+
+One of the most interesting streets of the fair is that of the
+_casetas_, or pavilions of the influential Sevillians, who spend the day
+in receiving guests, dancing, guitar playing and singing. The doors of
+the _casetas_ are open. You can look within at the merry company. The
+old folk sit around on chairs; someone clicks a pair of castanets, and a
+graceful girl begins to dance. Fans are fluttering everywhere; there is
+a soft tinkling of guitars. Dark eyes flash upon you, and red lips part
+in smiles as the hats of _majos_ are raised. Some of the children are
+dressed in old Andalusian costume, with black lace over yellow silk, and
+_mantillas_ upon their dark hair. They dance to the castanets, and win
+handclaps from grandfathers and grandmothers, who recall their own
+dancing days of forty or fifty years ago.
+
+There is an iron tower in the centre of the fair ground. I ascended it,
+and gained a view of the bright crowd, the flocks, the prancing horses
+and the waving bunting everywhere displayed. At night the avenues of
+booths are illuminated with thousands of fairy lights, electric lamps
+and Chinese lanterns. The fair is then thronged in every part, and
+everyone submits to a good-humoured jostling. At this festive time you
+must be prepared for disturbed nights. The streets are never quiet by
+day or night, and there is a constant tramping up and down the stairs of
+the hotels. Long after midnight one hears the revellers in the _plazas_,
+singing and dancing to the clapping of hands or the strumming of
+guitars.
+
+This 'fantastic pandemonium,' as it is called by a Sevillian rhymer,
+lasts for about eight to ten days. During the three days of the _feria_,
+the hotel charges are doubled, and in some cases trebled. The city
+profits considerably through the influx of visitors at this time, and
+also during _Semana Santa_, or Holy Week, when Seville is very crowded.
+
+Nothing can prove so instructive concerning the Spanish devotion to
+ritual and religious pageant as a visit to Seville at Easter. The
+processions and celebrations of _Semana Santa_ are exceedingly
+interesting from the artistic and the antiquarian point of view. All the
+costly vestments, the rare ecclesiastic treasures of the Cathedral, the
+works of artists and sculptors, and the sacred images of Christ and the
+Virgin are then displayed, in the midst of high pomp, to the adoring
+eyes of the vast crowds lining the streets and filling the windows. It
+is during these ceremonies that one may catch the spirit of medi�valism
+still surviving in Spain. Even the religious dances of antiquity are
+performed in the Cathedral before the high altar on Corpus Christi day.
+The dancers are boys, sixteen in number, and they are called the
+_Seises_. They dress in the costume of the reign of Felipe III.
+
+The _pasos_ or processions of _Semana Santa_ pass through Sierpes to the
+Plaza de la Constituci�n, where the mayor of the city is seated on a
+da�s before the Ayuntamiento. Here there are stands for spectators. The
+processions are headed by men of the Guardia Civil; mummers dressed as
+Romans follow, then come masked monks, girls in white raiment, bands of
+music, and city officials. On Palm Sunday there is a blessing of the
+palms in the Cathedral by the Cardinal Archbishop, who is clothed in
+purple canonicals. The procession leaves the edifice by the Puerta San
+Miguel. At Vespers the sacred banner is elevated, and at six in the
+evening four _pasos_ parade the streets, in honour of San Jacinto,
+Santisimo Cristo, San Juan Bautista and San Gregorio.
+
+Figures by Monta�ez, the celebrated ecclesiastical sculptor, are borne
+in these processions. One of the most imposing objects of veneration is
+the immense crucifix, carried on a stand by thirty concealed bearers. It
+is followed by musicians playing the solemn funeral music of Eslava.
+
+Miguel Hilarion Eslava, the composer, was born in 1807, near Pampeluna,
+in the north of Spain. He sang in the cathedral choir of that city, and
+afterwards played the violin in services. First a priest, he became
+chapel-master at Seville, in 1832, where he composed a great number of
+pieces of church music and masses. His chief work is _Lira Sacro
+Hispa�a_, a collection of sacred music from the sixteenth to the
+nineteenth century, with brief biographies of the composers. This
+_magnum opus_ is in ten volumes.
+
+Eslava also wrote secular music, and his operas of _Il Solitario_, _La
+Tregura di Ptolemaide_ and _Pedro el Cruel_ were first produced at
+Cadiz. The eighth volume of the _Lira_ contains only Eslava's music, and
+the _Museo Organico Espa�ol_ embodies some of his own organ
+compositions. This famous composer spent many years of his life in
+Seville. He lived in a house in the Calle del Gran Capitan, now used as
+the Colegio de San Miguel, a school for boys. Over the gateway is an
+inscription announcing that Eslava lived in this house. The courtyard is
+extremely quaint, and should be seen.
+
+The solemn strains of Eslava's _Miserere_ may be heard in the Capilla
+Mayor of the Cathedral during Holy Week, upon the day of 'rending the
+Veil of the Temple.' This ceremony is accompanied by peals of artificial
+thunder. On the Saturday after Good Friday, the _Velo Negro_ (black
+curtain) is torn amidst the clanging of bells and claps of thunder. On
+the same day a candle, twenty-five feet in height, is consecrated.
+
+There is a similarity in the processions of Semana Santa, and they are
+less sumptuous than in bygone times. But they are still popular, and the
+visitor should endeavour to obtain a favourable point of view for
+watching the ceremonials in the streets and in the Cathedral. The figure
+of the Virgin is always the same in Spain; an image clad in black
+velvet, trimmed with lace, and adorned with diamonds, while the
+_tableaux_ of the Saviour upon the Cross are often very realistic and
+ghastly. On Good Friday the large image of the Virgin is carried by
+thirty-five men, and there is a representation of Christ in the throes
+of death upon a splendid cross of tortoiseshell and silver.
+
+An interesting rite is performed on Thursday afternoon, when the
+Cardinal Archbishop washes the feet of twelve poor persons, who are
+given new clothes and a substantial meal. In the evening the _Miserere_
+of Eslava is again sung in the Cathedral by a chorus of one hundred and
+fifty voices, accompanied by ninety instrumentalists.
+
+During Holy Week a lamb fair is held in the Feria del Rastro. The lambs
+are bought and given to children, who lead them about the streets.
+
+The Corpus Christi festivals, or _La Fiesta del Santisimo Corpus_, are
+less gorgeous than those of _Semana Santa_, but they are not without
+interest to the student of religious custom. The dancing of the _Seises_
+in the Cathedral is certainly a curious spectacle. Blanco White says
+that among the treasures carried in the Corpus Christi procession of his
+day were the tooth of St. Christopher, the arm of St. Bartholomew, the
+head of one of the eleven thousand virgins, a part of the body of St.
+Peter, a thorn from the crown of the Saviour, and a fragment of the True
+Cross.
+
+Special services and pageants are also celebrated on All Saints' Day and
+at Christmas (_La Natividad_). The pilgrimages are another Andalusian
+custom dating from early Christian times. These _romerias_ are of a
+festal character. The people resort to Rocio in Almonte on Whit Sunday,
+dressed in holiday garb, and riding in carriages decked with banners.
+Dancing, singing and feasting are the chief attractions of these
+semi-religious _f�tes_. _La Consolaci�n de Utrera_ is celebrated on
+September 8, when excursion trains are run from Seville to Utrera. In
+October there are _romerias_ on each Sunday at Salteras, eight miles
+from the city. The festivities usually end with a display of fireworks.
+
+Passion plays are still represented in Seville. At Easter the drama of
+the 'Passion and Death of our Lord Jesus Christ, with the Glorious
+Resurrection' is acted at the Teatro Cervantes. The Teatro de San
+Fernando is the home of opera and spectacle, and there is a summer
+theatre, the Eslava, in the Paseo de la Puerta de Jerez.
+
+Who has not heard of the charm of Andalusian dancing? Seville is the
+home of the _bailarin_, the artist of the _bolero_, _ol�_, _Sevilliana_,
+and other dances. On every evening in summer, the inhabitants dance in
+their _patios_ to the guitar and castanets, while the street lads
+perform their Oriental antics in the _plazas_ and bye-streets. The
+cleverest professional dancing is to be seen at the _Caf� de Novedades_,
+at the end of the Calle de las Sierpes, where it is joined by the Calle
+de Campana. There are other _caf�s_ in Sierpes where national and gipsy
+dancing may be witnessed, but perhaps the most characteristic
+performances are those of the Novedades. You may obtain a seat, just in
+front of the stage, for half a peseta. The entertainment usually opens
+with a representation of gipsy or _flamenco_ dancing, which is a strange
+exercise and difficult to describe. A number of women sit in a
+semi-circle on the stage, and in the centre of the dancers is a male
+guitar player. Nothing happens for some time, but the spectators evince
+no impatience. They sip coffee, smoke, and chat contentedly.
+
+Presently one of the _flamenco_ women quits her chair, and begins to
+strike extraordinary postures. At one moment she might be trying to
+impersonate Ajax defying the lightning; in the next she is apparently
+fleeing from a satyr. Her hands are held high above her head, and there
+is a continual movement of the fingers. She writhes and wriggles rather
+than dances, and the feet play no part, except that the heels now and
+then thump the stage. Meanwhile her seated companions drown the sound of
+the guitar with the clapping of their hands and cries of _anda!_
+
+One after another the women go through these curious contortions to the
+delight of the audience. I believe that there are subtle fascinations in
+these dances when one understands the drama which they represent; but to
+the casual spectator they are somewhat tedious, and they do not make
+much appeal to the imagination or to one's sense of the graceful in
+movement. Most visitors will prefer the Andalusian dancing. The dancers
+of the Novedades are extremely nimble in the _bolero_, one of the
+prettiest and most joyous of dances. Their shapely, lissome feet skim
+and bound in bewildering and intricate steps, to the clicking of
+ribbon-decked castanets. They spring into the air, hover, and bound
+again; they move rapidly on their toes, float, glide, and almost fly. It
+is a wonderful sight. One is sorry when the troop leave the stage. There
+is an intoxication in watching such grace, lightness and agility.
+
+The singing of _coplas_ (couplets) is one of the attractions at this
+_caf�_. This form of vocalisation is very Andalusian. I can only
+describe it as a prolonged _tremolo_; the singer appears to sing a verse
+without drawing breath, and the effort often seems painful. A 'star' in
+this art is exceedingly popular, and his singing is sure to be followed
+by loud plaudits.
+
+Gitana dancing of a more pronounced sort may be studied in the suburb of
+Triana, where there is a colony of gipsies. Those who have read George
+Borrow's _The Zincali: An Account of the Gypsies of Spain_, will
+discover an increased interest in their visit to the Gitana quarter.
+Some of the Triana gipsies are the swarthiest and weirdest of their
+race. A hag, who might be a hundred, clutches your arm, and looks into
+your face with her cunning black eyes as she begs for alms. She has the
+features of an Egyptian, coal black hair, and a skin like the
+calf-binding of an old book. A nude brown boy rolls in the road, a Cupid
+in sepia.
+
+Here is a lovely girl of fourteen, with a lithe figure, feline
+movements, huge dark eyes, jet locks, and a rich olive tinting of the
+skin. She is conscious of her beauty, and will not cease to insist upon
+receiving a coin for the pleasure that her charms afford the admiring
+Gentiles. Whatever you give her, she will ask for more. But she is very
+beautiful, and most beauties are exacting. Some of these Romany people
+are almost as swarthy as negroes. There is hardly one who would not make
+a splendid model for an artist. Their graceful unstudied pose is most
+alluring to the painter, while the mystery of their glowing eyes, their
+strange lore, and secret speech invest them with romance and poetry that
+appeal to Mr. Leland and Mr. Watts-Dunton.
+
+George Eliot must have experienced the spell of these tawny folk during
+her visit to Spain. Her 'Spanish Gypsy,' is a 'creation' but it was to
+the Gitanas of the highways that the poet owed her inspiration. 'Gypsy
+Borrow' found the race irresistible; the tongue, the customs, the
+esoterics of the Zincali of Spain were to him a subject of fascinating
+study.
+
+In the old days the Romany fared ill in the Peninsula. He was a pariah,
+a suspect, an object of persecution. But to-day Sevillian gentle-folk
+are inclined to pet the Gitanas, and it is quite 'good form' to use
+Romany phrases, and to appear a little gipsyish. The sons of wealthy
+families are the patrons of the _flamenco_ dances; they are enthralled
+by the loveliness of the lithe nut-brown maids, with piercing eyes,
+carmine lips, and pearly teeth. But it all ends in admiration. No bribe
+will tempt the Gitana lass to swerve from the strict code of chastity
+laid down by the tradition of her class.
+
+To see the Gitanas at their best, or living under primitive conditions,
+take a trip down to Coria on the Guadalquivir. A steamboat starts daily
+from the Triana Bridge at about half-past seven in the morning. The
+voyage is interesting, and you can return in time for evening dinner.
+You pass two or three villages with landing-stages, and gain views of
+the distant marshes towards the mouth of the river, while on the right
+bank are slopes clothed with olives and vines. Pottery is made from the
+red clay of the foothills, and a number of gipsies work at this
+industry.
+
+At Coria you will be an object of curiosity, for very few strangers
+visit the little village. The Gitanas inhabit 'dug-outs,' or caves, in
+the hillside. These dens are only lit by the doorway, but they are not
+so dark within as one might expect. Nor are they unwholesome, for the
+gipsies appear to take pride in keeping their habitations clean. Most of
+the cooking is done outside the burrow. There is quite a warren in the
+hill, which is honeycombed with dwellings of this savage kind.
+
+Strange to say, not a single Gitana begged from me when I visited the
+colony. But the Gentile population of Coria were somewhat importunate
+when our party embarked for the return journey to Seville, and most of
+the lads of the village congregated on the landing-stage to beg for
+_centimos_.
+
+Macarena and Juderia, the poor _barrios_ or suburbs of Seville, are not
+like our English slums. There is no sign of abject want, though the
+people have a keen struggle for subsistence. The houses are all
+white-washed without, and the little courts have their climbing roses
+or a grape vine trained to pillars. There are malodours here and there,
+owing to the insanitary practices of the people; but the inhabitants of
+these quarters are seldom ragged, and they do not appear dejected, dirty
+and degraded.
+
+Now and then, a mischievous boy will throw a stone at the foreigner, or
+a group of idlers will break into derisive laughter when you pass by. On
+the other hand, ask a question civilly of these people, and they will
+put themselves to trouble to assist you in finding the church or the
+monument of which you are in quest. Beware, however, of the
+soft-tongued, amiable loafer who persists in dogging your heels and
+offering his services as a guide.
+
+Begging, which is such an intolerable nuisance in some of the Spanish
+towns, has been almost suppressed in Seville by the rigorous municipal
+laws. The mendicant is not extinct; some of the order are sure to be
+encountered in the neighbourhood of the Cathedral, but they do not
+pester the visitor incessantly as in Toledo and Granada. A number of the
+idle and vicious inhabitants of Seville appear to be homeless. In this
+balmy Southern climate, the _al fresco_ life of the tramp is not
+unendurable; still I am told that beggars sometimes die in Spain by the
+roadside from sheer want.
+
+The Plaza Nueva is a favourite nocturnal resort of the _gamins_ and
+vagabonds of the city, and at one in the morning the space presents a
+scene resembling that of Trafalgar Square in the days when unfortunate
+'out-of-works' camped there nightly.
+
+In the Macarena quarter is the market street of the Feria. This
+thoroughfare should be seen. It is the home of metal-workers, whose
+beaten brass, iron and copper ware is interesting and artistic in
+workmanship. Peripatetics here display a jumble of second-hand articles
+upon the ground, such as books, old pictures, brass candlesticks, tools,
+buttons, pistols, rusty swords, harness, and mule bells. There are
+stalls of fruit, coloured kerchiefs, hats and caps, shoes, and common
+china ware. The scene is bustling and bright.
+
+Here the young and unknown artists of Seville were wont to sell their
+pictures in former times. Murillo and many another painter of renown
+stood here anxiously awaiting chance purchasers for their works. These
+'fair pictures' were often daubs; but sometimes, no doubt, a buyer
+secured the work of a young genius for a trifling sum. If a purchaser
+wished a picture altered to his taste, the artist would retouch it upon
+the spot.
+
+These were hard days for young painters. But many who hawked their
+religious pictures and portraits of the Virgin and the saints for
+pesetas rose to fame, and gained wealth in their later days. A _pintura
+de la Feria_ became a term in Spain for a meretricious picture. Some of
+the Feria paintings were still-life subjects, and others were _sargas_,
+large screens or banners used in sacred processions.
+
+One of the sights of modern Seville is the F�brica de Tabacos, a factory
+where a large number of women and girls are employed. The building is a
+handsome one, in the baroque style, in the Calle de San Fernando. The
+_cigarreras_ work in overcrowded rooms. On public holidays they don
+their smartest dress, and are to be seen at the _romerias_ and dances.
+
+A survival of the ancient potter's art in Seville is the factory of La
+Cartuja, in Triana, owned by the English firm of Prickman and Sons. The
+works supply almost the whole country with china, and examples of
+antique Spanish majolica may be seen here. La Cartuja was once a
+convent. The church should be seen; it has a fine door in the _Mud�jar_
+style.
+
+Campa�a's paintings in the Church of Santa Ana, in Triana, may be
+inspected after a visit to La Cartuja. Near this church are the streets
+inhabited by the Gitanas. The SS. Justa and Rufina, mentioned elsewhere
+in these pages, made pottery in this quarter in the Roman days.
+
+The custom of selling drinking water in the streets is common almost
+everywhere in Spain. Velazquez painted the familiar figure of the
+water-seller, who is to be seen to-day in the _calles_ of Seville,
+crying _agua fresca_. The water is carried on the men's shoulders, in
+graceful Oriental jugs of earthenware.
+
+Sometimes one hears the sound of the drum and the _dulcinea_, a pipe
+played with one hand, and used to provide music for village dances in
+many parts of Spain. The music proceeds from a man, who is accompanied
+by a led bullock, and it announces that tickets may be bought for a
+lottery in which the prize is a horse. Piano organs enliven the streets,
+playing popular dance music, and these seem to have superseded the
+performances of guitarists.
+
+Time can scarcely hang heavily upon the visitor to 'the diadem in
+Andalusia's crown.' Days may be spent in the noble Cathedral, dreamy
+hours passed in the scented garden of the Alc�zar, or by the
+Guadalquivir, where the bulbul still sings as in the Moorish days. Each
+time one climbs to the summit of the Giralda, a fresh beauty in the
+prospect of the sunny, white city and the glowing plain fascinates the
+vision. The picture gallery should be visited more than once; and there
+are so many works of art in the churches, monasteries and public
+buildings that one is never at a loss for pleasant recreation or serious
+study.
+
+Delightful, too, are the cool evenings in the _plazas_, or the gardens,
+when the sinking sun sheds its beams on the stately Cathedral and the
+proud Giralda. The storks sail homewards far overhead in the glow of
+the rising moon; a chorus of birds dies away in the tangled banks of the
+Guadalquivir. Brief night succeeds the twilight; day dawn soon appears,
+and the hawks flash from their eyries in the Giralda, and the mule bells
+begin to jingle in the sunlit streets.
+
+[Illustration: A Roof Garden]
+
+The quay, which stretches from the Triana Bridge to the Delicias, forms
+a pleasant promenade. By the Golden Tower there are seats under the
+trees, and the kiosks of the _refresco_ sellers, who dispense
+orange-water, lemonade and sarsaparilla to the sailors and the girls
+from the tobacco factory. Adjoining that part of the quay where English
+vessels are loaded with iron brought upon a tramway, there is a little
+booth for the sale of refreshments. It is kept by a young Spaniard and
+his wife, named Jos�. The boothkeeper has made several trips to England
+in trading vessels, and he speaks English very fairly. Jos� has a
+'connection' among the British sailors, who come to his pavilion for
+rum, whisky and other drinks beloved of English tars. He possesses a
+great regard for England and the English, and among his customers Jos�
+is often addressed as Johnson.
+
+Near the Golden Tower there is another house of call used by seamen. In
+the window you will see advertisements of British beverages, and
+announcements in several European languages. Ships from Liverpool,
+Glasgow and Cardiff are often anchored in this part of the Guadalquivir,
+and now and then there is an English yacht in the port.
+
+The fishermen of Seville have a curious method of taking shad. They work
+a cross-line under water from two boats on opposite sides of the river.
+The line is armed with hooks, baited with pieces of meat. Now and then,
+the fishermen haul up a fish. But the Guadalquivir is heavily netted and
+fished, and the shad are not very plentiful in this reach. There are
+some very big eels in the river, which can be caught with a rod and line
+from the banks.
+
+As the _pescadores_ slowly scull their boats down the river, they sing
+strange Andalusian melodies, with a kind of _y�del_. Their voices reach
+far along the stream on still days. The men are hard-working, and their
+catches scarcely repay them for their patience and labour in the burning
+sun.
+
+Along the quay, and at every point of entrance to Seville, there are
+customs' officers in uniform, with swords at their sides. The _consumo_
+is not a popular character in Spain. Peasants and small traders resent
+the tax upon the produce which they bring into the markets, and many
+attempts are made to evade paying the duty. At C�rdova I heard a violent
+altercation between a peasant and a _consumo_, who demanded duty upon a
+live pigeon.
+
+Spain is the land of officials in uniform. Down the Guadalquivir you
+will see armed men who protect the wooden breakwaters. Then there are
+four grades of police, the _consumos_, and the watchmen, all of them
+provided with weapons.
+
+The quaint, irregular thoroughfares of Seville, its palm trees and olive
+gardens, its Morisco remains, its _hidalgos_ and _do�as_, its brightness
+and gaiety, and its blue skies will not soon be forgotten by those who
+pass a short time within its ancient walls. Lord Byron praises the city
+as the most beautiful in Spain. It is certainly charming, but there are
+towns in the Peninsula more antiquated in aspect, and more picturesque
+in their surroundings. Still, the Andalusian capital possesses a strong
+fascination, and few persons will dispute, in the main, the truth of
+Byron's lines in the first canto of _Don Juan_:--
+
+    'In Seville was he born, a pleasant city,
+     Famous for oranges and women--he
+     Who has not seen it will be much to pity,
+     So says the proverb--and I quite agree;
+     Of all the Spanish towns is none more pretty,
+     Cadiz, perhaps--but that you soon may see;--
+     Don Juan's parents lived beside the river.
+     A noble stream, and call'd the Guadalquivir.'
+
+Since the days of Cervantes, the aspect of the city and the manners and
+customs of its inhabitants have not undergone any profound change. The
+monumental buildings remain, and the cry of the watchman and the notes
+of the guitar are still heard by night in the tortuous alleys, and under
+the palm trees of the _plazas_. The careless, merry Sevillanos continue
+to love the dance, the song, the bull fight and the theatre more than
+science and literature. We may see the types sketched by the great
+satirist in _The Jealous Estremaduran_, if we will but enter one of the
+fashionable _caf�s_ during the evening. It would be unfair to say that
+Sevillian society is composed entirely of adventurers, but they are a
+distinctive class in the pleasure-loving capital. 'In the city of
+Seville,' writes Cervantes, 'is a class of idling, lazy people who
+locally go by the common name of "the children of the ward"; they are
+considered as foragers on the public; they are the sons of rich parents,
+not of the nobility; always well-dressed, fond of pleasure, extravagant
+and expensive, plunging themselves and their parents in debt; always
+feasting and revelling; every way bringing discredit on society,
+defrauding and injuring their creditors.'
+
+The stranger will not be in the city many hours before he notices a
+curious device on public buildings, official uniforms and elsewhere.
+This is the node, or knot (_el nodo_), which forms a part of the
+coat-of-arms of Seville. The knot is in the centre of an ornamental
+circle, and on one side of it are the letters NO and on the other DO.
+This legend in full is _No madeja do_, or, _No me ha dejado_, which
+means: 'It has not deserted me.' The symbol of the _nodo_ was adopted
+after the fealty of the _muy leal_ city to Alfonzo X.
+
+[Illustration: Arms of Seville]
+
+
+
+
+CHAPTER XIV
+
+_The Alma Mater of Bull-fighters_
+
+     'The Arabs were much given to bull-fighting, and highly skilled in
+     the _lidia_, whether mounted or on foot.'--SANCHEZ DE NIEVA, _El
+     Tor�o_.
+
+
+Seville is so renowned in the annals of the great Spanish sport of
+bull-fighting, that I propose to devote a chapter to a brief history and
+description of the 'science of tauromachia,' or the recreation of the
+_lidia_. Mr. Leonard Williams, in _The Land of the Dons_, is somewhat
+apologetic to his readers for introducing three chapters upon the
+bullfight and its history; but such is the enthusiasm exhibited for the
+pastime, that Mr. Williams states that thirty chapters, instead of
+three, would scarcely be disproportionate to the importance in which the
+_corrida_ is esteemed by the Spanish nation. While making personal
+confession that I am not an _aficionado_, or enthusiast, of the art of
+bull-fighting, I will endeavour to convey to the reader a conception of
+the influence of the sport upon the Andalusian public, from which the
+moralist and sociologist may draw their conclusions.
+
+There is an odour of Pharisaism in the British fox-hunter's denunciation
+of the bull fight on the score of cruelty to animals. But in defence of
+the hunter, it may be pointed out that he rarely sacrifices the life of
+his steed in order to be in at the death of a fox, and that he would
+certainly scorn to torture a worn-out and decrepit horse by riding it
+till it dropped with a ruptured heart. In bull-fighting there is no
+pity shown for horses. The emaciated beasts, upon which the _picadores_,
+or spearmen, are mounted, are urged at the bull, and serve as a target
+for its terrible horns until they are no longer able to stand upon their
+legs. Even when ripped open, or otherwise wounded, the bleeding,
+terrified creatures are sewn up, or have their wounds plugged with tow,
+and are again lashed and spurred to the attack.
+
+Surely it is impossible to defend this element of the _corrida_. The
+Spaniard does not attempt to do so; he cannot easily understand the
+point of view that calls for such defence. All over Spain domestic
+animals used in the service of man are treated mostly with callous
+insensibility to their sufferings, and often with cruelty that appals
+and disgusts the stranger. What does it matter whether an old, used-up
+horse goes to the knacker or into the bull ring to end its days? In
+Spain there is no sentimental bond between the aged, faithful,
+hard-working horse and its owner. The horse or mule is a mere beast of
+burden and of draught, to be worked as hard as possible, half-fed,
+cursed, abused, and at all times beaten, goaded and kicked.
+
+It would seem that a long training in warfare, the effect of harsh rule,
+and the terrible example of the Inquisition form a trinity of evil that
+has made the mass of the Spanish people indifferent to the spectacle of
+certain kinds of pain. That this apathy to the sufferings of human
+beings and brutes is compatible with strong physical courage is a fact
+well supported by examples in the histories of nations and individuals.
+It is also true that the humane man can be exceedingly courageous.
+Cruelty in sport has, however, characterised other European countries
+than Spain, which in this matter may be said to stand where we stood,
+ethically speaking, in the days of bull-baiting, cock-fighting and
+badger-drawing. The English crowd that went to see an unhappy victim of
+nervous irritability ducked in a dirty pond, for the offence of nagging
+at the goodman, was on the same level of civilisation as the mob in
+Spain that enjoyed the sport of arming blind men with swords, turning
+pigs loose among them, and urging the sightless to hack at the pigs,
+with the result that the men frequently injured one another instead of
+the porkers.
+
+So far, then, as bulls and horses are concerned, we can only expect to
+find blunted feeling in Spain. And I am not sure that we need expend
+much sympathy upon the bull of the arena. In the ordinary fate he has to
+die, and it is probable that he would prefer to live the life of a
+fighting bull than bear the yoke and drag the cumbrous cart along dusty,
+scorching high roads. At all events, the bull reared for fighting has a
+placid existence until he is 'warrantable'; and in the excitement of his
+short contest with men he may suffer much less pain than we imagine. And
+as for the _matadores_, the heroes of the populace, the favourites of
+the aristocracy,--well, it is their affair if they and their attendants
+choose to risk their lives to make a Seville holiday. The human
+performers in the drama are not forced to fight. If one falls, he is not
+flogged till he rises to face the bull again, and when injured he is
+tended at once by skilful surgeons.
+
+This is really all that one can say in reply to the charge of cruelty,
+and it is little enough. Bull-fighting is specifically a Spanish sport,
+and efforts to introduce it into other countries have failed. British
+and American visitors to Seville are frequently to be seen at the Plaza
+de Toros; and at Algeciras and La Linea, the soldiers of the British
+garrison, and the people of Gibraltar, are the principal supporters of
+the bull rings. Throughout Spain the word _toro_ creates keen interest
+in all classes of society. The State, the Church and the aristocracy
+support the recreation of the _corrida_. Most of the bull rings have
+their chapels attached, where the performers receive the sacrament and a
+priestly blessing before entering the perilous arena. Ladies of the
+highest birth are among the breeders of fighting bulls; even some of the
+clerics rear beasts for the pastime, and attend the exhibitions of
+tauromachia. The passion for the sport is deep and apparently
+ineradicable in the people of Spain. Isabel the Catholic, after
+witnessing a sanguinary display in the ring, endeavoured to suppress
+bull-fighting. But not even the popular Queen could divert her subjects'
+interest from the absorbing sport. Moral suasion and attempted
+legislative methods are alike futile. The people demand the bull fight.
+In the very midst of war's alarms, and during civil trouble, the _plazas
+de toros_ were thronged with enthusiastic spectators. Jovellanos,
+Charles III., Se�or Castelar, and Se�or Ferreras, the editor of _El
+Correo_, are among those who have protested against bull-fighting.
+'Spain pays no heed to any of these agitators,' writes Mr. Leonard
+Williams, 'but continues unmoved the proud traditions of the arena. The
+superb bull ring inaugurated not long ago at Barcelona was consecrated
+by the clergy in procession, on the very day on which a novel of the
+naughty Tolstoi was thrust upon the list _librorum expurgatorum_.' In
+Spain the schoolmaster is a bankrupt, while the famous bull-fighter
+receives five thousand pesetas for killing two or three bulls. There are
+sociological inferences to be drawn from this fact.
+
+
+BULL-FIGHTING OF THE PAST.
+
+There is no doubt that encounters between men and bulls are of ancient
+origin in the Peninsula. The Moors are said to have brought
+bull-fighting into Spain, and there is historical proof that exhibitions
+of daring in worrying and attacking bulls were one of the chief
+recreations of the Moorish feast days. During times of truce between
+Moslems and Christians, displays of tauromachia were arranged by the
+rival leaders, and knights of both sides took part in the ring. The
+great Cid distinguished himself in fights with fierce bulls, and his
+horsemanship in the arena was widely admired. In these early days of the
+sport, the tournament, or _lidia_, was celebrated in the largest _plaza_
+of the towns. Raised seats were erected for the cavaliers and ladies,
+and the _f�tes_ were attended almost entirely by the higher classes of
+Andalusian and Castilian society. The combatant of the bull was mounted
+on a plucky Arabian horse, and armed with a lance, called the _rej�n_, a
+weapon about five feet in length. At a signal the bull was let loose.
+The knight charged the beast, and endeavoured to thrust his spear-head
+into the neck. An expert performer sometimes killed his bull at the
+first thrust. When hurled from his steed by a charge of the bull, the
+knight was bound by the rules of the ring to face the brute on foot,
+with a sword. Vassals assisted their master by essaying to draw the
+attention of the bull, and at the right moment the knight plunged his
+steel into the animal's neck.
+
+Such combats appear to have been held in Andalusia as early as the
+eleventh century. In one of Goya's bull-fighting sketches, we may see a
+Moor, with a cloak on the left arm, and a dart in the right hand,
+practising the _suerte de banderilla_. In the fifteenth century
+bull-fighting was recognised as the chief national sport. In 1567 Pius
+V. issued a threat of excommunication for all rulers who permitted
+bull-fighting within their realms, and for all priests who witnessed the
+shows. Fighters who fell in the ring were denied burial with Christian
+rites. The Bull of the Pope was utterly disregarded. Nobles continued to
+erect bull rings and to arrange _corridas_. The Church then exercised
+wonted discretion. A decree came from Salamanca that priests of a
+certain order might be present at bull fights, and the institution of
+the _lidia_ was made semi-sacred and wholly respectable.
+
+At Valladolid, Charles I. engaged and killed a bull in the public arena.
+Succeeding kings and the flower of the nobility yearned to graduate in
+the art of bull-fighting. The sons of _hidalgos_ resorted to the
+slaughter-houses of the towns to practise with cloak and sword the
+feints and passes of the _matador_. A valorous bull-fighter won his way
+to women's hearts and to the favour of princes. In 1617 the Pope issued
+a Bull announcing that the Virgin was conceived immaculately and was as
+pure as her divine offspring. The announcement threw Seville into a
+frenzy of delight. Archbishop de Castro gave a splendid service in the
+beautiful Cathedral. Guns boomed from the ramparts of the city, and all
+the church bells clanged and pealed. In the bull ring, Don Melchor de
+Alc�zar, a friend of Velazquez, arranged a special display. The Don,
+with his dwarf and four immense negroes, gave a remarkable show of their
+daring to a host of spectators.
+
+Upon the day that Fernando VII. abolished the University of Seville, he
+established an academy of bull-fighting in the city. The building was
+constructed with a small ring for the practice of students in the art of
+tauromachia, and contained stables, bedrooms, and other apartments. From
+that time Seville was regarded as the classic home of bull-fighting, and
+many of the most valiant fighters were trained in that city. Then arose
+the professional _matador_, or _espada_, the swordsman who faces the
+bull single-handed, when it has been worried and incensed by the
+_picadores_ and the _banderilleros_.
+
+Two of the first paid _matadores_ were the brothers Juan and Pedro
+Palomo. They were succeeded by Marti�ez Billon, Francisco Romero and his
+son Juan, and Jos� Delgado Candido, who was killed on the 24th of June
+1771. The original Plaza de Toros of Seville was constructed in 1763,
+and from that date until the end of the century several bull rings were
+built in Andalusia and Castile.
+
+'Andalusia,' write the authors of _Wild Spain_ 'has always been, and
+still remains, the province where the love of the bull and all that
+pertains to him is most keenly cherished, and where the modern bull
+fight may to-day be seen in its highest perfection and development. It
+provides the best bull-fighters and the most valued strains of the
+fighting bull. It may be added that the Andalusian nobility were the
+last of their order to discontinue their historic pursuit; and when,
+during the darker days of this sport, the Royal order of the Maestranza
+de Sevilla was created by Philip V., it was conceded in the statutes
+that members of the order could hold two _corridas_ with the long lance
+annually outside the city walls. Three gentlemen subsequently received
+titles of exalted nobility of this order in respect of brilliant
+performances with the lance.' Jos� Candido, usually known as Pepe Hillo,
+brought about a great revival of the _corrida_ after the Bourbons had
+sought to discountenance the sport of the nobility. _Pepe Hillo_ is the
+title of a drama concerned with the valiant exploits of the celebrated
+master among _matadores_. Hillo, though he was said to be illiterate,
+drew up the rules of the sport, and even to-day he is regarded as one of
+the highest authorities upon the art of the bull fight.
+
+According to Mr. Leonard Williams, Francisco Romero, of Ronda, in
+Andalusia, was 'the first great exponent of the modern _toreo_.' Romero
+was put to shoemaking, but he abandoned that homely trade for the
+profession of bull-fighter, acting first as a page to the knights who
+encountered the bulls. It was Romero who introduced the pass of
+fluttering the cloak, or red cloth, in the face of the bull, and then,
+at the fitting opportunity, thrusting the sword into the creature's
+neck. Most of the reputed _matadores_ are of Sevillian birth. In the
+days of Romero and his son, Juan, who died at the age of one hundred and
+two, there lived the famous Sevillian _toreros_, the brothers Palomo,
+Manuel Bell�n, Lorenzo Manuel, Joaquin Rodriguez, and Pepe Hillo, or
+Illo.
+
+Among the Andalusian schools of bull-fighting Ronda was renowned for
+daring, and Seville for coolness. The intrepidity of the Sevillian
+bull-fighters was remarkable. The _salto del trascuerno_, or jump across
+the head of the bull, was one of their favourite feats. Mr. Williams
+tells us that the most redoubtable of all the _toreros_ of Seville was
+one Martin Barcaiztegui, called Martincho, a cowherd of Guipuzcoa.
+Martincho was a pupil of the famous Jos� Leguregui, and his bravery
+excelled that of his trainer. 'His favourite accomplishment was to mount
+upon a table, when his legs were closely fettered with massive irons.
+The whole was then set opposite the _toril_. The bull, emerging, sighted
+the table, covered with a crimson cloth, and charged it, when Martincho
+would leap along his back from head to tail, and alight in perfect
+safety. The table, one presumes, went flying into splinters. On a
+certain occasion, at Zaragoza, Martincho, seated in a chair, killed a
+bull by a single thrust, using his hat as a _muleta_.'
+
+Martincho died in 1800, having survived the dangers of the arena. He
+lived for a time with the artist Goya, who has drawn his friend in
+several of his bull-fighting pictures. Costillares and Pepe Hillo were
+also celebrated for their reckless daring in the bull-fighting
+exhibitions of Seville. These heroes retired from the ring before Godoy
+influenced Maria Luisa to suppress the _corrida_. For three years there
+was no bull-fighting in Spain. Upon the revival of the sport under
+Joseph Bonaparte, Pedro Romero was appointed chief instructor of
+Ferdinand's academy of tauromachia at Seville. This _matador_ died at
+Ronda in 1839. During his public career, he killed no less than 5,600
+bulls.
+
+
+BULL-FIGHTING OF THE PRESENT.
+
+Montes now comes into prominence among the famous _toreros_ of
+Andalusia. Francisco Montes fought for the first time at Madrid in 1832.
+He attracted the notice of Candido, of the academy of bull-fighters at
+Seville, and he was accepted as a pupil and granted a pension of six
+_reales_ per day. Montes introduced the modern style in the art of the
+_torero_. He wrote a treatise on bull-fighting, entitled: _El arte de
+torear � pie y � caballo_. 'Considered to be the _torero's_ very bible
+for the infallible wisdom of its precepts.'
+
+The _matador_ of to-day is the idol of the populace; but he is not so
+honoured by persons of noble birth as in the earlier times of
+bull-fighting. Luis Mazzantini is perhaps the greatest living _torero_.
+Guerrita has retired. Antonio Fuentes and Reverte are accomplished
+bull-fighters. Montes died of injuries received in the ring, in the year
+1850, at the age of forty-six.
+
+To show the favour formerly extended to the _torero_, we may quote the
+story of Lavi and Queen Isabel II. Lavi was a Romany by birth, and a
+bold _matador_ of his day. During a royal _corrida_, the gipsy pluckily
+tore out the _mo�a_, or bunch of ribbons in the bull's neck, and
+advanced towards the Queen. 'Here,' he cried, 'this is the first _mo�a_
+your majesty has had the honour of receiving at my hands!'
+
+The retinue of the _matador_ consists of the _picadores_, or mounted
+spearmen, the _banderilleros_, or dart throwers, and the _monos sabios_,
+who repair the damages to the wretched horses and thrash them to their
+feet. The _matador_ is clad in silk and gold, with a spangled cloak,
+which he wears in the parade of the fighters previous to the display. It
+is stated by one writer that a bull fight in Seville cost from �1100 to
+�1200. The value of each bull killed is about �70. The _matador's_ fee
+is from �120 to �200; but this includes the fees paid by him to his
+_cuadrilla_, or troupe. The horses are valued at from �120 to �200,
+according to the number killed by the bull. The cost of the seats is
+from a _peseta_ to three _duros_. Guerrita could 'command all over Spain
+and in the South of France almost any remuneration.' The _banderilleros_
+receive about fifty dollars, and the _picadores_ something less than
+that for their share in the performance.
+
+The glory that surrounds the _matador_ induces a large number of Spanish
+youths to adopt the profession of bull-fighting. In consequence, there
+is a surplus of indifferent _toreros_ and novices, who are awaiting
+their chance for promotion and for an appearance in the arena.
+
+These hangers-on of the sport are to be seen in the Puerta del Sol of
+Madrid, and in the _paseos_ and streets of Seville. They have a 'horsey'
+air, and are proficient at lounging, and chaffing the women who pass by.
+A little pigtail hangs from the brims of their hats, and they are fond
+of frilled shirts, in which they display paste studs. Every city and
+provincial town of Spain has its _aficionados_ of bull-fighting. These
+amateurs talk learnedly upon _encierros_, _suertes_, and _pases por
+alto_. They are vain of their acquaintance with popular _toreros_, and
+they read all the literature of the beloved sport. The _Historia del
+Toreo_ is better known among these 'sports' than the poems of 'Herrera
+the divine.' At the _caf�s_ they pore over the bull-fighting journals,
+_El Tor�o_, _El En�no_, and _La Lidia_.
+
+Mr. H. T. Finck describes the bull fight as 'the most unsportsmanlike
+and cowardly spectacle I have ever seen.' This author does not believe
+that bull-fighting is highly dangerous. 'No man,' he writes, 'who has a
+sense of true sport would engage with a dozen other men against a brute
+that is so stupid as to expend its fury a hundred times in succession on
+a piece of red cloth, ignoring the man who holds it.'
+
+The bull fight not dangerous! I can imagine the indignation of the
+devotees of the sport at such a suggestion. Personally, I am not in a
+position to affirm how great or how small is the peril to the man who
+finds himself alone in a ring, face to face with a savage Andalusian
+bull. I have, however, been told by a Spaniard, living in Madrid, that
+the fluttering of the red cloth certainly distracts the bull's attention
+from its combatant, and that the animal invariably closes its eyes when
+the _muleta_ is whisked in its face. This 'fact,' given on the authority
+of my Spanish friend, may throw a side-light on the art of the
+_matador_. But I am certainly not prepared to say that bull-fighting is
+without danger to the human performers in the tournament. Many lives
+have been lost in the arena, and injuries are of comparatively common
+occurrence. On October 7, 1900, Dominguin was killed at Barcelona; two
+novices were wounded at Carabanchel; Parrao was injured at Granada,
+Telilas had his collar-bone broken at Madrid, and Bombita was wounded at
+the same place. Such was one day's list of mishaps in the amphitheatres
+of Spain.
+
+Until infuriated by the lances and darts, many of the bulls are far from
+savage. There is the story of a bull in the arena, that recognised the
+voice of a lad, who had tended it on the plains, and came towards its
+friend with apparent pleasure at the re-meeting. On the other hand,
+there is the account of the bull of Muruve, who fought at Seville, in
+1898, and carried a horse and a _picador_ upon its horns from the
+barrier to the centre of the ring. A strong bull will sometimes toss a
+_picador's_ saddle high in the air; yet Mr. Williams tells us that two
+men are required to carry the saddle. Bulls frequently leap the
+_barrera_ of the arena, although the height is over five feet. 'At
+M�laga, some six years ago, a bull leaped over the barrier at precisely
+the same spot _fourteen_ times in swift succession. At Madrid, in 1898,
+another cleared _both_ barriers,' writes Mr. Williams, 'landing with his
+head among the spectators, but falling back into the _callej�n_. On
+April 30, 1896, at Madrid, Ermita�o, the second bull of the _corrida_,
+cleared the barrier four times, jamming a carpenter between a pair of
+doors and severely injuring him. All the above I have myself witnessed;
+but other feats, perfectly authenticated, are even more remarkable.'
+
+The Plaza de Toros at Seville is a handsome building. It was constructed
+to seat fourteen thousand spectators. The chief fights take place on
+Domingo de Resurrecci�n, and during the week of the _feria_, in April.
+The seats are arranged in boxes (_palcos_), the _asientos de barrera_
+(barrier seats) and the _asientos de grada_. A higher price is charged
+for seats in the _sombra_, or shade; while the cheaper positions,
+occupied by the poorer classes, are in the _sol_, or sunshine.
+
+It is fashionable to drive to the _corrida_ behind four or six horses or
+mules, with gay trappings and jangling bells. Hawkers, thieves,
+programme vendors and beggars throng around the _plaza_. The half-hour
+of waiting, preliminary to the first combat, is enlivened by the arrival
+of smart people and notabilities of the city, while the orchestra plays
+a selection of pieces.
+
+Reverte or Fuentes arrives, and is acclaimed by his admirers. The
+knowing _aficionados_, who have seen the doomed bulls in their
+enclosure, promise an excellent show. The seats gradually fill; there is
+a loud hum of conversation and a waving of fans by the _se�oras_ in the
+_palcos_. At a signal from the President of the _corridas_, the ring is
+cleared of the groups of _toreros_ and their friends. Then the band
+strikes up, and the bull-fighters march out, with the _matadores_ in
+front of their attendants. They salute the President. The key of the
+bull enclosure is thrown down, an official unlocks the door, and into
+the arena canters the first bull, to encounter a charge from the
+_picador_. Sometimes the bull refuses to fight. The beast is lazy,
+good-tempered, or dazed. Not even the darts will enrage the creature. It
+gazes upon its tormentors with benign amazement. This poor sport; _toro_
+must be worried into a passion. An explosive dart is thrown at the bull.
+The fire burns into its nerves. It is more than the most placid bull
+nature can endure with patience. _Toro_ lowers its horns and rushes upon
+its assailants.
+
+The spectators, men, women and children, closely watch every move and
+double of the fighters. A _picador_ is thrown. The horse, with a ghastly
+dripping wound in its flank, rushes around the ring. It is met by the
+bull, gored, and tossed in the air. The wounded nag cannot regain its
+feet. Again and again the infuriated _toro_ vents its rage on the
+struggling horse. Presently, the bull's attention is drawn from the
+steed, and it turns to face the gaudy _matador_. A thrust of a dagger
+ends the convulsive kicking of the dying horse.
+
+With scientific precision, the swordsman flutters his _muleta_ in the
+bull's face. At each charge the _matador_ bounds aside, and the beast
+worries the red rag. At length, _toro_ stands snorting and pawing the
+ground. The magnificent brute surveys his enemy with hatred, and makes
+another rush. Again it is thwarted. Finally, the sword is plunged deftly
+into the creature's viscera. _Toro_ trembles, falls, and lies prone. The
+_coup de grace_ is administered with a big knife. There is deafening
+applause, the strains of the band, and the dead bull is dragged from the
+ring by a team of mules.
+
+'When I see children at the _corrida_, I sigh and think of the future of
+Spain,' said my Spanish friend. Such expression of opinion is almost
+treasonable. Long live the bull fight! Humanitarian cant is not to be
+taken seriously. It is not only the Spanish people who love the sport.
+'There are no more enthusiastic patrons of the bull ring in Madrid,'
+writes Mr. H. C. Chatfield Taylor, author of _The Land of the Castanet_,
+'than many of the foreign diplomats, and one remembers clearly the
+Secretary of the United States Legation, stationed in Madrid at the time
+of a former visit, saying that he was an annual subscriber, and had not
+missed a _corrida_ during his entire term of office.'
+
+
+THE LIFE OF THE FIGHTING BULL.
+
+In Great Britain our nobility and gentle-folk breed racehorses. In Spain
+the aristocracy and grandees rear bulls for the ring. The breeders of
+bulls are termed _ganaderos_. Around Seville, Jerez, Huelva and
+Valladolid are born the _toros bravos_. At the age of one year the bulls
+selected for the arena are branded, and sent on to the plains to graze,
+in charge of a _conocedor_, who is assisted by an _ayudante_. When the
+bulls are two years of age, they are tried for the first time to prove
+their pluck and pugnacity. At four years old they are put into huge
+enclosures of good pasturage, and in time of scarcity they are fed upon
+vetches, maize and wheat. From five to seven _toro_ is warrantable for
+the _lidia_. At his trial, at the age of two years, the owner of the
+herd invites a number of friends to the ranche. Young and clever
+horsemen attend these trials, and vie with one another in courage. The
+_caballeros_ are armed with the _garrochas_, lances about twelve feet in
+length, with short steel points. Visitors to Seville may often see
+parties of mounted sportsmen returning from these _tentadores_, or
+trials.
+
+A bull is separated from its companions. The horseman, carrying the
+_garrocha_, pursues the brute, and attempts to overturn it by a powerful
+thrust on the flank, delivered at full gallop. The horseman must be a
+bold rider, possessed of coolness and strong in the arm. If the charge
+is successful, _toro_ tumbles with its feet in the air. Another rider
+now takes up the attack. He has a sharper spear, and is called _el
+tentador_. Should the young bull refuse to charge, it is discarded as a
+_toro bravo_, and the slaughter-house or the life of labour awaits it.
+The chosen bulls are then christened, and entered upon the breeder's
+list of warrantable animals. In due time their names appear on the
+brilliant placards advertising the _corridas_ of Seville or Cadiz.
+
+'The _tentadero_ at the present day,' writes the authors of _Wild
+Spain_, 'affords opportunity for aristocratic gatherings, that recall
+the tauromachian tournaments of old. Even the Infantas of Spain enter
+into the spirit of the sport, and have been known themselves to wield
+the _garrocha_ with good effect, as was, a few months ago, the case at a
+brilliant _f�te champ�tre_ on the Sevillian _vegas_, when the Condesa de
+Paris and her daughter, Princess Elena, each overthrew a sturdy
+two-year-old; the Infanta Eulalia riding _� ancas_, or pillion-fashion,
+with an Andalucian nobleman, among the merriest of a merry party.'
+
+Travelling by rail across the wide and lonely plains of Southern and
+Central Spain, the stranger often sees large herds of bulls, quietly
+grazing in charge of an attendant, who leans upon a long wooden staff,
+and wears a plaid upon his shoulder. The Spanish travellers crowd to the
+window at the magical words _los toros_, and in an animated manner the
+points of the herd are discussed. This pleasant pastoral life lasts for
+five years of the bull's life, though during that time it has to endure
+the trial with the _garrocha_. The bulls are divided into three classes
+after the _tientas_, or trials, _i.e._, those of the first rank, the
+'brave bulls'; those of the second order, the _novillos_, which are used
+by second-rate _matadores_ and beginners, and those sentenced to death,
+or a life of toil. Amongst the most eminent strains of Andalusian bulls
+used for the ring are those of C�mara, Miura, Muruve, P�rez de la
+Concha, Conradi, Adalid, Ibarra, Saltillo, and Anastasio Martin.
+
+The animals are sold from four to eight at a time, according to the
+status of the _corrida_ for which they are purchased. If the distance to
+the ring is short, the bulls are driven by night through the country,
+and pastured in the daytime. They are led by peaceable cattle with bells
+hung from their necks. 'These intelligent beasts keep the wild ones
+together and out of mischief,' says Mr. Leonard Williams, 'with the
+same unerring watchfulness as a collie controlling a flock of sheep, and
+lightening to an incalculable extent the labours of the accompanying
+horsemen.' At night the bulls are driven into the town, the sides of the
+streets being barricaded. When the beasts are consigned to buyers at a
+long distance from the ranche, they are conveyed by rail in strong
+boxes.
+
+Just before the encounter in the ring, the _toros_ are confined in the
+_chiqueros_, dark dens with strong doors that are opened and closed by
+ropes pulled from above. Difficulty is often experienced in coaxing
+refractory animals into these cells. The operation is witnessed by
+_aficionados_, who pay a fee for the privilege.
+
+Among the best-known _garrochistas_ of modern times are the Se�ores Don
+Antonio Miura, Don Faustino Morube, Don Miguel Garcia, Don Guillermo
+Ochoteco, Don Jos� Silva, Don Fernando Concha, Don Agusto Adalid, Don
+Angel Zaldos, Don Manuel Sanchez-Mira, Marques de Bogaraya, Marques de
+Guadalest, Don Frederico Huesca, and the Marques de Castellones. Two of
+the finest exponents of the art of wielding the _rej�n_, or short
+lance--a weapon surviving from the early times of the _lidia_--are the
+Se�ores Heredia, Ledesma, and Gran�. Mr. Williams says that there are
+not a dozen horsemen in Spain and Portugal who can successfully perform
+the feat of killing the bull with the _rej�n_.
+
+'An animated spectacle it is on the even of the _corrida_,' write the
+authors of _Wild Spain_, 'when amidst clouds of dust and clang of bells,
+the tame oxen and wild bulls are driven forward by galloping horsemen
+and levelled _garrochas_. The excited populace, already intoxicated with
+bull-fever and the anticipation of the coming _corridas_, lining the way
+to the Plaza, careless if in the enthusiasm for the morrow they risk
+some awkward rips to-day.
+
+'Once inside the lofty walls of the _toril_, it is easy to withdraw the
+treacherous _cabestros_, and one by one to tempt the bulls each into a
+small separate cell, the _chiquero_, the door of which will to-morrow
+fall before his eyes. Then, rushing upon the arena, he finds himself
+confronted and encircled by surging tiers of yelling humanity, while the
+crash of trumpets and glare of moving colours madden his brain. Then the
+gaudy horsemen, with menacing lances, recall his day of trial on the
+distant plain, horsemen now doubly hateful in their brilliant glittering
+tinsel. No wonder the noble brute rushes with magnificent fury to the
+charge.'
+
+The bull fight of Spain and Portugal is the modern form of the
+gladiatorial shows of ancient Rome. At Urbs Italica, the Roman city of
+old, is the ring wherein many victims of Pagan persecution were forced
+to combat with fierce beasts. It is but a step upwards from this
+sanguinary sport to the tournament with bulls, introduced into Andalusia
+by the Moors. The fascination of the horrible is the motive that impels
+men to witness exhibitions involving risk of human life and cruelty
+towards animals. Our bull-baiting with dogs was certainly not more
+sportsmanlike than the Spanish duels between knights, armed only with
+the lance or sword, and a fierce bull of the plains. Yet bull-baiting
+was a favourite diversion of the British nation from the time of King
+John until about a hundred years ago. In the reign of Elizabeth
+bear-baiting was a fashionable recreation in London, and there were
+'Easter fierce hunts, when foaming boars fought for their heads, and
+lusty bulls and huge bears were baited with dogs' (_Sports of England_).
+
+When public opinion began to recoil from such barbarous amusements,
+Windham, in the House of Commons, made a brilliant speech in defence of
+the sport of bull-baiting, and the Bill for its abolition was rejected.
+That was in 1802. Yet, no doubt, a number of our countrymen of that
+period were accustomed to denounce the atrocious cruelty of the Spanish
+bull-fighters.
+
+Statute 5 and 6, William IV., in 1835, made bull-baiting and
+cock-fighting illegal. The Act enjoined 'that any person keeping or
+using any house, pit, or other place, for baiting or fighting any bull,
+bear, dog, or other animal (whether of a domestic or wild kind), or for
+cock-fighting, shall be liable to a penalty of �5 for every day he shall
+so keep and use the same.' In 1837 the provisions of this Act were
+extended to Ireland.
+
+We must remember, therefore, that a high stage of culture and refinement
+must be attained before nations will consent to abandon cruel and
+dangerous contests between men and brutes, or between beasts. Even in
+Spain there is a growing revolt from the exhibitions of combats between
+bulls and other animals, which are sometimes given in the big towns. In
+these fights--which take place in a cage in the centre of an arena--a
+wretched, half-fed lion or elephant is pitted against a bull.
+Cock-fighting still flourishes in the Peninsula. It is popular in
+Seville, and like bull-fighting, the sport has its _aficionados_ in
+every town and hamlet. Sunday, after Mass, is the favourite day for a
+display of cock-fighting. These _funciones gallisticas_ have been
+described by one or two writers upon Spain, who agree that the diversion
+is of a degrading character.
+
+Those among my readers who are interested in bull-fighting, its history
+and its anecdotes, will find a chapter on 'Tauromachia' in that
+fascinating work _Wild Spain_, by Mr. Abel Chapman and Mr. Walter J.
+Buck. A full account of the sport, and the most modern of all the
+numerous contributions to the literature of the bull ring, is that in
+the three special chapters of Mr. Leonard Williams's _The Land of the
+Dons_, published in 1902.
+
+
+
+
+CHAPTER XV
+
+_Information for the Visitor_
+
+
+Most English visitors to Seville travel by way of Paris, Ir�n, the
+Spanish frontier town, and Madrid. By this route the interesting towns
+of Vittoria, Burgos, Valladolid and Segovia may be visited should the
+tourist's time permit. Many travellers break their journey at Madrid,
+spend a day or two in that city, and proceed by the night-express to
+Seville. For comfort, it is advisable to take the south express _train
+de luxe_ from the Quai D'Orsay, Paris. This train is made up of
+first-class carriages only, and provided with sleeping berths, for which
+there is an extra charge. By the ordinary express trains the journey is
+slower, and the traveller has to provide his sleeping accommodation in
+the shape of rugs and pillows. A pillow may be hired at most of the
+large Spanish railway stations for one peseta, _i.e._, sevenpence
+half-penny in British money.
+
+Railway travelling in Spain is not luxurious. The first-class
+compartments are usually stuffy, and at night they are ill-lighted,
+while the second-class carriages will not compare with the English
+third-class. Compartments of the _tercera clase_ (third-class) are
+uncomfortable and cushionless. They may be used for short day journeys
+in Spain by the stranger who wishes to come into touch with the people.
+As a rule, the third-class passengers are quite orderly in behaviour,
+and the foreigner need not fear to travel with them. Still, from the
+point of view of comfort, the Spanish third-class cannot be recommended,
+especially to ladies.
+
+The journey by rail from Madrid is across the monotonous plains of La
+Mancha, made world-famous by the exploits of Don Quixote, through
+interminable olive gardens, wide grass meadows, and by groups of bare
+and fantastic rocks, to ancient C�rdova. Thence we reach the fertile
+land of Andalusia, follow the windings of the clay-stained Guadalquivir,
+and come into the district of the cactus and almond tree, and a
+semi-tropical climate.
+
+Before leaving the railway station square, the stranger must submit to
+the inspection of his luggage by the customs' officers (_consumos_), who
+are on the watch for taxed articles. Usually the search is a mere
+formality, as English visitors are rarely regarded as 'suspects.' Assure
+the officer that you have nothing to sell, and he will in most instances
+refrain from overhauling your baggage.
+
+Hotel omnibuses, cabs and outside porters await the arrival of every
+train at the Estaci�n de Cordoba. The fare for a one-horse carriage to
+any part of Seville, with one or two passengers, is a peseta, and for
+each piece of luggage the charge is from half-a-peseta to a peseta. The
+driver expects a _propina_ ('tip') of at least half-a-peseta. Avoid
+hotel touts and loafers who crowd outside the railway station.
+
+_Hotels._--The majority of English and American visitors stay at the
+H�tel de Madrid, at the corner of the Plaza del Pacifico. It is a large
+house, with a court in the Moorish style, adorned with palms. The
+position is central. The boarding terms are from about twelve pesetas
+per day, but the charge is from about fifteen pesetas in the spring
+season. The H�tel de Paris is also in the Plaza del Pacifico. Here the
+tariff is about ten pesetas per diem, and the cuisine is of the
+first-class Spanish order.
+
+Smaller, but comfortable, hostelries are H�tel de Roma and the H�tel
+Europa, with a pension tariff of ten pesetas. If the visitor desires to
+see something of the life of Spanish people of the middle-class, he will
+prefer to take up his quarters in one of the minor hotels. Such a house
+is that of Juan Zamanillo, H�tel de la Victoria, in the Plaza Nueva. The
+charge here is from five pesetas a day, which includes a comfortable
+bedroom, with clean linen and mosquito curtains to the bed, luncheon
+(_almuerzo_), and dinner (_comida_). The Victoria is frequented by
+English artists, and the proprietor is accustomed to English guests. The
+head waiter is an intelligent man. In hotels of this order the sanitary
+arrangements are Spanish. Even in the first-class houses of Spain these
+arrangements need improvement. On the other hand, the rooms are
+scrupulously clean, the cuisine very fair, and the bedrooms comfortable.
+
+At most of the hotels there is an extra charge for the early breakfast
+(_desayuno_), which consists of a cup of chocolate, flavoured with
+cinnamon, or of _caf� con leche_ (coffee with milk), and a small roll
+without butter. Many Spaniards take a cup of coffee in their bedrooms
+about half-past eight in the morning, and do not eat until luncheon,
+which is usually served in Seville from eleven till one. Visitors who
+are accustomed to a substantial breakfast often find themselves somewhat
+faint by the hour of _almuerzo_. The two meals are much alike in their
+courses. Soup, fish, meat or poultry, salad, cream cheese of Burgos,
+fried potatoes, various kinds of cakes and fruit are served at luncheon
+and dinner. The table wine is provided free of charge, but it is often
+of a very inferior quality, and should be used sparingly, especially in
+hot weather. A cheap, palatable wine is the Rioja. Mineral waters can
+be had at all the hotels and _caf�s_.
+
+At the Spanish houses, as distinguished from the hotels mostly
+frequented by foreigners, Andalusian dishes form the chief part of the
+_menu_. Shad, sea-bream and codfish, garnished with onions, are served
+cold. _Pollo con arroz_ (fowl with rice), and curried rice, with cockles
+and sausages, are favourite dishes. One course is usually composed of
+stewed mutton, or beefsteaks grilled. The meal begins with eggs, boiled,
+poached, or made into savoury omelettes. Those visitors who do not enjoy
+the flavour of garlic should say to the waiter, "_No ajo, sirvase_,"
+_i.e._, "No garlic, if you please," before ordering an omelette. In the
+larger hotels the cookery is usually French, with an occasional dish of
+the country.
+
+_Caf�s._--Spaniards spend a good share of their leisure time in the
+_caf�s_. In Seville the chief resorts of this kind are in the Calle de
+las Sierpes, the Calle Tetuan, and the Plaza Nueva. It is the custom in
+Spain to make business appointments and to arrange friendly meetings in
+the _caf�s_. The drinks are coffee, chocolate, tea, wines, liqueurs, and
+mineral waters. Coffee is usually taken black, with cognac. The spirits
+are _ca�a_, _agua ardiente_, and cognac. A favourite liqueur is
+anisette. At some of these houses Bass's ale and Scotch whisky can be
+obtained. The Spanish bottled cider (_sidra_) is a refreshing drink,
+mixed with lemonade, in hot weather.
+
+An English medical practitioner, Dr. Dalebrook, resides in the Calle
+Albareda, leading out of the Calle Tetuan. A guide, whom I can recommend
+as well-informed, is Se�or Carlos Rud�, 22 Otumba. Se�or Rud� is known
+as "Charles" by the English visitors. He speaks English well, and can
+obtain entrance to private collections of paintings in the city.
+
+A large stock of interesting photographs of Seville, pictures and
+characters is kept by Se�or Julio Beauchy, 24 Calle de Rioja.
+
+       *       *       *       *       *
+
+A LIST OF BOOKS UPON SEVILLE, OR CONTAINING REFERENCES TO THE CITY.
+
+_History._
+
+     'Sevilla' (A volume in the series '_Espa�a_')--Don Pedro de
+     Madrazo.
+
+     'Annales de Sevilla'--Don Ortiz de Zu�iga.
+
+     'Sevilla Hist�rica,' etc.--By 'A Son of Seville.'
+
+     'Histoire des Arabes d'Espagne' (3 vols.)--De Circourt.
+
+     'Memoirs of the Kings of Spain' (5 vols.)--W. Coxe.
+
+     'History of Spain and Portugal'--Dunham.
+
+     'Ferdinand and Isabella'--Prescott.
+
+     'History of the Reformation in Spain'--T. M'Crie.
+
+     'The Ottoman and the Spanish Empires'--L. Ranke.
+
+     'History of the Reign of Philip II.'--R. Watson.
+
+     'Philip II.'--Prescott.
+
+     'Charles V.'--Armstrong.
+
+     'Recherches sur l'histoire et la litt�rature de l'Espagne'--Dozy.
+
+     'Spain'--H. E. Watts.
+
+     'The Moors in Spain'--S. Lane-Poole.
+
+     'The Inquisition'--Llorente.
+
+     'The Story of Spain'--E. E. and S. Hale.
+
+     'Historia de la Ciudad de Sevilla'--Joaquin Guichot.
+
+     'Historia de Sevilla'--Alonso Morgado.
+
+     'Antig�edades Prehist�ricas de Andalucia'--Miguel de Gongora.
+
+_Art._
+
+     'Descripci�n Art�stica de la Catedral de Sevilla'--Cean Bermudez.
+
+     'Seville Mosque Cathedral' (Paper Architect. Society)--R. H.
+     Carpenter.
+
+     'An Architect's Note Book in Spain'--D. Wyatt.
+
+     'Annals of the Artists of Spain'--Sir W. Stirling-Maxwell.
+
+     'Spanish and French Painters'--G. W. Smith.
+
+     'Velazquez'--G. C. Williamson.
+
+     'The Industrial Arts of Spain'--J. F. Ria�o.
+
+     'La Giralda'--A. Alvarez Benavides.
+
+     'Alc�zar de Sevilla'--J. Gestoso y P�rez.
+
+     'La Imprenta en Sevilla.'
+
+     'Velazquez: Life and Work'--G. H. Stokes.
+
+     'Renaissance Architecture and Ornament in Spain'--A. N. Prentice.
+
+     'Seville Cathedral' (article in 'Macmillan's Magazine,' May
+     1903)--Havelock Ellis.
+
+_Literature._
+
+     'History of Spanish and Portuguese Literature' (2
+     vols.)--Bouterwek.
+
+     'History of Spanish Literature'--Ticknor.
+
+     'The Spanish Drama'--G. H. Lewes.
+
+     'Vida de Cervantes'--M. F. Navarette.
+
+     'Tipograf�a Espa�ola'--Mendez.
+
+     'Spanish Literature'--H. Butler Clarke.
+
+     'Life of Cervantes '--J. Fitz-Maurice-Kelly.
+
+     'Cervantes'--H. E. Watts.
+
+_Social and General._
+
+     'Letters from Spain'--Doblado (Blanco White).
+
+     'Handbook for Spain'--R. Ford.
+
+     'Old Court Life in Spain'--F. M. Elliott.
+
+     'The Bible in Spain'--Geo. Borrow.
+
+     'Spanish Vistas'--G. P. Lathrop.
+
+     'Voyage en Espagne'--T. Gautier.
+
+     'Spain and Portugal' (Handbook)--Karl Baedeker.
+
+     'The Zincali'--Geo. Borrow.
+
+     'A Summer in Andalusia' (2 vols.)--R. Bentley.
+
+     'Seville' (article in 'Harper's Magazine,' March 1901)--Arthur
+     Symons.
+
+     'Spanish Cities'--C. A. Stoddard.
+
+     'The Land of the Castanet'--H. Chatfield-Taylor.
+
+
+
+
+INDEX
+
+
+A
+
+Abdelasis, 19, 20.
+
+Abdelgafar, 22.
+
+Abdelmelic, 21, 22.
+
+Abdelola, 19.
+
+Abderahman I., 21.
+
+Abu Abdallah, 24.
+
+Abu el K�sim, 26.
+
+Abu Said, Red King, 37.
+
+Alc�zar, 6, 23, 30, 35, 39, 61, 63, 65, 88, 110-128, 237.
+
+Aleman, author, 139.
+
+Alesio, painter, 101.
+
+Alfonso, the Wise, 6, 34-36.
+
+Almohades, 28, 30, 31, 32, 73, 110, 213.
+
+Almoravides sect, 26-29.
+
+Amalaric, 13.
+
+Aqueduct, 11.
+
+Archbishop's Palace, 205.
+
+Arfian, artist, 153.
+
+Arms of city, 241.
+
+Augustus, 11.
+
+Averroes, 25.
+
+Avila, 5.
+
+Ayub, 20.
+
+Ayuntamiento, 63, 211.
+
+
+B
+
+Barca, Hamilcar, 8.
+
+Bartolom�, San, church, 193.
+
+Bazan, author, 144.
+
+Berbers, 17, 18, 27.
+
+Bermudez, 149, 179.
+
+Bernardo, San, church, 194.
+
+Bizet's _Carmen_, 141.
+
+Black Prince, 42.
+
+Blanco White, 59, 69.
+
+Bonifaz, Admiral, 31-32.
+
+Books relating to Seville, 266-268.
+
+Borrow, George, 5, 140-141, 232.
+
+Buckle, 26, 188.
+
+Bull-fights, 225, 242-261.
+
+Byron, 5, 139, 240.
+
+
+C
+
+Caballero, Fernan, author, 139.
+
+_Caf�s_, 265.
+
+Campa�a, painter, 107, 151-152, 163, 177, 237.
+
+Cano, A., artist, 95-96, 160, 177.
+
+Caridad Hospital, 161, 205-208.
+
+Carlos V., 63, 123, 127, 128, 176, 187.
+
+Caro, historian, 131.
+
+Cartagena, 8.
+
+Cartuja, 236.
+
+Casa Abades, 202.
+
+Casa Pilatos, 39, 62, 124, 132-134.
+
+Casa Taveras, 201.
+
+Casanova, sculptor, 91.
+
+Catalina, Santa, church, 191.
+
+Cathedral, 67, 73, 85-109.
+
+Cato, 6.
+
+Cepero, Don, 168, 209, 210.
+
+Cervantes, 6, 67, 135-139, 212, 241.
+
+C�spedes, artist, 103.
+
+Cid, 28-30.
+
+Columbus, Christopher, 6, 25, 43-46.
+
+Columbus, Fernando, 106.
+
+Columbus Library, 211.
+
+Cond�, historian, 24.
+
+C�rdova, 2, 20, 21, 41, 73, 81, 127, 263.
+
+Corpus Christi, 230.
+
+Court of Oranges, 73, 95.
+
+Custodia, 102.
+
+
+D
+
+Dancart, artist, 105.
+
+Dancing, 25, 231-232;
+  in cathedral, 228.
+
+Delicias, 81.
+
+Dello, painter, 147.
+
+Don Quixote, 138.
+
+Dunham, historian, 92.
+
+
+E
+
+Edward VII. at Seville, 71.
+
+Egidius, Protestant preacher, 54.
+
+El Begi, the Sage, 24.
+
+El Greco, 107, 183.
+
+Englishmen and Inquisition, 58-59.
+
+English sailors, 239.
+
+Ermenigild, 13-15.
+
+Eslava, composer, 228-229.
+
+Eyck, J. Van, 147.
+
+
+F
+
+Fabrica de Tabacos, 211, 236
+
+Feria of Seville, 225-226;
+  street of, 235-236.
+
+Fernandez, painter, 149, 205.
+
+Fernando I., 27.
+
+Fernando III., San, 31-34, 104, 113.
+
+Finck, H. T., 220, 222, 252.
+
+Fishermen of Seville, 239.
+
+Floods in Seville, 2.
+
+Frutet, F., painter, 183.
+
+
+G
+
+Gautier, 5, 86.
+
+Gever, architect, 73.
+
+Gil, San, church, 191.
+
+Giordano, painter, 99.
+
+Gipsies, 226, 232-234.
+
+Giralda Tower, 23, 24, 70, 73, 77-82, 86, 95, 110, 237.
+
+Golden Tower, 113.
+
+G�ngora, 135, 142.
+
+Goya, 102, 107, 178, 197, 246.
+
+Granada, 23
+
+Guadalquivir, 1, 2, 5, 11, 21, 22, 69, 113, 224, 238, 243.
+
+Guide to Seville, 265.
+
+
+H
+
+Hamilcar Barca, 8.
+
+Hasdrubal, 8.
+
+Hernandez, painter, 100.
+
+Herrera, 96, 131, 137, 156, 163, 164, 179.
+
+Herrera El Mozo, 155.
+
+Horse racing, 224, 225.
+
+Hospital Civil, 210.
+
+Hotels, 263-265.
+
+
+I
+
+Ingunda, 14.
+
+Inquisition, 49-60.
+
+Isabella the Catholic, 42, 44, 48-51, 60, 61, 122.
+
+Isidoro, San, 6, 13, 15-16, 193.
+
+Italica, 8, 11, 12, 81, 176, 259.
+
+
+J
+
+James, Henry, 192.
+
+Juan I., 121.
+
+Julian, San, church, 194.
+
+Justa and Rufina, 194-198.
+
+Justi, Professor, 147, 172.
+
+
+K
+
+Keys of Seville, 33.
+
+King of the Suevi, 14.
+
+
+L
+
+Lathrop, G. P., 220, 221.
+
+Leal, Vald�s, artist, 96, 99, 100, 160-161, 180, 209.
+
+Leandro, San, 6, 13.
+
+Lebrixa, scholar, 143, 144.
+
+Leighton, Lord, 146, 149.
+
+Leovigild, 13.
+
+Library of Cathedral, 129.
+
+Llorente, historian of Inquisition, 57-58, 60.
+
+Lonja, 74, 205.
+
+Losada, Doctor, 58.
+
+Lucia, Santa, church, 193.
+
+
+M
+
+Macarena, suburb, 234, 235.
+
+M'Crie, historian of Inquisition, 50, 54.
+
+Magellan, 46, 47.
+
+Majos of Seville, 219, 241.
+
+Marcos, San, church, 190.
+
+Maria de Padilla, 37, 41, 114.
+
+Marmolejo, painter, 100, 153.
+
+Maxwell-Stirling, 148, 157, 172, 183, 208.
+
+Michelangelo, 105.
+
+Miguel of Florence, 74.
+
+Mir, 14.
+
+Monta�ez, 67, 100, 108, 185, 186, 210, 228.
+
+Moors, 22, 28, 30, 31, 62, 65, 66, 67, 69, 73, 77, 88, 109, 110,
+       113-114, 123, 124, 129, 132, 190, 202.
+
+Morel, sculptor, 106.
+
+Mosque of Seville, 20, 23, 73-82.
+
+Motamid II., 28.
+
+Mozart, 141.
+
+Munebrega, inquisitor, 57.
+
+Murillo, 99, 101, 102, 103, 104, 168-175, 177-179, 209;
+  statue to, 212.
+
+Musa, 17, 19.
+
+
+N
+
+New World, discovery of, 25, 68.
+
+Niculoso, designer, 117.
+
+Novels of Cervantes, 135-139.
+
+Nu�ez, painter, 149.
+
+
+O
+
+Olmedus, 54.
+
+Omnium Sanctorum, church, 191.
+
+
+P
+
+Pacheco, 67, 106, 108, 131-132, 154-155, 167.
+
+Palomino, painter, 157.
+
+Passion Plays, 231.
+
+Paula, San, church, 191.
+
+Pedro, the Cruel, 6, 36-42, 115, 120.
+
+Pedro de Pampeluna, 146, 211.
+
+Peninsular War, 71.
+
+Philip II., 64, 115.
+
+Philip III., 67.
+
+Philip V., 67.
+
+Phoenicians, 7-8.
+
+Pizarro Hernando, 6, 47, 48.
+
+Plague, 70, 71.
+
+Plaza de Toros, 225, 253.
+
+Ponce de Le�n, 57.
+
+Prado de San Sebastian, 51.
+
+Prescott, 138.
+
+Printing in Seville, 43.
+
+Prosperity, 48, 49.
+
+Puerto del Perd�n, 74.
+
+Puigblanch, 51.
+
+
+R
+
+Recared, King, 16.
+
+Ria�o, architect, 101, 103, 211.
+
+Ribera, painter, 170.
+
+Roderic, the Goth, 17, 18.
+
+Roelas, artist, 99, 177, 179.
+
+Roldan, artist, 108.
+
+Romans, 8-12.
+
+Romerias, 230.
+
+Rossini's _Barber_, 141.
+
+Roque, San, church, 193.
+
+Rueda, dramatist, 130.
+
+
+S
+
+Sagrario, 77, 108.
+
+Saints of Seville, 82, 194-198.
+
+Salvador, San, church, 193.
+
+Sanchez, artist, 148.
+
+Schlegel, 13, 62.
+
+_Semana Santa_, 228-230.
+
+Siege of Seville, 32-34.
+
+Sierpes, Calle de, 218, 219.
+
+Silver Tower, 30.
+
+Singing in _caf�s_, 232.
+
+Sturmio, artist, 95, 153, 163.
+
+
+T
+
+Tablas Alfonsinas, 103.
+
+Tarik, 20.
+
+Theudisel, 13.
+
+Toledo, 199.
+
+Torquemada, 57, 61.
+
+Torriggiano, sculptor, 185.
+
+Trajan, 12, 32.
+
+Triana, 32, 24, 57, 232.
+
+Trinidad, church, 194.
+
+
+U
+
+University of Seville, 62, 70, 210.
+
+
+V
+
+Vald�s, Juan, painter, 207.
+
+Valer, the Protestant, 52-54.
+
+Vandals, 12.
+
+Varela, artist, 194.
+
+Vargas, fresco painter, 82, 101, 102, 107, 150, 151, 197.
+
+Vasquez, painter, 153.
+
+Velazquez, 165-168, 170, 212.
+
+Visigoths, 17, 129.
+
+Vos, painter, 183-184.
+
+
+W
+
+Walls of Seville, 11.
+
+Watts, H. E., 17, 137.
+
+Wilkie, David, 174.
+
+Williams, Leonard, 225, 242, 245, 249, 253.
+
+Wiseman, Cardinal, 141.
+
+Witiza, 18.
+
+Women of Seville, 219-222.
+
+Wyatt, Digby, 134, 202, 205.
+
+
+X
+
+Xeres, 17.
+
+
+Y
+
+Yusuf, 21, 27, 28.
+
+
+Z
+
+Zu�iga, Ortiz de, 205, 266.
+
+Zurbaran, 104, 156-159, 165, 169, 170, 177, 180-182, 211.
+
+THE END
+
+_Colston & Coy. Limited, Printers, Edinburgh._
+
+
+A List of the Volumes in
+
+The Medi�val Town Series
+
+"_That most charming series of books._"--NOTES & QUERIES
+
+"_There was ample room for a series which should put into the
+traveller's hand a compact_ r�sum� _of what the research of local
+historians had discovered and arranged. This series has gone far to
+provide for this want. Such volumes as "Assisi" and "Florence" are
+indispensable companion-volumes to Baedeker._"--TIMES
+
+"_The series is one of the first-rate things in the bookmarket._"--DAILY
+NEWS
+
+"_An extremely pleasing series.... The volumes are fully illustrated,
+and the letterpress, charmingly written, is a perfect mine of
+information._"--GRAPHIC
+
+"_The intelligent traveller has not been long in recognising their
+worth._"--GUARDIAN
+
+"_Brought out with the dainty care for both artist and reader that we
+have a right to expect from Aldine House._"--SATURDAY REVIEW
+
+"_For the library they are perfection, a pleasure to handle, as they are
+also a pleasure to read._"--DAILY TELEGRAPH
+
+"_They are guide-books, books for study, and books for reference, and at
+the same time little galleries of art._"--ILLUSTRATED LONDON NEWS
+
+_London: J. M. Dent & Co._
+
+_Aldine House, Bedford Street, W.C._
+
+1903
+
+_List of Volumes_
+
+_With numerous Topographical Drawings, Reproductions from Paintings and
+Sculptures, Maps, and Plans. Fcap. 8vo (pocketable). In grey cloth and
+limp green paste grain roan bindings._
+
+     ASSISI. By LINA DUFF GORDON. Illustrated by HELEN M. JAMES and
+     NELLY ERICHSEN.{*}
+
+[_Second Edition._
+
+"Miss Duff Gordon has told the story of Assisi exceedingly well and
+produced one of the very best volumes that have yet appeared in the
+series."--_Times._
+
+     BRUGES. By ERNEST GILLIAT-SMITH. Illustrated by HERBERT RAILTON and
+     EDITH CALVERT.{**}
+
+"The wonder is how Mr. Gilliat-Smith has so cleverly managed to outline
+all this material, and to describe all to be seen within such narrow
+limits."--_World._
+
+     CAIRO. By STANLEY LANE-POOLE, Litt.D., M.A. Illustrated by J. A.
+     SYMINGTON and OTHERS.{**}
+
+"A really good guide-book to Cairo. As a work of condensation, which
+nevertheless remains both attractive and instructive, the book is much
+to be recommended."--_Spectator._
+
+     CHARTRES. By CECIL HEADLAM. Illustrated by HERBERT RAILTON.{**}
+
+"There is no exaggeration in saying that it is the best book in the
+language on the town and church of which it deals. Everything is
+here."--_Speaker._
+
+     CONSTANTINOPLE. By WILLIAM HOLDEN HUTTON. Illustrated by SYDNEY
+     COOPER.{*}
+
+"A delightful book which we cordially recommend to travellers visiting
+the Stambul."--_Athen�um._
+
+     FLORENCE. By EDMUND G. GARDNER. Illustrated by NELLY ERICHSEN.{**}
+
+[_Third Edition._
+
+"We recall few, it any, works of a similar kind which contrive to
+display so complete a picture of a historic city.... A guide which every
+tourist should take with him to Florence."--_Spectator._
+
+     MOSCOW. By WIRT GERRARE. Illustrated by HELEN M. JAMES.{*}
+
+"A very pretty and handy guide to the city, which can easily be slipped
+into the pocket of the tourist and certainly ought to find its way
+there."--_Speaker._
+
+     NUREMBERG. By CECIL HEADLAM. Illustrated by HELEN M. JAMES, and
+     with Wood-cuts from Photographs.{*}
+
+[_Third Edition._
+
+"The general history is remarkably well done, and the descriptive and
+biographical part is as cleverly done as the historical
+outline."--_Morning Post._
+
+     PERUGIA. By MARGARET SYMONDS and LINA DUFF GORDON. Illustrated by
+     H. M. JAMES.{*}
+
+[_Fourth Edition._
+
+"Possesses charm as well as information, style as well as learning Work
+more sympathetically rendered we have rarely seen"--_Outlook._
+
+     PRAGUE. By COUNT L�TZOW. Illustrated by NELLY ERICHSEN.{*}
+
+"It is reasonable to prognosticate a great success for this charming
+little book.... Let us hope that our countrymen will rise refreshed and
+instructed."--_Athen�um._
+
+     ROME. By NORWOOD YOUNG. Illustrated by NELLY ERICHSEN.{**}
+
+[_Second Edition._
+
+"All that distinguishes travel from sight-seeing. A complete series of
+the events, buildings, personalities and ideas which will most interest
+the better kind of traveller."--_Monthly Review._
+
+     ROUEN. By THEODORE ANDREA COOK. Illustrated by HELEN M. JAMES and
+     JANE E. COOK.{**}
+
+[_Second Edition._
+
+"This is your true COOK to conduct you on your next visit to Normandy.
+Erudition, charming vivacity of style, and most excellent
+illustrations."--_Punch._
+
+     TOLEDO. By HANNAH LYNCH. Illustrated by HELEN M. JAMES.{*}
+
+"No intelligent reader of the brilliant little monograph is likely to
+forget easily the pleasure which will have been derived from a perusal
+of its pages."--_Speaker._
+
+     VERONA. By ALETHEA WIEL. Illustrated by NELLY ERICHSEN and HELEN M.
+     JAMES.{**}
+
+"Verona's story faithfully told by one who knows, who loves, and
+understands it."--_Times._
+
+_In Preparation_:
+
+     EDINBURGH. By OLIPHANT SMEATON, M.A.
+
+     OXFORD. By CECIL HEADLAM
+
+     CAMBRIDGE. By the Very Rev. C. W. STUBBS, D.D., Dean of Ely
+
+     AVIGNON. By ELLEN MARRIAGE
+
+     SIENA. By EDMUND G. GARDNER
+
+     CANTERBURY. By Dr SEBASTIAN EVANS and FRANK B. GOLDNEY, F.A.S.
+
+     LONDON. By H. B. WHEATLEY
+
+     FERRARA. By ELLA NOYES
+
+     RAVENNA. By EDMUND G. GARDNER
+
+     VENICE. By THOMAS OKEY
+
+_Price per Volume_:--
+
+{*} _Cloth 3/6 net; Roan 4/6 net._
+
+{**} _Cloth 4/6 net; Roan 5/6 net._
+
+
+_Medi�val Towns_
+
+The enjoyment of foreign travel is so largely dependent upon the
+sympathetic appreciation of the charms and treasures of the place
+visited that a tour may be wholly marred by an indifferent or ignorant
+guide; and so rarely is that charming companion to be found whose local
+knowledge is co-extensive with his artistic instincts, that one has
+perforce often to pursue one's journeys in search of the picturesque
+unattended. In such circumstances the MEDI�VAL TOWN SERIES fills the
+breach, furnishing a guide whose knowledge is that of an authority,
+whose descriptions do not weary us with their garrulity, and whose
+opinions we may treasure in the safety of our coat pocket; to which,
+also, we may always refer with pleasure when we wish to revive faded
+recollections.
+
+[Illustration: _Specimen Text Illustration_]
+
+Artist and author have both made the objects and scenes described the
+subject of careful personal observation, and are consequently able to
+impart to their work that charm of local colour which lends vitality to
+their pictures; every old-time thoroughfare and weather-beaten fabric
+supplies some legend of saint or hero, and as the story of these
+medi�val towns progresses, the reader's imagination is kindled until the
+very spirit of the past pervades the page.
+
+     * * * _This page is set in the type of the series._
+
+       *       *       *       *       *
+
+
+Alterations in the text made by the etext transcriber:
+
+
+Abdelgfar=>Abdelgafar
+
+Abdelgafr=>Abdelgafar {2}
+
+Gr�nada=>Granada
+
+then it its pristine splendour=>then in its pristine splendour
+
+Francico=>Francisco {2}
+
+Alfonzo=>Aflonso {2}
+
+she had seem a fight=>she had seen a fight
+
+peceptions=>perceptions
+
+The ascetic artist was born in Seville, in 1502, and died there about
+the year 1658=>The ascetic artist was born in Seville, in 1502, and died
+there about the year 1568
+
+Capella de San Hermenegildo=>The Capilla de San Hermenegildo
+
+Hermenigildo=>Hermenegildo {2}
+
+Francisan Convent=>Franciscan Convent
+
+Alcaz�r=>Alc�zar {3}
+
+Franciso Pacheco=>Francisco Pacheco
+
+Emilio Pardo Bazan=>Emilia Pardo Bazan
+
+mannnerists=>mannerists
+
+Chasuble on San Ildefenso=>Chasuble on San Ildefonso
+
+San Ildefenso=>San Ildefonso
+
+Sacristi�=>Sacrist�a {numerous}
+
+Calices=>C�lices {3}
+
+La Anunciaci�n de Neustra Se�ora=>La Anunciaci�n de Nuestra Se�ora
+
+Neustra Se�ora de la Concepci�n=>Nuestra Se�ora de la Concepci�n
+
+Sacristia=>Sacrist�a {6}
+
+Sacristi� de los C�lices=>Sacrist�a de los C�lices {2}
+
+La Anunciaci�n de Neustra Se�ora=>La Anunciaci�n de Nuestra Se�ora
+
+Martinez Mo�tanes=>Martinez Monta�es
+
+Mahommedan=>Mohommedan
+
+nine fountain=>nine fountains
+
+cannnot=>cannot
+
+Spaniard are conservative=>Spaniards are conservative
+
+A suvival=>A survival
+
+it Morisco remains=>its Morisco remains
+
+Sevilla�os=>Sevillanos
+
+smart poople=>smart people
+
+A bull is separted=>A bull is separated
+
+'Sevilla Historica,'=>'Sevilla Hist�rica,'
+
+'Antig�edades Prehistoricas de Andalucia'=>'Antig�edades Prehist�ricas
+de Andalucia'
+
+'Descripci�n Artistica de la Catedral de Sevilla'=>'Descripci�n
+Art�stica de la Catedral de Sevilla'
+
+'Tipografia Espa�ola'=>'Tipograf�a Espa�ola'
+
+Dukes of Alcala=>Dukes of Alcal�
+
+F�brica de Tab�cos=>F�brica de Tabacos
+
+Domenico Theotocopuli & Dominico Theotocopuli=>Dom�nico Theotoc�puli
+
+V�rgen de la Rosa=>Virgen de la Rosa
+
+Erminigild=>Ermenigild
+
+Cap de los Evangelestas=>Cap de los Evangelistas
+
+Sevilla Historica=>Sevilla Hist�rica
+
+Pedro Villegas Marmolego, 1520-1597=>Should be: Pedro Villegas
+Marmolejo, 1519-1596.
+
+Patio de los Naranjas=>Should be: Patio de los Naranjos
+
+
+
+
+FOOTNOTES:
+
+[A] This and other interesting pictures may be seen by applying to the
+owner of the collection.
+
+[B] In _Sevilla Hist�rica_ the names of Juan Norman, Alonso Rodriguez
+and Gonzalo Rojas are mentioned as architects employed before 1507.
+
+[C] _See_ chapters on 'the Churches' and upon the 'Artists of Seville.'
+
+[D] There is an excellent Catalogue, with a short historical memoir of
+each artist, which can be purchased at the entrance of the Museo, for
+the trifling sum of one _peseta_. It is, of course, in Spanish.
+
+[E] The titles of the pictures are given in Spanish in order to
+facilitate their identification in the Catalogue.
+
+[F] The picture has been recently presented to the Museo, by the Infanta
+Da Maria Luisa Fernanda, and is only mentioned in the Catalogue, in a
+short notice at the end of the book.
+
+[G] See separate chapter.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Story of Seville, by Walter M. Gallichan
+
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+<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+<title>
+  The Project Gutenberg eBook of the Story of Seville, by Walter M. Gallichan.
+</title>
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+
+<pre>
+
+The Project Gutenberg EBook of The Story of Seville, by Walter M. Gallichan
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Story of Seville
+
+Author: Walter M. Gallichan
+
+Illustrator: Elizabeth Hartley
+
+Release Date: November 13, 2011 [EBook #38009]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SEVILLE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<table summary="note" border="0" cellpadding="10" style="background-color: #ffffff;
+max-width:50%;margin:auto;">
+  <tr>
+    <td valign="top">[Numerous typographical errors, as well as many (but not all) of the
+mis-placed or missing accents of Spanish words, have been corrected.
+Please see the list of these at the end of this etext.
+(note of etext transcriber)]</td>
+  </tr>
+</table>
+
+
+
+<p class="figcenter">
+<a href="images/cover_lg.jpg">
+<img src="images/cover.jpg" width="347" height="550" alt="image of the book&#39;s cover" title="image of the book&#39;s cover" /></a>
+</p>
+
+<h1><i>The Story of Seville</i></h1>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">"He who Seville has not seen,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Has not seen a marvel great."</span></td></tr>
+<tr><td align="left">&nbsp;</td></tr>
+<tr><td align="left"><span style="margin-left: -2em;">"To whom God loves He gives a house in Seville."</span></td></tr>
+<tr><td align="left">&nbsp;</td></tr>
+<tr><td align="right"><i>Popular Spanish Sayings.</i></td></tr>
+</table>
+
+<p class="figcenter"><a name="front" id="front"></a>
+<a href="images/frontispiece_lg.jpg">
+<img src="images/frontispiece_sml.jpg" width="366" height="550" alt="Saints Justa y Rufina
+
+From the painting by Goya" title="Saints Justa y Rufina From the painting by Goya" /></a>
+<br />
+<span class="caption">Saints Justa y Rufina<br />
+From the painting by Goya</span>
+</p>
+
+<p class="figcenter">
+<a href="images/front_lg.jpg">
+<img src="images/front_sml.jpg" width="304" height="550" alt="The Story of Seville;
+by Walter M. Gallichan;
+With Three Chapters on the Artists;
+of Seville by C. Gasquoine Hartley;
+Illustrated by Elizabeth Hartley;
+London: J. M. Dent &amp; Co.;
+Aldine House, 29 and 30 Bedford Street;
+Covent Garden, W.C. * * 1903"
+
+title="The Story of Seville;
+by Walter M. Gallichan;
+With Three Chapters on the Artists;
+of Seville by C. Gasquoine Hartley;
+Illustrated by Elizabeth Hartley;
+London: J. M. Dent &amp; Co.;
+Aldine House, 29 and 30 Bedford Street;
+Covent Garden, W.C. * * 1903" /></a>
+</p>
+
+<p class="cspc"><small><i>All Rights Reserved</i></small></p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p class="nind"><span class="letra">I</span>N the story of Seville I have endeavoured to interest the reader in the
+associations of the buildings and the thoroughfares of the city.</p>
+
+<p>I do not claim to have written a full history of Seville, though I have
+sketched the salient events in its annals in the opening chapters of
+this book. The history of Seville is the history of Spain, and if I have
+omitted many matters of historical importance from my pages, it is
+because I wished to focus attention upon the city itself. I trust that I
+have succeeded in awaking here and there an echo of the past, and in
+bringing before the imagination the figures of Moorish potentate or
+sage, and of Spanish ruler, artist, priest and soldier.</p>
+
+<p>Those who are acquainted with the history of Spain will appreciate the
+difficulty that besets the historian in the matter of chronological
+accuracy, and even in a narration of many of the main events. The
+chronicles of the Roman, Gothic and Moorish epochs are hardly accepted
+as reliable. Patriotic bias and religious enthusiasm are elements that
+frequently mislead in the making of history, though the Spaniard is not
+alone in the commission of error in this respect.</p>
+
+<p>Seville abounds with human interest. The city may at the first glance
+slightly disappoint the visitor, but he cannot wander far without a
+growing sense of its fascination. Most of the noteworthy buildings are
+hidden amidst narrow alleys, for the designers of the city have shown
+great economy in utilising space. It is therefore difficult to gain
+large general views of Seville, unless one ascends the Giralda, while
+the obtrusion of modern dwelling-houses and stores often mars the view
+of fine public edifices. But the modernity of Seville seldom strikes one
+as wholly out of place and in sharp contrast to the ancient monuments.
+The plan is Morisco, and the impression conveyed is partly Moorish and
+partly medi�val. In a word, Seville brings us at every step closely in
+touch with antiquity.</p>
+
+<p>For the chapters on the Artists of Seville I am indebted to C. Gasquoine
+Hartley (Mrs. Walter M. Gallichan), who has devoted much study to the
+art of Spain. The drawings by Miss Elizabeth Hartley were prepared while
+I was gathering material for the book in Seville, and the illustrations
+will be found to refer to the text. I have also to thank my brother, Mr.
+F. H. Gallichan, for his plan of the city.</p>
+
+<p>The frontispiece photograph of Goya's picture of SS. Justa and Rufina
+was reproduced in the <i>Art Journal</i> as an illustration to an article on
+"Goya" by C. Gasquoine Hartley. My thanks are due to Messrs. Virtue &amp;
+Company for permission to reproduce the picture in this book.</p>
+
+<p class="r">
+WALTER M. GALLICHAN.<br />
+</p>
+
+<p>
+<span style="margin-left: 1.5em;">T<small>HE</small> C<small>RIMBLES,</small></span><br />
+<span style="margin-left: 2em;">Y<small>OULGREAVE,</small> B<small>AKEWELL,</small></span><br />
+<span style="margin-left: 2.5em;"><i>August 20, 1903</i>.</span><br />
+</p>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="CONTENTS">
+
+<tr><th colspan="2" align="center"><a name="CONTENTS" id="CONTENTS"></a><big>CONTENTS</big></th></tr>
+<tr><td>&nbsp;</td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_I">CHAPTER I</a></td></tr>
+
+<tr><td colspan="2" align="right"><small>PAGE</small></td></tr>
+
+<tr><td><i>Romans, Goths and Moors</i> </td><td align="right"><a href="#page_001">1</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_II">CHAPTER II</a></td></tr>
+
+<tr><td><i>The City Regained</i></td><td align="right"><a href="#page_026">26</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_III">CHAPTER III</a></td></tr>
+
+<tr><td><i>Seville under the Catholic Kings</i></td><td align="right"><a href="#page_062">62</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_IV">CHAPTER IV</a></td></tr>
+
+<tr><td><i>The Remains of the Mosque</i></td><td align="right"><a href="#page_073">73</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_V">CHAPTER V</a></td></tr>
+
+<tr><td><i>The Cathedral</i></td><td align="right"><a href="#page_085">85</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_VI">CHAPTER VI</a></td></tr>
+
+<tr><td><i>The Alc�zar</i></td><td align="right"><a href="#page_110">110</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_VII">CHAPTER VII</a></td></tr>
+
+<tr><td><i>The Literary Associations of the City</i>&nbsp; &nbsp; </td><td align="right"><a href="#page_129">129</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_VIII">CHAPTER VIII</a></td></tr>
+
+<tr><td><i>The Artists of Seville</i></td><td align="right"><a href="#page_146">146</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_IX">CHAPTER IX</a></td></tr>
+
+<tr><td><i>Velazquez and Murillo</i></td><td align="right"><a href="#page_165">165</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_X">CHAPTER X</a></td></tr>
+
+<tr><td><i>The Pictures in the Museo</i></td><td align="right"><a href="#page_176">176</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_XI">CHAPTER XI</a></td></tr>
+
+<tr><td><i>The Churches of the City</i></td><td align="right"><a href="#page_187">187</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_XII">CHAPTER XII</a></td></tr>
+
+<tr><td><i>Some Other Buildings</i></td><td align="right"><a href="#page_201">201</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_XIII">CHAPTER XIII</a></td></tr>
+
+<tr><td><i>Seville of To-day</i></td><td align="right"><a href="#page_213">213</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_XIV">CHAPTER XIV</a></td></tr>
+
+<tr><td><i>The Alma Mater of Bull-fighters</i></td><td align="right"><a href="#page_242">242</a></td></tr>
+
+<tr><td colspan="2" align="center"><a href="#CHAPTER_XV">CHAPTER XV</a></td></tr>
+
+<tr><td><i>Information for the Visitor</i></td><td align="right"><a href="#page_262">262</a></td></tr>
+
+<tr><td><i>Index</i></td><td align="right"><a href="#page_269">269</a></td></tr>
+
+<tr><td><a href="#alterations">Alterations made by the etext transcriber</a></td></tr>
+</table>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="ILLUSTRATIONS">
+<tr><th colspan="2" align="center"><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a><big>ILLUSTRATIONS</big></th></tr>
+
+<tr><td>&nbsp;</td></tr>
+
+<tr><td colspan="2" align="right"><small>PAGE</small></td></tr>
+
+<tr><td><i>SS. Justa and Rufina, from the painting by</i>
+<span class="smcap">Goya</span> (<i>photogravure</i>)&nbsp; &nbsp; &nbsp;  </td><td align="right"><a href="#front"><i>Frontispiece</i></a></td></tr>
+
+<tr><td><i>Roman Amphitheatre at Italica</i></td><td align="right"><a href="#page_001">1</a></td></tr>
+
+<tr><td><i>The Guadalquivir</i></td><td align="right"><a href="#page_003">3</a></td></tr>
+
+<tr><td><i>Roman Walls</i></td><td align="right"><a href="#page_008">8</a></td></tr>
+
+<tr><td><i>The Pillars of Hercules and Julius C�sar</i></td><td align="right"><a href="#page_011">11</a></td></tr>
+
+<tr><td><i>Moorish Fountain in the Court of Oranges</i></td><td align="right"><a href="#page_023">23</a></td></tr>
+
+<tr><td><i>Roman Capital</i></td><td align="right"><a href="#page_025">25</a></td></tr>
+
+<tr><td><i>Old Walls of the Alc�zar</i></td><td align="right"><a href="#page_041">41</a></td></tr>
+
+<tr><td><i>Sword of Isabella</i></td><td align="right"><a href="#page_049">49</a></td></tr>
+
+<tr><td><i>Plaza San Francisco</i></td><td align="right"><a href="#page_055">55</a></td></tr>
+
+<tr><td><i>Fountain in Bath, Alc�zar</i></td><td align="right"><a href="#page_066">66</a></td></tr>
+
+<tr><td><i>Puerta del Perd�n</i></td><td align="right"><a href="#page_075">75</a></td></tr>
+
+<tr><td><i>Stone Pulpit in Court of Oranges</i></td><td align="right"><a href="#page_078">78</a></td></tr>
+
+<tr><td><i>Cuerpo de Azucenas</i></td><td align="right"><a href="#page_079">79</a></td></tr>
+
+<tr><td><i>The Giralda</i></td><td align="right"><a href="#page_084">84</a></td></tr>
+
+<tr><td><i>Pinnacle of the Cathedral</i></td><td align="right"><a href="#page_087">87</a></td></tr>
+
+<tr><td><i>Puerta Mayor&mdash;The Central Door of the Cathedral</i></td><td align="right"><a href="#page_089">89</a></td></tr>
+
+<tr><td><i>Pinnacle of the Cathedral</i></td><td align="right"><a href="#page_091">91</a></td></tr>
+
+<tr><td><i>Interior of the Cathedral</i></td><td align="right"><a href="#page_097">97</a></td></tr>
+
+<tr><td><i>Patio de las Doncellas</i></td><td align="right"><a href="#page_111">111</a></td></tr>
+
+<tr><td><i>In the Garden of the Alc�zar</i></td><td align="right"><a href="#page_125">125</a></td></tr>
+
+<tr><td><i>Cancela of the Casa Pilatos</i></td><td align="right"><a href="#page_133">133</a></td></tr>
+
+<tr><td><i>The Guardian Angel</i> (<span class="smcap">Murillo</span>)</td><td align="right"><a href="#page_172"><i>facing</i> 172</a></td></tr>
+
+<tr><td><i>The Conception</i> (<span class="smcap">Murillo</span>)</td><td align="right"><a href="#page_178"><i>facing</i> 178</a></td></tr>
+
+<tr><td><i>The Road to Calvary</i> (<span class="smcap">Vald�s Leal</span>) </td><td align="right"><a href="#page_180"><i>facing</i> 180</a></td></tr>
+
+<tr><td><i>Saint Hugo in the Refectory</i> (<span class="smcap">Zurbaran</span>)</td> <td align="right"><a href="#page_182"><i>facing</i> 182</a></td></tr>
+
+<tr><td><i>The Crucifixion</i> (<span class="smcap">Monta�es</span>)</td> <td align="right"><a href="#page_186"><i>facing</i> 186</a></td></tr>
+
+<tr><td><i>Minaret of San Marcus</i></td><td align="right"><a href="#page_190">190</a></td></tr>
+
+<tr><td><i>Puerta de Santa Maria</i></td><td align="right"><a href="#page_195">195</a></td></tr>
+
+<tr><td><i>Patio del Casa Murillo</i></td><td align="right"><a href="#page_203">203</a></td></tr>
+
+<tr><td><i>Amphora</i></td><td align="right"><a href="#page_212">212</a></td></tr>
+
+<tr><td><i>Patio del Colegio</i>, <i>San Miguel</i></td><td align="right"><a href="#page_215">215</a></td></tr>
+
+<tr><td><i>The Golden Tower</i></td><td align="right"><a href="#page_223">223</a></td></tr>
+
+<tr><td><i>A Roof Garden</i></td><td align="right"><a href="#page_238">238</a></td></tr>
+
+<tr><td><i>Arms of Seville</i></td><td align="right"><a href="#page_241">241</a></td></tr>
+
+<tr><td><i>Plan of City (not available)</i></td>  <td align="right"><a href="#page_268"><i>facing</i> 268</a></td></tr>
+
+</table>
+
+<p><a name="page_001" id="page_001"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_021_lg.jpg">
+<img src="images/ill_021_sml.jpg" width="493" height="334" alt="Roman Amphitheatre at Italica" title="Roman Amphitheatre at Italica" /></a>
+</p>
+
+<h1>The Story of Seville</h1>
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br /><br />
+<i>Romans, Goths and Moors</i></h2>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">'The sound, the sight</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Of turban, girdle, robe, and scimitar</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">And tawny skins, awoke contending thoughts</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Of anger, shame and anguish in the Goth.'</span></td></tr>
+<tr><td align="right"><span class="smcap">Robert Southey</span>, <i>Roderick</i>.</td></tr>
+</table>
+
+<p class="nind"><span class="letra">S</span>EVILLE the sunny, the gem of Andalusia, is a city in the midst of a
+vast garden. Within its ancient walls, the vine, the orange tree, the
+olive, and the rose flourish in all open spaces, while every <i>patio</i>, or
+court, has its trellises whereon flowers blossom throughout the year.
+Spreading palms overshadow the public squares and walks, and the banks
+of the brown Guadalquivir are densely clothed with an Oriental verdure.<a name="page_002" id="page_002"></a></p>
+
+<p>The surrounding country of the Province of Sevilla, <i>La Tierra de Maria
+Santisima</i>, is flat, and in the neighbourhood of the city sparsely
+wooded. On the low hills of Italica and San Juan de Aznalfarache, the
+Hisn-al-Faradj of the Moors, olive groves cover many thousands of acres.
+The plain is a <i>parterre</i> of wide grain fields, and meadows of rife
+grass, divided by straight white roads, with their trains of picturesque
+mule teams and waggons, and their rows of tall, straight trees. Here and
+there the cold grey cactus serves as a fence, but there is no other kind
+of hedgerow.</p>
+
+<p>Far away, across the yellow wheatfields, and beyond the vine-clad slopes
+of the middle distance, rise the huge shoulders and purple peaks of wild
+sierras.</p>
+
+<p>The Guadalquivir, rolling and eddying in a wide bed, takes its tint from
+the light soil and sand, and is always turbid, as though in spate. Below
+Seville, on the left bank of the river, stretch the great salt marshes,
+or Marismas, haunted by the stork, the heron, and innumerable wildfowl.
+Here, among the arms of the tidal water, the cotton plant is cultivated.
+Winter floods are a source of danger to Seville, especially when a
+south-west wind is blowing and the tide ascending the river. Then the
+Guadalquivir overflows its banks and deluges the town and the flat land,
+drowning live stock and destroying buildings. In 1595 and 1626 occurred
+two of the worst floods, or <i>avenidas</i>, on record. The flood of 1626
+washed away the foundations of about three thousand houses.<a name="page_003" id="page_003"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_023_lg.jpg">
+<img src="images/ill_023_sml.jpg" width="693" height="522" alt="The Guadalquivir" title="The Guadalquivir" /></a>
+</p>
+
+<p>It is probable that the southern kingdom of Andalusia derived its name
+from the Vandals, who overran the country after the Roman occupation.
+The region was then known as Vandalitia, or Vandalusia. Lower Andalusia
+has been said to be the Tarshish of the Bible. The Ph&oelig;nicians called
+the land Tartessus, or Tartessii. Nowadays Andalusia includes the
+provinces<a name="page_005" id="page_005"></a> of Sevilla, Huelva, Cadiz, C�rdova, Ja�n, Granada and
+Almeria, and has a population of over three millions. Seville is the
+capital, the seat of an archbishop, and a university town. The traveller
+from Northern Europe will feel the spirit of Spain upon him as he
+approaches Seville from Cadiz or C�rdova through a semi-tropical country
+under a burning blue sky. He will note everywhere the influence of the
+Arab in the architecture of modern public buildings, churches and
+dwelling-houses, in the tortuous, narrow streets, in the features,
+language, music and garb of the people, and in many of the customs of
+the district. The character of the landscape is strange, the atmosphere
+vivid, and the distant objects show sharply against the horizon. For
+leagues he will traverse groves of olive, or vineyards, and pass across
+wastes purple with the flower of the lavender or scarlet with poppies.</p>
+
+<p>Seville of to-day is white, clean and bright. Gautier noted that the
+shadows of the houses in the narrow thoroughfares are blue, in contrast
+to the white of the dazzling buildings at noon. During the <i>siesta</i> of
+the hot months, the streets are deserted daily for about four hours,
+shutters screen the rooms from the blinding sunshine, and awnings are
+drawn across the roofs of the <i>patios</i>. In the evening the town awakens,
+and the <i>plazas</i> and alleys are thronged and gay until two in the
+morning. Everyone endeavours to lead an <i>al fresco</i> life, and to
+conserve physical energy in this city of eternal sunshine. Unlike Toledo
+and Avila, where the houses are sombre and the doors heavy and barred,
+as though the towns were inhospitable, Seville opens wide the gates of
+its beautiful courts so that the passer-by may peep within.</p>
+
+<p>'Seville is a fine town,' wrote Lord Byron, in a letter, during his stay
+in Spain in 1809. We may<a name="page_006" id="page_006"></a> regret that he had so little to say about the
+fascinating capital. George Borrow, who lived for a time in the Plazuela
+de la Pila Seca, near the Cathedral, speaks in rapturous phrases of the
+view of Seville and the Guadalquivir. 'Cold, cold must the heart be
+which can remain insensible to the beauties of this magic scene, to do
+justice to which the pencil of Claude himself were barely equal. Often
+have I shed tears of rapture whilst I beheld it, and listened to the
+thrush and the nightingale piping their melodious songs in the woods,
+and inhaled the breeze laden with the perfume of the thousand orange
+gardens of Seville.'</p>
+
+<p>The city is rich in antiquities, in historic buildings associated with
+illustrious names, in works of art and in sumptuous palaces. A great
+company of the spirits of famous kings, warriors, explorers, authors,
+painters and priests spring up in the imagination as one stands in the
+aisles of the splendid Cathedral, or dreams amid the roses and the
+tinkling fountains of the secluded gardens of the Alc�zar. Here, to this
+prized and fertile territory of southernmost Spain, came Publius
+Cornelius Scipio and Cato. Trajan, Hadrian and Theodosius were born at
+the municipium of Italica, a few miles from modern Seville. El Begi,
+'the most accomplished scholar of Spain,' spent the greater part of his
+life in the city.</p>
+
+<p>San Isidoro and San Leandro lived here. Moorish monarchs and Christian
+sovereigns ruled from the palace, and in their turn attacked and
+defended the fair city. The figures crowd before the mind's
+eye&mdash;Ferdinand III., who redeemed the town from the Moriscoes, Alfonso
+(<i>El Sabio</i>) the Learned, Pedro I. the Cruel, and Ferdinand and Isabella
+the Catholic. We see the fair, blue-eyed Genoese youth, Christoforo
+Colombo, or Columbus, the maker of the modern prosperity of Seville,
+who, after achieving fame, was<a name="page_007" id="page_007"></a> alternately petted and punished by his
+sovereigns. We picture the triumphant return of Hernando Pizarro to the
+city, with half a million pesos of gold, and a great treasure of silver.</p>
+
+<p>Lope de Rueda, 'the real father of the Spanish theatre,' a gold-worker
+of Seville; Fernando de Herrera, the poet; the mighty Cervantes, who
+spent three years of his life in the Andalusian capital; Velazquez,
+Zurbaran, Roelas, Murillo and minor artists of note were either born in
+the city or closely associated with it.</p>
+
+<p>For the present we must take a look back into the dim and remote period
+when the Ph&oelig;nicians came to wrest the soil of Southern Spain from the
+race of mingled Celtic and Iberian blood. It is at this uncertain date
+that the history of Seville may be said to begin.</p>
+
+<p>
+<br />&nbsp;
+</p>
+
+<p>We learn from the historians of Ph&oelig;nicia that the shrewd, practical
+and industrious people of that marvellous ancient civilisation were
+great colonisers. 'The south of Spain,' writes Professor George
+Rawlinson, 'was rich in metallic treasures, and yielded gold, silver,
+copper, iron, lead and tin.' In their quest for valuable metal, certain
+Ph&oelig;nician explorers discovered the Peninsula of Iberia, and in the
+mineral-yielding region watered by the Guadalquivir they founded the
+colony of Tartessii. Doubt exists whether Tartessii was the name given
+to the plains of the Guadalquivir or to a town. Strabo, Mela and Pliny
+state that the Ph&oelig;nicians built a town and called it Tartessus. Was
+this town the foundation of Seville? No one will attempt to give an
+authoritative answer, though it has been stated that the town was not
+Cadiz, the Gades of the Ph&oelig;nicians. Two cities of considerable
+importance appear to have been the marts of the<a name="page_008" id="page_008"></a> Ph&oelig;nician <i>Sephela</i>,
+or plain, and it is not wholly improbable that Seville was one of them.</p>
+
+<p class="figcenter">
+<a href="images/ill_028_lg.jpg">
+<img src="images/ill_028_sml.jpg" width="482" height="381" alt="Roman Walls" title="Roman Walls" /></a>
+</p>
+
+<p>In the choice of new territory for the development of mining and
+agriculture, the enterprising colonists displayed much intelligence.
+They settled upon a soil that will bring forth richly without artificial
+stimulation.</p>
+
+<p>The hill ranges produced vines and olive trees, yielding fine wine and
+ample oil. Tunny and other fish were plentiful in the sea, and the
+rivers afforded large eels.</p>
+
+<p>This is all that can be known of the Ph&oelig;nician colony in Southern
+Spain. We are beginning to tread upon firmer historic ground when
+Hamilcar Barca landed at Cadiz in 237 <small>B.C.</small>, after a series of victories
+in Africa, and subdued Andalusia. Hasdrubal, son-in-law of the
+conqueror, was the founder of Cartagena,<a name="page_009" id="page_009"></a> or New Carthage, the centre of
+Carthaginian rule in Spain, and the wealthiest city of the Peninsula.</p>
+
+<p>But during the second Punic War the Romans invaded Iberia, and gained
+all the eastern coast from New Carthage to the Pyrenees. Plutarch says
+that Publius Cornelius Scipio came to Spain with eleven thousand
+soldiers, seized Cartagena, reduced Cadiz, and founded the city of
+Italica, near Seville. Hispalis was the Roman name given to the city on
+the Guadalquivir until C�sar changed the name to Julia Romula. The city
+then became the capital of Roman Spain, a centre of industry, and a
+fortress. A splendid aqueduct, which has partly endured to this day, was
+constructed to bring a plentiful supply of water from the hills. The
+aqueduct was extended by the Almohades in 1172, and forms one of the
+interesting monuments of the Roman and Arab colonisers. Around the city
+were reared high walls, with watch towers, and many strong gates. It is
+said that the walls of Seville were five miles in length, and it has
+been stated that they were once ten miles long. Within the gates were
+palaces, temples to the honour of the Sun, Hercules, Bacchus and Venus,
+and other fine edifices.</p>
+
+<p>Under Augustus, Spain was part of the Roman Empire. In Seville the rule
+of the conquerors was beneficent, and the original inhabitants were
+fairly governed, while the city was extended and new crafts introduced.
+Under the Romans, Christianity came to the Peninsula, and Seville was
+made the seat of a bishop. The remaining portions of the great aqueduct,
+the wall, the two high granite columns in the Alameda de Hercules, with
+the statues of Julius C�sar and Hercules upon them, the shafts of the
+columns discovered in the Calle Abades, and the beautiful fragments of
+capitals and statues in the Museo Arq�l�gico are the chief vestiges of
+Seville in the days of<a name="page_010" id="page_010"></a> the Romans. At Urbs Italica, 'the camp of the
+Italians,' there still exists a grass-grown, mouldered amphitheatre, the
+only remnant of a mighty town.</p>
+
+<p>Built on the slopes once dotted with the tents of the aboriginal hamlet
+of Sancios, Italica lies about five miles to the west of Seville, amid
+olive gardens and wheatfields. The circus is a ruin; but the passages
+can be followed below the tiers of seats, and one may peer into the dens
+once tenanted by the lions and other fierce beasts. Bees hum amongst the
+wild thyme, lizards creep on the worn stones, and a tethered ass grazes
+in the arena. The glory of Rome has departed; the plaudits from those
+deserted and grassy seats have not been heard for centuries; and blood
+has ceased to redden the floor, where fragrant herbs now spring and
+butterflies sun themselves on fallen masonry. Here is all that is left
+of Italica, the home of Trajan and Hadrian, and the asylum for Scipio's
+aged warriors. For a period the decaying town was known as Old Seville,
+and tons of its masonry were removed to build Seville the New.</p>
+
+<p>Rome fell, and the Silingi Vandals swarmed into the country, captured
+Hispalis, and made it the seat of their empire. This period in the
+history of Seville is dark, and beset with difficulty for the annalist.
+About the year 520 a great horde of Goths spread over Andalusia. They
+seized the Vandal capital, but afterwards established a new capital of
+their own at Toledo.<a name="page_011" id="page_011"></a>
+<a name="page_012" id="page_012"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_031_lg.jpg">
+<img src="images/ill_031_sml.jpg" width="539" height="781" alt="The Pillars of Hercules and Julius Ce�sar" title="The Pillars of Hercules and Julius Ce�sar" /></a>
+</p>
+
+<p>Amalaric was the first of the Gothic monarchs who sat on the throne in
+Seville. He reigned probably from about the year 522. Theudis ruled in
+Seville (531 to 548), and we read that he was murdered there after an
+attempt to expel the Byzantine troops of Justinian from Africa.
+Theudisel, or Theudigisel, was general to Theudis, whom he succeeded as
+ruler<a name="page_013" id="page_013"></a> at Seville. Theudisel shared the fate of his predecessor on the
+throne. After a reign of eighteen months, he was killed by the
+sword-thrusts of a dozen nobles of his retinue, while taking supper in
+his palace. This 'monster of licentiousness' was wont to kill all women
+who repelled his addresses, and his assassination was a work of
+vengeance on the part of outraged fathers and husbands among his
+courtiers.</p>
+
+<p>Schlegel says the Goths were ready converts to Christianity, but 'in the
+Arian form.' At a later period of their supremacy in Spain there came a
+wider adherence to orthodox Catholicism, and the civil power was largely
+in the hands of the bishops and clergy. The most influential bishop of
+this day was Saint Isidore (San Isidoro) who held office in Seville. His
+brothers, Leander and Fulgentius, were also prelates, and his sister,
+Florentina, was made a saint. Saint Leander was the elder brother of
+Isidore, and through him the youth received his education after the
+death of his parents. The pupil was earnest and diligent in his studies,
+and as he grew to manhood he zealously assisted his brother, who then
+held the See of Seville, in converting the Goths from the heresy of
+Arius.</p>
+
+<p>Dissensions between the orthodox and the Arians caused great strife and
+family bitterness among the ruling class. During the reign of King
+Leovigild rebellions broke out in Castile and Le�n. The leader of the
+rebels was Leovigild's own son, Ermenigild, who had married Ingunda,
+daughter of Brunichilda and of Sigebert. Ingunda professed the orthodox
+faith, while Gosvinda, the second wife of Leovigild, was of the Arian
+sect. A rivalry arose between the two dames. According to Gregory of
+Tours, Gosvinda determined that Ingunda should be compelled to embrace
+the heterodox creed. One day when the<a name="page_014" id="page_014"></a> two disputants were together,
+engaged in hot controversy, the fanatical Gosvinda gripped Ingunda by
+the hair of her head, threw her to the ground, trod upon her, and bade
+an Arian priest baptize the prostrate woman.</p>
+
+<p>This incident not unnaturally brought about a quarrel between Leovigild
+and his son. Ermenigild was then ruling in Seville, while Leovigild
+maintained his court at Toledo. The trouble grew when Leander, the uncle
+of Ermenigild, persuaded the young man to forsake Arianism. His father
+was deeply angered, and vowed that the Gothic crown should never come to
+an apostate. The Archbishop of Tours states that the father was the
+first to take up arms after the rupture, but other historians suppose
+that the turbulent Ermenigild began the hostilities.</p>
+
+<p>This domestic difference led to serious warfare. Ermenigild was besieged
+in Seville by his father's forces, after begging aid from Mir, King of
+the Suevi, in Galicia. Mir started with an army to assist the rebellious
+prince, but on the way he was defeated by Leovigild, and forced to aid
+the monarch. For a year Ermenigild resisted the siege of Seville. The
+people were on the point of starvation when he resolved upon
+capitulation. Nothing remained but flight, and the prince made his
+escape from the city and reached C�rdova. There he was captured,
+divested of his regal garments and authority, and banished to Valencia.
+Very soon the strife was renewed. Ermenigild, panting for a reprisal,
+solicited aid from the Greeks and rebels of the east coast, and invaded
+Estremadura. His father went to meet him with a force of his bravest
+men. The attack was made by Leovigild, who drove his son's army from
+Merida into Valencia, and took the young man a prisoner.</p>
+
+<p>The King was stern, but he could not act ungenerously<a name="page_015" id="page_015"></a> towards his foe
+and son. He offered Ermenigild pardon and favour on condition that he
+would reject his heretical faith. The rebel refused the terms; he would
+rather remain in his dungeon than practise hypocrisy. Again the father
+besought the son, through an Arian priest, to renounce his false
+doctrine, and again Ermenigild was resolute. In a passion, he cursed the
+cleric, crying: 'As the minister of the devil, thou canst only guide to
+hell! Begone, wretch, to the punishments which are prepared for thee!'
+This was more than Leovigild could bear. He immediately sentenced his
+son to death. The legend of Ermenigild's last days relates that on the
+night of his execution a light from Paradise shone in his cell, and that
+angels watched over the grave, singing hymns in his praise. Ermenigild
+was sainted, and one of his bones is at Zaragoza.</p>
+
+<p>It was in this time of religious stress and civil discord that Saint
+Isidore of Seville began his labours. For about thirty-six years he
+ruled as governor of the church in the city. His hand was open towards
+the poor, and he preached with fervid eloquence. It is to the industry
+of Isidore that Spain owes respect, for his writings are the only basis
+for a history of the chief events during the Gothic epoch. He wrote the
+<i>Historia de Regibus Gothorum, Wandalorum et Suevorum</i>, and one of the
+celebrated books of study of medi�valism, <i>The Etymologies or Origins of
+Things</i>.</p>
+
+<p>San Isidore's philosophy was Platonic and Aristotelian. In theology he
+followed the teaching of St. Gregory the Great. He was a puritan in his
+attitude towards the play.</p>
+
+<p>'What connection,' he writes, 'can a Christian have with the folly of
+the circus games, with the indecency of the theatre, with the cruelty of
+the amphitheatre, with the wickedness of the arena, or with the
+lasciviousness<a name="page_016" id="page_016"></a> of the plays? They who enjoy such spectacles deny God,
+and, as backsliders in the faith, hunger after that which they renounced
+at their baptism, enslaving themselves to the devil with his pomps and
+vanities.'</p>
+
+<p>The gift of oratory possessed by Saint Isidore was predicted in his
+infancy by the issue of a swarm of bees from his mouth. His body was
+laid to rest, in 636, in Seville.</p>
+
+<p>When King Fernando decided to collect all the bones of martyrs and
+saints that he could find in the cathedrals and burial grounds, he
+raised an army and came to Seville, which was then under the Moors. Ibn
+Obeid, the chief of the Moriscoes, favoured Fernando's scheme, and
+allowed the King to enter the city to search for the remains of Justus.
+These bones could not be found; but while the seekers were at their task
+the spirit of Saint Isidore appeared to them, and said that the remains
+of Justus could not be discovered, as it was ordained that they should
+rest at Seville. Saint Isidore then offered his own remains for removal,
+and his embalmed corpse was taken to the Church of John the Baptist, in
+Le�n, in 1063.</p>
+
+<p>Until the time of Recared I. the Goths in Spain remained Arians. When
+they forsook their early faith, they adopted a ritual which differed
+from that of the Catholics. It was not until the reign of Alfonso VI.
+that the Roman service was used throughout the land. The civil law of
+the Goths was founded on the <i>Forum Judicum</i> of the Romans. This lengthy
+code became later the <i>Fuero Juzgo</i>, and was eventually adapted to the
+community by Alfonso X. in 1258, and known as the <i>Siete Partidas</i>, or
+Seven Sections. Under the Gothic code slavery was permitted, and great
+power was vested in the hands of the nobility.</p>
+
+<p>'The old Roman civilisation,' writes Mr. H. E.<a name="page_017" id="page_017"></a> Watts, in his <i>Spain</i>,
+'which the Celtiberians had been so quick to adopt, sat awkwardly on
+these newer barbarians. It was a heritage to which they had not
+succeeded of nature, and a burden too great for them to support? The
+Romans had made one nation of Spain. The Visigoths were not much more
+than an encampment.' When the Berbers, new converts to Mohammedanism,
+began to cast envious eyes upon lovely Andalusia, the Goths were
+demoralised through easy living in a southern clime. Spain had become a
+nation of lords and serfs, and the slaves, the mass of the people, had
+no heart to fight for the land that had been wrested from them.</p>
+
+<p>When Tarik, lieutenant of Musa, came with a force of seven thousand
+Berbers to battle for the Prophet and to conquer Spain, the Gothic King,
+Roderic, hastily collected an army of defence and advanced towards
+Xeres. Theodomir, Governor of Andalusia, had learned that the invaders
+were marching from Algeciras, where they landed on the 30th of April
+711. The Berbers had many horsemen, well-equipped and valiant, while
+Roderic possessed only a small number of mounted men.</p>
+
+<p>It was not until 19th July that the decisive and memorable battle was
+fought. The Gothic King met his foes on the banks of the Guadalete
+(<i>Wad-el-leded</i>) 'the river of delight.' It is said that the combat
+lasted for seven days. The Goths, though enervated, had not wholly lost
+their prowess, and they strove desperately with the fierce host of
+Tarik. So bravely fought the defenders that the Moors grew disheartened;
+but their leader, sword in hand, and calling upon Allah, told his troops
+that they had no vessels with which to escape from the country. The
+Berbers must win or perish. Spurring his steed, Tarik dashed into the
+Gothic ranks, cleaving a way as he rode, and inspiring<a name="page_018" id="page_018"></a> his followers to
+a supreme effort. Roderic also rallied his soldiers to a last stand. His
+army numbered more than that of the Berber general, but the men were
+ill-trained, and no match for the desperate enemies who had battled in
+many campaigns.</p>
+
+<p>Some Spanish historians assert that the sons of Witiza, the King
+dethroned by Roderic and sentenced to death, aided by other traitors,
+deserted their companies and joined the Berbers. It has also been
+recorded that Count Julian, whose daughter was dishonoured by Roderic,
+had allied himself with the foe in Africa. These stories have not,
+however, been accepted by later chroniclers.</p>
+
+<p>The battle was to the Moors. Roderic was either killed on the field by
+Tarik himself, or taken prisoner and released to spend the rest of his
+days in a monastery. One account states that Tarik slew his opponent,
+and sent the head to Musa, who had it conveyed to the Court at Damascus.
+The beaten Goths retreated rapidly before the advancing army. Some
+followed Theodomir into Murcia, others went to the Asturian mountains.
+The band of the Andalusian Governor was pursued by the enemy and routed;
+and Theodomir was compelled to surrender and to confess fealty to the
+Khalif. Upon this condition the Governor was allowed to possess Murcia
+and parts of Valencia and Granada, his territory being known as Tadmir.</p>
+
+<p>Seville was soon in a state of siege. Envious of the good fortune of his
+lieutenant, Musa came to Andalusia with eighteen thousand Arabs of
+valour. He was assisted in command by his sons Abdelola and Meruan. His
+eldest son, Abdelasis, remained in authority in Africa. The Sevillians
+made a valiant defence of their beautiful city; but after several weeks
+of siege Musa led his army through the gates. From that<a name="page_019" id="page_019"></a> hour, until its
+capture by Fernando III., the Andalusian capital was in the hands of the
+Moors. Carmona and neighbouring towns were also seized by Musa.</p>
+
+<p>After the subjection of Seville, the Arab general started upon a
+campaign. It appears that Musa had not left an efficient force within
+the city walls, for the inhabitants rose and attempted to expel their
+victors. Hearing of the trouble, Musa sent his son Abdelasis into Spain
+to quell the revolt in Seville. Abdelasis used suasion first; but the
+natives were in arms and ardent to regain the city. They prepared for a
+second siege. With much slaughter, the son of Musa put down the
+rebellion of the newly-conquered citizens, and proceeded through the
+south of Spain, winning battles everywhere. Musa was so gratified by his
+son's successes that he appointed him ruler of the annexed territory.</p>
+
+<p>Abdelasis had a reputation for humane conduct towards the vanquished
+people. He fell in love with Egilona, widow of the unfortunate Roderic,
+and made her first a member of his harem and afterwards his wife. That
+he respected her is shown by the fact that her counsel was always sought
+in affairs of government.</p>
+
+<p>The Berber King of Seville was to learn that the throne is not the most
+peaceful resting-place after war's alarms. Scandal was set abroad that
+Abdelasis was scheming to become sole ruler of the Berber dominion, and
+this report reached the ears of Suleyman, brother and heir of the
+Khalif. There is no doubt that Suleyman resented the favour shown to
+Musa and his sons, while he feared that Abdelasis might one day contest
+with him for sovereignty. Seized by this fear, the heir to the crown
+gave secret orders for the killing of the three sons of the great
+commander, Musa.<a name="page_020" id="page_020"></a></p>
+
+<p>One day, while Abdelasis was taking part in the devotions within the
+Mosque of Seville, hired murderers crept up to him and stabbed him to
+death. The two brothers of Abdelasis shared the like fate. The head of
+the King was sent to the Khalif at Damascus, who caused it to be shown
+to Musa. Then the brave general, gazing in anger upon his sovereign,
+cried aloud: 'Cursed be he who has destroyed a better man than himself!'
+The distracted Musa fell sick through grief, and soon died.</p>
+
+<p>There is another account of the death of Musa. His jealousy of Tarik,
+who conducted the first successful campaign in the Peninsula, led the
+general to treat his inferior officer with indignity. The friends of
+Tarik at Damascus, in the Court of the Khalif, breathed vengeance upon
+Musa, and prevailed upon the monarch to punish his commander-in-chief. A
+party of arrest seized Musa in his camp, and brought him before the
+Khalif, who commanded that he should be degraded and publicly beaten.
+The disgrace broke Musa's heart and caused his death.</p>
+
+<p>Abdelasis was succeeded by Ayub, who acted as Viceroy of the Khalif. The
+new ruler preferred C�rdova to Seville, and thither he removed with his
+retinue. For a long period the city was one of lesser importance; but it
+gained greatness and independence under Abul K�sein Mohammed in 1021. In
+the time of Abbad and Al-Motamid II. the population of the town rose to
+four hundred thousand, and the grandeur of the place rivalled, if it did
+not exceed, that of C�rdova. In 1078 proud C�rdova was subject to
+Seville, and the ancient metropolis of the Moors in Spain was falling
+into decay, while 'the pearl of Andalusia' was shining in its chief
+splendour.</p>
+
+<p>Abderahman I., Emir of C�rdova, in 777, made a bold stroke by
+proclaiming himself Khalif and sole<a name="page_021" id="page_021"></a> ruler of Spain. It is not necessary
+to recount the victories of Abderahman. He came in triumph to Seville
+and was bade welcome. 'His appearance, his station, his majestic mien,
+his open countenance,' writes Dunham, 'won the multitude even more
+perhaps than the prospect of the blessings which he was believed to have
+in store for them.' Abderahman's rule in Seville laid the foundation of
+the city's prosperity. He narrowed the channel of the Guadalquivir, and
+made the river navigable; he built residences, and laid out gardens, and
+transplanted the palm tree into Spain. We read that the Moorish King was
+honourable, bold and generous, and possessed of a fine sense of justice.
+He encouraged letters, and was a benefactor of educational institutions.
+The King was also a poet, and loved the society of intellectual men.</p>
+
+<p>Although the peaceful arts flourished in Seville at this period, the
+city was frequently the scene of battle. Conspiracies, factions and
+revolts constantly disturbed Spain, and during the reign of Abderahman
+several rival chiefs made assault upon Seville. One of these was Yusuf,
+who raised troops, took the fort of Almodovar, and moved towards Lorca.
+There he was met by Abdelmelic, general of Abderahman, who overcame the
+rebel force, killed the leader, and sent his head, after the Oriental
+manner, to the King. The trophy was displayed at C�rdova. But the
+rebellion was not quelled by Abdelmelic's victory. Yusuf's three sons
+gathered an army and made attacks upon Toledo, Sidonia, and Seville.
+Another insurrection broke out at Toledo, under one of Yusuf's
+relatives, Hixem ben Adri el Fehri.</p>
+
+<p>Upon the advice of Abderahman's first minister, the King proposed an
+amnesty, to last for three days. Hixem accepted the terms, and gained
+pardon. But<a name="page_022" id="page_022"></a> he abused the King's clemency at a later date, and came
+with a body of troops to the gates of Seville. There was hard fighting,
+but the Governor, Abdelmelic, preserved the city and drove away the foe.
+Strife was again caused by the Wali of Mequinez, one Abdelgafar, who
+came bent upon the capture of Seville. The Wali was encountered by
+Cassim, young son of Abdelmelic. Fear seized the youthful officer, and
+he fled with his soldiers. He was met by his father, who drew his dagger
+and killed the young man, saying: 'Die, coward! thou art not my son, nor
+dost thou belong to the noble race of Meruan!' The Governor then pursued
+the enemy, but they escaped him, and came near again to Seville.
+Abdelmelic hurried to the Guadalquivir, and in a night fight he was
+overcome and received a wound. The troops of the Wali poured into the
+city. But in spite of his injury the Governor entered Seville, and after
+a furious combat expelled the host of Abdelgafar. The Wali was
+afterwards caught and killed on the bank of the Xenil. In reward for his
+bravery, the King made Abdelmelic Governor of Eastern Spain.</p>
+
+<p>It is stated that, in 843, a fleet of ships, manned by Norman pirates,
+sailed up the Guadalquivir. The pirates made a sudden raid upon Seville.
+The inhabitants were taken by surprise, the town was robbed, and the
+thieves made good their escape to the river.</p>
+
+<p>Seville in the days of Moorish might was one of the fairest cities on
+earth. Beautiful palaces were built upon the sites of the Roman halls,
+gardens were shady with palms, and odorous with the blossom of orange
+trees, and there were hundreds of public baths. The streets were paved
+and lighted. In winter the houses were warmed, and in summer cooled by
+scented air brought by pipes from beds of flowers.<a name="page_023" id="page_023"></a></p>
+
+<p>Poetry, music and the arts were cultivated; the philosopher and the
+artist were held in respect. There were halls of learning and great
+libraries, which were visited by scholars from all parts of Europe.</p>
+
+<p class="figcenter">
+<a href="images/ill_043_lg.jpg">
+<img src="images/ill_043_sml.jpg" width="512" height="330" alt="Moorish fountain in the Court of Oranges" title="Moorish fountain in the Court of Oranges" /></a>
+</p>
+
+<p>The Alc�zar, the Mosque, the lordly Giralda Tower and other remains
+testify to the ancient splendour of Seville. It was the Moor who applied
+the method of science to the cultivation of the plains, who bred the
+cattle, introduced the orange tree, and planted the palm in the city.
+Granada and Seville were centres of silk-growing. Here were manufactured
+the damascened swords and other weapons, and beautiful metal work of
+divers kinds, which was in demand all over Spain for centuries. Moorish
+civilisation was unsurpassed for its handicrafts and architectural
+decorations. Long after the Christian reclamation of Seville, the
+<i>Mud�jar</i>, or Moor, living under the new rule, was employed by the State
+to construct bridges and to build castles, to design houses, and to
+decorate them<a name="page_024" id="page_024"></a> with the wonderful glazed tiles and imperishable colours.</p>
+
+<p>Among the learned Moors of Seville the most eminent was Abu Omar Ahmed
+Ben Abdallah, known as El Begi. Abu Omar's father had spared no cost in
+providing for his son's education. He employed as tutors the greatest
+scholars of the time, and sent the lad to Africa, Syria, Egypt and
+Khorassan in order to confer with sage men and doctors of repute. At the
+age of eighteen years Abu Omar was wonderfully cultured, and as he grew
+to middle age there was no man who could surpass him in knowledge of
+arts and sciences. 'Even in his earliest youth, the Cadi of that city,
+Aben Faweris,' says Cond�, 'very frequently consulted him in affairs of
+the highest importance.' El Begi, the Sage, was born in Seville and
+lived there during most of his life.</p>
+
+<p>Many philosophers must have mused in this cultured age amid the orange
+trees of the court of the magnificent mosque. From the summit of the
+Giralda, astronomers surveyed the spangled sky, making observations for
+the construction of astronomical tables. Chemists questioned nature in
+the laboratories by means of careful experiments, and mathematicians
+taught in the schools. There were seventy public libraries in Andalusia;
+the library of the State contained six hundred thousand volumes, and the
+catalogue included forty-four tomes. Scholars also possessed large
+private libraries. There was no censorship, no meddling with the works
+of genius. Men of science were encouraged to investigate every problem
+of human existence. Abu Abdallah wrote an encyclop�dia of the sciences.
+The theory of the evolution of species was part of the Arab education.
+Moorish thought was destined to influence Spain for ages. The discovery
+of the New World was due to the Mohammedan<a name="page_025" id="page_025"></a> teaching of the sphericity
+of the earth, and it was the work of Averroes that set Christopher
+Columbus thinking upon his voyage of exploration.</p>
+
+<p>The Moors in Seville were not only a cultured and devout community. They
+were commercial and manufacturing, weavers of cotton, silk and wool,
+makers of leather and paper, and growers of grain. In their hours of
+recreation they played chess, sang and danced. Their dances have
+survived to this day in the south of Spain, and may be witnessed in the
+<i>caf�s</i> of Seville and Malaga.</p>
+
+<p class="figcenter">
+<a href="images/ill_045_lg.jpg">
+<img src="images/ill_045_sml.jpg" width="330" height="272" alt="Roman Capital." title="Roman Capital." /></a>
+</p>
+
+<p><a name="page_026" id="page_026"></a></p>
+
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br /><br />
+<i>The City Regained</i></h2>
+
+<div class="blockquot"><p>'All the intellect of the country which was not employed in the
+service of the church was devoted to the profession of arms.'</p>
+
+<p class="r"><span class="smcap">Buckle</span>, <i>History of Civilisation</i>.</p></div>
+
+<p class="nind"><span class="letra">I</span>N
+1023 Abu el K�sim Mohammed, then Cadi of Seville, raised a revolt
+against the Berber rulers of Andalusia. The rising was successful, and
+the town once more became a capital. Under the Abbadid dynasty, and the
+rule of Motadid and Motamid, Seville was secure and peaceful. Stirring
+days came with the rise of the Almoravides in the eleventh century. In
+Morocco, Yussuf, son of Tashfin, had been inspired to wage battle in the
+name of a reformed religion. The Almoravides, or Mourabitins, <i>i.e.</i>,
+'those who are consecrated to the service of God,' were a fanatical sect
+led by an intrepid warrior. They had made havoc in Northern Africa,
+deposing sovereigns and seizing territory. Now they were to make history
+in Spain.</p>
+
+<p>Under Alfonso III. the Spaniards of the northern and central parts of
+the Peninsula had prospered in their arduous task of stemming the
+advance of the Moors northwards. Spain had won back Asturias, Galicia,
+and part of Navarre, and in time Le�n and Castile were restored to
+Christian rule. But under Almanzor, a most redoubtable commander, Le�n
+fell, and the whole population of its capital was slaughtered. The death
+of Almanzor, in 1002, brought about vast<a name="page_027" id="page_027"></a> changes for the Moorish
+kingdom in the south of Spain. There was no great leader to control the
+fortunes of Islam. The territorial governors were in constant dispute,
+and often at war one with the other. It was a golden opportunity for the
+soldiers of the Cross.</p>
+
+<p>In 1054 Fernando I., a sagacious ruler of Le�n and Castile, made a
+crusade against the Moors of Portugal, and brought the King of Toledo to
+his knees. He besieged Valencia and brought his troops into Andalusia.
+Under Alfonso VI., Toledo was recovered, amid the rejoicings of the
+Christian host, who anticipated a speedy delivery from the Morisco
+domination. The coming of Yussuf and his fierce Almoravides dashed the
+hopes of Alfonso's army. Finding themselves encompassed with growing
+dangers, the Moors of Spain begged the assistance of the powerful
+Almoravides. A conference of the Moorish rulers was held at Seville, and
+a message sent to Yussuf. The Almoravide King was astute. At first he
+displayed but little sympathy for his brethren in Spain. But the offer
+of Algeciras induced him to promise aid, and he came with a strong army
+of Moors and Berbers. Alfonso was informed that a profession of belief
+in the creed of Mahomet would spare him from certain death. The
+Christian sovereign replied by allying himself with Sancho of Navarre,
+and bringing a force to meet Yussuf. Between Badajoz and Merida the
+armies met in a terrible conflict. Alfonso was forced to retreat, and
+for the present Yussuf offered no further demonstration of his military
+skill.</p>
+
+<p>Next year the King of Morocco returned to Spain with his army, and
+exhorted the Moors of Andalusia to unite with him in a war of
+extinction. The petty sovereigns showed but little enthusiasm for a
+campaign.<a name="page_028" id="page_028"></a> Probably they distrusted Yussuf's motives. Such suspicion was
+not without a basis, for when the Almoravides came for the third time,
+the monarch plainly stated that he purposed to annex all the remaining
+Mohammedan region. With a hundred thousand men, Yussuf took Seville and
+Granada. Alfonso came to the assistance of the Sevillians with a force
+of twenty thousand; but the Almoravides seized the city, and held it
+until the days of the Almohades in 1147.</p>
+
+<p>Alfonso then sought the alliance of France to assist his nation in
+expelling the African invaders. But the power of the Almoravides grew.
+C�rdova was their seat of government, and Seville was one of their most
+important cities. The Moriscoes in Spain were no longer an independent
+race, but under the sway of Morocco. Motamid II. doubtless rued the hour
+when he sought aid from Yussuf. Fair Seville had passed out of his
+hands.</p>
+
+<p>At this time there arose the famous Cid, the revered warrior and type of
+Spanish chivalry. Many are the legends and ballads extolling the bravery
+of this champion of Christendom. Some of the stories of his deeds are so
+improbable that certain historians of Spain have regarded the hero as a
+character of fable; but Professor Dozy has investigated the old
+chronicles, both Spanish and Moorish, and reached the conclusion that
+there <i>was</i> a Cid, a mighty soldier and a devout Catholic, named Rodrigo
+Diez de Bivar. There is no doubt that the Cid loved the field of battle
+from his youth, and that he was ever ready to fight, sometimes for the
+Christians, and sometimes for Moorish chieftains at war with one
+another. In the end he became a valorous freebooter, with a following of
+the sons of noble families. The Cid came at least on one occasion to
+Seville as an emissary of King Alfonso to<a name="page_029" id="page_029"></a> Motamid, to collect sums due
+from the Arab ruler. Motamid was then at strife with Abdallah, King of
+Granada, who was assisted by certain Christian <i>caballeros</i>, including
+Garci Ordo�ez, formerly standard-bearer to Fernando. The Cid endeavoured
+to restrain the King of Granada from making war upon Motamid's city, but
+Abdallah was not to be influenced for peace. He went forth and was met
+by the combined armies of the Cid and Motamid of Seville, and defeated
+with much loss. Ordo�ez and the Christian cavaliers were taken
+prisoners. The Cid took his tribute, and certain costly gifts for
+Alfonso from Motamid, and departed. Soon after this episode in
+Andalusia, Alfonso heard that Rodrigo, the Cid, had retained some of the
+presents sent by the King of Seville. This report was set going by Garci
+Ordo�ez in revenge for his defeat at the hands of the Cid and Motamid,
+and the tale was credited by King Alfonso. There was already prejudice
+against the Cid in the royal mind, and Alfonso was still further
+displeased when his general went to attack Abdallah without permission.
+When he heard that, to crown all, the Cid had exhibited dishonesty,
+Alfonso was wroth, and banished Rodrigo from the kingdom. But the Cid
+gained immense power and homage as an independent sovereign, and when
+Alfonso was in sore need of a general to fight for him against the
+Almoravides, he approached the gallant Rodrigo with assurances of
+friendliness, and solicited his aid. Perhaps the missive of Alfonso went
+astray; at anyrate, the Cid did not at once respond to the King's call
+for help. This apparent apathy incensed Alfonso. Again he sought to
+punish the Cid, confiscating his estates and imprisoning his wife and
+children. And again the invincible Rodrigo proclaimed himself a king on
+his own account. He died in 1099, and at his death his territory was<a name="page_030" id="page_030"></a>
+taken by Yussuf, the Almoravide. The Cid's bridle, worn by his steed,
+Babieca, hangs in the Capilla de la Granada, in the south-east corner of
+the Court of the Oranges at Seville.</p>
+
+<p>The Almoravides appear to have been an exceedingly energetic and
+turbulent race. They were, indeed, too fond of warfare, for they were
+constantly fighting amongst themselves when they were not at war with
+the Christians. Under their dominion every ruler of a city who could
+raise troops called himself sovereign, and made attack upon the governor
+of the nearest wealthy centre. The Almoravide rule was not so just and
+prudent as that of the Moors who preceded them, and the people groaned
+under its despotism. Conquest by the Almohades came as a redemption from
+the tyranny of the Almoravides.</p>
+
+<p>In Northern Africa, the land of prophets and of new sects, Mohammed, son
+of Abdalla, proclaimed himself the <i>Mehdi</i>, and gained the adherence of
+a great horde of devotees. These Unitarians were even more fervent in
+piety than the Almoravides. The <i>Mehdi's</i> general, Abdelmumen, soon
+became the victor of Moorish Spain. Seville was secured by the invaders
+in 1147, and remained under the Almohade rule till 1248. The Almohades
+built the great mosque, with its high minaret, part of the structure
+being formed of stonework of the Roman period; the Alc�zar, a huge
+palace, which extended as far as the bank of the Guadalquivir to the
+Golden Tower, and many other magnificent edifices. The palace of the
+Moorish sovereigns at Seville was erected in the form of a triangle,
+with the chief gate at the Torre de la Plata (Silver Tower), which stood
+in the Calle de Ataranzas until 1821, when it was taken down.</p>
+
+<p>Trade revived in the city after its capture by the Almohades; the
+weavers, the metal-workers, and the<a name="page_031" id="page_031"></a> builders and the decorators of
+houses found constant employment under the new ruler, Abu Yakub Yussuf.
+The Christian Spaniards saw a revival of the Mohammedan fortunes, and
+lamented the influx of this vigorous infidel host. Earnest prayers were
+addressed to the knights of the Cross in all the nations of Europe
+beseeching succour for the faithful in Spain. Pope Innocent III.
+declared a crusade, and called upon foreign Christian rulers to aid the
+Spaniards, with the result that a number of French and English crusaders
+travelled to Spain. A memorable battle was fought in the Sierra Morena,
+the range dividing Castile from Andalusia, and the Almohade army was
+almost destroyed. After this repulse the Moors never made a military
+demonstration of any importance in Castile, but remained in Andalusia
+and the southern districts. Seville and C�rdova each had a different
+governor; the Almohade unity was ruptured, and the empire was crumbling.</p>
+
+<p>We have now reached the last days of the Morisco rule in Seville. The
+deliverer, Fernando III., the adored Saint Fernando, came to the throne
+at an auspicious hour, and upon his accession made ready for war upon
+the Mohammedans. In 1235 C�rdova was taken by Fernando, and Ja�n and
+other towns fell into his hands. Assisted by Aben Alhamar, King of
+Granada, who had been compelled to yield allegiance to the victorious
+Fernando, the Christian monarch marched upon Seville. The inhabitants
+prepared for a stubborn defence. A Moorish fleet guarded the mouth of
+the Guadalquivir, while the troops of the Almohades awaited attack
+within the city. Fernando sent war vessels from the Biscayan coast to
+San Lucar to attack the Moorish fleet. The navy was in the command of
+Admiral Raymond Boniface (Ramon Bonifaz), and in an engagement the
+Moorish ships<a name="page_032" id="page_032"></a> were driven from their position. Bonifaz lived in Seville
+after the capture of the town. On the front of a house in Placentines,
+now the shop of a dealer in antiquities, there is this inscription in
+Spanish and French: '<i>Esta casa fu� cedida por el Santo Rey D. Fernando
+III. � su almirante D. Ramon Bonifaz cuando conquesto � Sevilla
+libertando del dominio Sarraceno</i>.'</p>
+
+<p>The infidels next made a stand on land, but failed to overcome the army
+of Fernando. For fifteen months Seville was besieged. Provisions were
+brought into the town from the surrounding district of Axarafa, thirty
+miles long, on the right bank of the Guadalquivir. This
+highly-cultivated region is said to have contained a hundred fertile
+farms. Seville was connected with the suburb of Triana (the town of
+Trajan) by a bridge of boats and a chain bridge. The boat-bridge was
+broken by Fernando during the siege by launching heavy vessels upon it.
+But still the defenders held out behind their high, broad walls, driving
+back the charges of the Christians against the sturdy gates, and raining
+missiles from the towers. At length, when Triana and Alfarache were in
+the hold of Fernando's force, and all food supplies cut off, the
+defenders were forced to yield. On 23rd November Fernando made a
+triumphal entry. The vanquished ruler, Abdul Hassan, who had proved a
+most courageous defender, was offered territory and money if he would
+continue to live in Seville, or in a city of the kingdom of Castile, as
+a dependent officer of the King. The Moor proudly rejected these terms;
+he preferred to leave the scene of his defeat, and with thousands of his
+people he departed for Africa. It is stated that three or four hundred
+thousand Moors had quitted Seville before its capture. If this is true,
+only a few Almohades remained in the place. Those who<a name="page_033" id="page_033"></a> elected to stay
+were bade to render the same tribute to Fernando as they had been in the
+habit of paying to their princes. Such as desired to return to their
+country were offered the means of travelling and protection.</p>
+
+<p>The triumphant King, escorted by his troops, the loyal inhabitants and
+the clergy, proceeded to the mosque. Christian bishops purified the
+temple, and dedicated it to the service of God and the Virgin, and a
+high and imposing Mass was celebrated. Amid festivities and ceremonies,
+Fernando took possession of Seville and all its rich treasure. He
+occupied the Alc�zar, then in its pristine splendour, and divided the
+houses and land around the city among his knights.</p>
+
+<p>The Christian King was brave, and his treatment of the conquered shows
+that he had a strain of mercy in his nature. He was, however, an
+intensely bigoted pietist, for at Palencia he set fire with his own
+hands to the faggots to burn heretics. His austerities were excessive,
+and fasting is said to have weakened his body. Fernando died from dropsy
+at Seville, four years after his conquest of the town. On his deathbed
+he called his son Alfonso, bade him farewell, and exhorted him to follow
+justice and clemency. Then, amid deep sorrow in the city, the King took
+the Mass, and passed away. In 1671 Fernando III. was canonised by Pope
+Clement X.</p>
+
+<p>The keys of Seville, which were given up by the Governor at the
+surrender of the city, may be seen in the cathedral. One key is of
+silver, and bears the inscription: 'May Allah grant that Islam may rule
+for ever in this city.' The other key is made of iron-gilt, and is of
+<i>Mud�jar</i> workmanship. It is lettered: 'The King of Kings will open; the
+King of the Earth will enter.' San Fernando's shrine is on view in the
+cathedral on May 30, August 22 and November<a name="page_034" id="page_034"></a> 23, when honour is paid to
+the body of the sainted monarch by the soldiers of the Seville garrison,
+who march past with the colours lowered.</p>
+
+<p>In the collection of paintings in the house of Se�or Don Joaquin
+Fernandez Pereyra, 86, Calle Betis, Triana, there is a picture
+attributed to Velazquez, and said to have been painted by him at the age
+of twenty-eight, representing the Sultan of Seville handing the keys of
+the city to San Fernando.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> It is said that Velazquez painted himself
+as model of the King. If the work is not that of the master, it is by an
+artist of parts. The colour is good, and the horse well drawn and
+painted.</p>
+
+<p>Fernando III. was succeeded by his son Alfonzo X., <i>El Sabio</i>, 'the
+Learned.' He occupied the Palace of the Alc�zar, and devoted his leisure
+to the study of geometry, ancient laws, history and poetry. The King
+wrote verse to the Virgin in the Galician dialect, which resembles the
+Portuguese tongue, and was, for his age, a versatile and accomplished
+scholar. His ambition was great, and though he was called 'the Learned,'
+he was prone to serious error in the conduct of the affairs of
+government. He attempted to take Gascony, which was then in the
+possession of Henry III. of England, and governed by Simon de Montfort.
+The King's military enterprises were costly, and as they failed, the
+people resented the increase of taxes, and especially the measure of
+direct taxation. When Alfonso presented Algarve to the King of Portugal,
+with his natural daughter, Beatrice de Guzman, the nobles rebelled under
+the King's brother, Felipe, and were aided by the King of Granada.
+Alfonso invited the malcontent party to a conference of arbitration at
+Burgos. The knights were appeased; but the King<a name="page_035" id="page_035"></a> was forced to yield his
+ground, and to make many concessions. Upon the death of Alfonso's eldest
+son, Fernando, a dispute arose concerning the heir to the crown.
+Fernando left two sons, born to him by Blanche, sister of Philip IV. of
+France. The second son of Alfonso, Sancho, was announced as rightful
+successor, but this proclamation was a cause of offence to Philip IV.,
+who claimed that the eldest child of his sister was the lawful heir to
+the throne of Castile. The King of France demanded that Alfonso should
+restore the dowry to Blanche, and allow her and the children to come to
+France. Alfonso refused the request. War was then declared by Philip of
+France; and further anxiety was caused by the disloyalty of Sancho, who
+took the lead of the discontented party, and laid siege to Toledo,
+C�rdova, and other towns. The King was at his wit's end. He begged aid
+from Morocco, from the infidels, while, at the same time, he desired the
+Pope to excommunicate Sancho. Eventually the quarrel between King and
+Prince was patched up. Alfonso appears to have cherished affection for
+his unruly son, for upon hearing, soon after the reconciliation, that
+Sancho was seriously ill, the King died of grief.</p>
+
+<p>So closed the troubled career of Alfonso el Sabio. He was a type of the
+bookish student, a great reader, but without a knowledge of human
+nature, and devoid of aptitude for governing a nation. In his fondness
+for book-learning, and his incapacity for ruling, Alfonso may be
+compared to James I. of England. It is claimed to the credit of the
+learned monarch that he encouraged the arts and education in the royal
+city of Seville, and founded the university. He loved the retirement of
+his study in the beautiful Alc�zar rather than the council seat; but, at
+the same time, he had a craving for power and wished to extend his
+realm.<a name="page_036" id="page_036"></a> Alfonso the Learned presented a reliquary to the chapter of the
+cathedral, which may be seen among the treasures. His body rests in the
+Capilla Real (Royal Chapel), where it was interred in 1284.</p>
+
+<p>There is but little of interest to record in the annals of Seville until
+the time of Pedro I. Under Alfonso XI., a great council was held in the
+city to discuss plans for defending Andalusia from the Emperor of
+Morocco, who had landed in Spain with a powerful army. The King of
+Portugal attended the conference and promised his support, and in a
+battle fought near Tarifa the invading force was driven back. During the
+reign of Alfonso XI., the Earl of Derby and the Earl of Salisbury came
+to Spain, to fight for Christianity, and to offer amity to the martial
+King.</p>
+
+<p>With the death of Alfonso XI., we come to the days of his son, Pedro I.,
+the most renowned of all the Christian sovereigns who made court at the
+capital of Andalusia. The reign of Pedro el Cruel abounds with so much
+'incident' from the story-teller's point of view, that many tales,
+ballads and plays of Spain are concerned with the exploits of this
+remarkable King. In some of the narratives he is portrayed as a
+veritable monster of cruelty and perfidy; in others he is represented as
+a severe, but just, monarch, with sympathy for the lower classes. Pedro
+was sixteen when he came to the throne. Fearing an attempt on the part
+of Enrique (son of Alfonso XI. by his mistress, Leonora de Guzman) to
+seize the crown, Pedro contrived to lure Leonora to Seville, and to
+imprison her in the Alc�zar. From this dungeon the wretched woman was
+sent to other prisons, until she was done to death. There was no limit
+to Pedro's ferocity when his malignity was aroused. His deeds suggest an
+insane lust for bloodshed, and a delight in the infliction of suffering.
+He killed with his own hand, or by the aid<a name="page_037" id="page_037"></a> of bravoes, all relatives,
+rivals and dangerous persons who came within his power. His first wife
+was Blanche of Bourbon, niece of King John of France; but he deserted
+her in two days, to return to his mistress, the lovely Maria de Padilla.
+When Pedro's fancy fell upon the handsome Juana de Castro, he declared
+that his union with Blanche was invalid, and induced the Bishops of
+Salamanca and Avila to perform a marriage service. Soon after the
+wedding Pedro left his bride, and insolently avowed that he had only
+experienced a passing passion for her.</p>
+
+<p>One day Abu Said, King of Granada, wrote to Pedro of Seville, begging an
+audience of him that he might seek his help in resisting an enemy,
+Mahommed-ibn-Yussuff. To this request Pedro acceded. Abu Said, escorted
+by three hundred of his court, and a number of menials, journeyed to
+Seville, and was received most graciously by the King, who gave orders
+that the visitor and his retinue should be well cared for in the
+Alc�zar. The Red King, Abu Said, possessed a splendid treasure of
+jewels. Among the precious stones was the famous ruby which now
+decorates the royal crown of England. It is possible that the Moorish
+King intended to present certain of his gems to Pedro, for we read that
+he brought his treasure with him to Seville. But his host, hearing how
+fine a store of jewels lay within his reach, commanded a number of hired
+murderers to purloin the treasures by force. The guest and his nobles
+were surprised in their apartments; they were stripped of their
+valuables and money, while the Red King was deprived of the very clothes
+that he wore. Dressed in common raiment, and seated upon a donkey, the
+unfortunate Abu was taken, amid the derision of the rabble, to a field
+without Seville, and there executed with thirty-six of his courtiers.
+Pedro's excuse for his treachery and cruelty was that<a name="page_038" id="page_038"></a> the King of
+Granada had betrayed him in his war with Aragon, a charge that could not
+be founded.</p>
+
+<p>Among the beauties of Seville of that date was the Se�ora Urraca Osorio.
+When Pedro saw her, he vowed to bring her within his power. At first he
+paid her compliments and endeavoured to win her favour by flattery and
+gifts. Urraca was a proud woman. In all likelihood she recoiled from
+this brutal flatterer and deceiver of women, and not even his kingly
+rank could induce her to pay the least heed to his addresses. No one
+dared to foil Pedro; the <i>se�ora</i> doubtless surmised the revenge that
+the King would plan against her. Yet she bravely refused to lend her ear
+to his proposal, preferring death to the forfeiture of her self-respect.
+Then Pedro threatened a terrible punishment. Urraca still refused.
+Faggots were piled in the market square of the town, and the persecuted
+lady was led forth and burned to death in public.</p>
+
+<p>The people of Seville seem to have been hypnotised by their cruel
+sovereign. For these horrible deeds they even offered pleas of
+extenuation, and, according to some Spanish historians, Pedro was one of
+the most popular of the kings that lived in the city after its
+restoration to the Christians. A certain Bohemian strain in the King's
+character no doubt appealed to a mass of his subjects. He was credited
+with sympathy for the labouring class and a desire to protect the people
+against the tyranny of the nobles. Where his own personal interests were
+not concerned, Pedro the Cruel sometimes evinced that sense of equity
+that led Felipe II. to describe him as 'the Just.' But in private
+matters Pedro displayed no trait of justice and no hint of magnanimity.</p>
+
+<p>Now and then Pedro would muffle himself in his <i>capa</i>, don his sword,
+and wander from the palace after<a name="page_039" id="page_039"></a> dark to the low quarters of Seville.
+He liked to study the life of the <i>Mud�jares</i>, the Jews, and the
+artisans, and to rub shoulders with his subjects when they were scarcely
+likely to recognise him. One night the King was roaming in the alleys of
+the city, keeping an eye upon all who passed by, and probably hoping
+that he might find an unlucky watchman off his guard and neglecting his
+duty. Suddenly a passing hidalgo pushed against the King. Pedro abused
+the stranger; there was an altercation, and swords were whipped out of
+their sheaths. In the dim light of the thoroughfare the combatants
+clashed blades, and engaged in a duel to the death. Presently the King's
+opponent received a thrust in a vital part of the body, and falling to
+the pavement, he lay bleeding to death. A few weeks before this night's
+encounter Pedro had forbidden street-fighting, on penalty of capital
+punishment for the unwary custodians of order in the city.</p>
+
+<p>With a grim smile, the King sheathed his weapon and went home to the
+Alc�zar, musing upon the consternation of the authorities when the
+corpse of the <i>caballero</i> was discovered. Next morning he sent for the
+Alcalde, or Mayor of the city. 'Sir,' said Pedro, 'you fully understand
+that I hold you accountable for any breach of the peace that occurs in
+the streets of Seville?' The Mayor humbly responded that he knew the
+fresh regulation which his majesty had been pleased to enforce. At that
+moment a page brought word to the King that the dead body of a hidalgo
+had been found, early that morning, in the plaza near where the Casa
+Pilatos now stands. 'What means this?' demanded Pedro, turning to the
+affrighted Alcalde. 'If the murderer of this gentleman is not found in
+two days, understand that you will be hanged.' The Mayor's face was
+white as he bowed himself from the royal chamber. With a sinking heart
+he<a name="page_040" id="page_040"></a> prepared himself for his fate. There was scarcely any hope of
+tracking the assassin in forty-eight hours.</p>
+
+<p>The wretched Mayor sat down in his room to meditate upon the best means
+of tracing the criminal. Meanwhile the story of the murder was abroad,
+and people were talking of the affair. The gossip reached the ears of an
+old woman, who went at once to the Alcalde, telling him that she had
+seen a fight from her bedroom window late during the previous night. The
+combatants appeared to be gentlemen, but to make sure, she lit a candle
+and leaned out of the window. One man had his back towards her, and she
+could not see his face. But of the identity of his opponent she was
+quite certain: <i>it was his majesty the King, and no other</i>. When she
+saw, beyond a doubt, that it was the King who plunged his blade into the
+hidalgo's breast, she felt terrified, blew out the candle, and withdrew
+her head from the window.</p>
+
+<p>'Thank God!' cried the Mayor, seizing the old woman's hand. Then he
+hurried to the Alc�zar, sought a hearing from the sovereign, and said
+that he had found the murderer of the hidalgo. The King smiled. 'Indeed,
+your majesty,' said the Alcalde, 'I can let you look him in the face
+when he hangs on the gallows.' 'Good!' replied Pedro, still smiling
+incredulously.</p>
+
+<p>Hastening to the quarter of the Moorish artisans, the Mayor ordered them
+to make a cunning effigy of the King, and to bring it to him without
+delay. A few days after, the Alcalde requested his majesty to attend the
+hanging of the criminal in the Plaza de San Francisco. Greatly curious,
+Pedro came to the place of execution. And there, upon the gibbet, he saw
+a dummy of himself dangling from the rope. Struck with the humour and
+ingenuity of the Mayor's device, the King said: 'Justice has been done.
+I am satisfied.'<a name="page_041" id="page_041"></a> The street where Pedro fought with the hidalgo is
+called the Calle della Cabeza del Rey Don Pedro, and the alley where the
+old woman lived is known as the Calle del Candilejo, or 'street of the
+candlestick.'</p>
+
+<p class="figcenter">
+<a href="images/ill_061_lg.jpg">
+<img src="images/ill_061_sml.jpg" width="335" height="445" alt="OLD WALLS OF THE ALC�ZAR." title="OLD WALLS OF THE ALC�ZAR." /></a>
+<span class="caption">OLD WALLS OF THE ALC�ZAR.</span>
+</p>
+
+<p>In visiting the Alc�zar we shall have more to recall of the career of
+Pedro the Cruel. The palace is haunted with memories of the King and of
+Maria de Padilla. Pedro was fond of Seville and preferred the Alc�zar to
+any other residence. He made many alterations in the palace, built the
+rooms around the Patio de la Monteria, and brought material for their
+construction from the remains of Moorish edifices in Seville, C�rdova,
+and other places.<a name="page_042" id="page_042"></a></p>
+
+<p>When Pedro caused his unfortunate wife, Blanche, to die in prison, from
+the dagger, or by poison, his subjects were at length aroused to
+indignation. The insensate ruler was bringing the nation to the verge of
+ruin by his misdeeds. France resented the dastardly murder of Blanche of
+Bourbon, and the King vowed revenge on Pedro. Enrique, brother of Pedro,
+was fighting for the crown, and had been proclaimed Sovereign at Toledo;
+while the Sevillians, who had long endured their King's severities and
+condoned his cruelties, were up in arms and threatening the royal
+palace. Pedro fled from Seville, and came eventually into Aquitaine, to
+the court of the English Black Prince at Bordeaux. The chivalrous Black
+Prince espoused the cause of Pedro against Enrique, pitying the fugitive
+King who had been forced to leave his country. In return for his
+support, Pedro offered his English ally a large sum of gold, and the
+great ruby stolen from Abu Said in the Alc�zar of Seville.</p>
+
+<p>The campaign was decided in favour of the King of Spain, but its
+hardships cost the Black Prince his life. Pedro was again acknowledged
+King. His downfall was, however, fast approaching. Enrique conquered his
+brother, soon after the departure of the English army, and came to see
+him at Montiel in La Mancha. It is said that Pedro was treacherously
+drawn into a trap. In any case, he fell by the dagger of his brother
+Enrique; and so ended violently the life of one who had lived in
+violence and bloodshed.</p>
+
+<p>As our story is more concerned with the city of Seville than with the
+fortunes of the rulers of Spain, we may resume the narration at the time
+of Isabella and Fernando. No incidents of signal importance occurred in
+Seville between the death of Pedro I. and the accession of the famous
+Catholic Queen. With the reign of Isabella, the city became the<a name="page_043" id="page_043"></a> theatre
+of events that influenced the whole of the nation, and indeed the whole
+of Christendom.</p>
+
+<p>It was at this time that the arts and letters of Spain began to revive.
+In Seville the year 1477 is the date of the first setting up of a
+printing press, by one Theodoricus el Aleman (the German). Konrad
+Haebler, in his work on <i>The Early Printers of Spain and Portugal</i>, says
+that for fifteen years the only printers in the city were German
+immigrants. One of the early important books printed in Seville was
+Diego de Valera's <i>Cronica de Espa�a</i>. In 1490 a firm of printers, under
+the title of Four German Companions, opened business, and in three years
+published nine volumes, while two years later there was a rival press
+owned by another German.</p>
+
+<p>It was in 1493 that the city saw the return of the great Columbus from
+his first voyage. For a long time the blue-eyed, dreamy Genoese,
+Christoforo Colombo, had mused upon the scientific works of the
+cultivated Moors, and speculated upon the existence of other lands far
+away across the restless ocean. Sceptics laughed at the dreamer; the
+clergy frowned at his impudent theories; but a few bold adventurers were
+inspired by his enthusiasm.</p>
+
+<p>The story of his setting forth has been often told. Let us welcome the
+sunburnt explorer upon his return to Seville on Palm Sunday 1493. The
+wondering people are all anxious to catch sight of Cristobal Colon, the
+Italian, who claims to have discovered a New World. He passes down the
+streets, a tall, brawny man, bronzed, with red hair, which became white
+at the age of thirty. To those who question him he replies with dignity
+and courtesy, becoming eloquent as he describes the marvels of the vast
+country beyond the sea. The whole city is talking of the great news; the
+foreign sailor is the hero of the<a name="page_044" id="page_044"></a> hour. And now those who doubted
+Colon's sanity are singing his praises in all the public meeting-places
+of Seville. An office for the administration of this new country is
+instituted in the city. From the Queen and her Consort to the seller of
+water in the streets, everyone utters the name of the explorer with
+admiration. The ecclesiastics, who declared that it was impious to
+assert that the earth is a globe, are vexed that they have been found
+wrong in their arrogant statements. They continue to quote from the
+Pentateuch, and the writings of St. Chrysostom, St. Jerome and St.
+Augustine to show that pious authority was on their side.</p>
+
+<p>Queen Isabel had encouraged the Genoese sailor in his project, and the
+wealthy Pinzon family, of Palos, had assisted him with means, some of
+them also accompanying the explorer on his first voyage. Columbus was
+made an admiral, and promised further support in his expeditions. In May
+1493 he started again, having with him fifteen hundred men and a fleet
+of fifty vessels. The crews of these ships were made up of adventurers,
+gold-seekers, idlers and a sprinkling of scoundrels selected by the
+Government. In the company there were priests, and it was through the
+machinations of one of them, Father Boil, that Christopher Columbus
+incurred the displeasure of Isabel and Fernando. By every ship that was
+bound for Spain from the New World, Boil sent complaints of Columbus.
+Unfortunately, Isabel lent her ear to these slanders, and sent Francisco
+Bobadilla to dismiss Cristobal Colon, and to take his place. Bobadilla
+took possession of Columbus's charts and papers, put him into chains,
+and sent him, like a felon, in the hold of a ship to Spain.</p>
+
+<p>It is pitiful to read of the degradation of this honest and brave man,
+whose energies built up the prosperity<a name="page_045" id="page_045"></a> of Spain, and made Seville one
+of the busiest cities of Europe. He laid his case before the Queen and
+Fernando, and vowed that he had in no sense neglected his duty towards
+the country of his adoption. We know that he was 'forgiven,' but the
+insult offered to him preyed upon the sensitive mind of the explorer.
+Yet he again resolved to visit the land that he had discovered; and in
+1503 he left Spain with four worn-out ships. A year later Columbus
+returned for the last time. The people of San Lucar, at the mouth of the
+Guadalquivir, welcomed back a captain in shattered health, and a crew
+wearied by hardship and exposure.</p>
+
+<p>Columbus now longed to settle quietly in Seville, and to end his days
+there. He found that his popularity was waning, and that his rents had
+not been collected properly during his absence. With the death of Isabel
+he lost royal patronage. His last voyage had cost him much; but the
+people of Seville believed him to be immensely rich, whereas his income
+was now meagre. 'Little have I profited,' writes Columbus, in a letter,
+'by twenty years of service, with such toils and perils; since, at
+present, I do not own a roof in Spain. If I desire to eat or sleep I
+have no resort but an inn; and for the most times have not wherewithal
+to pay my bill.'</p>
+
+<p>In his last days we picture Christopher Columbus bending over the
+manuscripts, which may be seen in the Biblioteca Columbina, the library
+at Seville founded by the natural son of Columbus. One of the
+manuscripts treats upon biblical prophecy. It was written to appease the
+Inquisitors, who, to the last, suspected the discoverer of heresy.
+Writing of this Apologia, Washington Irving says that the title and some
+early pages of the book are by Fernando Columbus; 'the main body of the
+work is by a strange hand, probably by Friar Gaspar Gorricio, or some
+other brother of<a name="page_046" id="page_046"></a> his convent.' There are signs in the hand-writing that
+Columbus was old and in poor health when he wrote the work. The
+characters are, however, distinct. There are passages from the Christian
+Fathers and the Bible, construed by the author into predictions of the
+discovery of the New World.</p>
+
+<p>The gallant voyager was now prematurely aged, though he had led an
+abstemious life. Disappointment at the neglect of the world no doubt
+preyed upon his spirits in these last days of his career, for it is said
+that he possessed 'a too lively sensibility.' Upon the whole, Columbus
+was ill-used by Spain, though his memory is revered. It is the old, sad
+story of worth and genius. In 1506 Cristobal Colon died in a poor
+lodging at Valladolid. He left a son, born to him by his mistress,
+Beatrix Enriquez. In his will Columbus left money to Beatrix.</p>
+
+<p>Great honour was paid to the body of the famous explorer. Columbus was
+buried in the parish church of Santa Maria de la Antigua. Some years
+later the Sevillians desired that the remains should be removed to their
+city, and they were then carried to the Carthusian monastery of Las
+Cuevas, to the Chapel of St. Ann, or of Santo Christo. The house of Las
+Cuevas was a fine one, celebrated for its pictures and treasures, and
+surrounded with orange and lemon groves. But the bones of Columbus were
+not to remain in Seville. They were taken, in 1536, to Hispaniola, and
+laid in the principal chapel of the Cathedral of San Domingo. Finally
+the remains were removed to Havanna.</p>
+
+<p>While paying due respect to Christopher Columbus, we must not forget the
+great services rendered to the country generally, and to Seville, by
+Fernando de Magallanes, or Magellan, who embarked at that port in August
+1519 with five vessels. Passing the Canary Islands and Cape Verde, the
+Portuguese explorer reached<a name="page_047" id="page_047"></a> Brazil, and went south to Patagonia, 'the
+land of giants,' arriving eventually at the dangerous straits which bear
+his name. Magellan never returned to Spain. Only two of his ships
+reached the Moluccas, and of the five that started but one came back to
+Seville on the homeward journey.</p>
+
+<p>These were the days when Seville was a bustling port of embarkation, and
+a great storehouse for treasure from America and the Indies. A fever of
+emigration seized the adventurous spirits of Andalusia; and Andrea
+Navigiero, a Venetian ambassador, who journeyed through Spain in 1525,
+says that the population of Seville was so reduced that 'the city was
+left almost to the women.'</p>
+
+<p>The discoveries and conquests of Pizarro, who came to Seville after his
+first voyage, added to the enthusiasm for emigration. But Pizarro found
+it a hard matter to raise money for the expenses of a second expedition.
+He contrived, however, to man three ships, and was about to start, when
+the Council of the Indies sought to inquire into the state of the
+vessels. Fearing that he might be hindered from his scheme, the explorer
+set sail at San Lucar, in great haste, and made for the Canary Islands.</p>
+
+<p>It was in January 1534 that Hernando, brother of Francisco Pizarro, was
+directed to return to Seville with a great hoard of treasure. The Custom
+House was filled with ingots, vases and ornaments of gold, and the
+inhabitants were much interested in the splendid spoil. Hernando Pizarro
+came later under a charge of cruelty to the subject race of South
+America. In his <i>Spanish Pioneers</i>, Mr Lummis tells us that 'Hernando
+was for many years imprisoned at Medina del Campo, and that he died at
+the age of a hundred. His brother, Francisco, who was born at Truxillo,
+in Estremadura, was a swineherd in his<a name="page_048" id="page_048"></a> boyhood. Fired with the spirit
+of romance and adventure, the lad deserted his herd of pigs and ran away
+to Seville, where he found scope for his restless energy, and was able
+to influence seafaring men to accompany him on a cruise of discovery.</p>
+
+<p>Seville was now at the height of its commercial prosperity. There was a
+constant come and go of trading vessels; the silk trade was greatly
+developed, and leather was made for the markets of Spain. Isabel took
+much interest in the improvement of the commerce of the city. When she
+ascended the throne, Seville was notorious for its gangs of thieves and
+criminals of all kinds, while the surrounding country was insecure
+through the numbers of bandits who waylaid and robbed traders and
+farmers on the roads. The Queen determined to stamp out crime by
+rigorous measures. She held a court in the <i>salon</i> of the Alc�zar, and,
+in the Castilian custom, presided over the hearing of criminal charges.
+Once a week, Isabel sat in her chair of state, on a da�s covered with
+gold cloth. For two months she conducted a crusade against robbery in
+the city, recovering a great amount of stolen property, and condemning
+many offenders to severe penalties. Her severity struck alarm among the
+vagabond and thieving population, and probably terrified a number of the
+people who had reason to fear justice. Four thousand subjects left the
+town. The respectable burghers grew concerned, dreading that this
+depopulation would injure the city and deprive it of workmen. A
+deputation of citizens waited upon Isabel and begged her to relax her
+austerity. The Queen was therefore prevailed upon to offer an amnesty
+for all offenders except those convicted of heresy.</p>
+
+<p>Isabel's fortunes as a ruler were largely determined by her charms. The
+Sevillians could not fail to<a name="page_049" id="page_049"></a> worship the tall, fair young Queen, with
+the frank and beautiful countenance and blue eyes. Her very
+unconventionality delighted her court and the army; and when she rode at
+the head of her troops, in a suit of mail, with a sword by her side,
+every <i>caballero</i> was ready to follow the fair commander through blood
+and fire. Isabel's sword, a pretty little weapon, is to be seen in the
+Real Armeria at Madrid.</p>
+
+<p>The Queen was one of those magnetic personages to whom all things are
+permissible. Even in modern times it is considered unseemly for a
+Spanish woman to engage in field sports, or any kind of athletic
+exercise; but the Spaniards of Isabel's day not only forgave, but
+revered, the Queen who sat on the judicial bench, donned masculine
+attire, carried weapons, and took a man's part in the government of her
+state. Had it not been for the terrible taint of bigotry, which led
+Isabel to sanction deeds of persecution and cruelty, her character would
+have presented an example approaching the excellence with which
+enthusiastic historians have credited it.</p>
+
+<div class="figright" style="width: 149px;">
+<a href="images/ill_069_lg.jpg">
+<img src="images/ill_069_sml.jpg" width="149" height="574" alt="Sword of Isabella" title="Sword of Isabella" /></a>
+</div>
+
+<p>Four years after the accession of Isabel there began the reign of the
+Inquisition in Seville. When Alfonso de Hoyeda, Prior of the city, and
+Felipe de Barberis, Inquisitor of Sicily, persuaded Fernando that a
+crusade against heresy would replenish his exchequer by means<a name="page_050" id="page_050"></a> of
+confiscation, the King was induced to listen to their proposal. At first
+Isabel recoiled from this scheme of torture and plunder. But her woman's
+mind and heart were not secure against the insidious influence of the
+priests, who used their utmost powers of suasion to convince her that
+Heaven approved of the destruction of heretics. Finally the Queen gave
+way; and the 17th of September 1480 saw the setting up of the tribunal
+of the Holy Office in the Dominican Convent of St. Paul at Seville.</p>
+
+<p>M'Crie, in <i>The History of the Reformation in Spain</i>, states that 'in
+the course of the first year in which it was erected, the Inquisition of
+Seville, which then extended over Castile, committed two thousand
+persons alive to the flames, burnt as many in effigy, and condemned
+seventeen thousand to different penances.' We must note, however, that
+according to Prescott these figures refer to several years and not to
+the opening years of the institution of the Holy Office in Seville. By
+the end of October 1481 it is recorded that three hundred persons had
+been burned to death in Seville. In about thirty-six years, four
+thousand victims went to the stake in the city, while many times that
+number were condemned to slavery, to perpetual imprisonment, to short
+terms, and to other punishments.</p>
+
+<p>'The modern Inquisition,' writes M'Crie, 'stretched its iron arms over a
+whole nation, upon which it lay like a monstrous incubus, paralysing its
+exertions, crushing its energies, and extinguishing every other feeling
+but a sense of weakness and terror.' Many of the Sevillians fled from
+the city and sought the protection of the Duke of Medina Sidonia, the
+Marquis of Cadiz, and the Count of Arcos.</p>
+
+<p>At this period a frightful pestilence swept over Seville, reducing the
+population by thirty thousand,<a name="page_051" id="page_051"></a> and causing great suffering. The clergy
+resorted to prayer; charms and relics of the saints were displayed in
+the churches; but little or nothing was done in the way of preventing a
+spread of the plague by sanitation, or of alleviating the malady by
+medical science. It is a saddening picture&mdash;the people dying of the
+disease, thousands languishing in dungeons, and a multitude filled with
+fear lest they should succumb to the epidemic, or fall into the hands of
+the Inquisitors. Puigblanch, author of <i>The Inquisition Unmasked</i>,
+states that the number of the banished and the 'reconciled' in Andalusia
+from 1480 to 1520 was a hundred thousand. He asserts that forty-five
+thousand persons were done to death in the Archbishopric of Seville
+during this period.</p>
+
+<p>Without the city, on the Prado de San Sebastian, is the burning ground.
+As we stand there, the imagination conjures a procession accompanying a
+victim to the awful torture of the stake. The doomed man is an aged and
+devout Morisco, who has saved money by his industry. He has been found
+guilty of infidelity, and he has refused to partake of the Christian
+sacrament. He is dressed in the sanbenito, a yellow garment, with
+pictures of devils kindling a fire and burning faggots, and on his head
+is a fantastic conical cap of pasteboard, called the <i>coroza</i>. First
+comes a troop of soldiers to clear a path for the procession through the
+jostling rabble. The soldiers are followed by several priests in
+canonical vestments, and the boys of the College of Doctrine, who chant
+the liturgy. Then comes the convicted heretic, with a familiar on either
+side, and two friars, followed by the judges, ministers of government,
+and hidalgoes on horseback. In another procession comes the Inquisitors,
+and their standard of red, with the names and insignia of Pope Sixtus
+IV. and King Fernando<a name="page_052" id="page_052"></a> upon it. The members of the Holy Office are
+escorted by esquires, and in the rear is a great mob of towns-people.
+But enough: imagination is at this point repelled. We turn away from the
+scene, and enter the shady gardens that stretch along the Guadalquivir,
+to scent the flowers and to listen to the thrush and nightingale.</p>
+
+<p>We cannot, however, close our perceptions to the fact that Seville
+played an important part in the Inquisition. In roaming the streets of
+the city, it is impossible to forget that this mighty instrument of
+fanaticism has left its impress on Spain. We remember that every son of
+Seville who dared to exercise his conscience in the matter of religious
+belief ran the risk of ending his life upon the Prado de San Sebastian.
+The terror of this institution must have blighted the lives of millions
+of Spaniards. And we are moved to the reflection that the good which
+Isabel performed with one hand was almost destroyed by the evil
+inflicted by the other.</p>
+
+<p>The story of Rodrigo de Valer, one of the first to embrace the Lutheran
+faith in Seville, is of deep interest. In the fashionable resorts of the
+town and at the jousts no youth was more popular than Rodrigo. He had
+charming manners, sat a horse gracefully, and could break a lance with
+the most skilful knights of the ring. His wealth procured him every
+pleasure; he gratified a taste for dress and spent much money upon
+horses. Suddenly he was missed from the dance and the tournament. His
+friends could not account for this changed mode of life. A passion for
+study had taken possession of the young man; and day after day he sat
+pouring over the Vulgate, and improving his knowledge of Latin, so that
+he might understand the book. In a few months Valer was able to quote
+long passages of the Bible from memory. Then he left his study and went
+back to his gay companions as an apostle of a new<a name="page_053" id="page_053"></a> form of faith. He
+approached the clergy and the monks, and by argument endeavoured to
+convince them of the errors of their creed and ritual, appealing to the
+Bible as the criterion of religious truth. The priests were little
+inclined to listen to Rodrigo. But when they avoided him, the youth
+sought them, engaging them in discussion in the streets and striving to
+set forth his new doctrine. At length the indignant clerics of Seville
+brought the heretic before the Holy Inquisition. So cogent were his
+arguments that some of the members who secretly shared his opinions used
+their influence to save him from punishment. Fortunately Valer was of
+good family. He was declared to be insane, and spared from an extreme
+penalty, but his estates were taken by the tribunal.</p>
+
+<p>Rodrigo's relations now strove to dissuade him from renewing his
+endeavours to reform the Church. What could one helpless man achieve
+against the whole weight of authority? But Rodrigo was full of zeal. He
+began again to denounce the teaching of the clerics, inspired by the
+belief that others would soon follow him. For the second time he was
+arrested on a charge of heresy and sentenced to imprisonment for life.</p>
+
+<p>In the Church of St. Salvador, where Rodrigo was taken on days of
+festival, the fervent youth would rise after the sermon and condemn the
+teaching of the pulpit. Only his rank saved him from the flames. He was
+eventually imprisoned in a monastery of San Lucar, where he died at the
+age of fifty. Valer's sanbenito was displayed for a long time in the
+metropolitan church of Seville. It was inscribed: 'Rodrigo de Valer, a
+citizen of Lebrixia and Seville, an apostate, and false apostle, who
+pretended to be sent of God.'</p>
+
+<p>The teaching of Valer was not without fruit. He was the founder of a
+small, but fervent, sect of Lutheran Christians in Seville, whose
+doctrines<a name="page_054" id="page_054"></a> gradually found acceptance among a number of the people. One
+of the reformed party was Juan Gil, known as Doctor Egidius, preacher in
+Seville Cathedral, who was joined by Vargas and the celebrated
+Constantine Ponce de la Fuente. M'Crie says that 'the small society in
+Seville grew insensibly, and became the parent stock, from which
+branches were taken and planted in the adjacent country.' Persecution
+was inevitable. Egidius was denounced and thrown into prison, while
+Vargas was murdered, and Ponce de la Fuente banished. After a long
+incarceration, Egidius returned to Seville; but he caught a fever, and
+died in a few days. De Montes says that the writings of Egidius, which
+were never printed, were worthy of praise. The Doctor wrote commentaries
+on Genesis and the Psalms, and while in prison he composed an essay on
+'Bearing the Cross.'</p>
+
+<p>Protestantism spread in Seville at this time. There was a church under
+the care of Doctor Christobal Losada, which met in the house of a lady
+of rank, Isabel de Baena, and was attended by the nobles Don Juan Ponce
+de Le�n and Domingo de Guzman. In the Dominican Monastery of St. Paul,
+in the Nunnery of St. Elizabeth, and especially in the Convent of San
+Isidro del Campo, the new doctrines found disciples.</p>
+
+<p>One of the victims of the Inquisition was Torrigiano, the Florentine
+sculptor, whose statue of St. Jerome is in the Museo Provincial at
+Seville. The monument of Henry VII. in Westminster Abbey is the work of
+this artist, who ended his days in the cells of the Inquisitors' prison
+in Seville, in 1552. There is no doubt that many of the hapless
+prisoners died of diseases contracted in the insanitary dungeons of
+Seville and Triana, for Olmedus, one of the sufferers, describes<a name="page_055" id="page_055"></a> the
+dens as vile in 'nastiness and stench.' The ordinary gaols were crowded,
+and many persons were immured in the Castle of Triana, and in the
+convents of the city.</p>
+
+<p class="figcenter">
+<a href="images/ill_075_lg.jpg">
+<img src="images/ill_075_sml.jpg" width="532" height="629" alt="Plaza San Francisco" title="Plaza San Francisco" /></a>
+</p>
+
+<p><a name="page_056" id="page_056"></a></p>
+
+<p><a name="page_057" id="page_057"></a></p>
+
+<p>At Triana resided Gonzales-Munebrega, Archbishop of Tarragona, whose
+name was coupled with that of Torquemada as a ruthless persecutor. This
+officer of the Inquisition might be seen by the trembling populace
+walking in the castle gardens, accompanied by a guard of servants.
+Munebrega wore rich clothes of purple and silk, and maintained great
+pomp. He exhibited extreme cruelty, and scoffed at the sufferings and
+cries of the tortured.</p>
+
+<p>Llorente and Bernaldez relate some sickening details of the savage modes
+of torment imposed upon the victims of the Inquisition in Seville. It is
+not necessary that the tales of horror should be retold here. The first
+<i>auto-da-f�</i> celebrated in the city was in 1559, when Don Juan Ponce de
+Le�n and several other apostates were committed to the flames in one of
+the chief plazas. Ponce de Le�n was described as 'an obstinate Lutheran
+heretic.' The heroic Doctor Juan Gonzalez, of Moorish ancestry, was
+burnt upon the same day for preaching Protestant doctrines. We see him
+leaving the Triana gaol on the morning of execution, 'cheerful and
+undaunted,' though he was accompanied by his two sisters, both of whom
+were condemned to the stake, and had left behind in the prison his
+mother and two brothers. The Doctor sang the 109th Psalm, and attempted
+to console his sisters, whereupon a gag was thrust into his mouth.</p>
+
+<p>'When they were brought to the place of execution,' writes M'Crie, 'the
+friars urged the females, in repeating the creed, to insert the word
+<i>Roman</i> in the clause relating to the Catholic Church. Wishing to
+procure liberty to him to bear his dying testimony, they<a name="page_058" id="page_058"></a> said they
+would do as their brother did. The gag being removed, Juan Gonzalez
+exhorted them to add nothing to the good confession which they had
+already made. Instantly the executioners were ordered to strangle them,
+and one of the friars, turning to the crowd, exclaimed that they had
+died in the Roman faith.' Doctor Christobal Losada, the pastor of the
+Protestant church in Seville, suffered death courageously upon the same
+day.</p>
+
+<p>Isabel de Baena, who allowed meetings of the Protestants in her house,
+and Maria de Bohorques were among the women of high birth who were
+burned in Seville. The story of the last-named lady has been told in a
+romance by a Spanish writer, entitled <i>Cornelia Bororquia</i>. Maria de
+Bohorques came into the grip of the Holy Office before the age of
+twenty-one. She was a pupil of Egidius, and a diligent student of the
+Scriptures. When seized and tortured by the Inquisition, she refused to
+name those of her friends who shared her belief. Do�a Maria was then
+sent to the stake.</p>
+
+<p>Llorente recounts that two Englishmen were burned at one of the <i>autos</i>
+of Seville. Nicholas Burton, a merchant of London, who traded with
+Spain, arrived with his vessel at San Lucar while the persecution was
+raging in Seville. Somewhat imprudently, Burton spoke contemptuously of
+the Inquisition, though M'Crie states that the accusation of insolence
+was false. Burton was burnt alive, together with William Burke, a seaman
+of Southampton, and a Frenchman, named Fabianne. The Holy Office then
+seized Burton's cargo; but a part of it belonged to a London tradesman,
+who sent one John Frampton to Seville, with a power of attorney, to
+recover the goods. Frampton failed to make good his claim after four
+months of negotiation, and he returned to England<a name="page_059" id="page_059"></a> to find greater
+powers. When he landed again in Spain, the agent was arrested, put in
+chains, and thrown into the dungeon of Triana. The charge against him
+was that he had a volume of Cato in his bag. He was questioned as to his
+creed, and ordered to repeat the Ave Maria. Subjected to the torture of
+the rack, the wretched man was forced to confess anything that his
+torturers desired. Frampton was imprisoned for two years, and then
+granted his freedom. His 'Narrative' is to be found in Strype's
+<i>Annals</i>.</p>
+
+<p>The unfortunate Constantine Ponce de la Fuente, who was one of the most
+active members of the reformed church in Seville, was seized by the
+Inquisition, and confined in an underground cell for two years, when
+dysentery put an end to his sufferings. In 1781 the last martyr perished
+in the flames at Seville. 'I myself,' writes Blanco White, 'saw the pile
+on which the last victim was sacrificed to human infallibility. It was
+the unhappy woman whom the Inquisition of Seville committed to the
+flames, under the charge of heresy, about forty years ago. She perished
+on a spot where thousands had met the same fate.' A traveller in Spain,
+named Wiffen, says: 'In the year 1842, whilst travelling in that
+country, I found myself in the Alameda Vieja of Seville, in front of the
+house formerly occupied by the Inquisition, where several of the
+prisoners were confined who were burned at the <i>auto-da-f�</i> of 1560.'</p>
+
+<p>Such is the story of the Inquisition in Seville. I have not willingly
+dwelt upon this dark page in the history of the fair city. But it has
+been necessary to refer to the chronicles of this reign of terror; for
+the institution of the Holy Office in Seville is a matter of historic
+importance, and no record of the town could be in any sense complete if
+the annals of the Inquisition<a name="page_060" id="page_060"></a> were overlooked. And in changing to a
+happier theme it is necessary that I should point out the repugnance
+that masses of the people of Seville exhibited towards the introduction
+of this engine of persecution in the city. Llorente, the Spanish
+historian of the Inquisition, tells us that when Fernando and Isabel
+commanded the Governors of the provinces to supply inquisitors and
+assistants to the royal capital, the inhabitants regarded the arrival of
+the agents of the Holy Office with extreme dissatisfaction, and that
+difficulty was experienced in collecting together 'the number of persons
+whose presence was necessary to the legal opening of their assembly.'</p>
+
+<p>Let us view the city of Isabella the Catholic in a brighter aspect. In
+the year 1490 an ambassador from Lisbon came to the Alc�zar of Seville
+to confer with the Queen concerning a proposed marriage between young
+Alonso, heir to the Portuguese throne, and Isabel, the Infanta of
+Castile, and the dearly-loved namesake of the royal mother. It was with
+mingled sentiments of joy and sadness that Isabel consented to the
+union. The month of April was chosen for the ceremony of betrothal, and
+it was arranged that feasts and tournaments should succeed the official
+celebration. Great preparations were made for the festivities. The lists
+were constructed on the bank of the Guadalquivir; hangings of costly
+material draped the galleries erected for the spectators of the jousts,
+and the royal palace was prepared for the reception of noble guests,
+knights of prowess, and their dames and daughters. On the first day of
+the <i>f�tes</i> a splendid procession passed through the streets to the
+lists, where thousands of the nobility were seated, all anxious to
+witness a combat in the arena between King Fernando and one of his most
+accomplished<a name="page_061" id="page_061"></a> knights. The charming Infanta delighted everyone as she
+came with her seventy ladies-in-waiting, in court dress, and her hundred
+gallant pages as bodyguard. It was a scene which the people long
+recalled. All the rank and loveliness of Castile and Andalusia were
+around the arena when the sports began; the mail and weapons of the
+combatants glistened in the dazzling sunlight of the green meadow; and
+loud were the plaudits when his majesty broke his first lance in a
+furious and exciting tilt with a renowned esquire and champion of the
+lists. Throughout the tournament, Fernando acquitted himself as a true
+knight of the order of chivalry, displaying much courage and a great
+knowledge of the art of the tourney. In the autumn Isabel bade adieu to
+her daughter. A great retinue came to the Alc�zar, to accompany the
+Princess to Portugal, in charge of the Cardinal of Spain and the Grand
+Master of St. James.</p>
+
+<p>By the Sevillians, Isabel appears to have been feared as well as
+worshipped. The aliens in the city, all except those who chose to
+embrace the Catholic faith, had, indeed, good reason to fear their
+Queen. Isabel's treatment of the Jews cannot be called humane, but she
+enjoined just conduct towards her Indian subjects. The Queen was humble
+in her obedience to the Chief Inquisitor, Torquemada, and ever ready to
+listen to the counsels of her spiritual guides. Towards heresy she
+showed no clemency, and her measures for dealing with bandits and other
+criminal offenders were excessively severe. But the romantic personality
+of Isabella the Catholic will always appeal to the imagination of the
+Andalusians.<a name="page_062" id="page_062"></a></p>
+
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br /><br />
+<i>Seville under the Catholic Kings</i></h2>
+
+<div class="blockquot"><p>'In her own interior Spain had an arduous problem to solve&mdash;she had
+to overcome the old energetic resistance of a whole people&mdash;the
+tolerably numerous descendants of the former lords and conquerors
+of the country who still adhered to the Arabian manners and
+language, and even in part professed the doctrines of the
+Mohammedan.'&mdash;<span class="smcap">Schlegel</span>, <i>Philosophy of History</i>.</p></div>
+
+<p class="nind"><span class="letra">S</span>EVILLE
+in the sixteenth century was at the height of its prosperity. We
+have seen how the discoveries of Columbus, Magellan, and the brothers
+Pizarro enriched the city, brought vessels to the port with costly
+store, and opened a vast foreign trade. In every quarter of the town the
+hum of industry was heard. The Morisco artisans, who had become
+'reconciled' to the Christian creed, laboured in stone and metal, and
+there were silk weavers, leather workers, potters, and gold and silver
+smiths. One hundred and thirty thousand persons worked at the looms,
+which were numbered at sixteen thousand.</p>
+
+<p>Learning and the arts benefited by the increase of the city's wealth.
+The university, founded by Alfonso the Learned, was extended; the
+cathedral library was enlarged, and Seville became famous for its poets,
+historians, romance writers, and playwrights. Pacheco, painter and poet,
+had his circle of gifted artists and men of letters; and the doors of
+the Casa Pilatos, the beautiful mansion of the Dukes of Alcal�, were
+open to all the lovers of learning and the students of<a name="page_063" id="page_063"></a> art. Sculptors
+and painters were constantly employed upon works of art for the royal
+palace, the cathedral, and the churches. The <i>Mud�jar</i> architects and
+builders were engaged by rich dons, who had prospered by the discovery
+of the New World, to design and erect sumptuous residences in the
+Morisco style. Charitable institutions, such as the Hospital de la
+Caridad, were founded and liberally endowed, and an asylum for foundling
+children was built in the Calle de la Cuna. The highly ornate Casa de
+Ayuntamiento, or City Hall, was designed by Diego de Ria�o, and Hernan
+Ruiz built the upper part of the Giralda.</p>
+
+<p>The Emperor Charles V., one of the wisest rulers of Spain, occasionally
+made his residence at the Alc�zar during the palmy days of Seville,
+though he favoured Segovia and Valladolid. The marriage of the monarch
+with Isabella, daughter of Emanuel, King of Portugal, was celebrated in
+the Alc�zar of Seville with much splendour, and the ceremony was
+followed by feasts and diversions. Isabella of Portugal was a gifted
+woman, and extremely beautiful, and the union proved very happy. Charles
+was at this time highly admired in the city; but at a later date even
+the loyal Sevillians showed their displeasure with the Emperor. Certain
+of the merchants of the town disregarded the royal command that all the
+bullion brought in by the India fleet should be stored in the warehouse
+of the Board of Trade, and kept there in case the Government required to
+raise funds quickly for war expenses. The owners of the gold naturally
+preferred their shipments to the Government bonds promising repayment.
+They therefore secretly removed the bullion to their own houses. This
+action angered Charles, as the same practice enraged Philip at a later
+date, and the Emperor ordered the culprits to be put in chains,<a name="page_064" id="page_064"></a> sent to
+prison, and to be deprived of their possessions. The command was heeded
+at once; and the merchants, and the officials who had connived at the
+misdemeanour of removing the bullion, were conveyed under a strong guard
+to Simancas. One of the offenders was put on the rack and died under
+torture. The gold was, however, never recovered by the State.</p>
+
+<p>The gorgeous Sal�n de Carlos V. was constructed in the royal palace
+during the reign of the Emperor, who also laid out the gardens on a new
+plan, and built the handsome pavilion in the grounds.</p>
+
+<p>Philip II. had been on the throne for many years before he paid his
+first visit to the southern metropolis. The King loved his mountain
+palace, the Escorial, where he passed his days in writing records of his
+reign, sending dispatches, and shooting with the gun and crossbow.
+Prescott says: 'It was a matter of complaint in the Cortes that he thus
+withdrew himself from the eyes of his subjects.' Even in his visits to
+Madrid, Segovia and Seville, Philip avoided society, and shut himself up
+in his closet with a great heap of papers on his table. When he
+travelled, the King rode in a close carriage, and tried to avoid the
+gaze of his subjects. As he grew older he developed a still stronger
+aversion to being seen abroad.</p>
+
+<p>In 1570, at the time of the preparations for the great war with the
+Turks, the recluse-King came to Seville. His entry was made the occasion
+of a splendid ceremonial and a demonstration of loyalty on the part of
+the inhabitants. Philip came from C�rdova, and was met on the outskirts
+of the city by the officials and soldiery. Taking his oath to respect
+the privileges of the city, the Sovereign rode through the crowded
+streets in pomp, accompanied by knights and guards. A splendid canopy
+was held by the chief justices over the King's head as he proceeded to
+the<a name="page_065" id="page_065"></a> Cathedral to take part in a solemn service. The monarch then took
+up quarters in the Alc�zar, which he occupied for a fortnight. During
+his stay in Seville, Philip appeared at the <i>f�tes</i> which had been
+arranged for his entertainment. To show their homage to the King, the
+people of the city subscribed a hundred thousand ducats as a donation
+towards the cost of Philip's marriage with his fourth wife, Anne of
+Austria.</p>
+
+<p>The heavy expenses of the war in the Netherlands and with Turkey led to
+a despotic method of obtaining pecuniary supplies. Philip needed money,
+and to secure it as quickly as possible, he ordered that the officials
+of the Casa de la Contrataci�n at Seville should seize the cargoes of
+gold and silver that had just arrived in the port. This action aroused
+much indignation in the city, and the people grew incensed when the
+command was again given to confiscate the bullion consigned to merchants
+of Seville. When a number of treasure ships were on their homeward
+journey, the King sent Admiral Alvaro de Baz�n to the Azores to
+intercept the vessels; and immediately upon the arrival of the fleet at
+San Lucar, the whole of the shipment was sent to Santander, and from
+that port to Flanders.</p>
+
+<p>Under Philip II. the Church in Seville rose to great power, and
+increased in wealth. The Archbishop of the city received an income of
+eighty thousand ducats a year, and the minor clergy profited by the
+King's patronage of the Church. It is not surprising that many of the
+sons of families of rank and position crowded into the profession of
+priest, and that the number of persons in holy orders soon swelled
+enormously. Arts and handicrafts were not considered gentlemanlike
+pursuits; the industry of the city was relegated to Spaniards of low
+birth, to the <i>Mud�jares</i>,<a name="page_066" id="page_066"></a> and to aliens. The <i>caballero</i> of Seville
+aspired to join the Church Militant, or to enter the army. When Philip
+III., the Good, came to the throne there were no less than fourteen
+thousand chaplains in the diocese, while a hundred clerics were on the
+staff of the Cathedral alone.</p>
+
+<p class="figcenter">
+<a href="images/ill_086_lg.jpg">
+<img src="images/ill_086_sml.jpg" width="346" height="335" alt="FOUNTAIN IN BATH, ALC�ZAR." title="FOUNTAIN IN BATH, ALC�ZAR." /></a>
+<br />
+<span class="caption">FOUNTAIN IN BATH, ALC�ZAR.</span>
+</p>
+
+<p>The oppression of the Moriscoes in the city became severer in the days
+of Philip II. Doubt was cast upon the genuineness of belief among the
+'reconciled' Moors, and they were bidden to cease reading books in the
+Arabic language, to abandon their ceremonies, to change their mode of
+dress, and to speak in Spanish. The public baths, built by the cleanly
+Moriscoes, were destroyed in every city, and the <i>Mud�jares</i> were even
+forbidden to bathe in their own houses. These mandates exasperated the
+Moriscoes throughout Andalusia. They rebelled and fought desperately;
+but after frightful bloodshed and suffering, they were quelled and<a name="page_067" id="page_067"></a>
+broken down, never to regain their ancient sway. The suppression of the
+heretics was complete by the time of Philip III. And at this time began
+the decline of Seville's prosperity.</p>
+
+<p>When Philip V. reigned, the sixteen thousand looms of the city had been
+reduced to less than three hundred, and the population was thinned to 'a
+quarter of its former number of inhabitants.' In the fruitful district
+around Seville the vineyards and olive gardens were in a state of
+neglect, and fields once fertile became wastes. Trade declined rapidly
+with the extirpation of heresy. The industrial population was deprived
+of its most skilful and industrious members when the last band of
+Moriscoes quitted the city. In the seventeenth century Andalusia
+suffered fearful poverty. Whole villages were deserted, the land was
+going out of cultivation, and the tax-collectors were enjoined to seize
+the beds and such wretched furniture as the indigent peasants possessed
+in their cheerless houses.</p>
+
+<p>When Philip II. died, loyal Seville honoured the departed King by a
+magnificent funeral service in the Cathedral. A monument, forty-four
+feet square, and forty-one feet in height, was designed by Oviedo, at a
+cost of fifteen thousand ducats. Monta�es, the famous sculptor, whose
+work is to be seen in several of the Seville churches, produced some of
+the statuary to adorn the monument, and the young Pacheco, then unknown,
+assisted in the decoration. On November 25, 1598, the mourning multitude
+flocked to the dim Cathedral. While the people knelt upon the stones,
+and the solemn music floated through the long aisles, there was a
+disturbance among a part of the congregation. A man was charged with
+deriding the imposing monument, and creating a disorder in the holy
+edifice. He was a tax-gatherer and ex-soldier of the city, named Don
+Miguel de Servantes Saavedra.<a name="page_068" id="page_068"></a> Some of the citizens took his side, for
+there was a feud between the civil and ecclesiastical authorities of
+Seville, and the tax-gatherer had merely shown public spirit. The
+brawler, whom we know as Cervantes, was expelled from the Cathedral with
+his companions, and order was restored. But he had his revenge. He went
+to his room and composed a satirical poem upon the tomb of the King,
+which was soon published and read everywhere in the city. Here is one of
+the English translations of the poem:&mdash;</p>
+
+<p class="cspc">TO THE MONUMENT OF THE KING AT SEVILLE.</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">'I vow to God I quake with my surprise!</td></tr>
+<tr><td align="left">Could I describe it, I would give a crown&mdash;</td></tr>
+<tr><td align="left">And who, that gazes on it in the town,</td></tr>
+<tr><td align="left">But starts aghast to see its wondrous size;</td></tr>
+<tr><td align="left">Each part a million cost, I should devise;</td></tr>
+<tr><td align="left">What pity 'tis, ere centuries have flown,</td></tr>
+<tr><td align="left">Old Time will mercilessly cast it down!</td></tr>
+<tr><td align="left">Thou rival'st Rome, O, Seville, in my eyes!</td></tr>
+<tr><td align="left">I bet the soul of him who's dead and blest,</td></tr>
+<tr><td align="left">To dwell within this sumptuous monument</td></tr>
+<tr><td align="left">Has left the seats of sempiternal rest!</td></tr>
+<tr><td align="left">A fellow tall, on deeds of valour bent,</td></tr>
+<tr><td align="left">My exclamation heard. "Bravo!" he cried,</td></tr>
+<tr><td align="left">"Sir Soldier, what you say is true, I vow!</td></tr>
+<tr><td align="left">And he who says the contrary has lied!"</td></tr>
+<tr><td align="left">With that, he pulls his hat upon his brow,</td></tr>
+<tr><td align="left">Upon his sword hilt he his hand doth lay</td></tr>
+<tr><td align="left">And frowns&mdash;and&mdash;nothing does, but walks away.'</td></tr>
+</table>
+
+<p>The discovery of the New World, with its opulence of treasure, and the
+expulsion of the Moriscoes, did not yield a permanent prosperity to
+Seville. Even before the death of Philip II., the few far-sighted and
+reflective men doubted whether a great influx of gold and silver, and
+the annihilation of freedom of thought, were likely to benefit Spain,
+either in the material or spiritual sense. The gold fever seized like a
+frenzy<a name="page_069" id="page_069"></a> upon the avaricious, and the early colonisers turned their backs
+upon any country that lacked precious minerals. Nothing save gold and
+silver was considered valuable. As a consequence these minerals became
+redundant, and in the meantime the cultivation of the land at home and
+abroad, and the development of manufactures, were neglected. No one had
+the enterprise to prevent the silting up of the tidal waters of the
+Guadalquivir, and so Seville lost its importance as a busy port.</p>
+
+<p>While nobles were fighting for gold, and harrying heretics, briars and
+weeds were spreading over the fields that the patient Moors had tilled
+and made marvellously fertile. The establishment of the <i>alcavala</i> tax
+upon farming produce and manufactured articles hastened the decline of
+agriculture and of crafts in Andalusia. Finally, under the Bourbons,
+Cadiz became the rival of Seville, and the Council of the Two Indies was
+removed to the southern port in 1720. In good or ill fortune Seville
+remained loyal, winning for itself the title of: <i>Muy noble, muy leal,
+muy heroica � invicta, i.e.</i>, 'Very noble, very loyal, very brave and
+invincible.'</p>
+
+<p>Some interesting pictures of Seville at the close of the eighteenth and
+beginning of the nineteenth centuries are to be found in the <i>Letters
+from Spain</i>, by D. Leucadio Doblado, written in 1824. Doblado is the
+pseudonym of Blanco White, son of the British Vice-Consul at Seville in
+those days. White was born in the city in 1775, brought up as a
+Spaniard, and sent to the University. His parents were very austere
+Catholics, but reading and study developed a sceptical tendency in young
+White's mind, and he subsequently came to England and was well-known in
+Unitarian circles.</p>
+
+<p>In his <i>Life</i>, Blanco White describes the quaint<a name="page_070" id="page_070"></a> ceremony of entrance
+into the University of Seville. 'Every day of the week preceding the
+admission, the candidate was obliged to walk an hour in the principal
+quadrangle of the college, attended by one of the servitors, and his own
+servant or page&mdash;a needy student who, for the sake of board, lodgings
+and the cast-off clothes of his master, was glad in that humble capacity
+to go through the course of studies necessary for the
+profession&mdash;Divinity, Law or Medicine&mdash;which he intended to follow.' The
+custom of the <i>caravanas</i> was a trying ordeal for the student. He was
+compelled to run the gauntlet of the gibes of a mob of spectators, as a
+trial of his patience. No physical violence was permitted, except when a
+candidate lost his temper. An irascible victim was speedily ducked in
+the basin of the fountain of the quadrangle. Ladies came to see the
+sport. When White passed through this ordeal, he was dressed in
+fantastic garments, and led by his tormentors by a rope.</p>
+
+<p>In 1800, Blanco White saw the outbreak of yellow fever that ravaged the
+city. The plague began in Triana, and the infection was said to have
+been brought from Cadiz by seamen. As in previous instances of
+pestilence, there was no enforced isolation of the diseased, and no
+relief of the suffering poor. Prayers were offered for succour in the
+Cathedral and the churches, and a special service of the Rogativas, used
+in the times of severe affliction, was performed on nine days after
+sunset. One of the choicest relics of the Cathedral, a piece of the True
+Cross, or <i>Lignum Crucis</i>, was exhibited as a charm on the Giralda
+Tower. Many persons advised that a wooden crucifix, in one of the
+chapels of the suburbs, should be also employed. It had been of great
+service in the plague of 1649, staying the epidemic after half of the
+inhabitants had been destroyed. A day was fixed for the solemn<a name="page_071" id="page_071"></a> ceremony
+of blessing the four winds of heaven with the True Cross from the
+Cathedral treasury. The great fane was crowded with supplicants. As the
+priest made the sign of the Cross, with the golden casket containing the
+<i>Lignum Crucis</i>, a frightful clap of thunder made the Cathedral tremble.
+In forty-eight hours the deaths increased tenfold. The heat, the
+polluted air of the Cathedral, the infection that spread among the
+worshippers, and the fatigue of the service caused a great spread of the
+fever in the city. Eighteen thousand persons perished from the
+pestilence.</p>
+
+<p>During the Peninsular War, Soult's troops did considerable damage to
+parts of Seville. The church that contained the bones of Murillo was
+pillaged by the soldiers, and the tomb of the great painter was
+destroyed. On February 1, 1810, the city surrendered with all its stores
+and arsenal, and Joseph marched in. The French force had appeared before
+Seville in January 1810. 'In Seville all was anarchy,' writes Sir W. F.
+P. Napier, in his <i>History of the War in the Peninsula</i>; 'Palafox and
+Montijo's partisans were secretly ready to strike, the ancient Junta
+openly prepared to resume their former power.' It was a time of revolt
+in the city; mobs went through the streets, calling for the deposition
+of the Junta, and vowing violence against the members. Seville was
+besieged for the last time in 1843, at the time of Espartero's regency.
+An account of the siege is given in <i>Revelations of Spain</i>, by an
+English Resident, who writes: 'I saw full twenty houses in different
+parts of the city&mdash;this was about the entire number&mdash;which Van Halen's
+shells had entirely gutted. The balls did limited damage&mdash;a mere crack
+against the wall, for the most part a few stones dashed out, and there
+an end. But the bombs&mdash;that was indeed a different matter! Wherever they
+fell, unless they struck the streets, and<a name="page_072" id="page_072"></a> were buried in the ground,
+they carried destruction. Lighting on the roof of a house, they
+invariably pierced through its four or five floors, and bursting below,
+laid the building in ruins.' Probably not more than twenty lives were
+lost through the bursting of the shells. Most of the men of the city
+were defending the walls, and the women took refuge in the churches. The
+Cathedral sheltered a large number of women and children, who slept and
+cooked there. The Junta of Seville occupied the Convent of San Paolo
+during the siege.</p>
+
+<p>Edward VII. of England, when Prince of Wales, paid a visit to Seville,
+and spent several days in the city, in 1876.</p>
+
+<p>We have now briefly surveyed the more interesting events in the history
+of the city and noted incidents in the lives of eminent Sevillians from
+the time of the Goths until the present century.<a name="page_073" id="page_073"></a></p>
+
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br /><br />
+<i>The Remains of the Mosque</i></h2>
+
+<div class="blockquot"><p>'I have never entered a mosque without a vivid emotion&mdash;shall I
+even say without a certain regret in not being a
+Mussulman?'&mdash;<span class="smcap">Ernest Renan</span>, <i>Islamism and Science</i>.</p></div>
+
+<p class="nind"><span class="letra">I</span>N
+the year 1171, Abu Yakub Y�suf, the conquering Moor, began the
+building of a mighty <i>mezquita</i>, or mosque, in the captured city of
+Seville. The important work was given into the hands of a famed
+architect, one Gever, Hever, or Dj�bir, the correct spelling of whose
+name has puzzled the historians. Gever is said to have been 'the
+inventor of Algebra.' Whether he really designed the Mosque is difficult
+to determine. Some Spanish writers have asserted that the first stage of
+the Giralda Tower was commenced in the year 1000 of the Christian era
+'by the famous Moor, Herver.' From the discovery, at a great depth, of
+certain pieces of Roman masonry, it is supposed that an amphitheatre
+once occupied the ground now covered by the Cathedral, the Giralda, and
+the Court of the Oranges.</p>
+
+<p>There is no doubt that the Mosque of the Almohade ruler was a vast and
+noble building, resembling in most of its characters that of C�rdova.
+The minaret, now called the Giralda, is certainly one of the most
+ancient buildings in the city. It is recorded that the Moorish
+astronomers used the tower as an observatory. Probably the minaret
+served the double purpose of praying-tower<a name="page_074" id="page_074"></a> and astronomical outlook. In
+building the tower the remains of ruined Roman and Gothic structures
+were used by the Moors, just as the Christians afterwards employed
+portions of the mosques and palaces for building their temples. The
+original minaret was about two hundred and thirty feet in height. At
+each corner of the minaret stood four huge brass balls, which were
+thrown down in the earthquake of 1395.</p>
+
+<p>If we enter the precincts of the old Mosque by the Puerta del Perd�n, in
+the Calle de Alemanes, we shall see the bronze-covered doors which may
+have formed one of the entrances to the building. The bronze has been
+spoilt by paint, but one can note the distinctly Moorish character of
+these great doors. This gate was reconstructed by Alfonso XI. after the
+victory of Salado. In its present state it dates from 1340. Bartolom�
+L�pez added the plateresque ornamentations about 1522. The sculptures
+over the doorway are statues of St. Peter and St. Paul, an Annunciation
+and the Expulsion of the Money Changers from the Temple. Before the
+Lonja was built, the merchants of Seville used the court within as an
+exchange. Hence the relief of the Expulsion, a fine piece of carving by
+the Italian, Miguel, representing Christ chastising the money changers
+from the Temple. Miguel of Florence was one of the early Renaissance
+sculptors who came to Spain.</p>
+
+<p>Under the archway of the Gate of Pardon is a modern shrine. At almost
+all hours of the day sin-stricken supplicants, chiefly women, may be
+seen kneeling on the stones before the altar.</p>
+
+<p class="figcenter">
+<a href="images/ill_095_lg.jpg">
+<img src="images/ill_095_sml.jpg" width="528" height="733" alt="Puerta del Perd�n" title="Puerta del Perd�n" /></a>
+</p>
+
+<p>Through the gateway we enter the quiet retreat of the Patio de los
+Naranjas, or the Court of the Oranges, which formed the courtyard of the
+ancient Morisco temple. The lofty Cathedral is before us; on the left
+towers the imposing Giralda, and to the right hand is
+<a name="page_075" id="page_075"></a>
+<a name="page_076" id="page_076"></a>
+<a name="page_077" id="page_077"></a>the Sagrario,
+or parish church. There is a beautiful Moorish fountain in the centre of
+the court, with an octagonal basin. Every Morisco <i>patio</i> had its
+fountain, orange and lemon trees, and marble seats. In the walls of the
+Sacristry of the Sagrario, we shall find further traces of the Moorish
+decoration in the form of <i>azulejos</i> which belonged to the original
+Mosque.</p>
+
+<p>The <i>patio</i> is smaller than that of the <i>mezquita</i> of C�rdova, and with
+the exception of the few relics which I have described, there is not
+much suggestion of former grandeur.</p>
+
+<p>But imagination calls forth the figure of a Mueddjin upon the minaret,
+chanting the <i>Ady�n</i>, or call to prayer, as the sun tints the sky at its
+setting. The worshippers repair to the baths to purify themselves for
+devotion by washing their bodies. 'Regularly perform thy prayer at the
+declension of the sun,' says the Sura, 'at the first darkness of the
+night and the prayer of daybreak; for the prayer of daybreak is borne
+witness unto by the angels.' Five times during the day the pious
+Mohammedans spread their mats here, and prayed to Allah.</p>
+
+<p>The Crescent has vanished from the Giralda. A figure of Christian faith
+stands there in its stead, and from the Cathedral issue the strains of
+the choristers and the swelling of the organ. For long centuries this
+spot in the heart of Seville has been dedicated to worship. Romans,
+Visigoths, Moors and Catholic Christians each in their day of power have
+bent the knee to their deities upon the ground which we are now
+treading. It is a strange, composite fane! The lower part of the Giralda
+is Moorish, the upper part Christian. In the middle of the Court of the
+Oranges we have the Moslem fountain; and in the wall is a stone pulpit
+from which many eminent Catholic divines have preached against heresy.
+The Giralda, incorporated<a name="page_078" id="page_078"></a> with the Cathedral, dominates all, but it is
+the most Moorish feature of the great pile.</p>
+
+<div class="figright" style="width: 346px;">
+<a href="images/ill_098_lg.jpg">
+<img src="images/ill_098_sml.jpg" width="346" height="422" alt="Stone Pulpit in Court of Oranges." title="Stone Pulpit in Court of Oranges." /></a>
+</div>
+
+<p>We must now inspect the minaret. Our way is through the Capilla de la
+Granada of the Cathedral. Here we may see one more monument of the
+Moors, a horseshoe arch, once a part of the Mosque. Within, suspended
+from the roof, is a huge elephant's tusk, a bridle, said to have
+belonged to the Cid's steed, and a stuffed crocodile, a present from the
+Sultan of Egypt, who sent it to Alfonso el Sabio, with a request for the
+King's daughter as wife.</p>
+
+<p>The ascent of the Giralda is not laborious. We can walk up the inclined
+plane without losing breath; and at each window of the stages there are
+lovely peeps of the city and the vast plain of the Guadalquivir.<a name="page_079" id="page_079"></a> From
+these windows there are fine outlooks upon the Cathedral, and the
+details of its wonderful buttresses can be well studied as we ascend
+stage by stage. The stages, or <i>cuerpos</i>, of the tower are all named.</p>
+
+<p>We soon arrive at the Cuerpo de Campanas, where there is a peal of
+bells. Santa Maria is a ponderous bell which cost ten thousand ducats.
+It was set up in the year 1588 by the order of the Archbishop Don
+Gonzalo de Mena. This bell is vulgarly called 'the plump' by reason of
+its great bulk and weight. Its note is deep and resonant, and can be
+heard all over the city, and far away in the country, when the wind is
+favourable.</p>
+
+<div class="figright" style="width: 306px;">
+<a href="images/ill_099_lg.jpg">
+<img src="images/ill_099_sml.jpg" width="306" height="653" alt="Cuerpo de Azucenas" title="Cuerpo de Azucenas" /></a>
+</div>
+
+<p>Another <i>cuerpo</i> is that of the Azucenas, or white lilies, so called on
+account of its architectural urns, with ironwork flower decorations. El
+Cuerpo del Reloj (the Clock Tower) contained the first tower-clock made
+in Spain. It was put in its place in the presence of King Enrique III.
+The present clock was the<a name="page_080" id="page_080"></a> work of Jos� Cordero, a monk, and it dates
+from 1765. It is said that portions of the old clock were used by
+Cordero.</p>
+
+<p>Around the more modern part of the Giralda is an inscription in Latin:
+<i>Turris Fortisima Nomen Domini</i>. Each word of the motto occupies one of
+the faces of the tower. The Cuerpo de Estrellas, or Stage of the Stars,
+is so named in allusion to the decorations of its faces. Notice the
+<i>ajimez</i> windows as you ascend the tower. The fourth and last <i>cuerpo</i>
+is the Corambolas, or billiard balls, referring to the globes of stone
+in the decoration.</p>
+
+<p>We emerge upon a gallery below the great statue of La F�, thirteen feet
+in height, and made out of bronze by Bartolom� Morel, in 1568. This
+figure of a woman is a vane, which moves with every wind in spite of its
+size and weight. It is a wonderful piece of workmanship. The head of the
+Faith is crowned with a Roman helmet, and in the woman's right hand is
+the great standard of Rome in the time of the Emperor Constantine. In
+the left hand the figure holds a palm branch, a symbol of conquest. The
+true name of the statue is La F� Triumfante; but in the common speech of
+Seville it is spoken of as Victoria, Giraldillo, Santa Juasma, and El
+Mu�eco.</p>
+
+<p>Don Alfonso Alvarez-Benavides, in his little book on <i>La Giralda</i>,
+published in Seville, tells us that the statue of the Faith has suffered
+several lightning strokes. One of these attacks severely scorched the
+upper section of the tower. In the afternoon of April 26, 1884, during a
+terrific thunder-storm, a shower of sparks fell upon the Giralda and
+caused much damage. Again, on the 18th of June 1885, lightning assailed
+the building. The work of restoration began in the year 1885, and was
+completed in 1888, under the direction of Fernandez Casanova.<a name="page_081" id="page_081"></a></p>
+
+<p>It was in 1568 that Hernan Ruiz erected the highest <i>cuerpo</i> of the
+minaret by order of the Cathedral authorities. Ruiz was often employed
+by the Church, and his work may be seen in the restored <i>mezquita</i> of
+C�rdova.</p>
+
+<p>The Giralda is about three hundred feet in height. As the surrounding
+country is level, we can command a very wide expanse from the gallery
+below the statue of the Faith. Looking over the roofs and dome of the
+Cathedral, we see the Plaza de Toros, and the suburb of Triana, on the
+opposite bank of the Guadalquivir. Among the low hills beyond the
+Cartuja, to the right of Triana, is the ancient Roman amphitheatre of
+Italica, while in the extreme distance are blue mountains.</p>
+
+<p>Beyond the Alc�zar we note the Parque, the Delicias, the Prado de San
+Sebastian, and the red clay hills of Coria on the right bank of the
+broad river. Further away are the interminable marshes bordering the
+estuary, and beyond is San Lucar. Below us is the Archbishop's Palace
+and the gardens of the Alc�zar. Seville is spread beneath us like a huge
+map. We look down on roof gardens, into <i>patios</i>, along the white,
+narrow <i>calles</i>, into the <i>plazas</i>, and across the housetops to the
+fertile land beyond the Roman walls.</p>
+
+<p>It is a prospect that inspires the spectator. Fair, sunny, fruitful
+Andalusia stretches around for league upon league, under a burning blue
+sky. The air is clear; there is scarcely a trace of smoke from the
+myriad chimneys of the city. No town could be brighter and cleaner. We
+are above the brown hawks that nest in the niches of the Cathedral. They
+float on outspread wings over the buttresses. The passengers in the
+streets are like specks; the trees in the Court of the Oranges are but
+shrubs. It is one of the<a name="page_082" id="page_082"></a> finest panoramas in Spain. One is reluctant to
+descend from this breezy platform, and to turn one's back upon the fine
+bird's-eye view of Seville and the surrounding landscape.</p>
+
+<p>It is a misfortune that sun, wind and rain have almost expunged the
+frescoes that decorate the niches of the Giralda. They were the work of
+Luis de Vargas, who painted the altar-piece in the Chapel of the
+Nativity in the Cathedral. Vargas was a pupil of Perino del Vaga in
+Italy. One of the paintings on the Giralda represented the Saints of
+Seville, St. Justa and St. Rufina, who protect the tower from harm, and
+other subjects were scenes in the lives of saints and martyrs. Vargas
+also executed the fresco of Christ bearing the Cross, or the <i>Calle de
+Amargura</i>, on the outside of Patio de los Naranjas. The picture was
+restored by Vasco Pereyra, in 1594. We read of Luis de Vargas that he
+was extremely devout. He practised austerities and mortifications, and
+slept with a coffin by his bedside, to remind him of the insecurity of
+this earthly life. The ascetic artist was born in Seville, in 1502, and
+died there about the year 1568.</p>
+
+<p>Like the monument of London, and many other high towers, the Giralda has
+often been used by suicides. A number of despairing persons have thrown
+themselves from its summit.</p>
+
+<p><a name="page_083" id="page_083"></a></p>
+
+<p><a name="page_084" id="page_084"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_104_lg.jpg">
+<img src="images/ill_104_sml.jpg" width="432" height="834" alt="The Giralda" title="The Giralda" /></a>
+</p>
+
+<p><a name="page_085" id="page_085"></a></p>
+
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br /><br />
+<i>The Cathedral</i></h2>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">'How reverend is the face of this tall pile,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Whose ancient pillars rear their marble heads</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">To bear aloft its arched and ponderous roof,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">By its own weight made steadfast and immovable,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Looking tranquillity.'&mdash;<span class="smcap">William Congreve.</span></span></td></tr>
+</table>
+
+<p class="nind"><span class="letraa">'</span><span class="letra">L</span>ET
+us build such a huge and splendid temple that succeeding
+generations of men will say that we were mad.' So said the pious
+originators of Seville Cathedral, in the year 1401. After one hundred
+years, the temple was still unfinished, and to this day masons are at
+work upon the dome.</p>
+
+<p>When San Fernando captured the city of Seville from the Moors, and made
+it his capital, the Mosque, which stood on the site of the Cathedral,
+was consecrated to the service of the Christian faith. It was used for
+Catholic worship until its disrepair became a reproach. Then the Chapter
+decided to erect a worthier fane, one which would astonish posterity.
+The Cathedral should be huge and magnificent, rivalling in its area all
+the other cathedrals of Spain. Toledo Cathedral is 'rich'; Salamanca,
+'strong'; Le�n, 'beautiful.' The Cathedral of Seville is called the
+'great.'</p>
+
+<p>In point of size the edifice ranks third among the cathedrals of Europe.
+It is the largest Gothic cathedral in the world, larger than Cologne and
+Milan. The superficial areas of the great cathedrals are as follows:&mdash;<a name="page_086" id="page_086"></a></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align="left">St. Peter's&nbsp; &nbsp; &nbsp; </td><td align="right">230,000</td><td align="center">feet square</td></tr>
+<tr><td align="left">C�rdova</td><td align="right">160,000</td><td align="center">"</td></tr>
+<tr><td align="left">Seville</td><td align="right">125,000</td><td align="center">"</td></tr>
+<tr><td align="left">Milan</td><td align="right">110,000</td><td align="center">"</td></tr>
+<tr><td align="left">St. Paul's</td><td align="right">84,000</td><td align="center">"</td></tr>
+</table>
+
+<p>In 1511, five years after the practical completion of the building, the
+dome gave way. It was re-erected by Juan Gil de Honta�on, an architect
+who subsequently designed the new Cathedral of Salamanca (1513). The
+original architects are supposed to have been of German nationality.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a>
+Earthquake shocks endangered a part of the structure at a later date,
+and Casanova, who restored the Giralda Tower, superintended the
+renovation, which was begun in 1882. Six years after Casanova's
+restoration, the dome again collapsed, and from that time until to-day
+the work of repair has proceeded.</p>
+
+<p>Th�ophile Gautier, writing of this splendid pile, states:</p>
+
+<p>'The most extravagant and most monstrously prodigious Hindoo pagodas are
+not to be mentioned in the same century as the Cathedral of Seville. It
+is a mountain scooped out, a valley turned topsy-turvy; Notre Dame at
+Paris might walk erect in the middle nave, which is of frightful height;
+pillars as large round as towers, and which appear so slender that they
+make you shudder, rise out of the ground or descend from the vaulted
+roof, like stalactites in a giant's grotto.'</p>
+
+<p>In Caveda's description of the Cathedral, we read: 'The general effect
+is truly majestic. The open-work parapets which crown the roofs; the
+graceful lanterns of the eight winding stairs that ascend in the
+corners<a name="page_087" id="page_087"></a> to the vaults and galleries; the flying buttresses that spring
+lightly from aisle to nave, as the jets of a cascade from cliff to
+cliff; the slender pinnacles that cap them, the proportions of the arms
+of the transept and of the buttresses supporting the side walls; the
+large pointed windows that open between them, one above another, just as
+the aisles and chapels to which they belong rise over each other; the
+pointed portals and entrances&mdash;all these combine in an almost miraculous
+manner, although these are lacking the wealth of detail, the airy grace,
+and the delicate elegance that characterise the cathedrals of Le�n and
+Burgos.'</p>
+
+<p class="figcenter">
+<a href="images/ill_107_lg.jpg">
+<img src="images/ill_107_sml.jpg" width="361" height="409" alt="Pinnacle of the Cathedral" title="Pinnacle of the Cathedral" /></a>
+</p>
+
+<p>It was during the long and exhausting endeavours of the Castilian Kings
+to expel the Moors from Spain, that gold and treasure was paid into the
+coffers of the Chapter for the cost of erecting the marvellous<a name="page_088" id="page_088"></a>
+Cathedral of Seville. Bishops, deans and clergy forfeited one half of
+their stipends to meet the heavy charges of architects, artists, stained
+glass designers, masons, carvers, and innumerable craftsmen and
+labourers. An army of artists and mechanics was employed upon the vast
+work. During the century of construction, the Catholic kings who resided
+in the Alc�zar, showed great interest in the undertaking, while the
+noble families subscribed liberally towards the cost, and the poor gave
+of their slender store of pesetas.</p>
+
+<p>The exterior of the Cathedral is a type of the finest Spanish Gothic
+architecture, though the incorporated Giralda Tower is distinctly
+Morisco, and much older in style. Within the consecrated precincts, we
+may see traces of the <i>Mud�jar</i> handicraftsmen amid early Gothic and
+Renaissance architectural details.</p>
+
+<p>The Cathedral consecrated ground contains within its confines the
+Moorish Patio de los Naranjas, the high minaret, the Columbus Library,
+offices of the Chapter, and the Church of the Sagrario. There are nine
+doors to the Cathedral proper, and a gateway with doors, leading to the
+Patio de los Naranjas, or Court of the Oranges.</p>
+
+<h3>THE EXTERIOR OF THE CATHEDRAL.</h3>
+
+<p>From the Calle del Gran Capitan, on the west side of the Cathedral, one
+may gain a conception of the extent and the magnificence of the
+building. It is best to begin our inspection of the doors from this
+side. Here we shall find three entrances, or <i>puertas</i>. The chief door
+is in the centre. It is elaborately decorated, and is in fine
+preservation. Thirty-two<a name="page_089" id="page_089"></a>
+<a name="page_090" id="page_090"></a>
+<a name="page_091" id="page_091"></a>figures stand in niches. Over the door is a
+beautiful relief of the Assumption by Ricardo Bellver.</p>
+
+<p class="figcenter">
+<a href="images/ill_109_lg.jpg">
+<img src="images/ill_109_sml.jpg" width="537" height="661" alt="Puerta Mayor.
+THE CENTRAL DOOR OF THE CATHEDRAL" title="THE CENTRAL DOOR OF THE CATHEDRAL" /></a>
+<br />
+<span class="caption">THE CENTRAL DOOR OF THE CATHEDRAL</span>
+</p>
+
+<p>Puerta del Bautismo, or San Juan, is embellished with sculptures by
+Pedro Millan, which deserve careful inspection. The third doorway is the
+Puerta del Nacimiento, or San Miguel. This is also adorned by the
+sculpture of Pedro Millan. The upper part of the Cathedral viewed from
+this side is not of much beauty. It is modern, dating from 1827.</p>
+
+<p class="figcenter">
+<a href="images/ill_111_lg.jpg">
+<img src="images/ill_111_sml.jpg" width="353" height="404" alt="Pinnacle of the Cathedral" title="Pinnacle of the Cathedral" /></a>
+</p>
+
+<p>At the south side of the Cathedral is the Puerta de San Crist�bal, or de
+la Lonja, added by Casanova in 1887. As we make the circuit of the
+edifice, we shall see the turrets and numerous pinnacles of the roof.
+The effect is impressive and bewildering. Centuries of labour are here
+represented in noble<a name="page_092" id="page_092"></a> form and beauty of outline. The flying buttresses
+are especially graceful and the great dome is majestic in its
+proportions. Cean Bermudez compares the Cathedral with 'a high-pooped
+and beflagged ship, rising over the sea with harmonious grouping of
+sails, pennons and banners.'</p>
+
+<p>In the east fa�ade are the Puerta de los Campanillas and the Puerta de
+los Palos. These doors are magnificently decorated with sculptures by
+Lope Marin, executed in the year 1548. There are three entrances on the
+north side. That leading from the Court of the Oranges is named the
+Puerta del Lagarto, from the stuffed crocodile which hangs from the
+ceiling. The Puerta de los Naranjas is in the centre of the court. This
+door is kept closed except on days of festival. The third door is the
+unfinished one bearing the name of the Puerta del Sagrario.</p>
+
+<p>
+<br />&nbsp;
+</p>
+
+<p>As we survey this immense monument of the Christian faith, we are led to
+muse upon the power of the early Catholic Church in Spain. It was no
+half-hearted belief that urged men of all ranks of society to deny
+themselves in contributing to the huge outlay that went to the planning,
+erection and decoration of this mighty Cathedral.</p>
+
+<p>The dictates of the Chapter ruled the councils of the State and the
+conferences of kings and courtiers. When the throne lost power, the
+bishop's chair gained in authority. In the reign of Philip III. the
+Cathedral of Seville had no less than one hundred clergy on its staff.
+Dunham, in his <i>History of Spain</i>, states that 'half a dozen could
+assuredly have been sufficient for the public offices of devotion.' But
+there was no question of restricting the number of ministers and
+confessors in these days of perfervid devotion. It was considered
+heretical to even speak of<a name="page_093" id="page_093"></a> stinting the wealth that was freely poured
+into the coffers of the hierarchy. To this devotion and liberality we
+owe the great treasure-house of art beneath whose broad shadow we stand.
+The painters, sculptors and craftsmen were under the patronage of the
+Church; they could not have subsisted without such patronage. And in
+most cases they gave their services gladly, for their heart was in their
+labours, and devotion inspired them. Few desired any other kind of
+employment; the highest service was that of holy religion.</p>
+
+<p>A great faith, such as the Romish, inspires its devotees to the building
+of resplendent temples. The Christians would not merely imitate the
+Moors in the beauty and richness of their churches. They pledged
+themselves to excel the magnificence of the <i>mezquitas</i>, and to show
+mankind that God is honoured most devoutly by those who spare neither
+wealth nor industry in the setting up of fanes dedicated to His worship.
+We cannot grasp the Spanish character until we realise that its keynote
+in the past was profound piety and deep loyalty towards the Church and
+the Crown. The cathedrals of Spain are testimony to this devotion to the
+Christian creed. They are solemn historic memorials of faith.</p>
+
+<p>Worshippers in the Seville Cathedral are reverential; there is no
+apparent insincerity in their responses and genuflexions. In Italy and
+France there is a less manifest reverence during divine services. But
+the Spanish temperament has remained religious through all the stress of
+heretical days and the changing fortunes of its dynasties. It is not
+only the women who are devout, for many men are present at the
+celebrations in the cathedrals and churches. Very imposing are these
+Spanish services in the half-light of the <i>capillas</i>:<a name="page_094" id="page_094"></a></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">'Dim burn the lamps like lights on vaporous seas;</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Drowsed are the voices of droned litanies;</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Blurred as in dreams the face of priest and friar.'</span></td></tr>
+</table>
+
+<p>The organ music is often superb, and the choristers are highly trained.
+Besides the organ, reed and string instruments are used to accompany the
+singing during important festivals. The smoke of incense mounts in the
+lofty naves and aisles; the altars glow with candle-lights, and the
+sweet, rich voices of the boys hover under the vaulted roofs. Rich and
+poor alike sit or stand upon the flagged floors. The preachers are often
+very eloquent, and they preach in the purest form of the Castilian
+language.</p>
+
+<p>The dim light of the interior of the Cathedral is a hindrance to the
+full enjoyment of the very numerous works of art that adorn the chapels.
+This gloom is characteristic of the Spanish cathedrals and churches. The
+best time in the day to inspect the pictures in Seville Cathedral is
+before eight in the morning. It is an early hour; but the light is then
+fairly good, and the chapels are usually quiet. I advise the visitor to
+spend several hours in the Cathedral, if he desires to study the inner
+architecture, carvings, pictures and statues. A mere ramble through the
+naves and a peep into one or two of the <i>capillas</i> will not suffice. It
+is well to select a portion of the interior for each day's inspection.
+Shun the loafers who offer their services as guides. They have no
+knowledge of the art treasures, and they possess a faculty of invention.</p>
+
+<p>I trust that my description will assist the stranger in his tour of the
+Cathedral. The chief objects of art are indicated, or briefly described,
+in the remaining part of this chapter. The account is not to be taken as
+exhaustive. A thorough treatise on the architecture of the building
+alone would require more space than I have at my command, and it might
+prove somewhat<a name="page_095" id="page_095"></a> tedious to the reader who is not acquainted with the
+technical terminology of architecture.</p>
+
+<h3><span class="smcap">The Interior of the Cathedral.</span></h3>
+
+<p>Enter by the Puerta del Lagarto, in the Patio de los Naranjas. One's
+first impression when within the Cathedral is that of its magnitude and
+the 'frightful height,' which struck Th�ophile Gautier. The length,
+exclusive of the Capilla Real, is three hundred and eighty feet; the
+width is two hundred and fifty feet. The nave is one hundred and
+thirty-two feet in height, and over fifty feet in width.</p>
+
+<p>There is great dignity in the lofty columns, and a sense of vastness
+possesses us as we gaze upwards. The floor is of fine marble. It was
+laid in the years 1787 to 1795.</p>
+
+<p><i>The Capilla de los Evangelistas</i> is the first chapel near to the
+<i>puerta</i>. It has a fine altar piece in nine parts, the work of Hernando
+de Sturmio, containing a picture of the ancient Giralda. The paintings
+are on panel, and the brown tints are characteristic of the early
+Sevillian School of Art.</p>
+
+<p>By the Puerta de los Naranjas, the great door on this side of the
+Cathedral, there are two altars. One is the Altar de la Asunci�n, and
+the other is dedicated to La Virgen de Bel�n. The Assumption picture as
+executed by Carlo Maratta. The face of the Virgin is clear, but somewhat
+dark in tone, and the light is not favourable for viewing the picture.
+On the other side of the doorway the light is better. The altar is
+adorned by a painting of the Virgin, from the brush of the famous Alonso
+Cano. It is a rather conventional presentment of Holy Mother, but the
+features are not without beauty. On the whole, the<a name="page_096" id="page_096"></a> painting is not
+equal in merit to most of the works of the last Andalusian master. The
+hands and feet of the figure are finished with the care characteristic
+of Cano's art.</p>
+
+<p>Alonso Cano has been called the 'Michelangelo of Spain.' He studied in
+Seville under Pacheco and Juan de Castillo, and painted pictures for
+some of the religious houses. Cano was also a sculptor and architect. He
+was forced to leave the city after wounding an antagonist in a duel. In
+1651 he was appointed a Canon of Granada, and during his residence in
+the old Moorish city, Cano painted works for the churches. The artist
+was of an irritable disposition; but he spent the latter part of his
+life in religious exercises, and gave freely to the poor. He died in
+poverty, in 1667, and received alms from the Church.</p>
+
+<p>Writing of Alonso Cano, in his <i>Spanish and French Painters</i>, Mr Gerard
+W. Smith says: 'Although he was never in Italy, his fine feeling for
+form, and the natural charm and simplicity of his composition, suggest
+the study of the antique, while in painting, the richness and variety of
+his colouring could hardly be surpassed.'</p>
+
+<p><i>The Capilla de San Francisco</i> is next to the altar of Alonso Cano. Here
+we may try to see a painting of the Glorification of St. Francis by
+Herrera el Mozo, and one of the Virgin and San Ildefonso, by Juan Vald�s
+Leal. Herrera's picture is not of value. He was a much less capable
+artist than his father, Francisco Herrera el Viejo (the elder), from
+whose roof the mozo ran away to Italy. Upon his return to Seville, the
+young man was so conceited and affected in his painting that he failed
+to produce any fine work. The Glorification of St. Francis and the
+picture by Leal can be scarcely seen in the sombre shadows of the
+chapel.</p>
+
+<p><i>The Capilla de Santiago</i> adjoins the last chapel.<a name="page_097" id="page_097"></a>
+<a name="page_098" id="page_098"></a>
+<a name="page_099" id="page_099"></a>There are two
+paintings here; one by Juan de las Roelas of St. James (Santiago) and
+one of St. Lawrence (San Lorenzo) by Vald�s Leal. Roelas was painting in
+Seville at the time of Herrera the Elder. He is said to have studied art
+in Venice. The finest work of this artist is to be seen in the Church of
+San Isidoro.<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> In the Capilla de Santiago there is a dilapidated tomb
+of Archbishop Gonzalo de Mena, who died in 1401.</p>
+
+<p class="figcenter">
+<a href="images/ill_117_lg.jpg">
+<img src="images/ill_117_sml.jpg" width="498" height="770" alt="Interior of the cathedral" title="Interior of the cathedral" /></a>
+</p>
+
+<p><i>The Capilla de Escalas</i> contains two pictures of note by Luca Giordano,
+strong in character, drawing, and colour. Over the tomb of Bishop
+Baltasar del Rio, who died in 1540, is an altar relief of the Day of
+Pentecost by a Genoese artist.</p>
+
+<p><i>The Capilla del Bautisterio</i> has one of Murillo's finest works,
+representing St. Anthony of Padua's Vision of the Child Jesus. Part of
+this picture was cut out and stolen in 1874. It was traced to New York,
+and restored to the Cathedral a few months later. The picture was
+originally painted for the Capuchin Convent in 1656, and afterwards came
+into the possession of the Chapter. A Baptism of Christ, also the work
+of Murillo, is above this painting. In this chapel is the font of holy
+oil, which is consecrated in Holy Week. This <i>pila</i>, or monument, was
+made by Antonio Florentin in 1545-1546. It is used for the exposition of
+the Host, and is exhibited near the Puerta Mayor in Easter Week.
+Originally the <i>pila</i> was a tall construction of three storeys on
+columns, with a large cross. Between the columns were coloured figures
+of saints. Some of the effigies were modelled in clay, and others were
+carved from wood. They were beautifully designed. In 1624 the building
+was altered and spoiled by the addition of another<a name="page_100" id="page_100"></a> storey of the
+composite order. 'Its effect in the midnight service is superb,' writes
+Sir Stirling Maxwell, 'when blazing with church plate and myriads of
+waxen tapers it seems a mountain of light, of which the silver crest is
+lost in the impenetrable gloom of the vaults above.'</p>
+
+<p>On the west side of the Cathedral, which we have now reached, is the
+Altar de la Visitaci�n, with pictures by Marmolejo and Jer�nimo
+Hernandez. By the principal door is another altar, that of Nuestra
+Se�ora del Consuelo, with a painting by one of Murillo's pupils, Alonso
+Miguel de Tobar. Close to the Puerta del Nacimiento we shall find some
+fine works by Luis de Vargas, the celebrated fresco artist. There are
+three <i>capillas</i> on this side of the building, called the Capilla de los
+J�comes, the Capilla de San Leandro, and the Capilla de San Isidoro.
+They may be passed by, as they contain no important works of art.</p>
+
+<p>At the Puerta del Nacimiento we reach the south aisle, and come to</p>
+
+<p><i>The Capilla de San Laureano</i>, with a tomb of Archbishop Alonso de Exea,
+who died in 1417.</p>
+
+<p><i>The Capilla de Santa Ana</i> is the next chapel on the south side. Here
+there is an interesting old altar, with several pictures painted in the
+early part of the fifteenth century.</p>
+
+<p><i>The Capilla de San Jos�</i> contains a notable work by Juan Vald�s Leal,
+the Marriage of the Virgin, and a poor picture by Antolinez.</p>
+
+<p><i>The Capilla de San Hermenegildo</i> is noteworthy for the image of the
+saint by Monta�ez, and the tomb of Archbishop Juan de Cervantes by
+Lorenzo de Breta�a. The marble of the tomb is much worn.</p>
+
+<p><i>The Capilla de la Antigua</i> is a larger chapel, with fourteenth-century
+decorations of the altar. There is<a name="page_101" id="page_101"></a> also a fine monument to Cardinal
+Mendoza, executed in 1509 by the Italian Miguel. The figures are very
+quaint. Adjoining this chapel is the Altar de la Gamba, with the
+Generacion by Luis de Vargas, a famous picture described in the art
+chapters of this book. The immense painting opposite is St. Christopher,
+by Mateo Perez de Alesio, painted in 1584.</p>
+
+<p>For painting the San Cristobal Alesio received four thousand ducats. The
+saint is quaintly clad in hose, and the figure is gigantic. Sir Stirling
+Maxwell draws attention to the fine colouring of the parrot seen in the
+distance. Mateo de Alesio, who was an Italian by birth, died in the year
+1600.</p>
+
+<p>Passing through the <i>Capilla de los Dolores</i>, which is unimportant, we
+come to the splendid <i>Sacrist�a de los C�lices</i>, built by Ria�o and
+Gainza in the years from 1530 to 1537. Diego de Ria�o, sculptor and
+designer, was often employed by the Cathedral authorities. He delighted
+in lavish and fantastic embellishment, and introduced the Italian
+methods of ornamentation. Martin Gainza was of the same school. He was
+an architect and sculptor of great repute, and he assisted Ria�o in much
+of his work.</p>
+
+<p>The Crucifix is the work of Monta�ez. It was removed from the Cartuja
+Convent. Murillo's <i>Angel de la Guarda</i>, or Guardian Angel, is in this
+sacristy. This picture was presented to the Cathedral by the Capuchins
+in 1814. It is one of the best of Murillo's works. Borrow much admired
+the <i>Guarda</i>, and Sir Stirling Maxwell describes the diaphanous drapery
+of the child's dress in terms of praise. The angel holds a child by the
+hand, and points to heaven. Notice the rich colouring of purple and
+yellow in the vesture of the angel.</p>
+
+<p>On the same wall are the <i>Ecce Homo</i>, the Virgin, and St. John, the work
+of Morales; St. Dorothy by<a name="page_102" id="page_102"></a> Murillo; a painting of Fernando de Contreras
+by Luis de Vargas; Piet� and Death of the Virgin by a German artist, and
+a picture by Juan Nu�ez of the fifteenth century.</p>
+
+<p>Goya's fine painting of St. Justa and St. Rufina is here. Elsewhere in
+this book I have told the legend of these guardian saints of the
+Giralda. Goya's conception of them is unconventional, and unlike that of
+Murillo, who represents the two maidens with halos around their heads.
+We have the figures of two charming potter-girls in Goya's picture, two
+creatures of earth, lovely, but not ethereal. The Holy Trinity of 'El
+Greco' (the Greek) is one of the interesting examples of this great
+Toledan artist's work. Zurbaran is represented in the Sacrist�a by his
+painting of St. John.</p>
+
+<p><i>The Sacrist�a Mayor</i> is in the Renaissance style. It was built by the
+designers of the Sacrist�a de los C�lices about the year 1532. Campa�a's
+admirable Descent from the Cross is here, but the picture has been
+indifferently restored. There is also a work of Murillo, SS. Leandro and
+Isidoro.</p>
+
+<p>The Cathedral Treasury is in this sacristy. One of the principal objects
+of interest is the splendid <i>custodia</i>, used for carrying the Host. It
+is the work of Juan d'Arphe, a celebrated gold-worker, who was born in
+Avila in 1535. In 1564 he constructed the <i>custodia</i> of that city, and
+in 1580 began a work of a similar character for Seville Cathedral. Many
+designs were submitted for the inspection of the Chapter, but Juan
+d'Arphe's was chosen as one unequalled in Spain. The <i>custodia</i> is about
+twelve feet high, round in form, with four storeys, each one supported
+by twenty-four columns. Some of the columns are Ionic; the rest are
+Corinthian and composite in design. Between the columns are a number of
+statuettes, and the base and<a name="page_103" id="page_103"></a> cornices are profusely adorned with
+bas-reliefs. In the first storey there was originally seated a figure of
+Faith, but it was changed in 1668 for one of the Virgin of the
+Conception, when the <i>custodia</i> was restored by Juan Segura. The second
+storey is the repository of the Host, and in the third and fourth
+storeys are figures of the Church Triumphant and the Holy Trinity.
+Crowning the edifice was a small dome and cross, which was replaced in
+1668 by a statue of the Faith. The <i>custodia</i> is of beautiful and simple
+design.</p>
+
+<p>The <i>Tablas Alfonsinas</i>, a reliquary, given to the Church in 1274 by
+Alfonso el Sabio, are in the Treasury. Crosses, plate and sacerdotal
+vestments are among the treasures. The canonical robes date from the
+fourteenth century. The keys of Seville, yielded to Fernando el Santo on
+the day of conquest, are also shown here.</p>
+
+<p><i>The Capilla del Mariscal</i> adjoins the Sacrist�a Mayor. In this chapel
+is the great altar-piece of Pedro Campa�a, restored in 1880. The work is
+in ten parts, representing scenes in the life of Christ, and containing
+portraits of Marshal Pedro Caballero and his family.</p>
+
+<p><i>The Sala Capitular</i> was the work of Ria�o and Gainza. It was begun in
+1530 and finished in 1582. The plateresque decorations are very
+beautiful. Note the fine ceiling, the marble medallions, and the
+pavement. Murillo's Conception is here, and the Four Virtues of Pablo de
+C�spedes. There is a picture of San Fernando by Pacheco, the
+father-in-law and instructor of Velazquez. The ovals between the windows
+were the work of Murillo. This <i>sala</i> is close to the Puerta de los
+Campanillas, and beyond this entrance, on the east side of the
+Cathedral, is</p>
+
+<p><i>The Capilla de la Concepci�n Grande</i>, containing a<a name="page_104" id="page_104"></a> monument to
+Cardinal Cienfuego, a modern work. The other small chapel on this side
+is that known as</p>
+
+<p><i>The Capilla de San Pedro</i>. Here are nine pictures by Zurbaran, well
+worthy of notice, and a tomb of Archbishop Diego Deza, restored in 1893.</p>
+
+<p><i>The Capilla Real</i> is between the two smaller chapels of the east end.
+In design this chapel is Renaissance. The decorations are luxuriant and
+there is a high dome. Gainza began to build the chapel in 1541, and his
+work was carried on by Hernan Ruiz, who planned the choir of C�rdova
+Cathedral, and afterwards by Juan de Maeda.</p>
+
+<p>On the chief altar is a figure of the Virgin of the Kings, dating from
+the thirteenth century. It was presented to San Fernando by St. Louis of
+France. The fair hair is real; the crown that adorned the head was
+stolen in 1873. On each side of the doorway are tombs. One is that of
+Alfonso el Sabio, and the other is the tomb of his mother.</p>
+
+<p>The shrine of the adored San Fernando is in front of an altar. In the
+Pante�n are the coffins of Pedro el Cruel, his mistress Maria de
+Padilla, the Princes Fadrique, Alonso and Pedro, and others. Over San
+Fernando's coffin is the ivory figure of the Virgin of Battles, which
+the King carried upon his saddle when he went to the wars. The monarch's
+pennant and sword are also displayed.</p>
+
+<p>Murillo's Mater Dolorosa is in the sacristy of this <i>capilla</i>. There are
+portraits of St. Ignatius and St. Francis Xavier, by Pacheco.</p>
+
+<p>In the later styles of the Capilla Real we may see examples of the
+Grotesque, or <i>Estilo Monstruoso</i>, with which the buildings of Seville
+abound. Diego de Ria�o's work in the Ayuntamiento, or City Hall, is full
+of instances of this development of fanciful design and bizarre effect.
+Gainza, the collaborator<a name="page_105" id="page_105"></a> of Ria�o, is responsible for the articulations
+and curious, lavish adornment of the Royal Chapel of the Cathedral. The
+sacristy of the <i>capilla</i> was built and decorated by Gainza after plans
+by Ria�o. We may now inspect the stained-glass windows, in which we
+shall find the influence of Italian artists. It must be noted that art
+in Spain has been profoundly influenced by Italy. Michelangelo is
+reverenced by Spanish artists. Many of the early Spanish painters went
+to Italy to study, and brought back with them new ideas and fresh
+methods of painting. 'Spanish artists,' writes Professor Carl Justi,
+'did their best to Italianize themselves in the studios of Roman and
+Florentine masters.'</p>
+
+<p>Cristobal Micer Aleman was the first to introduce the art of staining
+glass into Seville. Until 1504 stained glass windows had not been seen
+in the city, and Aleman was the designer of the first painted window of
+the Cathedral. Sir Stirling Maxwell states that in 1538 the Church paid
+Arnao of Flanders, Carlos of Bruges, and other artists the sum of ninety
+thousand ducats for staining the windows of Seville Cathedral. The work
+was not completed until twenty years later. The chief window pictures
+are the Ascension, Jesus and Mary Magdalen, the Awakening of Lazarus,
+and the Entry into Jerusalem. The Resurrection is the work of Carlos,
+and other pictures are by the two brothers Arnao.</p>
+
+<p>The isolated <i>Capilla Mayor</i> has an altar-piece of wood, and a silver
+image of the Virgin by Alfaro. The painted scenes are from the
+Scriptures. Crowning the retablo are a crucifix and large statues of the
+Virgin and St. John. Dancart, the designer of the retablo, was of the
+Flemish school of decorative carvers. The work was begun about 1482 and
+finished in 1526.<a name="page_106" id="page_106"></a></p>
+
+<p>Between the <i>Coro</i> (choir) and the Chief Chapel an enormous candelabrum
+is displayed during Semana Santa, or Holy Week. It is called the
+Tenebrario, and it was constructed by Bartolom� Morel, a
+sixteenth-century sculptor. The structure is twenty-six feet high, and
+it is ornamented with several small images. During the imposing
+celebrations of Semana Santa, the candelabrum is lit by thirteen
+candles. Twelve of these lights represent the apostles who deserted
+their Master; the thirteenth candle stands for the Virgin, and when the
+twelve have been extinguished, the thirteenth still burns as a symbol of
+Mary's fealty to the Saviour.</p>
+
+<p><i>The Coro</i> was much injured by the collapse of the dome. Two grand
+organs were destroyed at this time. One of the most interesting objects
+preserved in the choir is the facistol, or choristers' desk, of
+Bartolom� Morel, adorned with highly-finished carvings. The choir stalls
+were decorated by Nufro Sanchez, a sculptor of the fifteenth century,
+whose work suggests German influence. They are beautiful examples of
+carving.</p>
+
+<p><i>The Coro</i> is entered by either of the two doors of the front or
+<i>Trascoro</i>. There is a handsome marble fa�ade; a painting of the Virgin
+by an unknown hand, and a picture said to be from the brush of Francisco
+Pacheco, the artist, author and inquisitor. The white marble frontage is
+adorned with bas-reliefs of the Genoese school, exhibiting fine feeling.
+Italian influence is manifest in the picture of the Holy Mother, which
+is highly decorative in style.</p>
+
+<p>Close to the <i>Coro</i>, near the chief entrance on that side of the
+Cathedral, is the tomb of Fernando Col�n, son of Cristobal Col�n
+(Columbus). The slab is engraved with pictures of the discoverer's
+vessels. An<a name="page_107" id="page_107"></a> inscription runs: '<i>� Castilla y � Le�n mundo nuebo di�
+Colon:</i>' <i>i.e.</i>, 'To Castile and Le�n Columbus gave the New World.'</p>
+
+<p>The student of architecture and painting will find ample examples of
+varied styles of art in this great repository of sculpture, frescoes and
+panel pictures. He will be able to trace the development of
+architectural design from the fifteenth to the nineteenth century, both
+in the exterior and interior of the immense Cathedral. The art of the
+<i>Mud�jar</i>, the Fleming, the Italian, the German and the Spaniard are
+here represented in masonry, decoration, stained glass, and upon canvas.
+Wandering designers and craftsmen of the Middle Ages looked upon Spain
+as a land of plenty. They came from Flanders, Italy and Genoa, and found
+favour with the wealthy Chapter of Seville. The artists employed to
+adorn the Cathedral range from Juan Sanchez de Castro, 'the morning star
+of Andalusia,' in 1454, to Francisco Goya, the last great painter of
+Spain.</p>
+
+<p>Many of the so-called Spanish school of artists were aliens who settled
+in the country. Pedro Campa�a was, for example, a native of Brussels.
+For twenty years he studied in Italy, and his Purification of the Virgin
+shows the Italian influence. Sturmio was probably a German named Sturm.
+Dom�nico Theotoc�puli, called '<i>El Greco</i>,' was a Greek. Mateo Perez de
+Alesio was an Italian, who lived in Seville, and died at Rome in 1600.</p>
+
+<p>Luis de Vargas, the painter of the Nativity picture in the Cathedral,
+whose fresco work is to be seen elsewhere in the city, was a student of
+the Italian method. Vargas was a man of profound piety. He was born in
+Seville in 1502. After his death, scourges used for self-inflicted
+penance were found in his room, and by his bed was a coffin in which
+the<a name="page_108" id="page_108"></a> ascetic painter used to lie in order to meditate seriously upon
+life.</p>
+
+<p>The religious devotion of Luis de Vargas is exhibited in the spirit of
+his work. This reverential treatment of sacred subjects is
+characteristic of all the Sevillian painters. In their art they
+worshipped. Martinez Monta�ez, or Monta�es, the sculptor, was a zealous
+Catholic. In his coloured statues we perceive a melancholy reflection of
+his sombre mind, a pathos expressing itself in realistic conceptions of
+a suffering Christ and a sorrowful St. Francis Xavier. These tinted
+statues appeal powerfully to the imagination of the Sevillian populace.
+Many of the images were made for the solemn processions of Semana Santa.</p>
+
+<p>Among the artists employed in adorning the Cathedral there was not one
+more devoted to the Church than Pacheco. He was censor of art for the
+Inquisition, and in his writings we find precise counsels upon the
+fitting method of painting sacred pictures. To Pacheco the faith was of
+far greater moment than art. He was a close friend of Monta�ez, whose
+statues he sometimes coloured.</p>
+
+<p><i>The Sagrario</i> adjoins the Cathedral, and may be entered from the Court
+of the Oranges. The building serves as a parish church, and occupies the
+ground of the old <i>Sagrario</i>. It was begun in 1618 by Miguel Zum�rraga,
+and completed in 1662 by Lorenzo Fernandez. The vaulted roof is
+remarkable. Pedro Roldan painted the retablo, which was formerly in the
+Francisan Convent. The convent stood in the Plaza de San Fernando, or
+Plaza Nueva, as it is sometimes called. Roldan was a contemporary and
+follower of Monta�ez. There is an important image of St. Clement by
+Pedro Duque Cornejo. The statue of the Virgin is the work of the devout
+Martinez Monta�ez.<a name="page_109" id="page_109"></a></p>
+
+<p>Beneath the church is the vault of the Archbishops of Seville. The
+terra-cotta altar is exceedingly decorative. In the sacristy there are
+some splendid <i>azulejos</i>, which formed part of the old Morisco mosque.<a name="page_110" id="page_110"></a></p>
+
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br /><br />
+<i>The Alc�zar</i></h2>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left">'How Sultan after Sultan with his Pomp</td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Abode his destined Hour, and went his way.'</span></td></tr>
+<tr><td align="right"><span class="smcap">Rub�iyat of Omar Khayy�m.</span></td></tr>
+</table>
+
+<p class="nind"><span class="letra">T</span>HE
+richest monument of Almohade might in Seville is the beautiful
+Alc�zar, or 'Castle,' which stands at but a stone's-throw from the
+remains of the great mosque. It is a palace of dreams, encompassed by
+lovely perfumed gardens. Its courts and salons are redolent of Moorish
+days, and haunted by the spirits of turbaned sheiks, philosophers,
+minstrels, and dark-eyed beauties of the harem. As we loiter under the
+orange trees of quiet gardens, we picture the palace as it was when
+peopled by the chiefs and retinues of swarthy skin in the time of
+Abdelasis, and contrast what remains of the primitive structure and
+Morisco decoration with the successive additions by Christian kings.</p>
+
+<p>The nightingales still sing among the odorous orange bloom, and in the
+tangles of roses birds build their nests. Fountains tinkle beneath
+gently moving palms; the savour of Orientalism clings to the spot. Here
+wise men discussed in the cool of summer nights, when the moon stood
+high over the Giralda, and white beams fell through the spreading boughs
+of the lemon trees, and shivered upon the tiled pavements.</p>
+
+<p>In this garden the musicians played, and the tawny dancers writhed and
+curved their lissome bodies, in<a name="page_111" id="page_111"></a>
+<a name="page_112" id="page_112"></a>
+<a name="page_113" id="page_113"></a>dramatic Eastern dances. <i>Ichabod!</i>
+The moody potentate, bowed down with the cares of high office, no longer
+treads the dim corridor, or lingers in the shade of the palm trees, lost
+in cogitation. No sound of gaiety reverberates in the deserted courts;
+no voice of orator is heard in the Hall of Justice. The green lizards
+bask on the deserted benches of the gardens. Rose petals strew the paved
+paths. One's footsteps echo in the gorgeous <i>patios</i>, whose walls have
+witnessed many a scene of pomp, tragedy and pathos. The spell of the
+past holds one; and before the imagination troops a long procession of
+illustrious sovereigns, courtiers, counsellors and menials.</p>
+
+<p class="figcenter">
+<a href="images/ill_131_lg.jpg">
+<img src="images/ill_131_sml.jpg" width="784" height="510" alt="Patio de las Doncellas" title="Patio de las Doncellas" /></a>
+</p>
+
+<p>
+<br />&nbsp;
+</p>
+
+<p>The historians of the Alc�zar suppose that the original structure was
+erected in 1181 for Abu Yakub Y�suf. Between the Puerta del Le�n, in the
+Plaza del Triunfo, and the Sala de Justicia there are parts of the wall
+which are said to date back to the Roman times. It is generally asserted
+that the Moorish palace was reared on the ruins of a Roman pr�torium,
+and that the original work was undertaken in the eleventh century. In
+its pristine form the Alc�zar was of triangular design, and the
+buildings and gardens occupied a much greater space than they cover at
+the present day. The chief <i>puerta</i> was originally at the Torre de la
+Plata, formerly standing in the Calle de Ataranzas, but pulled down in
+recent years; while another point of the triangle was at the Torre del
+Oro, on the bank of the Guadalquivir. Within these precincts there were
+vast halls, council rooms, dormitories, baths and gardens. The remaining
+portions of the walls and the towers show that the ancient fortress was
+very strong; and one can understand the difficulty experienced by
+Fernando the Good during his long siege of the citadel.<a name="page_114" id="page_114"></a></p>
+
+<p>In the Plaza de Santo Tomas is the Tower of Abdelasis, which was once
+part of the palace. It was from this tower that Fernando floated the
+Christian standard after the capture of the Alc�zar. The chief entrance
+in our day is in the Plaza del Triunfo. It is called the Gate of the
+Lion (Puerta del Le�n). We pass through, and come into the Patio de las
+Banderas (Court of the Banners), so called because a flag was hoisted
+here during the residence of the sovereign in the palace. The <i>patio</i> is
+surrounded by modern offices, and planted with orange trees. A roofed
+passage on the right side of the court leads to the wonderful <i>Mud�jar</i>
+halls and the salons of the Catholic kings. The passage is the Apeadero,
+or 'halting-place.' It was built by Philip V. The fa�ade is in the
+Baroque style.</p>
+
+<p>Turning to the right from the Apeadero, we follow a corridor to the
+Court of Do�a Maria Padilla, the mistress of Pedro the Cruel. The court
+is planted with orange and lemon trees and big palms. Arched galleries
+of a modern character seem out of place here. But in a moment we come
+into the Patio de la Monteria with its beautiful Moorish fa�ade. The
+<i>ajimez</i> windows, the cusped arches, and the decorations of this doorway
+are fine examples of Almohade art. There is an inscription in early
+Gothic characters, over the door, stating that 'the most noble and
+powerful Don Pedro, by the grace of God, King of Castile and Le�n,
+caused these fortresses and palaces to be built in the era of <i>de mill
+et quatrocientios y dos</i>' (of C�sar). The date is 1364 <small>A.D.</small></p>
+
+<p>We follow a passage to the Patio de las Doncellas (Court of the
+Maidens). This large and lofty hall has twenty-four beautiful Morisco
+arches, and singularly rich ornamentations. The fifty-two marble columns
+are of the Renaissance period, and were substituted<a name="page_115" id="page_115"></a> between the years
+1540 and 1564 for the original pillars. Notice the glazed tiling
+decorations of brilliant colouring. These date from the time of Pedro
+the Cruel, who added to the ancient palace until little of the original
+remained. Notwithstanding, the style is distinctly Moorish, and the
+decoration was the work of <i>Mud�jares</i>, whose quaint <i>azulejos</i> may be
+here studied to advantage.</p>
+
+<p>The Sal�n de Embajadores adjoins the Court of the Maidens. This was the
+Hall of the Ambassadors. It is about thirty-three feet square. The dome
+is of the <i>media naranja</i> or 'half orange' shape, the favourite design
+of the Moorish architects. On the walls are portraits of the monarchs of
+Spain. This is the most sumptuous of the salons of the Alc�zar; the
+walls veritably dazzle the spectator with their richness of colouring.
+Not one inch of space on the arches, walls and doorways is left without
+an ornate pattern. The doors of the salon are massive and finely
+decorated. In this hall Charles V. was married to Isabella of Portugal.</p>
+
+<p>The Comedor, or dining-room, opens out of the Hall of Ambassadors on the
+west side. We find in this room the latest restorations of the palace.
+Here, on September 21, 1848, was born the Infanta Do�a Maria Isabel de
+Orleans y Borb�n, Condesa de Paris. The bedroom of Isabella the Catholic
+adjoins the Comedor.</p>
+
+<p>Returning to the Hall of the Ambassadors, we enter the room of Philip
+II., and pass through it to the small Patio de las Mu�ecas. Note the
+pigmy figures in the ornamentation, which give the name of the Dolls'
+Court to this chamber. The upper parts of the gallery are modern, and
+were constructed in the years 1855 and 1856, at the time of the last
+extensive restoration of the Alc�zar.<a name="page_116" id="page_116"></a></p>
+
+<p>The Sal�n of the Princes, approached from the Patio de las Mu�ecas, is a
+spacious hall, in the mixed styles of the <i>Mud�jar</i> and the plateresque.
+The Dormitory of the Moorish Kings should be inspected. Then cross the
+Patio de las Doncellas to the Sal�n de Carlos V. This chamber has a
+remarkably fine ceiling, and beautiful decorations of <i>azulejos</i>, made
+by Cristobal de Augusta, an Italian, who worked in Triana in 1577. From
+the salon we may enter the room of Maria de Padilla.</p>
+
+<p>The upper apartments of the Alc�zar can be viewed by special permission.
+I would strongly urge the visitor to obtain this permission. If he
+applies to the <i>conserje</i> at the Palace of Pedro, he will be informed
+that admission is impossible without an order from the King of Spain.
+Such was my experience. I then asked for an order at the offices in the
+Patio de las Banderas, but the courteous officials were firm in their
+refusal, stating that 'no one but the King can give permission to visit
+the upper part of the Alc�zar.' Still determined, I ventured to address
+His Majesty by letter, and in a few days I received a reply from the
+Intendencia General de la Real Casa y Patrimonio at Madrid. The letter
+was written by the royal secretary, and is a beautiful example of the
+ornate caligraphy in which educated Spaniards delight. I was told that
+'the Se�or Marqu�s de Ir�n, Alcaide of the Reales Alc�zares, would grant
+me the desired permission.'</p>
+
+<p>At the hotel I inquired where the Marqu�s de Ir�n resided. No one knew.
+My host searched through a Seville directory. The name of the Marqu�s de
+Ir�n was not to be found in its pages. Finally, armed with the letter
+from the royal palace, I presented myself at the offices in the Patio de
+las Banderas, and displayed the missive.<a name="page_117" id="page_117"></a></p>
+
+<p>The effect was magical. The officials were even more polite than before.
+One of them wrote a note, which he asked me to give to the <i>conserje</i>,
+and I was bowed out of the office. The <i>conserje</i> in the Patio de la
+Monteria scanned the open-sesame. And at last I gained entrance to the
+upper apartments of the Royal Alc�zar.</p>
+
+<p>The visitor who has secured his permit will be rewarded. There is much
+to see in these chambers. Notice, first of all, the fine staircase
+constructed at the end of the sixteenth century. The seventeenth-century
+tapestries in the salons are magnificent examples of this art. Most of
+the subjects are Dutch; some are copies of pictures by David Teniers. In
+the first hall, at the head of the principal staircase, there is some
+handsome artesonada ceiling decoration of the fifteenth century.</p>
+
+<p>In the Oratory of the Catholic Kings there is the most notable specimen
+of ceramic art to be seen in Spain. It is a lovely retablo of
+<i>azulejos</i>, designed by Franciso Niculoso, an Italian, in 1504. Niculoso
+introduced this kind of <i>azulejo</i> painting into Seville. The central
+picture represents the Visitation of the Virgin to St. Isabella. A
+smaller subject is the Annunciation, and there is a curious genealogical
+tree of the Saviour. The decorations are fantastic.</p>
+
+<p>In the Comedor there is a splendid laced ceiling of <i>Mud�jar</i>
+workmanship, dating from the fifteenth century. The walls are covered
+with interesting tapestry pictures.</p>
+
+<p>Step on to the balcony of the Hall of the Ambassadors, and admire the
+roofing, the columns, and wealth of Oriental ornamentation. In the rooms
+of the Infantas there are <i>Mud�jar</i> ceilings of the fifteenth and
+sixteenth centuries. The portraits of princes and other royal personages
+are not of much artistic importance.<a name="page_118" id="page_118"></a> There is a picture by Goya, a very
+spirited portrait of Do�a Maria, wife of Don Carlos IV. Goya was the
+last of the great painters of Spain. A number of his works are in a
+gallery of the Prado Museum at Madrid, but very few of his paintings are
+preserved in Seville. This example in the Alc�zar deserves the visitor's
+notice.</p>
+
+<p>One of the most interesting apartments on the upper floors of the royal
+palace is the bedroom of Pedro el Cruel. The <i>dormitorio</i> is sumptuous
+with <i>Mud�jar</i> decorations of the sixteenth century. Near the doorway
+are four heads painted upon the wall. They are the heads of four
+disloyal justices who incurred the anger of their sovereign, and were
+condemned to death. The paintings throw a light upon the character of
+Pedro, who, no doubt, surveyed them with satisfaction whenever he
+entered the chamber. It is probable that the King feared assassination,
+for from this part of the palace there is a staircase descending to the
+quarters formerly occupied by the guards and royal bowmen. The story
+runs that Pedro had this stairway made in order to communicate with his
+faithful servant Juan Diente, a famous marksman with the bow.</p>
+
+<p>In the Dormitory of Queen Isabel there is a copy of Murillo's <i>Ecce
+Homo</i>, and various portraits of monarchs. The Sal�n Azul (Blue Room) is
+so named on account of the colour of its silk tapestries. The pastel
+paintings in this apartment are by A. Muraton, representing Queen Do�a
+Isabel, the Infanta Do�a Isabel, King Alfonso XII., and the Marquesa de
+Novaliches. There are also eighteen miniatures painted upon ivory.</p>
+
+<p>The modern bedroom has a Coronation of the Virgin, the work of Vicente
+L�pez, a copy of a Murillo, and another of Raphael's Holy Family.<a name="page_119" id="page_119"></a></p>
+
+<p>Let us saunter now in the sunny gardens of the Alc�zar. We can reach
+them through the Apeadero, and by the steps leading from the tank at the
+entrance. The reservoir is full of carp, some of them of corpulent
+proportions. A few small fish may be seen basking near the surface of
+the water, but the bigger and warier carp do not often show themselves.
+Roses cluster about the steps, and twine on all the railings. We come to
+a tree-grown court, with a gallery running on one side, and an arched
+entrance to the Baths of Maria de Padilla. This garden is called El
+Jardin del Crucero. The underground bath is cool, and it is a rest to
+the eyes to escape for a few minutes from the dazzling sunlight of the
+gardens. Here the lovely Maria, faithful mistress of the ferocious
+Pedro, was wont to bathe in warm weather.</p>
+
+<p>To show their homage to the monarch's consort, the chivalrous courtiers
+came hither when the fair bather had taken her bath, and drank of the
+water in which she had washed her white limbs. It is said that these
+devoted servitors used sometimes to carry away some of the water in
+vessels 'to drink it with enjoyment.'</p>
+
+<p>Pedro el Cruel, of all the Christian sovereigns who lived in the
+Alc�zar, was the most attached to the palace. He lavished money upon the
+building of the apartments which we have just inspected, and employed
+the cleverest <i>Mud�jar</i> designers and craftsmen. In the Hall of Justice
+he heard charges against criminal offenders; in the gorgeous salons he
+received illustrious guests, discoursed with his officers, and played at
+draughts with his courtiers. His image arises before the imagination as
+we stray under the lemon and orange trees of his quaint and charming
+pleasure-grounds. Coming to the throne in his sixteenth year, Don Pedro
+decided upon making Seville his capital.<a name="page_120" id="page_120"></a></p>
+
+<p>We have read in the historical sections of our account of the city how
+he earned the title of 'El Cruel.' But the story of his treachery
+towards his half-brothers has not been related.</p>
+
+<p>Don Fadrique, Master of the Order of Santiago, and half-brother of Pedro
+el Cruel, having confessed allegiance to the King, came one day to
+Seville, after a campaign with rebels in Murcia. The Master of Santiago
+went to the Alc�zar with the intention of paying a visit to his
+half-brother, the King. Pedro was playing at backgammon in his private
+apartment of the palace when Don Fadrique came to him.</p>
+
+<p>The monarch received his general with genial courtesies, and bade him
+stay in the Alc�zar. Leaving Pedro for a while, the Master went to the
+rooms of Maria de Padilla. He found her agitated and pale, but the
+sadness of her beautiful countenance did not cause him to suspect what
+lay upon her mind. Maria knew that Pedro longed to rid himself of all
+possible claimants to the throne. His eldest half-brother Enrique was in
+France, plotting against the Castilian throne. Pedro still dreaded a
+rising under Fadrique. He apparently doubted his professed fealty, and
+he had planned his murder. It is said that the Master of Santiago
+received hints of the fate that awaited him. But he returned to the
+quarters of the King, who was in company with several members of his
+court.</p>
+
+<p>Pedro had shut himself in an inner room, which had a wicket to it. From
+the wicket he shouted to his soldiers: 'Kill the Master of Santiago!'
+The bowmen obeyed. Fadrique drew his sword and made a stand, but he was
+soon overpowered, and struck down by blows on the head. The Master's
+servants were next seized and slaughtered. One of the train ran to the
+room of Maria de Padilla, pursued by his assailants, and threw himself
+behind Do�a Beatrice, one of<a name="page_121" id="page_121"></a> Maria's daughters. Pedro was among the
+pursuers. He tore the man from the arms of Beatrice, stabbed him, and
+gave him into the hands of his assassins. Returning to the room where
+Don Fadrique was expiring, Pedro saw that his half-brother was still
+breathing. Drawing his dagger, the King gave it to an attendant, and
+commanded him to kill the Master outright.</p>
+
+<p>During the siege of Seville by Fernando el Santo, the fortified palace
+was the chief point of attack. The massive walls of the Alc�zar long
+resisted the assault of the besiegers. But the beleaguered Moors were at
+length compelled to offer surrender to the knights of the Cross. On the
+day of St. Clement the gates were thrown open, and San Fernando rode
+into the courtyard. In the King's hand was a sword; on his saddle the
+ivory image of the Holy Virgin. By his side rode Don Garcia de Varga and
+his brother Don Diego, the Cond� Lorenzo, Pelago, and other brave
+cavaliers. The Khalif of the Alc�zar escaped by the gate near the
+Hospital del Sangre. Henceforward, the palace was to be the residence of
+the kings of Castile.</p>
+
+<p>In 1379 Juan I. lived in the Alc�zar. The King ascended the throne
+without opposition. Trouble arose soon with Portugal, and Juan marched
+at the head of thirty-four thousand soldiers into the enemy's territory.
+The Portuguese had a small force of only ten thousand men, including a
+few Englishmen. Near the village of Aljubarrota the armies met. There
+was a great battle, in which the Portuguese troops fought valiantly, and
+drove back the invaders.</p>
+
+<p>Don Juan was ill and weak during the engagement. He was carried on a
+litter by his knights, and in the retreat, the King was put on a mule,
+and hurried from the scene of action to the Tagus. Here the monarch<a name="page_122" id="page_122"></a>
+embarked in a small boat for Lisbon, whence he returned to Seville to
+mourn his defeat in the seclusion of the Alc�zar.</p>
+
+<p>Isabel and Fernando often sought the tranquil paths of this garden. The
+Catholic Queen and her Consort lived here in great state, in the palmy
+days of Seville, dispensing justice, listening to the counsels of
+Torquemada and the officers of the Holy Inquisition, and consulting with
+Columbus regarding the expansion of their realm and the development of
+trade with the New World. Many were the hours passed by the blue-eyed,
+fair-haired Queen in the private chapel.</p>
+
+<p>The pious Philip II. came here, though he preferred his mountain palace
+of the Escorial. He ordered the portraits of the Kings of Spain to be
+painted in the Hall of the Ambassadors. As we have read, Philip incurred
+the resentment of the Sevillian merchants by his confiscation of their
+ingots. But the prelates and clergy of the city honoured the sovereign,
+who always supported the Church and favoured the priests. In his reign
+the Primate of Spain was almost as wealthy as the Pope. The Archbishop
+of Seville received an income of eighty thousand ducats a year.</p>
+
+<p>Philip spent his time at the Alc�zar in his usual daily labours, writing
+like a clerk in his private room until the small hours of the morning.
+Every morning he attended Mass. The King lived simply, for he feared the
+gout. But in spite of this form of frugality, Philip spent his revenue
+freely in maintaining a large household. In his retinue there were
+fifteen hundred persons, including forty pages, all of noble family.</p>
+
+<p>In the Queen's train there were twenty-six ladies-in-waiting, and four
+physicians were in constant attendance on Her Majesty. We may picture
+Philip moodily roaming in the gardens, dressed in black velvet, with a
+plumed cap. From his neck was suspended<a name="page_123" id="page_123"></a> the fine jewel of the Golden
+Fleece. He wore sober clothes, and changed his suits once every month
+for new ones. His wear, like the cast of his mind, was sombre. A dread
+of society possessed the King, and in his later days he became more
+taciturn and morose.</p>
+
+<p>'I am absolute King,' was the boast of the despotic Philip. His ambition
+was to attain power, to extend his kingdom beyond the seas, and to crush
+out heresy. Yet Tennyson's love-dazzled Mary is made to ask, as she
+gazes upon the face of the Spanish King, in a miniature painting:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">'Is this the face of one who plays the tyrant?</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Peruse it; is it not goodly, ay, and gentle?'</span></td></tr>
+</table>
+
+<p>These gardens evoke reflections upon the ever-changing fate of Spain. We
+gaze at relics of the Moors, and remember the eight hundred years of
+that sanguinary history of the expulsion of the infidels. Yet everywhere
+there are traces of that mighty civilisation built up by Morisco
+knowledge and industry. The <i>Mud�jar</i> has touched the palace and the
+gardens with his magic wand. Fernando, Pedro, Philip, Carlos&mdash;all the
+Catholic sovereigns&mdash;preserved the Moorish style of decoration, and
+borrowed from the art of the hated race.</p>
+
+<p>Passing under a handsome gateway, represented in one of our
+illustrations, we come to a fountain surrounded by a tiled pavement, and
+overshadowed by trees. Before us is the Pavilion of Carlos Quinto, with
+a fine ceiling and <i>azulejos</i>. This summer-house was built by Juan
+Hernandez in 1543. Turn to the left, and inspect the archway in the
+wall, and the curious mural paintings. We may then retrace our steps to
+the pavilion, and pass another tank and a<a name="page_124" id="page_124"></a> grotto till we reach the maze
+and a tangled garden beyond it. This is the Garden of the Labyrinth.
+Further, we may not ramble.</p>
+
+<p>In 1626 a theatre stood in the large <i>patio</i> near the Puerta del Le�n,
+by which gate we must leave the Alc�zar. The playhouse was of oval form,
+with three balconies, and one part of the theatre was reserved for
+ladies. The travelling actors who visited Seville preferred this theatre
+to any other in the city, as is shown by the archives of the palace. In
+the year 1691 the theatre was entirely destroyed by a great fire, and
+not a stone of the old building remains.</p>
+
+<p>The singular mingling of Christian and Moorish architecture and
+adornment in the modern Alc�zar is characteristic of Seville. We find
+the same mixture of styles in the Casa Pilatos and in other mansions of
+the city. Even the railway station at the termination of the C�rdova
+line affords an example of the perpetuation of Morisco design and
+decoration. It is this Moorish influence that lends a strange interest
+to Seville. Some writers have declared that these mixed styles of
+architecture are anomalous. There is certainly an air of the grotesque
+in the combination of <i>Mud�jar</i> windows, cusped arches, columns, and
+<i>azulejos</i>, and Renaissance and Gothic features. But despite the element
+of incongruity, the effect is often pleasing, while the mingling of the
+styles is especially interesting from the historical point of view.</p>
+
+<p>In our inspection of the Sevillian monuments we are able to estimate the
+enormous sway that the Moors exercised upon the Andalusian mind. That
+influence will probably endure for very many centuries to come.
+Spaniards may abhor the faith of Allah, and detest the children of
+Mahomet; but they have never refused to learn the arts of the Moors, nor
+to apply them to the building of sacred and secular edifices. In the<a name="page_125" id="page_125"></a>
+<a name="page_126" id="page_126"></a>
+<a name="page_127" id="page_127"></a>
+poorest villages of Southern Spain we rarely fail to notice some trace
+or another of the Moorish builder.</p>
+
+<p class="figcenter">
+<a href="images/ill_145_lg.jpg">
+<img src="images/ill_145_sml.jpg" width="505" height="758" alt="In the Garden of the Alc�zar." title="In the Garden of the Alc�zar." /></a>
+<br />
+<span class="caption">In the Garden of the Alc�zar.</span>
+</p>
+
+<p>The Orientalism of the Alc�zar remains in spite of the pseudo-Moorish
+restorations and the Renaissance additions. It is perhaps an atmosphere,
+a suggestion, rather than the reality. Still, the pile is a very
+remarkable monument, and every stone of it has its tale to tell of
+memorable scenes and great events. One is tempted to linger hour after
+hour in the dreamy gardens, watching the gaudy butterflies and the
+peering, green lizards, and thinking of the bygone greatness of Seville.</p>
+
+<p>Let us conjure one more illustrious figure to the view before we quit
+the palace grounds. Here the Emperor Charles V. roamed with his young
+bride, Isabella of Portugal. The portraits of Charles show a well-knit
+figure, and a good forehead, with the projecting lower jaw
+characteristic of his family. He was fond of music, and was accounted
+well cultured. Mr. Edward Armstrong tells us, however, in his <i>Emperor
+Charles V.</i>, that the sovereign was a 'singularly bad linguist.' He knew
+only a few words of Spanish after he had ruled Castile and Aragon for
+two years. 'French was his natural language, but he neither spoke nor
+wrote it with any elegance.' The Emperor's knowledge of theology was
+scanty; and though he was a stern defender of the Catholic faith, he
+could scarcely read the Vulgate.</p>
+
+<p>Isabella was but twenty-three years of age at the time of her marriage
+with Charles. She was, however, no child. Her intelligence was quick.
+The Princess was short, spare in body, with a clear white skin. The
+wedding was celebrated in Seville, in March 1526. For the honeymoon the
+Emperor and his bride visited C�rdova and Granada.</p>
+
+<p>Charles liked the seclusion of his palace in Seville. 'Not greedy of
+territory, but most greedy of peace<a name="page_128" id="page_128"></a> and quiet,' was the description of
+the monarch by Marcantonio Contarini, in 1536. He was strongly attached
+to his wife; he was fond of children, and kept pet animals, 'including a
+parrot and two Indian cats.' The Emperor was interested in gardening,
+and he introduced the carnation into Spain. At table he was a glutton,
+and unable to exercise self-control over his greedy appetite. It was
+said that Charles five times drained a flagon, containing nearly a quart
+of Rhenish wine, during a single meal. We need not be surprised that he
+suffered from severe attacks of gout. Yet he would not forego the
+pleasures of the table, and when his physician warned him that beer was
+injurious to his constitution, the Emperor refused to give up drinking
+it.</p>
+
+<p>In dress Charles was economical. He went to Italy in a shabby suit,
+hoping by his example to check the tendency to extravagance displayed by
+his courtiers and the nobles of Spain. His servants were sometimes in
+tattered clothes.</p>
+
+<p>'A fine taste for art seemed inborn in Charles,' writes Mr. Armstrong.
+'Before he ever set foot in Italy he had summoned Italian architects and
+sculptors to build the splendid Renaissance palace at Granada, which was
+destined to remain unfinished.... Music was a passion from boyhood. The
+Emperor's choir was the best in Europe. To his choristers he was most
+generous, for when their voices broke he would educate them for three
+years, and afterwards, if they recovered voice, he would give them the
+preference for places in his chapel.'<a name="page_129" id="page_129"></a></p>
+
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<br /><br />
+<i>The Literary Associations of the City</i></h2>
+
+<div class="blockquot"><p>'Among no other people did the spirit and character of the middle
+age, in its most beautiful and dignified form, so long continue and
+survive in manners, ways of thinking, intellectual culture, and
+works of imagination and poetry, as among the
+Spaniards.'&mdash;<span class="smcap">Schlegel</span>, <i>Philosophy of History</i>.</p></div>
+
+<p class="nind"><span class="letra">W</span>E
+have noted that in the Visigoth and Moorish periods Seville was a
+centre of literature and the arts. The Christians had their St. Isidore,
+a famed historian and theological writer, and the Moriscoes acclaimed
+the sagacious El Begi, 'whose knowledge was a marvel.' Many Moorish
+scribes laboured in the city before San Fernando regained it for the
+Spaniards; but very few of their names have lived through the stress of
+turbulent times, when every man was for fighting, and art and letters
+languished.</p>
+
+<p>When we reach the fifteenth century, we find that certain enterprising
+German printers set up presses in Seville, and that books, such as Diego
+de Valera's <i>Cronica de Espa�a</i>, were printed and published.</p>
+
+<p>The printing press gradually destroyed the wonderful art of the
+illuminated missal, in which the monks excelled, and letterpress began
+to supersede manuscript. In the Cathedral Library of Seville is the
+great Bible of Pedro de Pampeluna, in two volumes. It was transcribed
+for Alfonso the Learned, and the work is perhaps unmatched. Rich
+illuminations abound in the pages, testifying to the skill and the
+patience of the artist.</p>
+
+<p>But this industry, followed with such zeal by the<a name="page_130" id="page_130"></a> clergy, was soon
+lost. With the advent of machinery more books were produced, and they
+came into the hands of the people, who in the pre-printing days were
+unable to purchase the costly volumes of manuscript.</p>
+
+<p>At this time also secular dramas began to take the place of mystery
+plays. The theatre has remained one of the favourite recreations of the
+Spanish people, and on the modern stage serious plays, dealing with
+social problems, are often produced. Among the playwrights of Spain the
+name of Lope de Rueda is held in reverence, for it was he who opened the
+way for them. 'The real father of the Spanish theatre' was a native of
+Seville, and by trade a goldsmith. From 1560 to 1590, the dramas of Lope
+de Rueda were performed in Seville. Cervantes may have been influenced
+by this pioneer of dramatic art, for, as a youth, he saw Lope de Rueda
+act.</p>
+
+<p>In his zenith, the player's stage consisted of half-a-dozen planks, laid
+upon four benches. There was no scenery. Old blankets served as curtain
+and 'back sheet.' Between the acts a few singers sang without any
+instrumental accompaniment. With such primitive paraphernalia this
+Thespian travelled about with his company of mummers, writing his own
+dramas, and acting in them. He died about the year 1567.</p>
+
+<p>Contemporary with Lope de Rueda and Cervantes was Domingo de Bercerra,
+who was born in the city in 1535. During the campaign with the Turks, he
+was seized by Moorish pirates and taken prisoner with Cervantes to
+Algiers. De Bercerra is known for his translation of Giovanni della
+Casa's <i>Il Galateo</i>. Hieronimo Carranza, who wrote <i>Philosophia y
+destreza de las Armas</i>, and Juan de la Cueva, writer of plays and poems,
+lived in Seville at this time.</p>
+
+<p>We now enter upon an era memorable in the literary annals of the city.
+This is the period when Seville<a name="page_131" id="page_131"></a> could boast of her scholars, poets,
+dramatists and historians, and lay claim to distinction as possessing
+the most cultured circle of writers and artists in the whole of Spain.
+Fernando de Herrera, born in 1534, in Seville, holds a high position
+among Spanish poets. His <i>Canci�n � Lepanto</i>, a poem in celebration of
+the victory of Lepanto, 'deserves,' says Mr. Butler Clarke, 'to be
+placed side by side with the first eclogue of Garcilaso as one of the
+noblest monuments of the Spanish tongue.'</p>
+
+<p>Rodrigo Caro, the historian, and one of the Sevillian authors, says in
+his <i>Illustrious Men, Natives of Seville</i>, that Herrera 'understood
+Latin perfectly, and wrote several epigrams in that language, which
+might rival the most famous ancient authors in thought and expression.
+He possessed a moderate knowledge of Greek.' The prose writings of 'the
+divine Herrera' are marked with the same beauty as his poetry. He wrote
+a great general history of his country, up to the reign of Carlos V.,
+and earned from Lope de Vega the title of 'the Learned.'</p>
+
+<p>We learn that Fernando de Herrera was a tall man, with a handsome
+countenance, thick curling hair, and a beard. The love of his life
+appears to have been 'spiritual'; he was enamoured of Eliodora, Countess
+of Gelves. This adoration was of the nature of that manifested by Dante
+for Beatrice. The poet calls his divinity 'Love,' 'Sun,' and 'Star,' but
+there is an unreality in his odes to the Countess. We read, too, that
+Herrera was well read in philosophy, and expert in mathematics.</p>
+
+<p>At this time there were two resorts in Seville for authors, artists, and
+men of culture. One was the house of the refined and versatile Pacheco,
+Canon of the Cathedral; the other was the Casa Pilatos, the mansion of
+the Duques de Alcal�. In the circle of<a name="page_132" id="page_132"></a> Francisco Pacheco we shall find
+all the notable painters and poets of Seville; C�spedes, Cervantes, and
+Velazquez, who married Pacheco's daughter, were frequenters of the
+Canon's hospitable house. It was Pacheco who collected and published
+Herrera's poems, under the patronage of the Cond� d'Olivarez, and to him
+we owe the preservation of some wonderful fragments of a poem on the art
+of painting, composed by Pablo de C�spedes. These selections were quoted
+by Pacheco in his treatise on art, and one of the finest passages is
+that of counsel to an artist in painting a horse. Except for these
+portions, nothing remains of the poem of C�spedes, which was a work of
+high merit, written in the purest form of the Castilian language. The
+author was a man of conspicuous ability. He painted, wrote, carved
+statuary, and designed buildings.</p>
+
+<p>The genial Pacheco is perhaps better known as a writer upon painting,
+and a maker of Latin verse, than as an artist with the brush. His great
+book on art, <i>Arte de la Pintura</i>, was published in 1649. It is
+anecdotal, technical and historical, and displays the credulity of the
+writer in regard to the miraculous. He had the honour of training
+Velazquez, his future son-in-law, and the satisfaction of discovering
+the power of his young pupil.</p>
+
+<p>We will now take our way to the Casa Pilatos, which stands in the
+<i>plaza</i> of that name. Passing under a gateway, we enter a court. On the
+right is a very beautiful ironwork door in the <i>Mud�jar</i> form. An
+attendant opens it, and we pass into an inner <i>patio</i>, surrounded by
+busts, portions of antique sculpture, and two statues of Athena. In the
+centre is a fountain. The <i>casa</i> was designed by Moorish artists, early
+in the sixteenth century, for Don Pedro Enriquez, and his wife Do�a
+Catalina de Ribera. A descendant,<a name="page_133" id="page_133"></a> Don Fadrique, who had travelled in
+Palestine, added the so-called Pr�torium, and probably named the mansion
+after Pontius Pilate. There are unlettered persons in Seville who will
+assure you that Pilate lived in the house.</p>
+
+<p class="figcenter">
+<a href="images/ill_153_lg.jpg">
+<img src="images/ill_153_sml.jpg" width="474" height="610" alt="Cancela of the Casa Pilatus." title="Cancela of the Casa Pilatus." /></a>
+</p>
+
+<p>The third Duke of Alcal�, Fernando Enriquez de Ribera, established a
+great library here, and the Casa<a name="page_134" id="page_134"></a> Pilatos was the rendezvous of a
+polished coterie. The Duke collected pictures, procured Roman relics
+from Italica, and had cabinets of coins and medals, and cases containing
+manuscripts. He was an amateur painter, a patron of the fine arts, and
+the encourager of struggling genius. Pedro de Madrazo, in his <i>Sevilla y
+Cadiz</i>, states that 'the Casa Pilatos is an august representation of the
+architectural genius of the sixteenth century; memorable for the
+reunions of Pacheco, C�spedes, the Herreras, G�ngora, Jauregui, Baltasar
+de Alc�zar, Rioja, Juan de Arguizo, and Cervantes.'</p>
+
+<p>Other writers describe the architecture of the palace as pseudo-Moorish.
+It is indeed a mixture of Gothic, Moorish, and Renaissance designs,
+adorned with <i>azulejos</i>, the decorations being <i>Mud�jar</i> for the greater
+part. Pacheco, the friend of the Duke de Alcal�, painted the salon.</p>
+
+<p>Mr. M. Digby Wyatt, in his valuable work, <i>An Architect's Note Book in
+Spain</i>, describes the Casa Pilatos as possessing two special 'points of
+architectural value,' <i>i.e.</i>, 'the entirely Moresque character of the
+stucco work at a comparatively late date, and the profuse use of
+<i>azulejos</i> or coloured tiles. It is ... in and about the splendid
+staircase that this charming tile lining, of the use of which we have
+here of late years commenced a very satisfactory revival, asserts its
+value as a beautiful mode of introducing clean and permanent
+polychromatic decoration.'</p>
+
+<p>In the principal garden there are remains from Italica. The orange,
+lemon and jasmine grow profusely in this sunny, sheltered corner of the
+city. Here the cultured Duke Fernando Enriquez de Ribera discoursed with
+his illustrious guests, when the stars twinkled and the air was sweet
+with the odour of the jasmine and rose. No doubt Francisco Pacheco
+brought<a name="page_135" id="page_135"></a> his pupil Velazquez to the symposia. We can picture Cervantes
+relating the story of his imprisonment in Algiers, or diverting the
+company with anecdotes of the thieves and sharpers of Seville, whose
+exploits are recorded in his novel of <i>Rinconete y Cortadillo</i>. G�ngora,
+the poet, whose affectations and 'Gongorisms' offended George Henry
+Lewes, probably read his verses to a critical audience in the salon. Wit
+vied with wit, scholar discussed with scholar, and artists discoursed
+upon the new methods of painting. This was the intellectual centre of
+Seville, where kindred souls uttered their deepest thoughts, assured of
+sympathy and of comprehension. When the courtly owner of the palace
+died, his library, his treasures and curiosities were removed to Madrid,
+and Sevillian men of letters and painters lost a true friend.</p>
+
+<p>In 1588, Miguel de Servantes Saavedra, otherwise Cervantes, lived in the
+city. In his twenty-first year, while at Madrid, he had written a
+pastoral poem called <i>Filena</i>, some sonnets and canzonets. A few years
+later he obtained a position as chamberlain to Cardinal Julio Aquaviva
+at Rome; but he was not long in Italy. The love of adventure inspired
+him to enlist in the expedition force sent by Philip II. against Selim
+the Grand Turk. At the famous battle of Lepanto the young soldier
+received a wound in the left hand, which necessitated amputation. The
+surgeons bungled, and Cervantes lost the use of his arm. Still, he
+continued to serve as a private soldier in the ranks.</p>
+
+<p>In 1575, Cervantes was aboard a galley called the <i>Sun</i>, and when
+journeying from Naples to Spain, he and the entire crew were captured,
+and borne to Algiers as prisoners. For five years he lay in a dungeon
+until a sum was paid in ransom. Upon returning to his native land, he
+joined his mother and sister at Madrid, and there he led a studious
+life<a name="page_136" id="page_136"></a> for three years. His fighting days were at an end. He had seen
+strange things in foreign lands, and greatly enriched his store of
+experience of life. Henceforward he gave of his knowledge of the world,
+and toiled as a writer of poetry, dramas and marvellous romances. His
+struggle with fortune was severe. He wrote thirty comedies without
+gaining recognition. At this time he married Do�a Catalina de Solazar y
+Palacios y Vozmediano.</p>
+
+<p>In Seville there lived two relatives of the soldier-dramatist. They were
+merchants, with a large business, and it is said that they offered
+Cervantes employment. Mr. J. Fitz-Maurice Kelly tells us that the author
+obtained a post in the Real Audencia in Seville, probably that of
+tax-gatherer. Cervantes himself relates that 'he found something better
+to do than writing comedies.' Whether he sat on a stool in the
+mercantile office of his relations, or travelled as a tax-collector in
+Andalasia, is perhaps not quite certain. At anyrate, the dramatist
+continued to produce plays. He sought an appointment as
+Accountant-General of the new kingdom of Granada, or as Governor of
+Secomusco in Guatemala, or as Paymaster of the galleys at Cartagena, or
+as Corregidor in La Paz. His application was unnoticed, and it was not
+until 1808 that the document was unearthed. It is a story of hardship,
+neglect and disappointment. The soldier who had lost an arm in combat
+with his country's foes, the genius whose name was to reach the far ends
+of the civilised world, was forced to go begging for situations, which
+were refused to him. He still plied his pen for poor returns in the way
+of money. For Rodrigo Osorio he agreed to write six comedies at fifty
+ducats each. The price was not to be paid unless each play was 'one of
+the best ever presented in Spain.' Was there ever a more arbitrary
+contract?<a name="page_137" id="page_137"></a> It is doubtful whether Cervantes received anything for this
+work. Then came the quarrel between the Church and the Stage.
+Playwrights and actors were banned, and four months before the death of
+Philip II. all the theatres were closed.</p>
+
+<p>The clouds lifted slightly. In 1595 'Miguel Cervantes Saavedra of
+Seville' won the prize offered by the Dominicans of Zaragoza for a
+series of poems in honour of St. Hyacinthus. He appears to have earned
+his living at this period as a tax-gatherer. Sometimes he was to be
+found at Pacheco's house, and at the Casa Pilatos. Cervantes discerned
+the genius of Herrera, and the two poets became friends. A sonnet in
+praise of Herrera was written by Cervantes.</p>
+
+<p>Fresh trouble beset the unfortunate author. 'About this period Cervantes
+fell into the first of his money troubles,' writes Mr. Watts, in his
+<i>Miguel de Cervantes</i>, 'in connection with his office. Having to remit a
+sum of 7,400 <i>reals</i> from Seville to Madrid, he entrusted it to the
+hands of one Simon Freire, as his agent. Freire became bankrupt, and
+fled from Spain. This involved Cervantes in a debt to the crown, for
+which, being unable to pay, he was thrown into prison. Having reduced
+the amount by what he recovered from the bankrupt estate of Freire to
+2,600 <i>reals</i>, Cervantes was released after a detention of three months.
+Neither then, nor at any time afterwards&mdash;although the affair hung over
+him to trouble him for many years&mdash;was there any charge implicating his
+own personal rectitude.'</p>
+
+<p>Cervantes' pictures of the seamy side of Sevillian life were drawn
+vividly in his <i>picaresco</i> novels. The tales contain phrases in
+<i>Germania</i>, or thieves' argot, showing that the author closely observed
+his types of low life. It was not until he had reached his fifty-seventh
+year<a name="page_138" id="page_138"></a> that he finished the first part of <i>Don Quixote de la Mancha</i>. The
+great romance was partly written during Cervantes' imprisonment in La
+Mancha. There are three versions of the circumstances that brought about
+his confinement. One account is that Cervantes made himself unpopular as
+a tax-gatherer. But could that be made a felony or misdemeanour meriting
+gaol? Another story relates how he became a factory-owner, and polluted
+the Guadiana with waste matter; while a third report ascribes his
+punishment to the offence of uttering satires upon a lady.</p>
+
+<p>In 1605 <i>Don Quixote</i> was published, in a quarto volume, by Juan de la
+Cuesta of Madrid. Within seven months the book had reached its fourth
+edition. W. H. Prescott, in his essay on 'Cervantes,' states that two
+editions were issued in Madrid, one in Valencia, and one in Lisbon. Yet
+the author was not relieved of the burden of poverty. Fame sounded his
+name far and wide. But he had sold the copyright of his romance. And
+although his reputation was established beyond all doubt, he does not
+appear to have been in a position to obtain worthier remuneration for
+his labours. What is perhaps more strange, the leading incidents of his
+life were scarcely known in Spain when his first biographer, Mayans y
+Siscar, essayed a history of the great writer's career. Seven towns
+claimed him as a native when Tonson, in London, issued the first English
+edition in 1738.</p>
+
+<p>'If Cervantes, like his great contemporary, Shakespeare, has left few
+authentic details of his existence,' writes Prescott, 'the deficiency
+has been diligently supplied in both cases by speculation and
+conjecture.'</p>
+
+<p>In 1616 Cervantes fell sick of a dropsy. He was then in the sixty-ninth
+year of his age. After a brief illness, the genius expired, receiving
+the extreme unction as a devout Catholic.<a name="page_139" id="page_139"></a></p>
+
+<p>In the Calle de Santa Clara in Seville is the Casa de los Marqueses de
+Castromonte, a house mentioned by Cervantes in his novel, <i>La Espa�ola
+Inglesa</i> ('The Spanish-English Lady'). This <i>novela</i> relates the
+adventures of a Cadiz maiden, who was carried to England by one of the
+Earl of Essex's captains in 1596.</p>
+
+<p>We must now quit the stately Casa Pilatos, with its great literary
+traditions, and briefly note a few more of the writers who are
+associated with Seville. One of these is the novelist Cecilia Boehl von
+Faber, of German descent, who wrote under the <i>nom de plume</i> of Fern�n
+Caballero. This gifted authoress wrote several novels of social life in
+Spain, in which she did not flinch from attacking faulty institutions.
+She had even the courage to condemn the national pastime of
+bull-fighting, an institution that very few Spaniards have ventured to
+call in question. Fern�n Caballero lived in the street that bears her
+pen-name, and a tablet will be found upon the house which she occupied.</p>
+
+<p>Mateo Aleman, author of <i>Guzman de Alfarache</i>, who is sometimes ranked
+next to Cervantes, lived in the parish of San Nicolas. Alberto Lista,
+the poet, also resided in Seville.</p>
+
+<p>Lord Byron was here in August 1809. In a letter he writes:&mdash;</p>
+
+<p>'We lodged in the house of two Spanish unmarried ladies, who possess
+<i>six</i> houses in Seville, and gave me a curious specimen of Spanish
+manners. They are women of character, and the eldest a fine woman, the
+youngest pretty, but not so good a figure as Donna Josepha. The freedom
+of manner, which is general here, astonished me not a little; and in the
+course of further observation, I find that reserve is not the
+characteristic of the Spanish belles, who are, in general,<a name="page_140" id="page_140"></a> very
+handsome, with large black eyes, and very fine forms.' ...</p>
+
+<p>The elder of the two ladies presented Byron with a tress of her hair,
+measuring about three feet in length, and begged a lock of his
+lordship's hair in return.</p>
+
+<p>I have already mentioned Blanco White, who was born in Seville, and
+wrote <i>Letters from Spain</i>, in the name of Leucadio Doblado. His
+reminiscences should be read for the pictures of Sevillian society, in
+the early part of this century. White's <i>Life</i>, by J. H. Thorn, was
+published in London, in 1845.</p>
+
+<p>Th�ophile Gautier spent some time in the city, and related his
+impressions in his <i>Voyage en Espagne</i>, which is the most ably written
+of all books upon Spanish places and people. The author of <i>Mademoiselle
+de Maupin</i> excels in his descriptions of Seville, its monuments,
+paintings, and its life and character. He praises the charms of
+Sevillian <i>do�as</i>, declaring that they 'quite deserve the reputation for
+beauty which they enjoy.'</p>
+
+<p>The eccentric George Borrow came to Seville to distribute the
+Scriptures, as an agent of the Bible Society. His experiences with the
+clerical authorities of the city are recounted in <i>The Bible in Spain</i>.
+It is not strange that the priests of 'the Spanish Rome' resented the
+intrusion of the English Protestant missionary, and it was fortunate for
+Borrow that the Inquisition days were of the past. Otherwise, he would
+have suffered in the manner of the hapless Lutherans of Ponce de Le�n's
+time. As it was, the heretical <i>colporteur</i> had seventy-six copies of
+the New Testament confiscated. The books had been placed in the keeping
+of a bookseller. Borrow was never timid. He went straight to the
+ecclesiastical governor, and asked why the Testaments had been seized.
+The dignitary's reply was that the books were 'corrupting,'<a name="page_141" id="page_141"></a> and he
+soundly reproved the audacious Protestant for venturing to disseminate
+such dangerous literature in orthodox Seville.</p>
+
+<p>George Borrow does not write in flattering terms of the Andalusians. He
+says: 'I lived in the greatest retirement during the whole time that I
+passed at Seville, spending the greater part of each day in study, or in
+that half-dreamy state of inactivity which is the natural effect of the
+influence of a warm climate. There was little in the character of the
+people around to induce me to enter much into society. The higher class
+of the Andalusians are probably upon the whole the most vain and foolish
+of human beings.' ...</p>
+
+<p>Such was Borrow's opinion of the society of Seville. He appeared to be
+quite as contemptuous of the frivolous rich class as he was of most
+scholars and literary men. Fashionable London was never able to
+'lionise' Bohemian Borrow. He loved 'the wind on the heath,' the song of
+the waves on the Norfolk coast, the purple <i>sierras</i> of Spain, and the
+company of those children of nature, the <i>Kaulos</i> of Britain and the
+<i>Zincalis</i> of Castile. Elsewhere, however, in his writings, George
+Borrow speaks highly of the Spaniards in general. It was the pretensions
+of 'respectability,' whether in Spain or England, that called forth his
+pungent sarcasms.</p>
+
+<p>We must not forget that a famous prelate of the Roman Catholic Church,
+Cardinal Wiseman, was born at Seville, in 1802.</p>
+
+<p>It is perhaps not out of place in this chapter to allude to the
+attraction that Seville has possessed for three great musical composers.
+Mozart laid the scene of his <i>Don Juan</i> and <i>Figaro</i> in the city.
+Bizet's <i>Carmen</i> is concerned with Seville; and most famous of all in
+local interest is Rossini's <i>Barber</i>. Rossini's<a name="page_142" id="page_142"></a> opera is still popular
+in Spain. I saw it acted by an excellent company at C�rdova, in May
+1902.</p>
+
+<p>The dispersal of the cultured circle of Casa Pilatos would seem to mark
+the hour of the beginning of the decline of literature and the arts in
+Seville. We may feel astonishment that the writers of the Inquisition
+times were able to publish any works save those of theology, church
+history, or devotion. But we must remember that Pacheco was a cleric,
+that G�ngora was a priest, and that Rioja held a post in the Holy
+Office. Antonio, the bibliographer, was a canon of the Cathedral, and
+Cervantes was a staunch Catholic. These authors were safe; they were
+either priests of the Church or sworn defenders of the faith.</p>
+
+<p>Philosophers, scientific writers, and heterodox thinkers were unable to
+survive their environment. New thought was stamped out as soon as it was
+uttered, and it was seldom indeed that bold spirits dared to express
+innovating opinion. The greatest writer could scarcely subsist upon the
+earnings of his pen. He was forced, as in the case of Cervantes,
+Calderon, and Lope de Vega, among many other authors, to enter the army.
+The choice lay between the military and the ecclesiastic professions.
+Outside of these no man possessed a status.</p>
+
+<p>With the decline of literature in Spain, the teaching that science is an
+evil spread everywhere. In the seventeenth century, on the authority of
+Spanish historians, the arts had fallen into decay. At the same time the
+trade of Seville greatly suffered. The city was reaping the harvest of
+trouble sown by the Inquisition, with its disastrous proscriptions of
+scientific inquiry, and its taboos upon learning and the arts. Not only
+were Bibles burnt publicly in Seville and elsewhere, but secular books,
+treating upon many subjects, were thrown to the flames, in the height of
+the Inquisition<a name="page_143" id="page_143"></a> fanaticism. At the end of the fifteenth century six
+thousand volumes were thus destroyed at Salamanca. Such wanton acts
+contributed to the causes that brought the downfall of Spain. When
+C�rdova, Granada and Seville were under the Saracen rule, the conquered
+Christians were protected in their religious rights, and there was no
+restraint upon knowledge. These cities possessed excellent schools and
+huge libraries. The Arabic and Spanish languages were both spoken, and
+there was an Arabian translation of the Bible. Unfortunately, the
+Christians failed to profit by this example of rational tolerance when
+they again came into power.</p>
+
+<p>Classical learning was fostered in Seville by Antonio de Lebrixa, who
+lectured in the University, about 1473. Lebrixa had studied for ten
+years in Italy. He was opposed by the Sevillian clergy, who claimed sole
+authority in instruction; but fortunately Lebrixa found favour with
+influential persons, and so contrived to save himself from persecution.
+Queen Isabella had lessons from the learned Lebrixa, who may be called
+the Erasmus of Spain. But the royal tutor narrowly escaped the awful
+punishments of the Holy Tribunal, under Deza, Archbishop of Seville, and
+successor of Torquemada. The Inquisitor-General commanded the
+manuscripts of Lebrixa to be seized, and accused him of heresy for
+making corrections on the text of the Vulgate, and for his exposition of
+passages of Scripture.</p>
+
+<p>'The Archbishop's object,' wrote Lebrixa in an Apologia, 'was to deter
+me from writing. He wished to extinguish the knowledge of the two
+languages on which our religion depends; and I was condemned for
+impiety, because, being no divine but a mere grammarian, I presumed to
+treat of theological subjects. If a person endeavour to restore the
+purity of the sacred<a name="page_144" id="page_144"></a> text, and points out the mistakes which have
+vitiated it, unless he will retract his opinions, he must be loaded with
+infamy, excommunicated and doomed to an ignominious punishment!'</p>
+
+<p>'Is it not enough that I submit my judgment to the will of Christ in the
+Scriptures? Must I also reject as false what is as clear and evident as
+the light of truth itself? What tyranny! to hinder a man, under the most
+cruel pains, from saying what he thinks, though he express himself with
+the utmost respect for religion! to forbid him to write in his closet or
+in the solitude of a prison! to speak to himself, or even to think! On
+what subject shall we employ our thoughts, if we are prohibited from
+directing them to those sacred oracles which have been the delight of
+the pious in every age, and on which they have meditated by day and by
+night.'</p>
+
+<p>Lebrixa here eloquently announces the right of the layman to translate
+the Scriptures and to expound religion. He claims that liberty of
+inquiry and of speech which belongs to every man. His case is typical of
+the vast difficulties that encompassed all thinkers of his age.</p>
+
+<p>Science and letters were not only hindered by the Church. Some of the
+kings of Spain were hostile towards learning, while others were
+apathetic. Carlos IV. instructed his Prime Minister to inform the heads
+of universities that 'what His Majesty wanted was not philosophers, but
+loyal subjects.' It was no uncommon custom of the inquisitors to enter
+private libraries, and to carry away such books as they considered
+heretical or dangerous.</p>
+
+<p>In Seville, therefore, as elsewhere throughout Spain, institutions
+tended to crush out the genius of authors, and to discourage philosophy
+and science. We cannot wonder that Emilia Pardo Bazan, a modern Spanish<a name="page_145" id="page_145"></a>
+writer, should say: 'Perhaps our public is indifferent to literature,
+especially to printed literature, for what is represented on the stage
+produces more impression.' It has also been said that the upper classes
+of Madrid would rather spend their money on fireworks or on oranges than
+on a book.</p>
+
+<p>But Spain possesses to-day four or five gifted novelists, who give their
+readers true pictures of modern life and manners. Valdes and Galdos are
+social influences. Their books are eagerly read and discussed by the
+young intellectual spirits in whose earnestness lies the hope of Spain.<a name="page_146" id="page_146"></a></p>
+
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<br /><br />
+<i>The Artists of Seville</i><br />
+<small><span class="smcap">By C. Gasquoine Hartley</span></small></h2>
+
+<div class="blockquot"><p>'Beauty, like all other qualities presented to human experience, is
+relative.'&mdash;<span class="smcap">Walter Pater.</span></p></div>
+
+<p class="nind"><span class="letraa">'</span><span class="letra">T</span>HE
+art of Spain was, at the outset, wholly borrowed, and from various
+sources: we see heterogeneous, borrowed elements assimilated sometimes
+in a greater or less degree, frequently flung together in illogical
+confusion, seldom, if ever, fused into a new harmonious whole by that
+inner welding fire which is genius; and we see in the sixteenth century
+a foreign influence received and borne as a yoke, because no living
+generative force was there to throw it off; and finally we meet this
+strange freak of nature&mdash;a soil without artistic initiative bringing
+forth the greatest initiator in modern art&mdash;Diego Velazquez.'</p>
+
+<p>These words, which form a portion of the address delivered by the late
+Lord Leighton to the students of the Royal Academy Schools, in the year
+1889, epitomise the salient points in the artistic history of Seville.
+An almost impenetrable gloom shadows the early records of her art. Only
+one work remains to testify to the skill of her artists, during the
+thirteenth century. This is a rare old Bible, written on vellum and
+richly illuminated. It was transcribed for Alfonso, the Wise, by Pedro
+de Pampeluna, in the thirteenth century, and its numerous miniatures
+represent the pristine efforts of the Sevillian school of painting.<a name="page_147" id="page_147"></a></p>
+
+<p>During the fourteenth and fifteenth centuries, the artists of Seville
+were wholly dominated by the Flemish school. The great master of the Low
+Countries, Jan van Eyck, visited the Peninsula, and from that time the
+Flemish influence continued to increase in potency. Flemish works of art
+were largely imported into Spain, and three Flemish artists, according
+to Professor Carl Justi, were employed in the court of Isabella la
+Catolica. The Gothic characteristics of the Northern school are manifest
+in all the pictures of this period. They may be readily recognised by
+their long lean figures, their definite, almost harsh outlines, and
+their rich colours, which are frequently embellished with gold.</p>
+
+<p>The pictures painted during these years bear little trace of Italian
+influence, although we know that in the year 1466 a Florentine painter,
+Dello, who belonged to the school of Giotto, was living in Seville. No
+authentic works from his hand remain, but he amassed great wealth, as a
+proof of which we are told that he always painted in an apron of stiff
+silk brocade.</p>
+
+<p>Many of these paintings, dating to the fourteenth and fifteenth
+centuries, bear no signature. They are classified without distinction as
+the <i>Escuela Flamenca</i>, and the Spaniards apparently regard them with
+scant reverence. They are all interesting, while many of them possess
+great charm, and reveal well-developed artistic power. The Gothic
+influence is dominant, but a distinctly Spanish tendency can frequently
+be discerned. Local dress and customs are often depicted, and the
+pictures are executed with the relentless vigour, which is the specific
+characteristic of the early Spanish school. Examples of these
+Hispano-Flemish pictures will be found in the Museo, in the <i>Cap de
+Santa Ana</i> and the <i>Cap de la Antigua</i>, in the Cathedral, and in many of
+the churches.<a name="page_148" id="page_148"></a></p>
+
+<p>The earliest Sevillian artist of whom we have any distinctive record is
+Juan Sanchez de Castro, who lived in the city from 1454 to 1516. Sir W.
+Stirling-Maxwell calls him 'the morning star of the school of
+Andalusia.' He quickly absorbed the Flemish influence, and his works are
+wholly Gothic, both in conception and manner of treatment. No details of
+his life are extant, but the wreckage of time has spared his work, and
+we can still study both a fresco and a panel painting executed by his
+hand.</p>
+
+<p>In the Church of San Julian, situated in the <i>plaza</i> of that name, is a
+giant San Cristobal, painted by Sanchez in 1484. It is executed in
+tempera upon the wall of the church, close to the principal entrance.
+The figure of the saint is of enormous size, entirely subordinating the
+remainder of the composition, thus producing an effect of exaggeration
+and lack of proportion. The fresco has unfortunately been repainted, and
+little of the old master's work remains, except his signature and the
+date 1484.</p>
+
+<p>Of infinitely greater value is his painting on panel, preserved among
+the pictures collected by the late Se�or D. Manuel L�pez Cepero, which
+may now be seen in the house of Murillo, described elsewhere in these
+pages. The picture is painted upon a panel of wood, covered with canvas
+and carefully prepared plaster, as was the manner of the early masters,
+who did none of their work hurriedly, and devoted much time to the
+painstaking preparation of their materials. The picture may be regarded
+as a typical instance of the Hispano-Flemish manner. The conventional
+grief, symbolised by the drooping eyelids, falling tears and set
+countenances of the women; the harsh outlines; the extreme length of the
+reclining figure of the Christ, all bear the imprint of the Gothic
+school. The picture deserves much study. Its decorative proportions,
+extreme<a name="page_149" id="page_149"></a> simplicity and harmony of colour can hardly be praised too
+highly. It is a meritorious herald of the work of the Sevillian artists.</p>
+
+<p>Juan Nu�ez, the pupil of Sanchez, continued to imitate the manner of his
+master. His finest work is a composition, representing the <i>Pi�ta</i>. It
+was painted for the Chapter of the Cathedral, during the latter half of
+the fifteenth century, and now hangs in the <i>Sacrist�a de los C�lices</i>,
+where many of the choicest treasures of art are preserved. The Virgin
+supports the dead body of the Christ; St. Michael and St. Vincent are at
+her side, while kneeling ecclesiastics pray below. The Flemish manner
+still prevails, and the Gothic stiffness of the Saviour's figure bears a
+strong resemblance to the work of Sanchez. Cean Bermudez praises the
+picture very highly, and states that it is not inferior to Albert D�rer
+in colour and arrangement of the drapery. Like many of the early
+religious painters, Nu�ez appears to have been destitute of a sense of
+humour, and in a picture of St. Michael and St. Gabriel, painted for the
+Chapter of the Cathedral, he depicted the saints adorned with
+gaily-coloured peacocks' wings.</p>
+
+<p>The Hispano-Flemish manner was perfected by Alezo Fernandez, who came
+from C�rdova, in 1525, to work in Seville Cathedral. Lord Leighton
+considers him 'the most conspicuous among the Gothic painters,' and
+without doubt, his work marks a further advancement in the development
+of the Andalusian school. It bears testimony to advancing knowledge. For
+the first time we perceive clearly the growth of a distinctive Spanish
+style. The Flemish manner is still strongly visible, but from out of
+this eclecticism emerges that forceful effort after truth and natural
+expression, which is the conspicuous characteristic of the Spanish
+school. His finest picture is the Virgen<a name="page_150" id="page_150"></a> de la Rosa, in the Church of
+Santa Ana, at Triana. The charm of this work is very great. The mellow
+splendour of its tones, and the lofty spirit in which it is conceived
+render it a study of high merit. Other pictures by this master may be
+seen in the Palacio Arzobiscopal, where hang the Conception, the Birth
+of the Virgin, and the Purification, three works of great interest; and
+in the Church of San Julian, where there is a fine altar-piece. The
+figure of San Pedro depicted upon the left of the composition is one of
+the ablest; beside him is San Antonio, while San Julian and San Josef
+stand upon the left. Over the altar are representations of the
+Incarnation and the Crucifixion.</p>
+
+<p>During the opening years of the sixteenth century a new influence from
+without was imposed upon the Spanish school of painting. The Italian
+Renaissance extended to Spain, and this movement, which in Italy
+produced the brilliant group of the <i>quatrocentisto</i>, fell upon the
+artistic genius of Spain as a deadening blight. It was alien to the
+temper of the Spanish nation. The simple, truthful directness of their
+early mode was forgotten; gradually their art became steeped in a
+hopeless mannerism.</p>
+
+<p>Luis de Vargas, who was born in Seville in 1502, was the first
+Andalusian artist, whose work testifies to the Italian influence. He
+spent many years studying in Italy. He was a devout Catholic, and like
+all the artists of Seville was supported by the munificence of the
+Chapter of the Cathedral. Unfortunately his frescoes, upon which his
+reputation, according to Cean Bermudez, largely rested, have been almost
+entirely obliterated. Dim traces of them may be seen upon the Giralda
+Tower, and upon the outer wall which encloses the Court of the Oranges;
+but it is impossible to appraise the work of De Vargas from these
+time-spoilt relics.<a name="page_151" id="page_151"></a></p>
+
+<p>Of his panel paintings only a small number have been preserved. They are
+simple, yet powerful in design; the colour is fresh, and the drawing is
+good. They are specially noteworthy for the charm with which women are
+portrayed, a characteristic unusual among the artists of Spain. The
+earliest known work of De Vargas was The Nativity, which was painted for
+the Chapter of the Cathedral, in 1555, and placed over the Altar del
+Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the
+figure of the Virgin, as she stands gazing upon her babe, 'bears a
+simple dignity not unworthy of Raphael.' The grouping of the figures is
+admirable. Notice especially the peasant, as he kneels and offers his
+basket of young doves. The care bestowed upon the execution of the
+details shows that De Vargas had not yet forgotten the example of the
+early masters. The goat, the sheaf of corn, the Spanish pack-saddle, all
+the accessories are painted with Flemish accuracy.</p>
+
+<p>The Temporal Generation of our Lord, in the south transept of the
+Cathedral, adjacent to the colossal figure of San Cristobal, is
+generally considered the masterpiece of Luis de Vargas. It is an
+allegorical composition, representing Adam and Eve adoring the infant
+Christ, who rests in the arms of the Virgin. The picture is lacking in
+charm, but the figures are finely conceived, and executed with power.
+Indeed, the life-like drawing of Adam's leg has given the picture its
+name of <i>La Gamba</i> (the leg). It is reported that the Italian Perez de
+Alesio, the painter of the giant San Cristobal, exclaimed when gazing
+upon his handiwork, 'The whole of my figure is of less merit than the
+leg of Adam.'</p>
+
+<p>Greater than Luis de Vargas was the Flemish painter Pedro Campa�a, who
+came to Spain and settled in Seville in the year 1548. He had spent many
+years<a name="page_152" id="page_152"></a> in Italy, studying in Rome, and his pictures bear the impress of
+a combined Flemish-Italian influence. He stayed in Seville for
+twenty-four years, and is always identified with the artists of
+Andalusia. His finest picture, The Descent from the Cross, was painted
+for the Church of Santa Cruz in the year he came to Seville, 1548. The
+strength and realism of this work are truly majestic. It is, without
+doubt, the finest picture painted by the Italian mannerists in Seville.
+It exerted great influence upon the artists of a later day. Pacheco
+declared that its realism was so overmastering that he did not care to
+be left alone with it in the dimly-lighted chapel. Murillo spent long
+hours in earnest contemplation of the picture. He was wont to perform
+his devotions before it, and once, when asked why he sat watching the
+picture so intently, he is reported to have answered, 'I am waiting
+until those men have brought the body of our Blessed Lord down the
+ladder.' It was beneath this picture that the favourite master of
+Seville chose to be buried. The picture now hangs in the <i>Sacrist�a
+Mayor</i> of the Cathedral. It was rescued from the Courts of the Alc�zar,
+where it had been wantonly flung by the French, during the War of
+Independence, and tolerably restored by Joaquin Cortes, in 1882.</p>
+
+<p>Seville contains many other works by the Flemish master. In the <i>Cap de
+Mariscal</i>, in the Cathedral, is a very beautiful Purification of the
+Virgin. The charm and simple grace of the fair-haired maiden, who stands
+upon the left of the picture, contrasts vividly with the form of the
+beggar beneath. The half-length portraits of the Mariscal Don Pedro
+Cabellero and family, which also hang in the chapel, are individual and
+life-like. There is little trace of Italian influence in the rendering
+of these figures; they are all painted with Flemish carefulness. Other
+works of<a name="page_153" id="page_153"></a> Campa�a may be seen in the Church of San Pedro and the Church
+of Santa Ana, at Triana. The individuality of Campa�a can hardly be too
+strongly emphasised. His pictures possess many of the essential and
+distinctive attributes, which characterise the work of the greatest of
+the Sevillian artists.</p>
+
+<p>Contemporary with Luis de Vargas and Pedro Campa�a&mdash;the masters of the
+early Italian mannerists&mdash;worked a group of artists of lesser fame.
+Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for
+the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568,
+executed an altar-piece for the Church of Our Lady of the Pomegranate,
+in the Court of the Oranges; and other works since destroyed, for the
+Cathedral. Alonso Vasquez painted many pictures for the Cathedral and
+the Convents of St. Francis and St. Paul. The few of these works which
+remain may be seen in the Museo, where they hang neglected, fast rotting
+in their frames. These artists closely imitated the style of De Vargas.</p>
+
+<p>More individuality is revealed in the works of Pedro Villegas Marmolego,
+1520-1597, an artist whose pictures are extremely rare. The Virgin
+visiting Elizabeth, which hangs over the <i>Altar de la Visitaci�n</i> in the
+Cathedral, is a good example of his work, and displays his charm as a
+colourist. The garments of both the Virgin and Elizabeth are beautiful
+with radiant harmony. The works of Francesco Frutet&mdash;like Campa�a a
+Flemish artist trained in Italy, who came to Seville, about the year
+1548&mdash;will be noticed in the account of the Museo.</p>
+
+<p>Another foreigner, who worked in Seville during this period, was
+Sturmio, probably a German, who, in 1554, painted nine pictures on panel
+for the <i>Cap de los Evangelistas</i>, in the Cathedral. These studies are
+important, for they afford the earliest instance of the<a name="page_154" id="page_154"></a> fine brown
+tones distinctive of the Sevillian school. The central picture depicts
+St. Gregory saying Mass, while around him are grouped the fourteen
+evangelists, and the saints of the city. Santas Justa and Rufina, the
+holy maids, frequently portrayed by the artists of Seville, are among
+the best.</p>
+
+<p>The work of all these artists, who may be classified as the early
+Italian mannerists, reveals a distinctive personality. The individuality
+of the artist constantly breaks forth, through the strong Italian bias,
+while traces are often revealed of the truthful expression of the early
+Hispano-Flemish mode.</p>
+
+<p>As the sixteenth century drew to its close, the tendency to adopt a
+style of affected mannerism was largely augmented in the work of the
+artists of Andalusia, the result being a corresponding loss of national
+individuality. All that was essentially Spanish was for the time
+forgotten, submerged in an imported Italianism. The pictures of these
+later mannerists are dreary and almost entirely without interest. Their
+work may be readily identified by the conventional conceptions, the flat
+tones, the dry, hard colours, and the utter lack of that element of
+charm, so essential to all works of art.</p>
+
+<p>Juan del Castillo, 1584-1640, and Francisco Pacheco, 1571-1654, may be
+regarded as types of this phase in the record of Andalusian art. Their
+reputation rests largely upon the renown of their pupils. Juan del
+Castillo was the master of Murillo and Alonso Cano, and the chief
+interests incited by the study of his work, rests in tracing the
+influence he may have exercised in moulding the work of the Sevillian
+favourite. His best picture is the Assumption, in the Museo, in which
+the figure of the Virgin has some merit.</p>
+
+<p>Francisco Pacheco, the father-in-law and devoted<a name="page_155" id="page_155"></a> teacher of Diego
+Velazquez, claims our attention as an individual, rather than as an
+artist. He painted innumerable pictures, which may still be viewed in
+the Cathedral, the churches and the Museo, but none rise above the level
+of mediocrity. They are carefully executed and rarely offend the rules
+of drawing, but they are all hopelessly 'mannered,' and entirely devoid
+of individual imagination.</p>
+
+<p>We owe a debt of gratitude to Pacheco for his <i>Arte de la Pintura</i>, a
+treatise upon the principles of art, and the lives of the artists of
+Spain, published in Seville in 1649. In style the work is pompous and
+prolix, and often very tedious, but as a record of the lives of the
+Sevillian artists it possesses great value. Pacheco was the Inquisitor
+of Art, or Familiar of the Inquisition. His authority under the Holy
+Office was great, and it was his duty to see that no indecorous or
+indecent pictures found their way into the churches. Here is a copy of
+the commission which was granted to him: 'We give him commission and
+charge him henceforward that he take particular care to inspect and
+visit all sacred subjects which may stand in shops or in public places;
+if he finds anything to object to in these he is to take the picture
+before the Lords, the Inquisitors.'</p>
+
+<p>The degraded Italian taste was carried to its uttermost limits by
+Herrera El Mozo (the younger), 1622-1625, who, by a strange anomaly, was
+the son of the man, who was the first to break completely away from the
+trammels of the pseudo-Italian manner. His works may be viewed in the
+Cathedral and the Museo; they instance the degradation which had been
+brought upon the art of Seville, by the unintelligent adoption of an
+alien style.</p>
+
+<p>It is a relief to revert to the work of those men, whose sturdy Spanish
+spirits refused to bend beneath<a name="page_156" id="page_156"></a> the yoke of conventional tradition. The
+work of the cleric, Juan de la Roelas, 1560-1625, bears little, or no,
+trace of the degenerate pseudo-Italianism, although his pictures are not
+exempt from foreign influence. They are Venetian in colour, soft, yet
+free, in their drawing. They exhibit many of the features, afterwards
+amplified in the work of Murillo. His finest composition is the Death of
+San Isidore, in the parish church, dedicated to that saint. The theme of
+the picture is the transit of the holy man, Archbishop of Seville,
+during Gothic days. Many figures fill the canvas, but with true artistic
+unity, the interest is centralised upon the dying saint, who rests upon
+the ground, clad in dark mantle and finely-painted pontifical robes.
+Subtle discernment is manifested in the grouping of the figures. The
+aged fathers are thrown into distinct relief, by the youthful bloom of
+the children who kneel beside them. The shadowy forms of the
+worshippers, as they kneel in the receding aisles of the church, lend
+atmosphere to the study. The heavens are depicted above, and in the
+midst of a blaze of glowing light, the Virgin awaits with Christ, the
+coming of the saint.</p>
+
+<p>San Santiago, destroying the Moors in the battle of Clavigo, which hangs
+in the Cathedral, affords another fine instance of the work of Roelas.
+Three more of his pictures may be seen in the University&mdash;The Holy
+Family, The Nativity, and the Adoration of the Shepherds, while several
+hang in the Museo. A figure of a black-robed kneeling saint, in the Holy
+Family, is said to be the portrait of Roelas.</p>
+
+<p>Francisco de Herrera, 1575-1656, termed, el Viego (the Elder) to
+distinguish him from his son, possessed a character of unusual vigour.
+The traditions which have survived, reveal the temper of the man. His
+methods were eccentric. He worked with a dashing<a name="page_157" id="page_157"></a> pencil, and it was his
+custom to employ any implement, which presented itself as convenient. It
+is reported that upon one occasion, when short of a brush, he painted a
+picture with a spoon. His fame induced numerous artists&mdash;the young
+Velazquez being among them&mdash;to seek his studio; but his irascibility was
+so great that few of them remained. He broke many a maul-stick across
+their shoulders, and frequently he was left without a single pupil to
+execute his mandates.</p>
+
+<p>It is said that one day, when this had occurred, he rushed into the
+kitchen, and insisted upon the serving-maid becoming his attendant; and
+amidst oaths and blows, he forced the trembling girl to prepare a canvas
+for the composition he desired to execute. His turbulent spirit led him
+into difficulties, and he was accused&mdash;whether falsely or not it is now
+impossible to say&mdash;of coining money. To escape punishment he sought
+sanctuary in the College of the Jesuits, where he painted the Legend of
+St. Hermingild, now in the Museo. In the year 1624 Philip III. came to
+Seville, and visited the college. In common with all the house of
+Austria, the King had a fine appreciation of art, and when he saw the
+work of Herrera, he at once recognised its merits, and desired to see
+the artist. Herrera knelt at the King's feet, and told the reason of his
+confinement in the convent. 'What need of silver and gold has a man
+gifted with a talent like yours? Go, you are free,' was the answer of
+the King.</p>
+
+<p>Such was the nature of the man, whose cogent individuality
+re-established a national Spanish style. His pictures are distinguished
+for their vigorous force. Sir W. Stirling-Maxwell calls him 'the most
+remarkable of the painters, who learnt their art solely in Andalusia';
+while Palomino, often termed the Spanish Vasari, says that the boldness
+of his manner conveys to his figures the appearance of being painted in
+relief.<a name="page_158" id="page_158"></a> Several of his pictures are now in the Museo; the Cathedral
+possesses none, but there is one in the Church of San Bernardo, which,
+in spite of dirt and dim lighting, affords a fine instance of the power
+of Herrera. In the upper portion the Lord is shown with a band of
+attendant angels, while below St. Michael divides the sinful from the
+righteous. The canvas is overcrowded; a fault in which the majority of
+the compositions of Herrera share, and the form of St. Michael is
+somewhat uncouth, but the picture is full of power, and many of the
+figures, especially among the hosts of the wicked, are drawn with a fine
+freedom of handling.</p>
+
+<p>Francisco de Zurbaran, a peasant, born in Estremadura, in the year 1598,
+was the veritable follower of Herrera. His work more fully than that of
+any other artist typifies the genius of Spain. Lord Leighton speaks of
+him 'as a man of powerful personality, in whom more than any of his
+contemporaries, the various essential characteristics of his race were
+gathered up&mdash;its defiant temper, its dramatic bent, its indifference to
+beauty, its love of fact, its imaginative force, its gloomy fervour, its
+poetry, in fact, and its prose.'</p>
+
+<p>He was the pupil of Juan de las Roelas, but his work soon eclipsed that
+of his master. From the very first he cast from him all mannered
+tradition, and determined unflinchingly to follow natural methods. He
+copied all objects directly from Nature, and while still a lad working
+in the studio of Roelas, he refused to paint drapery, without having it
+placed upon a lay figure to represent the living model. He has been
+termed the Spanish Caravaggio from his strict adherence to Nature, and
+his delight in breadth and strong contrasts of light and shadow. As he
+saw Nature thus he painted her, without desire to soften or to<a name="page_159" id="page_159"></a>
+idealise. His one purpose was to portray conscientiously the exact
+impression of the objects he beheld. And for this reason he may be
+designated the herald of Velazquez. His pictures lack the facility, the
+charm and the impelling force of the great master; but in their
+adherence to Nature and strict nationality of style they are in nowise
+inferior. The Adoration of the Shepherds, the fine picture in our
+National Gallery, formerly ascribed to Velazquez, is now held to be the
+work of Zurbaran. His colour is above all praise; his tints, although
+sombre, have at times, as Sir W. Stirling-Maxwell justly remarks, 'the
+depth and brilliancy of Rembrandt.'</p>
+
+<p>His earliest work was a series of pictures, illustrative of the life of
+the Apostle Peter, which he painted for the Chapter of the Cathedral.
+They may still be inspected in the <i>Cap de San Pedro</i>, but unfortunately
+the deficiency of light renders it well-nigh impossible to see them.</p>
+
+<p>The celebrated Death of St. Thomas Aquinas, and the remarkable series of
+pictures, painted for the Chartreuse monks of Santa Maria de las Cuevas,
+are now in the Museo.</p>
+
+<p>For the Church of the Hospital del Sangre he painted eight small
+pictures of female saints. They are portraits of the beauties who
+reigned in the city during the life of Zurbaran, and are among the most
+charming of the pictures of women to be found in Seville. Especially
+mark Santa Matilda in her crimson robe, embroidered with gold and
+pearls, Santa Dorotea in lilac, and Santa I�es in purple, and bearing a
+lamb in her arms.</p>
+
+<p>The fame of Zurbaran was overshadowed by Murillo, who became the central
+figure in the artistic life of Seville, during the latter half of the
+seventeenth century.<a name="page_160" id="page_160"></a></p>
+
+<p>The position Murillo occupies in the record of Andalusian art is so
+significant, that it appears fitting to notice his work, and that of his
+brilliant contemporary Velazquez, in a separate chapter; and to conclude
+this brief chronicle of the Sevillian artist with two names&mdash;Alonso Cano
+and Juan de Vald�s Leal, the last painters of Andalusia, whose work is
+worthy of special note.</p>
+
+<p>Alonso Cano, 1601-1667, was not born in Seville, but came to the city,
+when quite young, to receive instruction from Pacheco and Juan de
+Castillo. He painted pictures for the Carthusians, and the other
+convents and churches, but a duel, fought with a brother artist, in
+1639, drove him from the city. The finest instance of his work in
+Seville is Our Lady of Bethlehem, in the Cathedral. It was painted in
+Malaga for Se�or D. Andres Cascentes, who presented it to Seville. The
+light is dim, and it can only be seen by the glow from the tapers which
+burn upon the altar. It is somewhat conventional in treatment, and bears
+distinct traces of Italian mannerism. Yet the picture is not without
+charm, and the Spanish national note is not entirely absent. The hands
+and feet are painted with extreme care, and the crimson robe and
+dark-blue mantle of the Virgin are exquisite in colour. The picture may
+be regarded as typical of his work. One of his chief faults was
+repetition, and he was frequently accused by his contemporaries of
+copying from the works of other masters; a charge which he is said to
+have challenged, with the following answer: 'Do the same thing, with the
+same effect as I do, and all the world will pardon you.' His power as an
+artist has been somewhat over-estimated, and his claim to be called 'the
+Michelangelo of Spain' rests solely upon the fact that he was sculptor
+and architect as well as painter.</p>
+
+<p>Juan de Vald�s Leal, 1630-1691, lived until the<a name="page_161" id="page_161"></a> time when Andalusian
+art was fast approaching its decline. His early life was embittered by
+jealousy of Murillo, and much of his energy was expended in useless
+quarrels with his brother artists. His pictures are mannered, but the
+best are vigorous, and their main defects are due to hasty execution. He
+appears to have had no power to finish his work; when he tried to be
+careful he became weak. The Museo contains many of his pictures. The
+Virgin bestowing the Chasuble on San Ildefonso in the <i>Cap de San
+Francisco</i>, in the Cathedral, is one of his finest works. The two
+pictures in the Hospital de la Caridad were painted to illustrate the
+vanity of worldly grandeur. They are theatrical, and have little
+'literary' attraction, but the execution exhibits a certain power. In
+one of them a hand holds a pair of scales, in which the sins of the
+world&mdash;represented by bats, peacocks, serpents and other objects&mdash;are
+weighed against the emblems of Christ's Passion; in the other, which is
+the finer composition, Death, with a coffin under one arm, extinguishes
+a taper, which lights a table spread with crowns, jewels and all the
+gewgaws of earthly pomp. The words <i>In Ictu Oculi</i> circle the gleaming
+light of the taper, while upon the ground rests an open coffin, dimly
+revealing the corpse within.</p>
+
+<p>It was this picture which caused Murillo to remark that it was something
+to be looked at with the nostrils closed. To which rather uncertain
+praise Leal is reported to have replied, 'Ah, my compeer, it is not my
+fault, you have taken all the sweet fruit out of the basket and left me
+only the rotten.'</p>
+
+<p>With the death of Vald�s Leal, at the close of the seventeenth century,
+the long chain of artists, who had made the name of Seville famous,
+terminates. He left behind him no painter of specific merit. The artists
+who remained were dreary conventionalists,<a name="page_162" id="page_162"></a> without originality, mere
+copyists of those who had preceded them. The study of their work yields
+neither pleasure nor profit. It is better to leave the record of the
+artists of Seville, while the memory of her greatest masters is still
+vivid, than to trace the slow decay of her art into feeble mediocrity.</p>
+
+<p>
+<br />&nbsp;
+</p>
+
+<p><i>Note.</i>&mdash;In order to facilitate the finding of the works of the artists
+mentioned in this chapter, this list is appended, naming their chief
+pictures, and the places where they may be found.</p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="ARTISTS"
+style="text-align:center;font-size:90%;">
+<tr valign="top"><td>Artists.</td>
+<td>Pictures.</td>
+<td>Where Situated.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Pedro de Pampeluna <br />
+ (thirteenth century).</td>
+<td>Illuminated Bible.</td>
+<td>  Library of the Cathedral.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Juan Sanchez de <br />
+ Castro (1454-1516)<br />
+        "</td>
+<td>Fresco of San Cristobal.<br />
+Painting on panel<br />
+of the Entombment.</td>
+<td>San Julian.<br />
+<br />
+House of Murillo.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+<tr valign="top"><td>Juan Nu�ez (fifteenth<br />
+ century).</td>
+
+<td>Pi�ta.</td>
+<td>Sacrist�a de los<br />
+C�lices, Cathedral.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Alezo Fernandez <br />
+ (worked in Seville<br />
+ about 1508).<br />
+        " <br />
+        " <br />
+        " <br />
+        " </td>
+
+<td>Conception.<br />
+<br /><br />
+Birth of the Virgin.<br />
+Purification.      <br />
+Virgen de la Rosa. <br />
+Altar-piece.  </td>
+
+<td>Palacio Arzobiscopal.<br />
+<br />
+<br />
+ Ditto.<br />
+ Ditto.<br />
+ Santa Ana, Triana.<br />
+ San Julian.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Luis de Vargas  <br />
+ (1502-1568).<br /><br />
+
+        "<br /><br />
+
+        "<br /><br />
+
+        " </td>
+
+<td>Frescoes.<br />
+<br /><br />
+The Nativity.<br />
+<br />
+Temporal Generation<br />
+ of Our Lord.<br /><br />
+Portrait of Don<br />
+ Juan de Medina.</td>
+
+<td>The Giralda Tower.<br />
+  Outer Wall of the<br />
+  Court of the Oranges.<br />
+ Altar del Nacimiento,<br />
+  Cathedral.<br />
+ Altar de la Gamba,<br />
+  Cathedral.<br /><br />
+ Ditto.</td></tr>
+
+<tr><td colspan="3">&nbsp;<a name="page_163" id="page_163"></a></td></tr>
+
+<tr valign="top"><td>Pedro Campa�a<br />
+ (1503-1580).<br />
+        "<br />
+
+        "<br />
+        "<br />
+        "</td>
+
+<td>The Descent from<br />
+ the Cross.<br />
+Purification of the<br />
+ Virgin.<br />
+Portraits.<br />
+Altar-piece.<br />
+Retablo, with<br />
+ fifteen paintings.</td>
+
+<td>Sacrist�a Mayor,<br />
+Cathedral.<br />
+Cap de Mariscal,<br />
+ Cathedral.<br />
+Ditto.<br />
+San Pedro.<br />
+Santa Ana, Triana.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Antonio de Arfian <br />
+ (1537-1587).</td>
+
+<td>Frescoes on the<br />
+History of St. <br />
+George.</td>
+
+<td>St. Mary Magdalen,<br />
+Triana.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Juan Bautista Vasquez<br />
+ (worked in<br />
+ Seville about 1568).</td>
+
+<td>Altar-piece.</td>
+
+<td>Altar of Our Lady of<br />
+the Pomegranate,<br />
+ Court of the<br />
+  Oranges.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Alonso Vasquez<br />
+ (<i>d.</i> 1648).</td>
+<td>Various works.</td>
+<td>Museo.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Pedro Villegas<br />
+ Marmolego<br />
+ (1520-1597).<br />
+        "</td>
+
+<td>Virgin visiting<br />
+Elizabeth.<br />
+<br />
+Doubtful Works.</td>
+
+<td>Altar de la Visitaci�n,<br />
+ Cathedral.<br />
+<br />
+ Museo.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Francesco Frutet<br />
+ (worked in Seville<br />
+ about 1548).</td>
+
+<td> Several Works.</td>
+
+<td>Museo.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Sturmio (worked in<br />
+Seville about 1554).<br />
+        " <br />
+        "<br /></td>
+<td>
+St. Gregory saying<br />
+Mass.      <br />
+Evangelists.<br />
+Saints.<br />  </td>
+
+<td>Cap de los Evangelistas,<br />
+Cathedral.<br />
+Ditto.<br />
+Ditto.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Herrera, el Mozo<br />
+ (1622-1685).<br />
+        "</td>
+
+<td>Several Works.<br />
+ "</td>
+
+<td> Cathedral.<br />
+ Museo.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Juan de las Roelas
+(1560-1625).<br /><br />
+"<br />
+"</td>
+
+<td>Martyrdom of St.<br />
+Andrew.<br />
+Other works. <br />
+Death of San<br />
+Isidore.</td>
+
+<td>Museo.<br />
+<br />
+Ditto.<br />
+San Isidore.
+</td></tr>
+
+<tr><td colspan="3">&nbsp;<a name="page_164" id="page_164"></a></td></tr>
+
+<tr valign="top"><td>Juan de las Roelas<br />
+ (1560-1625).<br />
+        "<br />
+        "<br />
+        "</td>
+
+<td>San Santiago.<br />
+<br />
+ Holy Family.<br />
+ Nativity.<br />
+ Adoration of the<br />
+  Shepherds.</td>
+
+<td> Cap de Santiago,<br />
+  Cathedral.<br />
+ The University.<br />
+ Ditto.<br />
+ Ditto.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Herrera, el Viego<br />
+ (1576-1656).<br />
+        "<br />
+        "</td>
+
+<td>Legend of St.<br />
+  Herminigild.<br />
+ Other works.<br />
+ St. Michael and the<br />
+  Hosts of the Wicked.</td>
+
+<td>Museo.<br />
+<br />
+Ditto.<br />
+San Bernardo.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Juan de Castillo <br />
+ (1584-1640).<br />
+        " <br />
+        " <br />
+        " </td>
+
+<td>Assumption.<br />
+<br />
+Other pictures.  <br />
+Virgin and Child.<br />
+Other works. </td>
+
+<td>Museo.<br />
+<br />
+Ditto.<br />
+House of Murillo.<br />
+The Churches.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Francisco Pacheco<br />
+ (1571-1654).<br />
+        "<br />
+        "<br />
+        "</td>
+
+<td>Many works.<br />
+<br />
+"<br />
+"<br />
+"</td>
+
+<td>Museo.<br />
+<br />
+House of Murillo.<br />
+Cathedral.<br />
+Churches.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Francisco de Zurbaran<br />
+ (1598-1661).<br /><br />
+         "<br /><br />
+         "<br />
+         "</td>
+
+<td>Legend of St.<br />
+  Pedro.<br /><br />
+ Death of St.<br />
+  Thomas Aquinas.<br />
+ Other works.<br />
+ Eight Female<br />
+  Saints.</td>
+
+<td>Cap de St. Pedro,<br />
+  Cathedral.<br />
+<br />
+Museo.<br />
+Ditto.<br />
+Hospital del Sangre.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Alonso Cano<br />
+ (1601-1667).</td>
+
+<td>Our Lady of<br />
+ Bethlehem.</td>
+
+<td>Altar de la Virgin<br />
+de Belen, Cathedral.</td></tr>
+
+<tr><td colspan="3">&nbsp;</td></tr>
+
+<tr valign="top"><td>Juan de Vald�s Leal<br />
+ (1630-1691).<br />
+        "<br /><br />
+<br />
+        "</td>
+
+<td> San Ildefonso.<br /><br />
+Pictures illustrating<br />
+ the vanity<br />
+ of worldly grandeur.<br />
+Many works.</td>
+
+<td>Cap de St. Francisco,<br />
+Cathedral.<br />
+Hospital de la<br />
+ Caridad.<br />
+<br />
+Museo.</td></tr>
+</table>
+
+<p><a name="page_165" id="page_165"></a></p>
+
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX<br /><br />
+<i>Velazquez and Murillo</i></h2>
+
+<div class="blockquot"><p>'The more the artist studies Nature, the nearer he approaches to
+the true and perfect idea of art.'&mdash;Sir <span class="smcap">J. Reynolds</span>.</p></div>
+
+<p class="nind"><span class="letra">O</span>N
+the 15th of June, in the year 1599, Diego Rodriguez de Silva y
+Velazquez was born in Seville. Eighteen years later affords the record
+of birth of Murillo. Contemporary, or nearly so, they began their lives
+in the same environment, yet from their earliest youth they tended to
+develop upon divergent lines. The young Velazquez, at the age of
+thirteen, became the pupil of the vigorous Herrera, while Murillo
+entered the school of the academic Juan de Castillo.</p>
+
+<p>It was reserved for Velazquez to break away from the traditional
+limitations of the Sevillian school, while the work of Murillo was to
+develop them to their fairest fruition.</p>
+
+<p>The national manner, begun by Herrera and developed by Zurbaran, was, by
+the genius of Velazquez, carried to perfect fulfilment.</p>
+
+<p>The grave and truthful simplicity of his pictures is unsurpassed among
+the artistic records of any nation. His supreme effort was directed to
+the portrayal of Nature. With unerring judgment he selected the
+essential details of a composition, and painted them with unflinching
+fidelity. He depicted each colour precisely as the lighting of his
+canvas revealed it to him. He is the master of chiaroscuro, by the
+perfect<a name="page_166" id="page_166"></a> unity of his tones. His style is wholly personal, his pictures
+bear pre-eminently the mark of individual expression. From his earliest
+youth this was his method of work. 'He kept,' Pacheco tells us, in the
+account he gives of his pupil and son-in-law, in his <i>Arte de la
+Pintura</i>, 'a peasant lad, as an apprentice, who served him as a study in
+different actions and postures&mdash;sometimes crying, sometimes
+laughing&mdash;till he had grappled with every difficulty of expression; and
+from him he executed an infinite variety of heads, in charcoal and chalk
+on blue paper, by which he arrived at certainty in taking likeness.' In
+this way did Velazquez train his power; and we are able to comprehend
+the wonderful portraits, which have rendered the House of Austria
+familiar to the world, when we picture the youth drawing his slave,
+again and yet again, in different attitudes and ever varied changes of
+expression.</p>
+
+<p>This, then, was the divergence between the methods of Velazquez and
+Murillo. The one painted Nature as she was; the other depicted men and
+women as they never could be, but in the guise of saints, according to
+the desires of the Catholic Church. It is in this dis-similarity of
+their aims, that we shall find the explanation of the fact, which cannot
+fail to impress the visitor to Seville, that, while the city abounds in
+the works of Murillo, no single picture from the hand of Velazquez is to
+be found in Cathedral, Church or Museo. The city of his birth is
+destitute of any commemoration of his genius, if we exclude a few
+pictures, of very doubtful authenticity, to be found in some of the
+private collections.</p>
+
+<p>The art of Seville was maintained by the munificence of the Church.
+Painting was the handmaid of the Catholic religion. Pictures were
+painted for the glory of God; they were valued as aids in the due
+performance<a name="page_167" id="page_167"></a> of religious observance rather than as works of art. For
+the artist whose supreme desire was to follow truth Seville was no home.
+Realism was opposed to the very essence of the Catholic mind. The
+medi�val spirit did not exist in Velazquez, the most modern of all the
+old masters; he yearned for a freer and wider scope for the development
+of his genius.</p>
+
+<p>In March, 1621, Philip III. died, and was succeeded by his young son,
+Philip IV., who at once began to collect about the throne the literary
+and artistic genius of the day.</p>
+
+<p>Accompanied by Pacheco, Velazquez went to Madrid and craved an audience
+of the King. The favour was denied, and after some months of waiting,
+the young artist returned to Seville. Next year he again sought the
+metropolis. One of the Canons of Seville Cathedral, Don Juan Fonseca,
+had obtained a post in the King's service; Velazquez painted his
+portrait. It was carried to the palace before it was dry, and in an hour
+the whole court had seen it. 'It excited the admiration of the capital,'
+writes Pacheco, exulting in the success of his favourite, 'and the envy
+of those of the profession, of which I can bear witness.' Velazquez's
+position was assured. He was formally received into the King's service,
+and became a member of the royal household. His genius was lost to
+Seville. He is classed among the artists of Castile, and to study his
+works it is necessary to visit, not Seville, but the Prado Museo, at
+Madrid.</p>
+
+<p>Of the pictures he painted in his youth none remain in Seville. The most
+famous are The Water Carrier, or Aguador, now in the collection of the
+Duke of Wellington, at Apsley House; The Omelet belonging to the late
+Sir Francis Cook; St. John in Patmos and The Woman and the Dragon, the
+property<a name="page_168" id="page_168"></a> of Sir Bartle Frere; The Epiphany in the Prado Museo; and The
+Adoration of the Shepherds in the National Gallery.</p>
+
+<p>The Water Carrier and The Omelet are studies of street life, finished
+with great care; a class of picture known as <i>bodegones</i>, often painted
+by the Spanish artists. The former is the finer work. It is a
+magnificent instance of Velazquez's power during his student days.</p>
+
+<p>Either a study for this picture, executed by Velazquez himself, or a
+copy by one of his pupils, can be seen in the house of Murillo. The
+courteous owner, Se�or Don L�pez Cepero, is always willing to show his
+valuable collection of pictures. He believes the work to be a genuine
+Velazquez, and it is just possible that it may be so, and in any case it
+is a study of much interest. The Corsican water-seller, clad in his
+brown frock, a well-known figure in the streets of Seville, hands a
+glass of water to a boy, while in the distance another figure is dimly
+discerned, with his face buried in an earthenware mug. The background is
+very dark; the figures alone stand in the light. There is no scenery,
+and the accessories are painted with absolute truth.</p>
+
+<p>
+<br />&nbsp;
+</p>
+
+<p>While the art of Velazquez was unsuited to the city of his birth, the
+works of Murillo breathed the very spirit of the life around him. His
+pictures represent the religious emotion of his period; they may
+fittingly be termed, 'the embodied expression of Spanish Catholicism,
+during the seventeenth century.'</p>
+
+<p>This fact in a large measure accounts for the popularity of Murillo, and
+the rapid recognition which his merits received at the hands of his
+countrymen. His art appealed pointedly to the hearts of the people; the
+expression of his genius was comprehensible to them<a name="page_169" id="page_169"></a> all. He speedily
+became the favourite artist in Spain, and his fame gradually extended
+throughout Europe.</p>
+
+<p>Murillo's artistic career may be divided into four periods. During the
+first he was needy and unrecognised, gaining a precarious livelihood by
+painting rude pictures for the Feria, a weekly fair, held every Thursday
+at the northern end of the Old Alameda, in front of the Church of All
+Saints. The artistic training he had received was slight. Juan de
+Castillo, who, as a relative of the family, had taught the boy free of
+charge, left Seville, and the young Murillo was too poor to enter the
+schools of Herrera, Pacheco, or Zurbaran. He was obliged to toil with
+strenuous effort to support himself and his sister, who was dependent
+upon him.</p>
+
+<p>We can picture the future genius of Seville, standing in the market of
+the Feria, exposing his pictures for sale. He would often paint them
+while he waited, or would alter each composition to suit the fancy of an
+intending purchaser. Ambitious dreams fired his imagination. Pedro de
+Moya, an artist friend, had been to Rome, and had returned imbued with
+the glories of the metropolis of art. Murillo aspired to visit Italy,
+and with this hope he toiled, until he had saved a sufficient sum to
+take him to Madrid. He at once sought the counsel and protection of his
+old friend Velazquez. The court artist received him with the utmost
+kindness. He gave him lodging in his own apartments, and obtained
+permission for him to work in the Royal Galleries. A new world was
+revealed to the young Murillo. For two years he worked, then Velazquez
+advised him to go to Italy, to continue his studies in Rome, or
+Florence. He offered him letters of introduction, and did all in his
+power to induce him to undertake the journey, but for some<a name="page_170" id="page_170"></a> reason
+Murillo declined his offer and returned to Seville.</p>
+
+<p>His earliest work was to paint a series of studies of the Legend of St.
+Francis, for the Franciscan Convent, formerly situated behind the Casa
+del Ayuntamiento. They at once assured his fame; the unknown artist
+became the most popular painter in opulent Seville. The only person who
+failed to acknowledge his genius was Francisco Pacheco. Jealous for the
+fame of Velazquez, and unable to forgive the lack of appreciation which
+Seville had tended to his favourite, he makes no mention of Murillo or
+his works, in his <i>Arte de la Pintura</i>; a curious omission only to be
+accounted for by private enmity.</p>
+
+<p>None of the Franciscan cycle of pictures are in Seville, and only two,
+The Heavenly Violinist, and The Charity of St. Diego, are in Spain. They
+were carried away by the French during the War of Independence.</p>
+
+<p>The influence of the two years Murillo had spent in Madrid can readily
+be traced in these early paintings. The outlines are distinct and in
+some cases hard; while the tone of the shadows, and the treatment of the
+lights follows the method of the realists, and affords little or no sign
+of the melting indecision of outline, the manner so prevalent in his
+later work. The pictures belonging to this period are said to be painted
+in the <i>Estilo Frio</i>, or cold style. The best instance in Seville, is La
+Anunciaci�n de Nuestra Se�ora, in the Museo.</p>
+
+<p>In his later work Murillo abandoned the influence of Ribera, Zurbaran,
+Velazquez and the Spanish realists; he developed a manner more personal,
+and more in harmony with the mystic trend of his emotions. His outlines
+became softer, and his forms rounder, while his colour began to assume
+tones of<a name="page_171" id="page_171"></a> melting transparency. A Spaniard writing of his work at this
+period remarks that his flesh tints seem to be painted '<i>con sangre y
+leche</i>' (with blood and milk).</p>
+
+<p>The first picture painted in this manner, which is known as the <i>Estilo
+Cal�do</i> (warm style), is Nuestra Se�ora de la Concepci�n, executed for
+the brotherhood of the True Cross, in 1655, for the sum of 2500 <i>reals</i>.
+To this period belong the fine portraits of St. Leander and St. Isidore,
+in the <i>Sacrist�a Mayor</i>, of the Cathedral; the Nativity, which formerly
+hung behind the high altar, until it was carried away by Soult; and the
+celebrated St. Anthony of Padua, receiving the infant Christ, still to
+be seen in the <i>Cap del Bautistero</i>.</p>
+
+<p>The portraits of St. Leander and St. Isidore are among the finest
+instances of the powers of Murillo. All the accessories are painted with
+the utmost care, and perhaps the only criticism which can be offered is
+that the figures are rather short. These portraits must be classified
+with Murillo's fine <i>genre</i> studies&mdash;those charming representations of
+gipsy life and beggar boys, by which he is largely known in this
+country, but of which Seville unfortunately possesses not a single
+example.</p>
+
+<p>The Nativity of the Virgin was received by Seville with a burst of
+enthusiasm. The St. Anthony was painted in 1565, the Chapter paying for
+it the sum of 10,000 <i>reals</i>. The light in the dim chapel renders it
+very obscure. A brown-frocked monk kneels at a table, and gazes at the
+Heavenly Child, who descends towards him. Upon the table rests a vase of
+lilies, and the story runs that they were so life-like that the birds,
+flying around the Cathedral, used to come and peck at them, while
+Murillo was engaged in painting them. The picture was restored, and
+almost repainted<a name="page_172" id="page_172"></a> in 1833, which has doubtless done much to destroy its
+charm.</p>
+
+<p>Shortly after this time Murillo adopted his third and last manner, known
+as "el Vaporoso," in which the outlines are entirely lost, obliterated
+in a misty effect of light and shade.</p>
+
+<p>The first pictures painted in this method were executed for the Church
+of Santa Maria la Blanca, to illustrate the legend of our Lady of the
+Snow. They were carried away by the French and placed in the Louvre; but
+were rescued, and are now in the Acad�mia de Belles Artes, at Madrid.
+The Virgin, appearing to the wife of a Roman senator, and telling her
+where she will find the patch of snow upon which to erect a church to
+her honour, is one of the loveliest of Murillo's conceptions.</p>
+
+<p>The great cycle of pictures for the Hospital de la Caridad were painted
+about this time, being completed between the years 1660 and 1674. Three
+of the pictures stand in their original position, Moses striking the
+Rock, The Miracle of the Loaves and Fishes, and the Charity of St. Juan
+de Dios. The figure of the Prophet, in Moses striking the Rock, Sir W.
+Stirling-Maxwell says, 'is one of impressive dignity.' Clad in pale
+yellow robe and violet mantle, he occupies the central position in the
+picture. Behind him stands Aaron, with mystic breastplate, and robe of
+subdued white. Around the two prophets are grouped numerous figures,
+men, women and children, all quenching their thirst with feverish
+eagerness. This has given the picture its name of La Sed (the thirst).
+The figures bear no resemblance to the men and women of Palestine, they
+are ordinary Spanish peasants, such as Murillo would see in the streets
+around him. This custom of introducing common types into his scriptural
+compositions, Professor Carl<a name="page_173" id="page_173"></a> Justi considers as one proof of
+Murillo's genius. The personality of Christ, in the Miracle of the
+Loaves and Fishes, lacks the force of the ancient prophet, and the work
+as a whole is inferior to its companion picture. The Angel appearing to
+St. Juan de Dios, as he sinks under the burden of a sick man, well
+represents the later manner of Murillo. In colour this picture is good,
+the tones are finer than in either of the other works. The five
+remaining pictures, which completed this great series, were carried away
+by Soult. The finest, St. Elizabeth of Hungary washing the Feet of
+Beggars, is now at Madrid. The Return of the Prodigal is in the
+collection of the Duke of Sutherland. Two others, The Healing of the
+Paralytic, and Abraham with the Angels, are in England, while the last,
+St. Peter released from Prison, is in St. Petersburg.</p>
+
+<p class="figcenter">
+<a href="images/ill_193_lg.jpg">
+<img src="images/ill_193_sml.jpg" width="501" height="759" alt="THE GUARDIAN ANGEL
+
+Murillo" title="" /></a>
+<br />
+<span class="caption">THE GUARDIAN ANGEL   <span style="margin-left: 30%;">Murillo</span></span>
+</p>
+
+<p>The final work of importance undertaken by Murillo, was the execution of
+a series of twenty pictures for the Capuchin Convent of the Franciscans.
+The convent was destroyed in 1835, when its treasures were scattered.
+The greater number of the pictures are now in the Museo; the immense
+altar-piece of the Porciuncula is in Madrid; while the Angel de la
+Guarda is in the <i>Sacrist�a de los C�lices</i>, having been presented to
+the Cathedral, by the Franciscans, in 1814. There is great beauty in
+this composition; which was founded upon the text, Matthew xviii. 10.</p>
+
+<p>An angel, in a rich yellow robe and royal purple mantle, points with one
+hand to heaven, while with the other she tenderly leads a lovely child.
+It is painted with great lightness of touch; the diaphanous drapery of
+the child's dress has a transparency of texture rarely seen in Spanish
+pictures.</p>
+
+<p>The life of Murillo was nearing its completion. He<a name="page_174" id="page_174"></a> worked until its
+very close; and devotion to the art he loved was the immediate cause of
+his death. In 1678 he painted for the Hospital de los Venerables a very
+fine Conception, which has since been lost; he also executed two
+pictures for the Augustine Convent, now in the Museo. In 1681 he was
+summoned to Cadiz to paint an altar-piece for the Capuchins of that
+city. The work was nearly completed, when he fell from the scaffolding,
+upon which he was standing in order to reach upper portions of the
+picture. He received an internal injury, and returned to Seville to die,
+on April 3, 1682.</p>
+
+<p>The whole city sorrowed for his loss. His obsequies were conducted with
+great magnificence. His bier was carried by four marquesses and four
+knights. He was buried in the Church of Santa Cruz, beneath his
+favourite picture, The Descent from the Cross, by Pedro Campa�a. The
+spot was marked by a simple marble slab, upon which was engraved,
+according to his own desire, his name, the figure of a skeleton, and the
+words '<i>Vive Meritorus</i>.'</p>
+
+<p>The position Murillo occupies in the heart of Andalusia is almost
+unprecedented. To this day a picture of great merit is in Seville termed
+a 'Murillo.' What Cervantes was in literature Murillo was in art. Sir
+David Wilkie justly remarks, in his comparison of Velazquez and Murillo,
+'Velazquez by his high technical excellence is the delight of all
+artists; Murillo, adapting the higher subjects of art to the commonest
+understanding of the people, seems, of all painters, the most universal
+favourite.'</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="ARTISTS"
+style="text-align:center;font-size:90%;">
+<tr valign="top"><td>Artists.</td>
+<td>Pictures.</td>
+<td>Where Situated.</td></tr>
+</table>
+
+<p><a name="page_175" id="page_175"></a></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="ARTISTS"
+style="text-align:center;font-size:90%;">
+
+<tr><td colspan="3" align="center"><span class="smcap">The Principal Works of Murillo in Seville Cathedral.</span></td></tr>
+
+<tr valign="top"><td>Artists.</td>
+<td>Pictures.</td>
+<td>Where Situated.</td></tr>
+
+<tr valign="top"><td>Murillo<br />
+ (1617-1682).<br />
+     "<br />
+<br />
+     "<br />
+     "<br />
+<br />
+     "<br />
+<br />
+     "<br />
+<br />
+     "<br />
+<br />
+     "</td>
+
+<td>Angel de la Guarda.<br />
+<br />
+SS. Leander and<br />
+ Isidore.<br />
+Conception.<br />
+St. Anthony of<br />
+ Padua.<br />
+Moses striking the<br />
+ Rock.<br />
+Miracle of the<br />
+ Loaves and Fishes.<br />
+Charity of St. Juan<br />
+   de Dios.<br />
+Seventeen works<br />
+ from the Capuchin<br />
+ Convent, and<br />
+ other works.</td>
+
+<td>Sacrist�a de los<br />
+ C�lices.<br />
+Sacrist�a Mayor.<br /><br />
+Sala Capitular.<br /><br />
+Cap del Bautisterio.<br />
+Hospital de la<br />
+ Caridad.<br />
+Ditto.<br /><br />
+Ditto.<br /><br />
+Museo.
+</td></tr>
+
+<tr><td colspan="3" align="center">Other Pictures in many of the Churches.</td></tr>
+
+</table>
+
+<p><a name="page_176" id="page_176"></a></p>
+
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X<br /><br />
+<i>The Pictures in the Museo</i></h2>
+
+<div class="blockquot"><p class="c">'The office of art is to educate the perception of beauty.'</p>
+
+<p class="r"><span class="smcap">Emerson.</span></p></div>
+
+<p class="nind"><span class="letra">I</span>N
+the south-western quarter of Seville, in the midst of a palm-shaded
+<i>plaza</i>, stands the Museo Provincial, a picturesque structure, whose
+history dates back to the thirteenth century. It was originally a
+monastery, founded by the pious San Fernando, in the year 1249, for the
+monks of the order of the Merced, whose duty it was to redeem the
+Christian captives taken from the Infidel. Sumptuously rebuilt by Carlos
+V., it was a religious house of great wealth during the fifteenth and
+sixteenth centuries.</p>
+
+<p>Little of the former glory now remains. The convent was destroyed, and
+the monks expelled in the year 1835. New uses were found for the ancient
+edifice. The Roman and Visigothic relics were brought from Italica, and
+stored within the quiet cloisters. Numerous pictures, rescued from the
+convents and churches by the efforts of Dean Manuel L�pez Cepero, were
+hung upon the walls of the old convent church. The sole relic of the
+banished order of the Merceds are the emblazoned arms of the
+brotherhood, which may still be seen upon the rich and
+curiously-panelled doors.</p>
+
+<p>The majority of the pictures hang in the Sal�n de Murillo, the name now
+given to the convent church. The collection cannot be taken as
+representative of the<a name="page_177" id="page_177"></a> genius of Seville. There are numerous examples of
+the work of Murillo, more than half of the room is occupied by the
+canvases of the Sevillian favourite. There are some fine instances of
+the work of Zurbaran. The elder Herrera and Vald�s Leal are also well
+represented. But there are only two specimens of Luis de Vargas and Juan
+de las Roelas, while the works of Velazquez, Alonso Cano, Nu�ez, Campa�a
+and several other artists are entirely absent. The space which the
+compositions of these masters might have occupied is filled with
+comparatively worthless pictures, painted by the decadent artists, who
+lived during the eighteenth century.</p>
+
+<p>The pictures<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> are well lighted, in a tolerable state of preservation,
+and are arranged with some method.</p>
+
+<p>The compositions of Murillo immediately attract attention. There are
+more than twenty in number, almost all of which are ranged in the nave
+of the Sal�n. The seventeen pictures, painted for the Capuchin Convent,
+are the most important. The finest is Santo Tom�s de Villanueva
+socorrierdo � los pobres<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a> (rendering succour to the poor). Murillo
+esteemed this picture above all his works, and was wont to call it <i>su
+lienzo</i> (his own picture). In literary conception the work has much
+merit. It is executed in the misty, <i>vaporoso</i> manner. The light is
+skilfully handled and the figure of the saint is well realised. Robed in
+black, and bearing a white mitre in his hand, he stands at the door of
+his Cathedral, ministering to the needs of a beggar; whose feeble form,
+clad in<a name="page_178" id="page_178"></a> filthy rags, affords a fine contrast with the calm beauty of
+the saint. Penurious men and women, waiting to be relieved, stand
+grouped in the foreground. The little urchin, who exultingly exhibits
+the <i>maravedis</i> which have fallen to his share, is a typical Murillo
+beggar-boy.</p>
+
+<p>The two fine pictures of San Antonio with the infant Jesus are both
+instances of Murillo's latest manner. A similar picture is the Virgin
+revealing herself to San F�lix de Cantalicio. The outlines in all three
+pictures are obliterated, lost in a haze of misty vapour. The deposition
+of the drapery in St. Leander and St. Buenaventura is admirable. The
+picture of Santas Justas y Rufina, supporting the famous Giralda Tower,
+to guard it from the ravages of the tempest, should be compared with the
+picture of the same saints by Francisco Goya, in the <i>Sacrist�a de los
+C�lices</i>, in the Cathedral. In the composition of Goya we have an
+instance of a saintly subject treated in a realistic manner; Murillo
+follows the accustomed mode and depicts the maidens as holy saints,
+crowned with halos of glory.</p>
+
+<p>The fable that the picture of La Virgen con el Ni�o Jes�s was painted
+upon a serviette has no foundation, as can readily be seen by examining
+the panel upon which the study is painted. The story, which is very
+widely credited, says that the cook at the Capuchin Convent, having
+rendered Murillo some service, was asked by him what recompense he
+desired. He at once craved a sketch from the hand of the great master.
+Murillo, according to the fable, took the serviette which the cook was
+carrying, and with a few rapid touches of his brush created the picture,
+which is still noteworthy for the brilliancy of its tints.</p>
+
+<p class="figcenter">
+<a href="images/ill_201_lg.jpg">
+<img src="images/ill_201_sml.jpg" width="520" height="740" alt="THE CONCEPTION
+
+Murillo" title="" /></a>
+<br />
+<span class="caption">THE CONCEPTION <span style="margin-left: 30%;">Murillo</span></span>
+</p>
+
+<p>One of the sweetest of Murillo's Madonnas may be seen in El Nacimiento
+de Jesucristo (The Nativity).<a name="page_179" id="page_179"></a> Cean Bermudez praises this picture very
+highly, while Antonio Ponz, a later Spanish critic, says that the stream
+of light which floods the picture is worthy of Correggio. There are four
+Immaculate Conceptions. In one the Virgin is supposed to be a portrait
+of the daughter of Murillo. Possibly the finest is the one termed 'la
+Grande,' although the difference between the pictures is very slight.</p>
+
+<p>At the farther end of the nave, close to the works of Murillo, is El
+Martirio de San Andres, by Juan de las Roelas, a huge composition,
+crowded with numberless figures. In spite of this defect the picture has
+power. The expression of the faces is individual and life-like, and the
+form of the martyr, bound to his double-cross, is well drawn. The chief
+merit of the work rests in its colour, which is Venetian in many of its
+tones. Very beautiful is the picture of Santa Ana teaching the Virgin to
+read. The drawing, especially of the hands, is defective, but the flesh
+tints are full of rich warmth, indeed, the colouring of the whole
+picture can hardly be too highly praised.</p>
+
+<p>Near to the Martyrdom of St. Andrew hang the Visi�n de San Basilio and
+the Apot�osis of San Hermenegildo, two works of great size, by Herrera
+el Viego. The latter is the finer composition as the canvas of the
+Vision is overcrowded and the interest of the work is not sufficiently
+centralised. San Hermenegildo is a noteworthy instance of the power of
+Herrera, and exemplifies his vigorous individual style. The favoured
+saint of Seville ascends to heaven in a flood of yellow glory, which
+reveals the steel blue of his cuirass, and the rich crimson of his
+flowing mantle. Two angels bear the axe and chain, the trophies of his
+triumph; while all around cherubs hover, waiting to crown with flowers
+the newly-martyred saint. Beneath are three figures&mdash;a fair-haired,
+kneeling boy, the son<a name="page_180" id="page_180"></a> of San Hermenegildo, St. Isidore, robed and
+mitred, and King Leovigild, the Visigoth, who imprisoned and killed his
+brother for his defection from the Arian faith.</p>
+
+<p>Upon the same wall as the Santa Ana are the works of Juan de Vald�s
+Leal. They are of uneven merit, and traces of hurry and lack of careful
+completion may be discerned in almost all of them. One of the most
+interesting is, La Virgen, las tres Mar�as y San Juan, en busca (search)
+de Jes�s. The figures convey the idea of motion, while eager expectancy
+finds expression in look and gesture. The series of pictures
+illustrative of the life of San Jer�nimo are also interesting,
+notwithstanding the lack of harmony which mars several of the
+compositions. Entirely distinct are, La Concepci�n, and La Asunci�n.
+They are poor, both in drawing and colour; distinctly mannered, and
+devoid of simplicity and deep religious feeling.</p>
+
+<p>The works of Francisco de Zurbaran are collected in the old convent
+choir. In the centre is, La Apot�osis de Santo Tom�s de Aquino,
+considered by some critics the masterpiece of Zurbaran. It is a triple
+altar-piece, allegorically representing the death of the patron of the
+College of St. Thomas. The saint is ascending to heaven to join the
+blessed Trinity, the Virgin, St. Paul, and the hosts of glory. Below sit
+the venerable figures of the Doctors of the Church; on the right kneels
+the Bishop Diego de Dega, the founder of the college, while the Emperor,
+Charles V., with a train of ecclesiastics, stands upon the left. The
+dark, mild face of the figure immediately behind the Emperor is supposed
+to be the portrait of Zurbaran. As a work of art the picture is
+defective; it lacks charm, and the literary interest of the composition
+is too diffused. The execution is excellent, the colour, though sombre,
+is rich with a splendid mellowness of<a name="page_181" id="page_181"></a> tone, while each of the heads
+bears the imprint of being a separate study.</p>
+
+<p class="figcenter">
+<a href="images/ill_205_lg.jpg">
+<img src="images/ill_205_sml.jpg" width="681" height="512" alt="THE ROAD TO CALVARY
+
+Valdes Leal" title="" /></a>
+<br />
+<span class="caption">THE ROAD TO CALVARY
+<span style="margin-left: 30%;">Valdes Leal</span></span>
+</p>
+
+<p>The three studies of Carthusian monks amply manifest the charm which
+this allegorical composition lacks. La Virgen de las Cuevas, and San
+Hugo en el refectorio will be found on either side of the choir, while
+the third of the series, Confrencia de San Bruno con Urban II. hangs
+close to the St. Thomas. The genius of Zurbaran is disclosed in these
+scenes of monastic life. All three pictures are executed with remarkable
+fidelity, but the finest of the three is St. Hugo visiting the monks in
+their refectory. It is painted with realistic and individual truth. The
+monks, clad in the white robes of the Carthusians, sit around a table at
+their mid-day repast. In the foreground stands the aged figure of St.
+Hugo, attended by a young page. The saint has come to reprove the order
+for unlawfully dining upon flesh meat. His purple vestments supply an
+effect of fine colour, which contrasts with the dull white cowls and
+frocks of the brothers. What cold, passionless faces! Zurbaran has
+embodied the very spirit of asceticism. Each monk is a portrait,
+probably drawn from life. It is a perfect realisation of a monastic
+scene from the life of ancient Spain.</p>
+
+<p>We can only touch briefly upon the remaining pictures of Zurbaran. They
+are all worthy of study. Signs of weak drawing can often be detected,
+but the effort after truthful expression, and the entire absence of a
+desire to please by any special trick of manner will commend his work to
+every student. Note the simple, yet powerful, sincerity of his
+Crucifixion. Consider the manner in which he has depicted the boy Jesus
+in the picture, El Ni�o Jes�s. A boy clad in a simple gown of darkest
+grey; no halo surrounds his head, and upon his knees rests a twisted
+crown of thorns. One of the prickly spines has pierced the<a name="page_182" id="page_182"></a> boy's
+finger, and with the verity of life Zurbaran depicts him pressing the
+finger to extract the thorn. The drawing of the figure is faulty and the
+execution of the little sketch is not equal to many of the other
+pictures, but the mode of treatment illustrates very convincingly the
+sincerity of the artist's purpose. Many of the studies of monkish
+figures are very fine. San Luis Beltr�n is a work of wonderful power.
+The careful painting of the hands, and the way in which every detail of
+the picture is subordinated to the whole effect deserve high praise.</p>
+
+<p>To turn from the works of Zurbaran to the pictures of Francisco Pacheco
+and Juan de Castillo is somewhat difficult. The hard, flat, lifeless
+portraits of the one, and the dull, faultily drawn, religious
+composition of the other, offer little inducement to linger. Were it not
+for the interest which attaches to these artists from the illustrious
+fame of their pupils, their very names would hardly be remembered.</p>
+
+<p>Equally disappointing are the majority of the remaining canvases, which
+hang in the nave of the Museo. The modern pictures appear out of place.
+The chief idea they convey is one of intense crudity of colour. Among
+the numerous pupils and imitators of Murillo not one is worthy of
+attention. The work of the pupils of Zurbaran reaches a somewhat higher
+level. The pictures of the Apostles, by the brothers Miguel and
+Francisco Polancos are good studies.</p>
+
+<p class="figcenter">
+<a href="images/ill_209_lg.jpg">
+<img src="images/ill_209_sml.jpg" width="754" height="501" alt="SAINT HUGO IN THE REFECTORY
+
+Zurbar�n" title="" /></a>
+<br />
+<span class="caption">SAINT HUGO IN THE REFECTORY
+<span style="margin-left: 30%;">Zurbar�n</span></span>
+</p>
+
+<p>In the nave are two pictures, both good and one of fine merit, executed
+by artists not belonging to the Sevillian school. La Sagrada Cena (The
+Last Supper), by Pablo de C�spedes, the artist of C�rdoba, 1538-1608,
+hangs upon the end wall of the nave, near to the Martyrdom of St.
+Andrew. The colour is good, there is a slight confusion of detail, but
+the<a name="page_183" id="page_183"></a> picture is not without charm. The portrait of himself, by
+Dom�nico Theotoc�puli,<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> 1548-1625, better known as El Greco, the
+genius of Toledo, will be found near the door. It is a magnificent study
+and testifies to the power of the hand which executed it. Composition
+and technique alike, are above praise. The portrait is life-like in its
+reality; we grow to know the dark face of the artist, as he stands, with
+his brush and palette in his hand.</p>
+
+<p>Three other rooms, of small size, complete the Museo. The pictures they
+contain are not of great importance, but there are a few interesting
+canvases in the old sacristy, leading from the south transept of the
+Sal�n. Among them are several compositions of the early fifteenth
+century, classified as belonging to the <i>Escuela Flamenca</i>, by artists
+whose names have not been preserved. The tones in many of these antique
+pictures are wonderful, and they are all painted with a na�ve
+simplicity. The colour in the two compositions, El Se�or Coronado de
+espinas (thorns), and La Anunciaci�n de Nuestra Se�ora is especially
+good. The long lean figures and conventional grief depicted in El
+enterramiento del Se�or, strongly resemble the similar picture by
+Sanchez de Castro, in the house of Murillo.</p>
+
+<p>The works of Francisco Frutet will be found in this room. The finest, a
+grand triptych, entitled, Jes�s en el camino (road) del Calvario, is a
+work of much beauty. The central picture of the Crucifixion is finely
+conceived, and Sir W. Stirling-Maxwell thinks that several of the
+figures bear a resemblance to the Spasimo de Sicilia of Raphael.</p>
+
+<p>El Juicio Final, by Martin Vos, a Flemish painter,<a name="page_184" id="page_184"></a> who worked in
+Seville during the early years of the sixteenth century, is a
+quaintly-conceived allegorical picture. This finest portion represents
+the hosts of the wicked. The drawing of the figures is good, but the
+canvas is much crowded.</p>
+
+<h3><i>The Statuary in the Museo.</i></h3>
+
+<p>Before studying Spanish statuary, it is well to remember that this
+branch of art never attained to the same level in the Peninsula as the
+sister art of painting. The reason of this lack of development is not
+difficult to appreciate, when we remember that statuary was executed,
+almost without exception, for the religious uses of the Catholic Church.
+The images were needed to increase the pious fervour of the populace;
+they were carried in the religious processions, and often they were
+credited with miracle-working powers. The one necessity for a Spanish
+statue was that it should be an exact imitation of life. The more
+realistic the illusion, the greater was the power of the statue to
+conform to the requirements of the Church.</p>
+
+<p>It will readily be seen that marble&mdash;the substance most fitting for the
+artistic rendering of form, would not comply with these demands. Thus,
+in Spain, the classic marble was discarded, while wood and plaster were
+employed in its place. These substances could be readily coloured, or
+even covered with a canvas, like a skin, and then painted to counterfeit
+life. This barbaric custom&mdash;a relic of heathen days, did much to seal
+the doom of the art of sculpture in Spain. In seeking to imitate life
+the artists frequently rendered their statues grotesque. The ambition of
+art is not to be a deceptive imitation of nature. The true purpose of<a name="page_185" id="page_185"></a>
+sculpture is to depict pure form; when it departs from this limitation
+it loses its distinguishing motive, the representation of repose, and
+becomes a degraded intermingling of the two arts of sculpture and
+painting.</p>
+
+<p>Yet, in spite of these limitations, there are several Spanish sculptors
+whose works deserve praise, and two of the most famous lived and worked
+in Seville.</p>
+
+<p>Pietro Torriggiano, of Florence, a roving soldier-sculptor, came to
+Spain, in the year 1520. He had journeyed in many lands, and to his
+skill we owe the fine tomb of Henry VII., in Westminster Abbey. He
+settled in Seville, and soon completed his great work, San Jer�nimo
+penitente, now in the north transept of the Museo.</p>
+
+<p>It is impossible to rightly estimate the value of this work in its
+present position. The bright colours of the modern picture, which forms
+its background, are entirely unharmonious. The penitent saint, with his
+sinewy, attenuated form, frowning brow and shaggy locks, needs to be
+seen alone. Its original home was a lonely grotto in the gardens of the
+Jeronimite Convent; and in such a place of quiet solitude we must
+picture it, before we can appraise its worth. Cean Bermudez twice
+visited it in company with Francisco Goya. It excited their unbounded
+admiration, and Goya pronounced it 'the finest piece of work of modern
+sculpture in Spain, and perhaps in the world.' Torriggiano fell under
+the ban of the Inquisition, and died in the prison of the Holy Office.</p>
+
+<p>Facing the San Jer�nimo, in the south transept, rests the Santo Domingo,
+of Martinez Monta�es, the most eminent sculptor of Seville, if not of
+the whole of Spain. The date of his birth is not recorded, but we know
+he was working in Seville in the year 1607; he died in 1649. Like its
+companion work of art the Santo Domingo suffers from its situation. Such
+works<a name="page_186" id="page_186"></a> are utterly unsuited to the crowded gallery; they need the silent
+cloister, or quiet corner in some convent church. The saint kneels and
+scourges himself. The figure is of wood and of great dignity. The
+colouring is subdued, so as not to interfere with the fineness of the
+conception. The statue is a powerful study of asceticism.</p>
+
+<p>Finer than the Santo Domingo is the Crucifixion, by Monta�es, in the
+<i>Sacrist�a de los C�lices</i>, in the Cathedral. It is unrivalled among the
+statues of Spain. The anatomy is excellent, the sufferings of the Christ
+are portrayed with powerful reality.<a name="page_187" id="page_187"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_216_lg.jpg">
+<img src="images/ill_216_sml.jpg" width="502" height="693" alt="THE CRUCIFIXION
+
+Monta�es" title="" /></a>
+<br />
+<span class="caption">THE CRUCIFIXION
+<span style="margin-left: 30%;">Monta�es</span></span>
+</p>
+
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI<br /><br />
+<i>The Churches of the City</i></h2>
+
+<div class="blockquot"><p>'The different provinces of Spain differ from each other in their
+architecture, as in their history; some of the buildings are purely
+Moorish, others have a mixture of that style....' J. H. Parker,
+<i>The Study of Gothic Architecture</i>.</p></div>
+
+<p class="nind"><span class="letra">I</span>N
+order to appreciate the Andalusian character, it is essential that
+one should take into account the vast sway exerted by the Church in
+Spain. Devotion to piety has ever been one of the cardinal traits of the
+true Spaniard, and uncompromising faith in prelatical absolutism is
+considered one of the first virtues. In the long crusade against Saracen
+infidels, Arians, Jews, Protestants and apostates, men of high birth and
+wealth abandoned a life of ease to fight under the standard of Rome. To
+serve one's country as a priest or a soldier was the chief duty of the
+Christian.</p>
+
+<p>The wars of the country were fought to preserve the traditional faith.
+As early as the seventeenth century, the clergy possessed more power in
+Spain than in any other European country; and the sovereigns were
+pledged to protect the faith. The bishops were the king-makers, the
+predominant rulers of the nation. During the forty years' reign of
+Carlos V., the main object of the State was to suppress heresy, and this
+had been the ambition of all the rulers since Fernando the Saint.</p>
+
+<p>In the seventeenth century, the Church secured even greater power in
+temporal affairs; but this power began<a name="page_188" id="page_188"></a> to wane when Florida Blanca, the
+new Minister, made a determined effort to lessen the dominance of the
+Church, in 1780. For diplomatic reasons, Blanca signed treaties with
+Turkey, Tripoli, Algiers and Tunis, thus exhibiting amity towards the
+very infidels, 'whom, in the opinion of the Spanish Church, it was the
+first duty of a Christian government to make war upon, and, if possible,
+to extirpate' (Buckle). The expulsion of the Jesuits was a part of the
+same policy. And now, for the first time for centuries, the secular
+authority gained supremacy over the spiritual class.</p>
+
+<p>The cathedrals and churches of Spain remain as instructive monuments of
+the powerful religious fervour of the Middle Ages. They were built by
+men of profound faith, by devotees who were ready to die for their
+creeds. Those who endowed the buildings gave ungrudgingly; rich and poor
+were liberal in contributing the means, and clerics sometimes yielded
+half of their stipends to assist in the cost of beautifying the
+venerated piles. One and all, those who subsidised the labour, the
+architects, masons, artists and carvers, were inspired by a deep faith.</p>
+
+<p>Such was the enthusiasm that produced the rich designs of rose windows
+like that of San Pedro in Avila, the doors of Toledo Cathedral, the
+marvellous architecture of Burgos Cathedral, and that of Le�n and many
+other sacred buildings in the Peninsula. When surveying with delight
+these examples of �sthetic inspiration, we must remember that the
+artists worked not only to charm men, but to show reverence to their
+God. Every curve, tracery and adornment was conceived in a spirit of
+pious homage and of religious duty.</p>
+
+<p>It is only when faith is enfeebled that we may observe the touch of
+indifference in the hand of the ecclesiastical builder and artist. There
+is nothing<a name="page_189" id="page_189"></a> 'cheap,' nothing hasty, nothing paltry in the scheme and
+construction of the temples dedicated by medi�val believers to the
+worship of God and the Holy Virgin Mother. We may have outgrown the
+taste in certain forms of decoration, but the work will not strike us as
+ill-considered and commonplace. It stands as a testimony to the
+influence of faith and devotion upon the imagination and the artistic
+spirit.</p>
+
+<p>If the modern churches of Spain disappoint us, we must remember that in
+these days men have, to a marked extent, lost that tenacity of belief,
+which once urged them to expend a great share of their wealth upon the
+founding of splendid houses of worship. 'The temples made by hands' are
+to-day less beautiful than those of the age when creed ranked before
+country, and was the absorbing subject and the profoundest conviction of
+the Spanish mind.</p>
+
+<p>But the ancient cathedrals and churches endure as solemn memorials.
+Atmospheric influences do not cause crumbling and speedy decay in this
+land of dry winds and sunshine. The edifices were built to stand, and
+they have stood well the wear and tear of the centuries.</p>
+
+<p>Most of the Seville churches exhibit the art itself, or at least the
+artistic influence, of the Moorish designer. The reconciled and
+converted Morisco had to live among his conquerors. Why should he not
+set his hand to the building of their temples? The Christians were
+pleased to borrow from his designs, to imitate his half-orange cupolas,
+his graceful arches, his glazed tiles, ribbon decorations and <i>ajimez</i>
+windows. Why should he refuse to design churches, and erect and adorn
+them, for the good pay that the Christians offered? The <i>Mud�jares</i>, or
+'reconciled' Moors, became, therefore, the chief and most
+lavishly-remunerated artisans of Seville. In building the churches and
+mansions of<a name="page_190" id="page_190"></a> the city, they no doubt experienced a compensation for
+their subjection in the thought that they were permitted to labour with
+a free hand, and to design and embellish sacred or secular buildings
+after the manner of their own nation. They had no faith to inspire them;
+the religion foisted upon them was repugnant to their consciences and
+minds. But they possessed a potent stimulus to good execution&mdash;the love
+of art for art's sake. This was their inspiration, and we may see its
+effect in many details of ecclesiastic architecture in the Sevillian
+churches.</p>
+
+<div class="figleft" style="width: 291px;">
+<a href="images/ill_220_lg.jpg">
+<img src="images/ill_220_sml.jpg" width="291" height="505" alt="Minaret of San Marcos." title="Minaret of San Marcos." /></a>
+</div>
+
+<p><i>San Marcos.</i>&mdash;This church is of exceptional interest on account of its
+tower, a fine example of Morisco architecture, and its beautiful
+<i>Mud�jar</i> portal. The tower is in the minaret form, and was no doubt
+built in imitation of the Giralda, which it resembles in miniature. It
+is seventy-five feet in height, and ten feet wide, the loftiest tower in
+the city, except, of course, the stupendous Giralda, which is reared
+over all other edifices. The church is of Gothic design, and dates from
+1478, though the much older tower and the chief portal are Arabian. The
+interior is not of much<a name="page_191" id="page_191"></a> importance. It is said that the love-sick
+Miguel Cervantes used to ascend the tower of San Marcos to gaze around
+for one Isabel, a Sevillian beauty, who had entranced him. The church of
+San Marcos is approached from the Feria by the Calle de Castellar.</p>
+
+<p><i>The Church of the Convent of Santa Paula</i> is behind San Marcos, and
+within a few steps of that church. The <i>azulejos</i> covering the walls are
+fine examples of sixteenth-century workmanship from the potteries of
+Triana. The reliefs of saints on the Gothic portal of the nunnery are
+from the design of Pedro Millan, a famous sculptor, and are the work of
+Niculoso of Pisa. From the convent we may retrace our steps to San
+Marcos, turn to the right, and follow the Calle San Luis to</p>
+
+<p><i>Santa Marina.</i> The handsome Gothic portal of this church has some
+notable sculptures. It is said that the tower and the chapels are the
+remains of a mosque.</p>
+
+<p><i>San Gil</i> is on the left-hand side of San Luis, close to the Church of
+Santa Marina. It was originally a Moorish <i>mezquita</i>. The doorways are
+Gothic. The effigies of the Saviour and the Virgin within the church are
+attributed to Roldan, one of the pupils of Monta�ez.</p>
+
+<p><i>Omnium Sanctorum</i> is in the Plaza de la Feria. This church stands on
+the former site of a Roman temple, and it was built by Pedro the Cruel
+in 1356. It exhibits a mingling of Gothic and <i>Mud�jar</i> architecture.
+There are three naves and three doors. On the tower are some noteworthy
+frescoes. Francisco de Rioja, the poet, lived in this parish.</p>
+
+<p><i>Santa Catalina</i> is situated in the <i>calle</i> of that name. This church
+was also built on the ground once occupied by a Roman fane, and
+afterwards by a Mohommedan mosque. The fa�ade is another instance of the
+survival<a name="page_192" id="page_192"></a> of Moorish art, while the principal chapel is Gothic. Within
+are three remarkable paintings by Pedro de Campa�a, a Flemish artist,
+who is claimed as one of the Sevillian school. These masterpieces of
+early Andalusian art are described in the chapter on the painters of
+Seville.</p>
+
+<p>The inspection of these churches would fill a long day. But there are
+several more fine <i>parroquias</i> to be visited, for it must be remembered
+that the churches are the art museums of Spain, and no one can gain
+knowledge of the development of architecture, sculpture and painting in
+the country without spending a considerable portion of one's time in the
+dim, perfumed naves and chapels. The stranger will be impressed by the
+garish decoration of the interiors of many of the churches of Seville.
+Gilt is spread lavishly, and the effect is often tawdry. Some of the
+images are poor, especially in the modern churches, and one's taste is
+often shocked by their incongruity. The figures of the Virgin often lack
+dignity and beauty. But, as Mr. Henry James points out in his sketch
+'From Normandy to the Pyrenees,' in <i>Portraits of Places</i>, those images
+of the Holy Mother are 'the sentiment of Spanish Catholicism' of modern
+times. They are, therefore, instructive from that point of view.</p>
+
+<p>But from a devotional, as well as an �sthetic, standpoint, one is
+disposed to ask whether the sacred idols would not gain in nobility,
+pathos and stateliness if the Virgin were represented in the realistic
+garb of a Jewish woman of the people, instead of in modern dress, with
+trappings of lace and jewellery. It is with no disrespect towards
+Catholic prejudices in this matter that one expresses this view. The
+medi�val conception of the Madonna in painting appeals to the
+imagination, because in the works of the great masters there is beauty,
+simplicity and convincingness.<a name="page_193" id="page_193"></a></p>
+
+<p>In the northern district of the city, beyond the Convento de Santa
+Paula, we may, in a few minutes, reach&mdash;</p>
+
+<p><i>Santa Lucia.</i>&mdash;This church is now used for profane purposes; but its
+splendid Gothic portal remains. The Morisco tower is also notable.</p>
+
+<p><i>San Roque</i> is in the Barrio de San Roque, not far from Santa Lucia. The
+church was destroyed by fire in 1759, and rebuilt in 1769. It is not of
+great interest, though the arches of the naves are graceful, and the
+small tower is worthy of note. In times of flood, the Guadalquivir
+inundates this suburb, and the water flows into the church.</p>
+
+<p><i>San Bartolom�</i> may be reached from the last-mentioned church by the
+Recared � Industria and the Calle Tinte. The church was built on the
+site of a Jewish synagogue, after the expulsion of the Jews by the
+Catholic Kings of Spain. The <i>retablo</i> and the sculpture of our Lady of
+Joy is antique and interesting.</p>
+
+<p><i>Santa Maria de las Nieves, or la Blanca</i>, is close to San Bartolom�.
+Until the year 1391 this church was a synagogue. It has three small
+naves, marble columns, and plateresque ornamentation. The two doors are
+Gothic. There is a painting attributed to Murillo, and one of our Lady
+of the Augustias, with the dead Christ in her arms, by Luis de Vargas,
+the famous fresco painter.</p>
+
+<p><i>San Salvador</i> is in the centre of the city, behind the Audencia, and
+may be reached from Sierpes by the Calle de Gallegos. This church is not
+of much importance from its age; but it contains effigies by Monta�ez,
+the most celebrated being the figure of San Cristobal.</p>
+
+<p><i>San Isidoro</i> is built upon the ground where a fine mosque once stood.
+It is stated that St. Isidore was<a name="page_194" id="page_194"></a> born upon this spot or close to the
+church. Juan de las Roelas painted the Translation of San Isidoro for
+the principal altar. There are also pictures by Murillo, Vald�s, and
+Tortolero, and a statue of Santa Catalina by Roldan the Elder.</p>
+
+<p><i>San Julian</i> should be visited for an inspection of the large painting
+of San Cristobal, the work of Juan Sanchez de Castro. The painting of
+St. Christopher has been retouched. It was executed in 1484, and the
+work is of great interest as an example of the art of the earliest
+Sevillian painter.</p>
+
+<p>I have now mentioned thirteen churches. There are more to visit.</p>
+
+<p><i>San Bernardo</i> is in the suburb of that name. It is built on the spot
+where a hermitage stood until 1593. The church has three wide naves. It
+should be visited for an inspection of the pictures. In the left nave is
+a painting of the Last Judgment, the work of Herrera the Elder.</p>
+
+<p>The <i>Cena de Jesus</i> is by Francisco de Varela. It was executed in 1622,
+and is regarded as one of the finest works of that painter. The statues
+of St. Michael, the Faith, St. Augustine and St. Thomas are the work of
+Luisa Roldan. The organ of this church is one of the best in Seville.</p>
+
+<p><i>The Convent Church of La Trinidad.</i> The associations of the church are
+of considerable interest. In the time of the Roman rule in Seville, the
+palace, ecclesiastical court, and dungeons of a governor were built upon
+this ground. The church is dedicated to the saints of Seville, Justa and
+Rufina, the guardians of the Giralda. When the Romans conquered the
+Spaniards, they sought to convert the subject-people to the Pagan
+religion. Among the potters of Trajan's town, now<a name="page_195" id="page_195"></a>
+<a name="page_196" id="page_196"></a>
+<a name="page_197" id="page_197"></a>
+known as the suburb
+of Triana, were two girls, both of great beauty, named Justa and Rufina.
+The maidens were renowned for their Christian piety. They refused to
+worship the Roman gods, and in their zeal they became iconoclasts. Their
+image-breaking brought them beneath the tribunal; they were sentenced to
+extreme punishment. The wretched victims were scourged, and forced to
+walk barefooted on the bleak mountains of the Sierra Morena. But this
+persecution failed to shatter their fervent devotion to Christianity.
+They continued to protest against the religion of the Romans. Justa was
+imprisoned and slowly starved to death, while Rufina was cast to the
+lions in the arena.</p>
+
+<p class="figcenter">
+<a href="images/ill_225_lg.jpg">
+<img src="images/ill_225_sml.jpg" width="507" height="670" alt="Puerta de Santa Maria" title="Puerta de Santa Maria" /></a>
+</p>
+
+<p>The portraits of the youthful saints have been painted by several of the
+Sevillian artists. Murillo's SS. Justa and Rufina is in the picture
+gallery at Seville. The treatment is conventional. The saints are
+holding a model of the Giralda in their hands, and the martyrs' palms.
+At their feet are broken crockery, showing the nature of their calling.
+To the left are the ruins of a building. The figures of the maidens are
+large, and halos surround their heads.</p>
+
+<p>In the same gallery are two pictures of the Sevillian saints by an
+unknown artist. One is a portrait of Santa Justa. The saint is holding a
+white vase and the martyr's palm in her hands. Santa Rufina, in the
+other painting, is bearing a plate and a palm branch. The Santa Justa is
+the more notable of these works. The conception is beautiful and the
+colouring subdued.</p>
+
+<p>H. Sturmio's painting of Justa and Rufina is in the Cathedral, and so is
+that of the celebrated Luis de Vargas. From the artistic standpoint, the
+picture of the two saints by Francisco Goya is the finest of all.<a name="page_198" id="page_198"></a> It is
+to be seen in the <i>Sacrist�a de los C�lices</i> in the Cathedral.</p>
+
+<p>In the crypt of the Convent Church of La Trinidad is shown a rock, to
+which the saints were bound when scourged by their persecutors. There is
+a poor shrine in a dim cellar; and the sacristan shows a long, dark
+passage, full of water, which is said to be a part of the Roman prison,
+where heretics were confined and starved to death. The story of the
+saints of Triana is legendary; but it is no doubt credited as actual
+history among the devout of the city.</p>
+
+<p>It is recorded that the martyrs incurred death for breaking a statue of
+Venus. Tradition is hazy concerning the place of their burial. In one
+account we learn that SS. Justa and Rufina were laid to rest in Burgos.
+Another historian assures us that they were buried in Seville, while a
+third story relates that their bones are in the mountainous Asturias, in
+the North of Spain.</p>
+
+<p>A big book might be written on the churches of Seville alone. There are
+so many of those edifices, and few of them are devoid of interest to the
+antiquarian, art lover, and student of ecclesiastical history. The
+amalgamated Moorish and Renaissance elements in the Seville churches
+lend a charm to the architecture and the adornments. This strange
+combination of styles is only to be found in the Christian churches of
+Spain. Almost everywhere we are confronted in Andalusia with this
+seeming incongruity, the employment of designs for religious edifices
+from the hand of the despised and detested <i>Mud�jar</i>. The phenomenon is
+strange and instructive. The zealous Catholic kings, sworn to the
+extirpation of the Moslems, allowed the Moors to build their churches in
+the style of temples devoted to Allah.</p>
+
+<p>The same monarchs who ordered the destruction<a name="page_199" id="page_199"></a> of the beautiful Moorish
+baths in C�rdova and Seville were willing that Mohammedan genius should
+have full play in the design, construction and decoration of Christian
+temples.</p>
+
+<p>But, after all, was it not a question of necessity? When a nation has
+only two honourable professions, the military and the clerical, where is
+the scope for a development of skill in the industrial arts? The
+Moriscoes were martial, but they never neglected the peaceful
+occupations. Sadly had Spain to learn that the neglect of culture and
+the arts was the cause of her decline. Germans, Italians and Moors were
+employed in the erection and adornment of ecclesiastic and civil
+buildings. The Teutons Johann, and his son Simon, of Cologne, were the
+chief architects of Burgos; and it is probable that German designers and
+masons performed a large share in the building of Seville Cathedral. At
+Burgos, Toledo and Le�n we may note the influence of French architects.</p>
+
+<p>The interiors of the churches of Seville are so dark that it is often
+difficult to see the pictures clearly. Even on the brightest days the
+sunshine penetrates imperfectly through the stained windows, and in some
+cases the works of art are in the gloomiest chapel or recess of the
+building. The sacristans are usually to be found in or near the
+churches, and they are mostly courteous to the visitor, and anxious to
+point out the most important paintings, statues and relics. But in their
+desire to please, they sometimes ascribe the pictures to the wrong
+artist. A daub by an unknown artist becomes a work of Zurbaran, if the
+stranger appears to be greatly interested in that painter.</p>
+
+<p>Several spurious Murillos were shown to me. Now and then, the sacristan
+knows very little about the art treasures of his church. When you ask
+who<a name="page_200" id="page_200"></a> painted a picture or carved an image, the attendant shrugs his
+shoulders, and murmurs <i>No se</i> (Don't know). The boys who volunteer as
+guides are of no service to the visitor. In the chapter of information I
+have given the name of a reliable guide.<a name="page_201" id="page_201"></a></p>
+
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII<br /><br />
+<i>Some Other Buildings</i></h2>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">'Fair is proud Seville; let her country boast</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Her strength, her wealth, her site of ancient days.'</span></td></tr>
+<tr><td align="right"><span style="margin-left: 0em;"><i>Childe Harold</i>, Stanza lxv.</span></td></tr>
+</table>
+
+<p class="nind"><span class="letra">T</span>HE
+<i>palacios</i> and fine <i>casas</i> of Seville are numerous. Some of them
+retain a distinctly <i>Mud�jar</i> design in their architecture, and all of
+them possess an Oriental atmosphere or tone. One may spend many hours in
+visiting the courts of the big houses of the city. As a rule, the porter
+has instructions to admit strangers into the courts, but very rarely
+within the houses. But from the courts one may gain very considerable
+knowledge of the progress of architectural style in the dwelling-houses
+of the South of Spain, where, above all, we may trace the influence and
+art of the Morisco designer and craftsman.</p>
+
+<p>We will first visit the Casa de los Taveras, in the Calle Bustos Tavera.
+The house is principally celebrated as the scene of the tribunal of the
+Inquisition from 1626 to 1639. In the corridors is a collection of
+family portraits.</p>
+
+<p>Finer, from the point of view of architecture and adornment, is the Casa
+de los Marqueses de Torre Blanca, in the Calle de Santiago, number
+thirty-seven. It has a very beautiful <i>patio</i>, and a splendid marble
+staircase. These two houses are mentioned as well worth seeing in the
+little book <i>Sevilla Hist�rica</i>.<a name="page_202" id="page_202"></a></p>
+
+<p>Roaming in the Calle O'Donnell, I peeped into the court of number
+twenty-four. The fine <i>patio</i> is surrounded with the heads of bulls
+killed in the arena. Number seventeen in the Calle Alfonso XII. is
+another handsome <i>casa</i>, with a typical court. Visitors may discover
+many sumptuous houses in this quarter of the city. The Casa Alba once
+had eleven courts and nine fountains. It is decidedly Moorish in build,
+with Renaissance details in the stucco-work. This beautiful palace, in
+the Calle de Due�as, was at one time owned by the Ribera family (the
+Dukes of Acal�). It was begun about 1483. The Casa Alba is larger than
+the Casa Pilatos, described in the literary chapter of this book.</p>
+
+<p>Mr. Digby Wyatt says of the Casa Alba, in his <i>Architect's Note Book in
+Spain</i>, that this is one of the rare instances of Renaissance
+ornamentations executed by Moorish workmen. 'For these, no doubt, they
+were furnished with drawings or models, since in no other parts of the
+same building, and especially in many beautiful rooms in the interior,
+where they have apparently been left to themselves, they have reverted
+partly to <i>Mud�jar</i> work, and partly to the old types of geometrical
+enrichment, which may be regarded as specifically their own. Much of
+this is almost reduced to a flat surface by repeated coats of
+whitewash.'</p>
+
+<p>The<a name="page_203" id="page_203"></a>
+<a name="page_204" id="page_204"></a>Casa de los Abades is 'more Italian in its plateresque than is usual
+in other houses in Seville,' says Mr. Digby Wyatt. The mansion was built
+early in the fifteenth century, and was modified and embellished by the
+Pinedos, a Genoese family, in 1533. Mr. Wyatt tells us that: 'If it were
+not for the peculiar engrailed double edging to the arches, the thinness
+of the marble central window shaft, and a few Oriental turns here and
+there given to the foliage and<a name="page_205" id="page_205"></a> enrichments of the mouldings, one
+could almost believe that this architecture was regular Genoese
+cinque-cento.' After the Pinedo family, the <i>casa</i> came into the hands
+of the Abades, members of the Cathedral staff.</p>
+
+<p class="figcenter">
+<a href="images/ill_233_lg.jpg">
+<img src="images/ill_233_sml.jpg" width="495" height="649" alt="Patio del Casa Murillo" title="Patio del Casa Murillo" /></a>
+</p>
+
+<p>A <i>Mud�jar</i> window in the Fonda de Madrid has been sketched by Mr. Digby
+Wyatt in the afore-mentioned book. This is an <i>ajimez</i> window, 'through
+which the sun shines.' It is of brickwork and was 'once covered
+apparently in Moorish fashion with thin plaster, excepting the column
+which is of white marble.'</p>
+
+<p>We may now visit the Palacio Arzobiscopal, the Archbishop's Palace, in
+the Plaza de la Giralda. The doors are in the plateresque style. You may
+enter the courtyard, and ascend the marble staircase, which is one of
+the most beautiful in the city. The <i>Sal�n</i> contains some pictures that
+were formerly in the Cathedral. Among them are three paintings by Alejo
+Fernandez, an artist of the early Sevillian school, representing the
+Conception, Birth, and Purification of the Virgin. There are also
+pictures by J. Herrera and Juan Zamora.</p>
+
+<p>It is a few steps across the <i>plaza</i> to the Casa Lonja. This Renaissance
+edifice was erected in 1583. The Academy of Painters formerly held their
+councils in the Lonja. It is now a library, and a repository of archives
+relating to the Indies. The <i>patio</i> is fine, paved with marble, and
+surrounded by a double arcade. On the fountain is a statue of Columbus.
+A marble staircase, constructed in the time of Charles III., conducts
+the visitor to Achivo General de Indias.</p>
+
+<p>From the Casa Lonja pass down the Calle Santa Tom�s to the Hospital de
+la Caridad. This institution has a church, built by Miguel de Ma�ara. In
+the <i>Annales de Sevilla</i>, the author, Ortiz de Zu�iga,<a name="page_206" id="page_206"></a> says that the
+record of the Brotherhood of the Holy Charity dates back to 1578, and
+that the institution had probably existed then for a century. The object
+of La Santa Caridad was to provide Christian burial for evildoers and
+offenders against the law of Spain. La Caridad is, however, associated
+with Don Miguel de Ma�ara Vicentelo de Leca, Knight of Calatrava, a Don
+Juan of Seville, who abandoned his profligate life, and became a devout
+pietist. In his youth, Ma�ara was a renowned duellist, a boon companion,
+and a gambler. He was generous to his friends in a spendthrift fashion,
+and he was cultured enough to expend large sums of his wealth upon the
+fine arts. Murillo was under his patronage and enjoyed his friendship.</p>
+
+<p>Don Miguel de Ma�ara was born in the year 1626, and is supposed to have
+married the <i>se�orita</i> of the House of Mendoza. There are several
+stories of the young rake's career in Seville, and of his resolve to
+dedicate his riches to the service of the Church and to the poor of the
+city of his birth. One day a gift of some choice hams was sent to
+Ma�ara. In compliance with the regulations, the hams were detained by
+the customs' officers until the dues upon them were paid. The Don was
+extremely angered at the detention of the hams. He went out, in a
+furious passion, to upbraid the officials for the delay. As he paced
+fuming through the streets, 'the Lord poured a great weight upon his
+mind,' and Ma�ara was suddenly convicted of the sinfulness and folly of
+his life. Such is one account of Don Miguel's 'conversion.' Another
+annalist informs us that Ma�ara, while stumbling homewards after a night
+of carousal, saw a funeral procession approaching him. The priests and
+the usual torch-bearers accompanied the bier. Stepping up to the
+bearers, the young man<a name="page_207" id="page_207"></a> said: 'Whose body is that which you are
+carrying?' The reply was startling: 'The body of Don Miguel de Ma�ara.'
+The prodigal reeled away, filled with horror; for he had looked upon the
+corpse, and seen his own features. Upon the next morning Ma�ara was
+found insensible in a church. It was the turning-point in his life. He
+became an ascetic and devotee. Because he liked chocolate, he refrained
+even from tasting that innocent beverage. He was seen no more among the
+dissolute of Seville, and his money went to the building and decoration
+of the Hospital and Church of the Holy Charity. In his treatise
+<i>Discurso de la Verdad</i> (Discourse upon Truth) Don Miguel Ma�ara tells
+us of the hollowness of existence apart from holiness. He reflects often
+upon the solemnity of death, and the necessity for practising virtue and
+charity. His repute as an almsgiver of discretion was so great that one
+Don Gomez de Castro gave him an estate worth 500,000 ducats for
+charitable disbursement.</p>
+
+<p>In the Sala del Cabildo of La Caridad, you may see a portrait of the
+pious founder, painted by Juan de la Vald�s. Ma�ara has a sad, thin
+face. He is seated at a table covered with black velvet and gold, and he
+appears to be reading aloud. A charity lad is seated on a stool, with a
+book on his knees. Ma�ara's Toledan sword is exhibited in a case. He
+died in 1679, and bequeathed his fortune to the hospital, except some
+legacies to servants. To his confessor the Don presented his ivory
+Christ. His sister received a picture, which was upon his bedstead,
+representing the Saviour on the Cross. The work was said to be from the
+brush of Murillo.</p>
+
+<p>The founder was interred in the vault of the hospital church. There is a
+legend that, two months after burial, the corpse was found without any
+trace<a name="page_208" id="page_208"></a> of decay. It is also related that by the touch of some documents
+which had belonged to Ma�ara, a knight of the Order of Santiago was
+cured of a headache.</p>
+
+<p>In Mr. C. A. Stoddard's account of La Caridad, in <i>Spanish Cities</i>, the
+name of the founder is given wrongly as Ma�ana. Mr. Stoddard writes that
+Don Miguel desired to be buried at the church door, with the epitaph
+upon his tomb: 'Here lies the worst man in the world.' Ma�ara was,
+however, buried in a vault of the church, and in the inscription upon
+the stone he was lauded as 'the best of men.'</p>
+
+<p>For viewing Murillo's pictures in the Hospital Church of La Caridad, it
+is best to seek admission in the afternoon. The Charity Hospital is
+built in the Greco-Romano style from designs by Bernard Simon de Pineda,
+or Pereda. Visitors should examine the five large <i>azulejos</i> of the
+exterior, said to have been designed by Murillo, the friend of the
+founder. The centre is Charity, a woman with a child in each arm and a
+boy at her side. Other designs represent Santiago slaying Moors, and San
+Jorge spearing the dragon.</p>
+
+<p>Sir Stirling-Maxwell speaks of the Church of La Caridad as 'one of the
+most elegant in Seville.' The aisle widens beneath a lofty and ornate
+dome. One of the chief objects of interest is the famous retablo; but
+the church is mostly visited by admirers of Murillo. The eleven works of
+the master, which once adorned the building, were painted in four years.
+Soult carried away five of the paintings. Four of them were sold by the
+French marshal, and one was presented to the Louvre. Mr. Stoddard
+praises Moses and the Rock as one of the finest pictures of Murillo.
+There are three groups in the scene. Water gushes from a dark rock in
+the centre of the picture, and Moses, with hands folded, offers thanks<a name="page_209" id="page_209"></a>
+for the miracle. Behind is Aaron, in an attitude of worship. The
+Israelites press forward to quench their thirst. <i>Le Sed</i> (The Thirst)
+has been reproduced by engraving, and is well known.</p>
+
+<p>The other pictures by Murillo are the Infant Saviour, the Annunciation,
+and the San Juan de Dios. In the last painting the saint, assisted by an
+angel, is bearing a sick man to the hospital. Christ feeding the Five
+Thousand (<i>Pan y Peces</i>) and the Young John the Baptist are large
+pictures, showing Murillo's broad method.</p>
+
+<p>The curious paintings by Juan Vald�s Leal are described in the chapter
+on 'The Artists of Seville.' They are at the west end of the church.</p>
+
+<p>The court through which one enters the hospital is very handsome, and a
+good example of the Sevillian <i>patio</i>. A Sister of Charity conducts the
+visitor to the wards and to the council room of the institution. The
+sick and the convalescent recline upon their beds, and there is a hush
+in the long chambers. The patients are all men. They appear to be well
+cared for, and the wards are clean and sunny.</p>
+
+<p>In the Plazo de Alfaro, number seven, is the house where tradition
+states that Murillo lived. From the Plaza de Giralda follow the Calle de
+Barceguineria, and take the second street on the right hand side,
+passing the Church of Santa Teresa. Turn to the right at the end of the
+Calle de Santa Teresa. Murillo's house is in a corner of the Plaza de
+Alfaro. It is now occupied by the Se�ores L�pez Cepero, two cultured and
+courteous brothers, the nephews of a greatly respected dean of the
+Cathedral, who in his day collected a number of fine pictures, and did
+much to encourage artists in the city.</p>
+
+<p>Don Juan Maria L�pez Cepero speaks English well. I paid three visits to
+the historic <i>casa</i> that he<a name="page_210" id="page_210"></a> inhabits, and he told me that his house was
+open to all lovers of art who desire to see his collection of pictures.
+In the chapter on Sevillian artists will be found descriptions of some
+of the oil paintings in the Casa Murillo.</p>
+
+<p>Don J. L�pez Cepero showed me his beautiful garden, with its Moorish
+bath, frescoed walls, rose trees and carnations. The <i>patio</i> is planted
+with palms, and on the walls are pictures. The mural paintings in the
+garden have been attributed to Luis de Vargas; but they are
+unfortunately almost obliterated. At the end of a long salon, covered
+with pictures, is the room wherein Murillo is said to have died on April
+3, 1682.</p>
+
+<p>I am indebted to Don L�pez Cepero for the opportunity of seeing his
+valuable pictures, for the information which he gave me concerning books
+upon Seville by Spanish authors, and for the permission granted to my
+collaborator to reproduce some of the paintings in photography. His
+services to me were most valuable, and I now repeat my thanks for his
+assistance.</p>
+
+<p>The University, founded by Alfonso the Learned, is in the Calle de la
+Universidad. In the rooms are portraits of St. Francis of Borja and of
+Ignatius Loyola by Alonso Cano, and a picture of a saint by Zurbaran.
+The University Church has a notable retablo by Roelas; an Annunciation
+by Pacheco, and statues of St. Francis of Borja and of Loyola by
+Monta�ez. There is a monument to Enriquez de Ribera, and one to his wife
+Catalina in the nave. The Don was the first owner of the Casa Pilatos,
+and a benefactor of the city. It was he who founded the excellent
+Hospital Civil, in 1500, in the Calle de Santiago. The building was
+reconstructed near the Puerta de la Macarena in 1559.</p>
+
+<p>The Hospital Civil is best reached by the tramway <a name="page_211" id="page_211"></a>from the Plaza de la
+Constituci�n. It is surrounded by gardens, and has a charming <i>patio</i>.
+In the church of the hospital there are pictures of saints by Zurbaran,
+and the Apotheosis of St. Ermenigild and Descent of the Holy Ghost by
+Roelas.</p>
+
+<p>The most handsome of the Renaissance buildings in Seville is that of the
+Casa de Ayuntamiento, or City Hall, in the Plaza de la Constituci�n. It
+was designed by Ria�o in 1526. The ornate carved doors, and the
+plateresque ornamentations of the masonry are highly decorative, and the
+marble floors and vaulted ceiling within should be seen. In the
+Municipal Library of the Ayuntamiento is the banner of the city, of the
+fifteenth century, bearing a figure of San Fernando.</p>
+
+<p>We have not yet visited the Biblioteca Columbina, given to the city by
+Fernando, son of Christopher Columbus. It is in the Cathedral precincts,
+and can be entered from the Patio de los Naranjos (the Court of the
+Oranges). The beautiful illuminated Bible of Alfonso the Learned, by
+Pedro de Pampeluna, used to be shown here, but it has, I believe, been
+removed by the Chapter. The Columbus manuscripts are here, in glass
+cases. There is a copy of the <i>Tractatus de Imagine Mundi</i>, with notes
+by Columbus, and the famous treatise attempting to prove Scriptural
+prophecies concerning the discovery of the New World. A sword here
+exhibited is said to be that of Perez de Vargas, used by him in the
+capture of Seville. I have referred to the manuscripts of Christopher
+Columbus in the historical portion of this book.</p>
+
+<p>Close to the Fabrica de Tabacos is the Palace of San Telmo, the former
+residence of the Dukes de Montpensier. The building dates from 1734, and
+it was first used as a naval school. It passed into the hands of the
+Infanta Maria Luisa, widow of the Duke of Montpensier. The <i>palacio</i> has
+been shorn of its splendour by the removal of most of its works of art.<a name="page_212" id="page_212"></a>
+It is of little interest; but the garden is a beautiful shady retreat,
+with semi-tropical plants and trees.</p>
+
+<p>There are but few statues in the streets of the city. Velazquez has been
+honoured by a bronze figure, which stands in the Plaza del Duque de la
+Victoria. It was cast by Susillo in 1892. The monument to Murillo, in
+the Plaza del Museo, is also of bronze. It is the work of Sabino
+Medinia, and the cast was made in Paris in 1864.</p>
+
+<p>Number eleven in the Plaza del Duque de la Victoria is now a large
+drapery store. It was formerly the splendid palace of the Marquis de
+Palomares. It is a fine example of a Seville residence.</p>
+
+<p>As we wander from church to palace and alc�zar of this ancient and
+beautiful capital, we are often reminded of the words of Cervantes in
+<i>The Two Maiden Ladies</i>: 'Seville is a city of Spain, of which you
+cannot fail to have heard frequent mention, considered, as it is, to be
+one of the wonders of the world.'</p>
+
+<p class="figcenter">
+<a href="images/ill_242_lg.jpg">
+<img src="images/ill_242_sml.jpg" width="260" height="353" alt="Amphora" title="Amphora" /></a>
+</p>
+
+<p><a name="page_213" id="page_213"></a></p>
+
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII<br /><br />
+<i>Seville of To-day</i></h2>
+
+<div class="blockquot"><p>'To have seen real do�as with comb and mantle, real caballeros with
+cloak and cigar, real Spanish barbers lathering out of brass
+basins, and to have heard guitars upon the balconies.'&mdash;<span class="smcap">Thackeray</span>,
+<i>Cornhill to Cairo</i>.</p></div>
+
+<p class="nind"><span class="letraa">'</span><span class="letra">M</span>ANY
+ monuments, fine religious processions, splendid bull fights, and
+not much business,' was the pithy description of modern Seville given to
+me by an intelligent Basque <i>se�ora</i>, living in the Province of
+Santander. The picture is a good one. As to the monuments, we have seen
+that the city abounds with them. But it is not only the historic
+buildings, associated with the Romans, Goths, Berbers and Almohades,
+that lend the fascination of antiquity to Seville. The Andalusian
+features, the manners, the speech, the domestic habits, the music, songs
+and dances of the people remind us hourly, while in the city, of the
+Seville of a thousand years ago.</p>
+
+<p>A spell of Orientalism, strange and seductive, comes upon the stranger,
+as he sits on the marble benches under the palms in the Plaza de San
+Fernando, watching the olive-skinned <i>chicos</i> at their evening pastime
+of mimic bull-fighting, or dancing, with quaint, slow movement of the
+feet and much swaying of the body, to a semi-barbaric accompaniment of
+clapping hands and a low chanting. The gaunt mules, with their Arabesque
+wool trappings and panniers, that pass slowly by, the water-sellers in
+their white garments<a name="page_214" id="page_214"></a> and hemp-soled shoes, and the women with their
+black lace <i>mantillas</i>, which must surely be a survival of the
+Mohammedan veil, all serve to impress one with their suggestion of
+Moorish influence.</p>
+
+<p>Electric lights and electric tramcars scarcely mar the charming
+illusions of the Oriental and the medi�val in the Seville of to-day. The
+tokens of modernity are subservient; they do not jar continually as in
+Madrid, perhaps the most commonplace of Spanish cities. In Seville you
+cannot forget the Moriscoes, and the part they played in the making of
+the city, the memories of Christopher Columbus, the art of Velazquez and
+Murillo, the romances of Cervantes, and the traditions of the Mother
+Church of Christendom. Every step causes reflection upon the past. You
+are carried back to the Middle Ages from the ringing of matin bells till
+the midnight cry of the watchman.</p>
+
+<p>The costume of the Sevillian <i>caballero</i>&mdash;and remember that every man in
+Spain is a cavalier&mdash;has suffered, no doubt, in picturesqueness since
+the time of Don Quixote. But there is a real grace and a romantic charm
+in the winter <i>capa</i>, flung upon the shoulders, with one of its
+plenteous folds muffling the mouth, and another thrown back to show the
+gorgeous lining of amber, green, or crimson. One looks for the point of
+a scabbard, containing a good Toledan blade, below the cloak. It is not
+there, though the practice of carrying weapons still survives everywhere
+in the Peninsula.</p>
+
+<p>Once only have I seen the sword carried by a civilian in Spain.
+Travelling from C�rdova to Toledo by rail, I had as companion a young
+man who had provided himself with a cutlass and a revolver, in case of
+assault by robbers. The sword was thrust through the straps of his bag.
+Revolvers are frequently worn on a belt under the coat, and most of the
+working class<a name="page_215" id="page_215"></a>
+<a name="page_216" id="page_216"></a>
+<a name="page_217" id="page_217"></a>
+carry the <i>navaja</i>, a knife with a long blade, a sharp
+edge, and a keen point.</p>
+
+<p class="figcenter">
+<a href="images/ill_245_lg.jpg">
+<img src="images/ill_245_sml.jpg" width="498" height="748" alt="Patio del Collegio San Miguel." title="Patio del Collegio San Miguel." /></a>
+</p>
+
+<p>There is, however, no need for the traveller to provide himself with a
+six-shooter or a dagger; indeed, the revolver hung at the head of the
+bed, as I have seen it in a Seville hotel, is not only superfluous, but
+the mere possession of arms is apt to cause surmises as to the valuables
+carried by the armed stranger, and may lead to the pilfering of his
+portmanteau.</p>
+
+<p>The custom of going about armed is just one of those medi�val usages
+that still prevail in spite of the suppression of brigandage and the
+protection of the railway trains and stations by the vigilant,
+well-trained and courteous Civil Guards. Spaniards are conservative;
+they cling to practices that are no longer necessary, and the carrying
+of knives and pistols is one of those quixotic characteristics of the
+race, which will probably survive for several generations. As a matter
+of fact, the stranger in Seville is as safe, to say the least, as he is
+in London. The species Hooligan is unknown in Spain, though, of course,
+there are thieves in the country as in every other quarter of
+Christendom throughout the globe. The <i>navaja</i> is never worn and used
+ostentatiously. It is the weapon of the criminal population and the
+disreputable, and it is too often drawn in street broils and for
+vendetta purposes.</p>
+
+<p>It is not necessary that I should caution the visitor against wandering
+alone, after dark, in the low streets of the city, nor warn him that it
+is risky to engage professional guides, who are not well known for
+honesty, and recommended by one of the proprietors of the better-class
+hotels. I do not wish to alarm the timid traveller. One should point
+out, however, that highway robberies do occasionally occur in the
+country districts.</p>
+
+<p>Two years ago, in the neighbourhood of Granada, a party of travellers
+found themselves and the guides<a name="page_218" id="page_218"></a> surrounded by ruffians on a
+mountain-side, and were submitted to a complete rifling of their pockets
+before they were allowed to proceed on their way. A friend of mine, an
+English artist, was one of the party. You are frequently told in Spain
+that brigandage has been entirely suppressed. It is quite true that the
+Civil Guards have almost exterminated the organised bands of brigands
+that used to infest the lonelier roads of the country. But, here and
+there, as in Galicia, robbers sometimes work in small parties on the
+high roads, after dark. In Seville, however, one may feel as secure as
+in any other continental city. The average Andalusian is honest. Railway
+porters, cabmen, and hotel servants expect a <i>propina</i> or 'tip'; but
+they are seldom exacting, and rarely addicted to pilfering. The
+<i>propina</i> is a national institution; but a small gratuity is, as a rule,
+gratefully received, and I have met porters and others who have refused
+a fee for their assistance. Railway servants and hotel waiters are so
+poorly paid in Spain that they rely largely for their living upon the
+generosity of travellers. There is, however, a protest afloat against
+the <i>propina</i>, and a society has been formed in Madrid to combat the
+custom of giving 'tips.'</p>
+
+<p>The smart or fashionable life of Seville may be studied, after five in
+the evening in the warm months, in the narrow central thoroughfare
+called Sierpes, or in the drives of the beautiful gardens bordering the
+Guadalquivir. The Calle de Sierpes signifies in English the street of
+the serpents. It is a street for foot passengers only, with many
+<i>caf�s</i>, wine bars, nick-nack stores, and superior hatters', tailors'
+and tobacconists' shops. In this quarter ladies will find a fine array
+of fans, <i>mantillas</i> and showy Andalusian shawls. Some of these articles
+bear the label 'made in Austria.' The shawls worn by the <i>majas</i>, or
+Sevillian smart dames, and maidens of the middle and working class,<a name="page_219" id="page_219"></a> are
+sometimes very beautiful. Yellow is a favourite hue, as it accords with
+the black which is universally worn by the women of southern Spain.</p>
+
+<p>The <i>majo</i> costume, as 'sported' by the dandies of Sierpes, is correctly
+made up of a wide-brimmed brown or white felt hat, a shirt with a
+frilled front, and diamond or paste studs, a low waistcoat, or broad
+silk band around the middle, a short coat, resembling an Eton jacket,
+and trousers cut exceedingly tight across the hips. A <i>majo</i> affects the
+dress and conversation of his ideal, the bull-fighter. He favours the
+tightest, thin-soled, pointed brown shoes, crops his hair, shaves his
+cheeks and chin clean, walks with a self-consciousness, and ogles and
+bandies repartee whenever he passes a <i>maja</i>. The loungers of Sierpes
+exhibit more or less amused interest in the English or American lady
+visitors. Their hats are a wonder to them; their serviceable travelling
+dresses appear severely plain, their coats masculine in fashion, and
+their shoes short, broad, and absurdly low in the heel.</p>
+
+<p>How different is the guise and demeanour of the Spanish <i>se�ora</i>! If she
+is of the upper rank of society, she may wear a Parisian hat and a dress
+in the English style; but her slow, erect and graceful walk proclaim her
+an Andalusian. She will not start and seem insulted when a man stares
+her full in the face, smiles, and exclaims: 'How lovely you are! Blessed
+be the mother who bore you!' A parting of the lips, perhaps a slight
+flush, show that she is pleased when the gallant turns to gaze at her.</p>
+
+<p>So much has been sung and written about the loveliness of the Sevillian
+<i>do�as</i> that I may perhaps be taken to task if I do not join in the
+rapturous chorus. The beauty of the Andalusian women does not startle
+one immediately upon setting foot in Seville. It seems to me to be a
+charm that needs comprehension.<a name="page_220" id="page_220"></a> Undoubtedly you may see a proportion of
+handsome faces among the ladies in the evening parade in the park, on
+the racecourse, at the bull fights, and in the theatres. If you expect
+to find that every other woman in Seville is a belle&mdash;well, I think you
+will be disappointed.</p>
+
+<p>'If Shakespeare is right in saying that there is no author in the world
+"teaches such beauty as a woman's eyes," then Andalusia easily leads the
+world in personal beauty.' So writes Mr. Henry T. Finck, in his
+<i>Romantic Love and Personal Beauty</i>. Byron comments in the same strain,
+and so does Blanco White, not to mention other authors. Perhaps Mr. G.
+P. Lathrop's description of the girls of the Seville tobacco factory
+may, by reason of its dispassionateness, be accepted as a fair estimate.
+In <i>Spanish Vistas,</i> Mr. Lathrop writes: 'Some of them had a spendthrift
+common sort of beauty, which, owing to their southern vivacity and fine
+physique, had the air of being more than it really was.... The beauty of
+these Carmens has certainly been exaggerated. It may be remarked here
+that, as an offset to occasional disappointment arising from such
+exaggerations, all Spanish women walk with astonishing gracefulness, and
+natural and elastic step, and that it is their chief advantage over
+women of other nations.'</p>
+
+<p>The opinion of Washington Irving on the charms of the Seville fair may
+perhaps explain my qualification that the graces do not make a sudden
+and arresting appeal, but require reflection and comprehension, like
+many interesting works of art. Washington Irving says: 'There are
+beautiful women in Seville as ... there are in all other great cities;
+but do not, my worthy and inquiring friend, expect a perfect beauty to
+be staring you in the face at every turn, or you will be awfully
+disappointed.... I am convinced the<a name="page_221" id="page_221"></a> great fascination of Spanish women
+arises from their natural talent, their fire and soul, which beam
+through their dark and flashing eyes, and kindle up their whole
+countenance in the course of an interesting conversation. As I have had
+but few opportunities of judging them in this way, I can only criticise
+them with the eye of a sauntering observer. It is like judging of a
+fountain when it is not in play, or a fire when it lies dormant and
+neither flames nor sparkles.'</p>
+
+<p>A true appreciation of the Sevillian dame is only possible to such as
+possess the wit to understand the quality known as <i>sal</i> or 'salt.'
+Andalusian <i>sal</i> has a flavour of its own. It is made up of <i>persiflage</i>
+and the quality called 'smartness.' <i>Sal</i> is more esteemed than beauty
+in a woman; it is more fascinating than physical comeliness. 'The
+Andalusian women,' writes the author of <i>Costumbres Andaluzas</i>, 'has on
+her lips all the salt of the foam of two seas.' ... The woman of
+Andalusia 'is frank, passionate, loving or hating without taking the
+trouble to dissemble her sentiments.' She is 'life, light, fire'; she
+'is beauty illumined by the torch of Paradise,' etc. Such is the strain
+of Spanish gallantry.</p>
+
+<p>In the old days the ardent lover was wont to beat himself beneath a
+maiden's window, until the blood trickled down his back. Nowadays, the
+amorous cavalier waits below the casement, and when he catches a glimpse
+of the object of his devotion, exclaims: 'Your beauty ravishes me! Your
+eyes burn into my soul!'</p>
+
+<p>The peculiarly guarded life of the young Spanish woman, which is in part
+a relic of Orientalism, and in part traceable to her religion, forces
+her to develop ingenuity in attracting an admirer, and in her means of
+communicating with him.</p>
+
+<p>Mr. Lathrop, in his <i>Spanish Vistas</i>, says that the<a name="page_222" id="page_222"></a> beggars around
+Seville Cathedral are sometimes the bearers of love letters to the
+ladies who attend the services and go to confession. A piece of silver
+is dropped into the mendicant's dirty palm, and a little note is
+transferred to the <i>se�orita's</i> hand. And with eyes fixed modestly upon
+the ground, the maiden steps out of the portal of the sacred building,
+clutching the tender missive which she burns to read. In all countries
+stealthy courtship has its charm and romance for lovers; and in Spain
+the zest of wooing is quickened by the devices employed for clandestine
+assignations, and the secret conveying of gifts and letters from one
+lover to another. Our forthright British mode of love-making might
+appear almost barbarous to an Andalusian girl.</p>
+
+<p>The women of Southern Spain are short, and they incline to stoutness.
+Mr. Finck says that sexual selection 'is evolving the <i>petite</i> brunette
+as the ideal of womanhood,' and that 'the perfected woman of the
+millennium will resemble the Andalusian brunette, not only in
+complexion, hair, eyes, gait, and tapering plumpness of figure, but also
+in stature.'</p>
+
+<p>Among the men of Seville one sees many slim, lissome, well-proportioned
+figures of medium height. Some of the <i>majos</i> of Sierpes are of this
+type, and among the working class there are many good-looking,
+clean-limbed men. The masculine physiognomies impress me as being much
+more varied in contour and more expressive than those of the women.
+Faces that might be English are not uncommon among the men of Seville.
+But the true Andalusian features are distinctive, and have an Arab cast.
+The hair is dark, black or brown, and the skin olive or tawny. There is
+an unshaven look about many of the middle-class men. A <i>majo</i> who
+dresses in the height of fashion will often go out to parade the streets
+with a three days'<a name="page_223" id="page_223"></a> beard on his chin. But his hands will be
+scrupulously washed several times a day, and the finger nails will be
+carefully trimmed and polished.</p>
+
+<p class="figcenter">
+<a href="images/ill_253_lg.jpg">
+<img src="images/ill_253_sml.jpg" width="495" height="439" alt="The Golden Tower" title="The Golden Tower" /></a>
+</p>
+
+<p>To see Sevillian society out of doors, go to the Parque Maria Luisa and
+the adjoining Paseo de las Delicias about five in the afternoon. This is
+the fashionable promenade, and here the <i>�lite</i> of the city drive in
+open carriages daily. The costumes of the <i>se�oras</i> are varied and
+stylish. Some of the ladies wear English gowns and hats, and one sees a
+few of the latest Paris fashions in dresses. But the majority have not
+discarded the <i>mantilla</i> of black or white lace, and the fan is in every
+hand. A 'smart turn-out' is a sort of four-wheeled dogcart, drawn by
+four mules, with bells, and gay worsted ear-caps and worked bridles.<a name="page_224" id="page_224"></a>
+The servants are dressed in London livery, the landaus are of French or
+English make, and many fine horses may be seen. <i>Caballeros</i> ride upon
+prancing nags. Under the palms and orange trees there are seats filled
+with loungers, the women fanning themselves, the men smoking cigars or
+cigarettes. None but foreigners smoke a pipe in the streets of Seville.
+A <i>majo</i> would not be guilty of such vulgarity.</p>
+
+<p>Beneath the odorous orange trees, where innumerable nightingales warble,
+one may watch the afternoon procession of carriages and pedestrians. A
+breeze blows from the wide Guadalquivir. It is cool by the ornamental
+water, where roses and camellias are rife. The blue uniform of an
+officer, the white duck trousers of a dandy, the sunshades of the ladies
+show amidst the greenery of the avenues. From the cavalry barracks comes
+the blare of bugles. In the Parque there are peacocks and a den of wild
+boars.</p>
+
+<p>In April, during the <i>feria</i> week, there is horse-racing on the broad
+meadows beyond the Paseo de las Delicias. English horses, ridden by
+English jockeys, sometimes compete in the races. The grand stand is a
+large one, with a long enclosure. It is well filled on race days with
+the rank and fashion of Andalusia. One is struck with the gravity of the
+spectators as contrasted with the animation of a British crowd upon a
+racecourse. The people are thoroughly enjoying the spectacle; but they
+do not shout, and there is no ring of bellowing bookmakers. Backers of
+horses purchase a ticket at a little office in the enclosure. There is
+only one of these offices, and there are no betting men behind the ropes
+of the course.</p>
+
+<p>An element of pageant is introduced by the company of cavalry drawn up
+near the grand stand. When officers of the State arrive upon the course,
+they are saluted with a flourish of trumpets. A<a name="page_225" id="page_225"></a> number of mounted men
+of the Civil Guard keep the course clear of pedestrians. The resplendent
+dresses of the ladies, the bright uniforms of the soldiers and the
+costumes of the jockeys make a brilliant scene in the dazzling southern
+sunshine.</p>
+
+<p>But horse-racing is not the national pastime of Spain. Bull-fighting is
+deemed the nobler sport, and Seville has been called 'the Alma Mater of
+the bull-fighter.'<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> I do not here propose to describe one of these
+combats. Such descriptions have perhaps occupied an undue space in many
+books about Spanish ways and customs. The most reliable accounts of
+bull-fighting are to be found in Mr. Williams's <i>The Land of the Dons</i>,
+and in <i>Wild Spain</i>, by A. Chapman and W. T. Buck.</p>
+
+<p>There is a handsome Plaza de Toros at Seville, built in 1870, with seats
+for fourteen thousand spectators. At Easter, and during the <i>feria</i>
+festivals in April, there are several fights in the arena, which are
+attended by immense crowds made up of all classes from the duke to the
+girls from the cigarette factory. The enthusiasm which bull fights evoke
+is so great that large crowds collect around the hotels, where the
+bull-fighters reside during Holy Week and fair time, in order to watch
+the heroes of the ring start for the Plaza de Toros.</p>
+
+<p>I was in Seville during the <i>feria</i> of 1902, and I may now attempt to
+describe the scene on the Prado de San Sebastian. The city was thronged
+with sight-seers; every hotel and boarding-house was overcrowded, and
+hundreds of cattle and horse dealers, gipsies and itinerants slept on
+the fair ground in booths or upon the bare earth. I found the open space
+on the Prado covered with flocks of sheep and goats, droves of bullocks,
+horses, mules and donkeys, tended by picturesque herdsmen and muleteers
+in the dress of<a name="page_226" id="page_226"></a> several provinces. An English carriage and pair of
+handsome horses paraded the ground, and changed hands at a high price.
+<i>Caballeros</i> rode their steeds up and down, to show off their points,
+and gipsy 'copers' haggled and chaffered. In the long row of refreshment
+tents was one bearing the sign of <i>Los Boers</i>. I entered one of the
+booths, and ordered a <i>refresco</i>, a bitter, syrupy decoction, with a
+tang of turpentine. Men and women were sipping this beverage with much
+zest, and watching the continual procession of holiday-makers under the
+trees. Everyone was quiet, orderly and sober. I did not see one drunken
+or quarrelsome person on either of the fair days, which I think may be
+taken as a token of the sobriety of the Spaniards. The diversions of the
+<i>feria</i> struck me as innocent, perhaps childish; but there was none of
+the coarseness and the squalor of a fair in England. There were only a
+few shows.</p>
+
+<p>The Gitanas had their tents, where they danced to <i>gorgio</i> audiences,
+exacting exorbitant fees for each performance. Importunate gipsy dames
+stood at the doors of their tents, inviting the visitors to enter, and
+to taste their curious liquors, or to have their fortunes told. It was
+not easy to escape from these syrens, for they seized one's coat sleeve,
+and almost dragged one into their shows and booths. Some of the Gitana
+girls are remarkably handsome, and the gay colours of their clothing
+lend animation to this part of the <i>feria</i>.</p>
+
+<p>One of the most interesting streets of the fair is that of the
+<i>casetas</i>, or pavilions of the influential Sevillians, who spend the day
+in receiving guests, dancing, guitar playing and singing. The doors of
+the <i>casetas</i> are open. You can look within at the merry company. The
+old folk sit around on chairs; someone clicks a pair of castanets, and a
+graceful girl begins to dance. Fans are fluttering everywhere;<a name="page_227" id="page_227"></a> there is
+a soft tinkling of guitars. Dark eyes flash upon you, and red lips part
+in smiles as the hats of <i>majos</i> are raised. Some of the children are
+dressed in old Andalusian costume, with black lace over yellow silk, and
+<i>mantillas</i> upon their dark hair. They dance to the castanets, and win
+handclaps from grandfathers and grandmothers, who recall their own
+dancing days of forty or fifty years ago.</p>
+
+<p>There is an iron tower in the centre of the fair ground. I ascended it,
+and gained a view of the bright crowd, the flocks, the prancing horses
+and the waving bunting everywhere displayed. At night the avenues of
+booths are illuminated with thousands of fairy lights, electric lamps
+and Chinese lanterns. The fair is then thronged in every part, and
+everyone submits to a good-humoured jostling. At this festive time you
+must be prepared for disturbed nights. The streets are never quiet by
+day or night, and there is a constant tramping up and down the stairs of
+the hotels. Long after midnight one hears the revellers in the <i>plazas</i>,
+singing and dancing to the clapping of hands or the strumming of
+guitars.</p>
+
+<p>This 'fantastic pandemonium,' as it is called by a Sevillian rhymer,
+lasts for about eight to ten days. During the three days of the <i>feria</i>,
+the hotel charges are doubled, and in some cases trebled. The city
+profits considerably through the influx of visitors at this time, and
+also during <i>Semana Santa</i>, or Holy Week, when Seville is very crowded.</p>
+
+<p>Nothing can prove so instructive concerning the Spanish devotion to
+ritual and religious pageant as a visit to Seville at Easter. The
+processions and celebrations of <i>Semana Santa</i> are exceedingly
+interesting from the artistic and the antiquarian point of view. All the
+costly vestments, the rare ecclesiastic treasures of the Cathedral, the
+works of artists and sculptors,<a name="page_228" id="page_228"></a> and the sacred images of Christ and the
+Virgin are then displayed, in the midst of high pomp, to the adoring
+eyes of the vast crowds lining the streets and filling the windows. It
+is during these ceremonies that one may catch the spirit of medi�valism
+still surviving in Spain. Even the religious dances of antiquity are
+performed in the Cathedral before the high altar on Corpus Christi day.
+The dancers are boys, sixteen in number, and they are called the
+<i>Seises</i>. They dress in the costume of the reign of Felipe III.</p>
+
+<p>The <i>pasos</i> or processions of <i>Semana Santa</i> pass through Sierpes to the
+Plaza de la Constituci�n, where the mayor of the city is seated on a
+da�s before the Ayuntamiento. Here there are stands for spectators. The
+processions are headed by men of the Guardia Civil; mummers dressed as
+Romans follow, then come masked monks, girls in white raiment, bands of
+music, and city officials. On Palm Sunday there is a blessing of the
+palms in the Cathedral by the Cardinal Archbishop, who is clothed in
+purple canonicals. The procession leaves the edifice by the Puerta San
+Miguel. At Vespers the sacred banner is elevated, and at six in the
+evening four <i>pasos</i> parade the streets, in honour of San Jacinto,
+Santisimo Cristo, San Juan Bautista and San Gregorio.</p>
+
+<p>Figures by Monta�ez, the celebrated ecclesiastical sculptor, are borne
+in these processions. One of the most imposing objects of veneration is
+the immense crucifix, carried on a stand by thirty concealed bearers. It
+is followed by musicians playing the solemn funeral music of Eslava.</p>
+
+<p>Miguel Hilarion Eslava, the composer, was born in 1807, near Pampeluna,
+in the north of Spain. He sang in the cathedral choir of that city, and
+afterwards played the violin in services. First a priest, he became
+chapel-master at Seville, in 1832, where he composed<a name="page_229" id="page_229"></a> a great number of
+pieces of church music and masses. His chief work is <i>Lira Sacro
+Hispa�a</i>, a collection of sacred music from the sixteenth to the
+nineteenth century, with brief biographies of the composers. This
+<i>magnum opus</i> is in ten volumes.</p>
+
+<p>Eslava also wrote secular music, and his operas of <i>Il Solitario</i>, <i>La
+Tregura di Ptolemaide</i> and <i>Pedro el Cruel</i> were first produced at
+Cadiz. The eighth volume of the <i>Lira</i> contains only Eslava's music, and
+the <i>Museo Organico Espa�ol</i> embodies some of his own organ
+compositions. This famous composer spent many years of his life in
+Seville. He lived in a house in the Calle del Gran Capitan, now used as
+the Colegio de San Miguel, a school for boys. Over the gateway is an
+inscription announcing that Eslava lived in this house. The courtyard is
+extremely quaint, and should be seen.</p>
+
+<p>The solemn strains of Eslava's <i>Miserere</i> may be heard in the Capilla
+Mayor of the Cathedral during Holy Week, upon the day of 'rending the
+Veil of the Temple.' This ceremony is accompanied by peals of artificial
+thunder. On the Saturday after Good Friday, the <i>Velo Negro</i> (black
+curtain) is torn amidst the clanging of bells and claps of thunder. On
+the same day a candle, twenty-five feet in height, is consecrated.</p>
+
+<p>There is a similarity in the processions of Semana Santa, and they are
+less sumptuous than in bygone times. But they are still popular, and the
+visitor should endeavour to obtain a favourable point of view for
+watching the ceremonials in the streets and in the Cathedral. The figure
+of the Virgin is always the same in Spain; an image clad in black
+velvet, trimmed with lace, and adorned with diamonds, while the
+<i>tableaux</i> of the Saviour upon the Cross are often very realistic and
+ghastly. On Good Friday the large<a name="page_230" id="page_230"></a> image of the Virgin is carried by
+thirty-five men, and there is a representation of Christ in the throes
+of death upon a splendid cross of tortoiseshell and silver.</p>
+
+<p>An interesting rite is performed on Thursday afternoon, when the
+Cardinal Archbishop washes the feet of twelve poor persons, who are
+given new clothes and a substantial meal. In the evening the <i>Miserere</i>
+of Eslava is again sung in the Cathedral by a chorus of one hundred and
+fifty voices, accompanied by ninety instrumentalists.</p>
+
+<p>During Holy Week a lamb fair is held in the Feria del Rastro. The lambs
+are bought and given to children, who lead them about the streets.</p>
+
+<p>The Corpus Christi festivals, or <i>La Fiesta del Santisimo Corpus</i>, are
+less gorgeous than those of <i>Semana Santa</i>, but they are not without
+interest to the student of religious custom. The dancing of the <i>Seises</i>
+in the Cathedral is certainly a curious spectacle. Blanco White says
+that among the treasures carried in the Corpus Christi procession of his
+day were the tooth of St. Christopher, the arm of St. Bartholomew, the
+head of one of the eleven thousand virgins, a part of the body of St.
+Peter, a thorn from the crown of the Saviour, and a fragment of the True
+Cross.</p>
+
+<p>Special services and pageants are also celebrated on All Saints' Day and
+at Christmas (<i>La Natividad</i>). The pilgrimages are another Andalusian
+custom dating from early Christian times. These <i>romerias</i> are of a
+festal character. The people resort to Rocio in Almonte on Whit Sunday,
+dressed in holiday garb, and riding in carriages decked with banners.
+Dancing, singing and feasting are the chief attractions of these
+semi-religious <i>f�tes</i>. <i>La Consolaci�n de Utrera</i> is celebrated on
+September 8, when excursion trains are run from Seville to Utrera. In
+October there<a name="page_231" id="page_231"></a> are <i>romerias</i> on each Sunday at Salteras, eight miles
+from the city. The festivities usually end with a display of fireworks.</p>
+
+<p>Passion plays are still represented in Seville. At Easter the drama of
+the 'Passion and Death of our Lord Jesus Christ, with the Glorious
+Resurrection' is acted at the Teatro Cervantes. The Teatro de San
+Fernando is the home of opera and spectacle, and there is a summer
+theatre, the Eslava, in the Paseo de la Puerta de Jerez.</p>
+
+<p>Who has not heard of the charm of Andalusian dancing? Seville is the
+home of the <i>bailarin</i>, the artist of the <i>bolero</i>, <i>ol�</i>, <i>Sevilliana</i>,
+and other dances. On every evening in summer, the inhabitants dance in
+their <i>patios</i> to the guitar and castanets, while the street lads
+perform their Oriental antics in the <i>plazas</i> and bye-streets. The
+cleverest professional dancing is to be seen at the <i>Caf� de Novedades</i>,
+at the end of the Calle de las Sierpes, where it is joined by the Calle
+de Campana. There are other <i>caf�s</i> in Sierpes where national and gipsy
+dancing may be witnessed, but perhaps the most characteristic
+performances are those of the Novedades. You may obtain a seat, just in
+front of the stage, for half a peseta. The entertainment usually opens
+with a representation of gipsy or <i>flamenco</i> dancing, which is a strange
+exercise and difficult to describe. A number of women sit in a
+semi-circle on the stage, and in the centre of the dancers is a male
+guitar player. Nothing happens for some time, but the spectators evince
+no impatience. They sip coffee, smoke, and chat contentedly.</p>
+
+<p>Presently one of the <i>flamenco</i> women quits her chair, and begins to
+strike extraordinary postures. At one moment she might be trying to
+impersonate Ajax defying the lightning; in the next she is apparently
+fleeing from a satyr. Her hands are held high<a name="page_232" id="page_232"></a> above her head, and there
+is a continual movement of the fingers. She writhes and wriggles rather
+than dances, and the feet play no part, except that the heels now and
+then thump the stage. Meanwhile her seated companions drown the sound of
+the guitar with the clapping of their hands and cries of <i>anda!</i></p>
+
+<p>One after another the women go through these curious contortions to the
+delight of the audience. I believe that there are subtle fascinations in
+these dances when one understands the drama which they represent; but to
+the casual spectator they are somewhat tedious, and they do not make
+much appeal to the imagination or to one's sense of the graceful in
+movement. Most visitors will prefer the Andalusian dancing. The dancers
+of the Novedades are extremely nimble in the <i>bolero</i>, one of the
+prettiest and most joyous of dances. Their shapely, lissome feet skim
+and bound in bewildering and intricate steps, to the clicking of
+ribbon-decked castanets. They spring into the air, hover, and bound
+again; they move rapidly on their toes, float, glide, and almost fly. It
+is a wonderful sight. One is sorry when the troop leave the stage. There
+is an intoxication in watching such grace, lightness and agility.</p>
+
+<p>The singing of <i>coplas</i> (couplets) is one of the attractions at this
+<i>caf�</i>. This form of vocalisation is very Andalusian. I can only
+describe it as a prolonged <i>tremolo</i>; the singer appears to sing a verse
+without drawing breath, and the effort often seems painful. A 'star' in
+this art is exceedingly popular, and his singing is sure to be followed
+by loud plaudits.</p>
+
+<p>Gitana dancing of a more pronounced sort may be studied in the suburb of
+Triana, where there is a colony of gipsies. Those who have read George
+Borrow's <i>The Zincali: An Account of the Gypsies of Spain</i>, will
+discover an increased interest in their visit to the Gitana<a name="page_233" id="page_233"></a> quarter.
+Some of the Triana gipsies are the swarthiest and weirdest of their
+race. A hag, who might be a hundred, clutches your arm, and looks into
+your face with her cunning black eyes as she begs for alms. She has the
+features of an Egyptian, coal black hair, and a skin like the
+calf-binding of an old book. A nude brown boy rolls in the road, a Cupid
+in sepia.</p>
+
+<p>Here is a lovely girl of fourteen, with a lithe figure, feline
+movements, huge dark eyes, jet locks, and a rich olive tinting of the
+skin. She is conscious of her beauty, and will not cease to insist upon
+receiving a coin for the pleasure that her charms afford the admiring
+Gentiles. Whatever you give her, she will ask for more. But she is very
+beautiful, and most beauties are exacting. Some of these Romany people
+are almost as swarthy as negroes. There is hardly one who would not make
+a splendid model for an artist. Their graceful unstudied pose is most
+alluring to the painter, while the mystery of their glowing eyes, their
+strange lore, and secret speech invest them with romance and poetry that
+appeal to Mr. Leland and Mr. Watts-Dunton.</p>
+
+<p>George Eliot must have experienced the spell of these tawny folk during
+her visit to Spain. Her 'Spanish Gypsy,' is a 'creation' but it was to
+the Gitanas of the highways that the poet owed her inspiration. 'Gypsy
+Borrow' found the race irresistible; the tongue, the customs, the
+esoterics of the Zincali of Spain were to him a subject of fascinating
+study.</p>
+
+<p>In the old days the Romany fared ill in the Peninsula. He was a pariah,
+a suspect, an object of persecution. But to-day Sevillian gentle-folk
+are inclined to pet the Gitanas, and it is quite 'good form' to use
+Romany phrases, and to appear a little gipsyish. The sons of wealthy
+families are the patrons of the <i>flamenco</i> dances; they are enthralled
+by the loveliness of the<a name="page_234" id="page_234"></a> lithe nut-brown maids, with piercing eyes,
+carmine lips, and pearly teeth. But it all ends in admiration. No bribe
+will tempt the Gitana lass to swerve from the strict code of chastity
+laid down by the tradition of her class.</p>
+
+<p>To see the Gitanas at their best, or living under primitive conditions,
+take a trip down to Coria on the Guadalquivir. A steamboat starts daily
+from the Triana Bridge at about half-past seven in the morning. The
+voyage is interesting, and you can return in time for evening dinner.
+You pass two or three villages with landing-stages, and gain views of
+the distant marshes towards the mouth of the river, while on the right
+bank are slopes clothed with olives and vines. Pottery is made from the
+red clay of the foothills, and a number of gipsies work at this
+industry.</p>
+
+<p>At Coria you will be an object of curiosity, for very few strangers
+visit the little village. The Gitanas inhabit 'dug-outs,' or caves, in
+the hillside. These dens are only lit by the doorway, but they are not
+so dark within as one might expect. Nor are they unwholesome, for the
+gipsies appear to take pride in keeping their habitations clean. Most of
+the cooking is done outside the burrow. There is quite a warren in the
+hill, which is honeycombed with dwellings of this savage kind.</p>
+
+<p>Strange to say, not a single Gitana begged from me when I visited the
+colony. But the Gentile population of Coria were somewhat importunate
+when our party embarked for the return journey to Seville, and most of
+the lads of the village congregated on the landing-stage to beg for
+<i>centimos</i>.</p>
+
+<p>Macarena and Juderia, the poor <i>barrios</i> or suburbs of Seville, are not
+like our English slums. There is no sign of abject want, though the
+people have a keen struggle for subsistence. The houses are all
+white-<a name="page_235" id="page_235"></a>washed without, and the little courts have their climbing roses
+or a grape vine trained to pillars. There are malodours here and there,
+owing to the insanitary practices of the people; but the inhabitants of
+these quarters are seldom ragged, and they do not appear dejected, dirty
+and degraded.</p>
+
+<p>Now and then, a mischievous boy will throw a stone at the foreigner, or
+a group of idlers will break into derisive laughter when you pass by. On
+the other hand, ask a question civilly of these people, and they will
+put themselves to trouble to assist you in finding the church or the
+monument of which you are in quest. Beware, however, of the
+soft-tongued, amiable loafer who persists in dogging your heels and
+offering his services as a guide.</p>
+
+<p>Begging, which is such an intolerable nuisance in some of the Spanish
+towns, has been almost suppressed in Seville by the rigorous municipal
+laws. The mendicant is not extinct; some of the order are sure to be
+encountered in the neighbourhood of the Cathedral, but they do not
+pester the visitor incessantly as in Toledo and Granada. A number of the
+idle and vicious inhabitants of Seville appear to be homeless. In this
+balmy Southern climate, the <i>al fresco</i> life of the tramp is not
+unendurable; still I am told that beggars sometimes die in Spain by the
+roadside from sheer want.</p>
+
+<p>The Plaza Nueva is a favourite nocturnal resort of the <i>gamins</i> and
+vagabonds of the city, and at one in the morning the space presents a
+scene resembling that of Trafalgar Square in the days when unfortunate
+'out-of-works' camped there nightly.</p>
+
+<p>In the Macarena quarter is the market street of the Feria. This
+thoroughfare should be seen. It is the home of metal-workers, whose
+beaten brass, iron and copper ware is interesting and artistic in
+workmanship.<a name="page_236" id="page_236"></a> Peripatetics here display a jumble of second-hand articles
+upon the ground, such as books, old pictures, brass candlesticks, tools,
+buttons, pistols, rusty swords, harness, and mule bells. There are
+stalls of fruit, coloured kerchiefs, hats and caps, shoes, and common
+china ware. The scene is bustling and bright.</p>
+
+<p>Here the young and unknown artists of Seville were wont to sell their
+pictures in former times. Murillo and many another painter of renown
+stood here anxiously awaiting chance purchasers for their works. These
+'fair pictures' were often daubs; but sometimes, no doubt, a buyer
+secured the work of a young genius for a trifling sum. If a purchaser
+wished a picture altered to his taste, the artist would retouch it upon
+the spot.</p>
+
+<p>These were hard days for young painters. But many who hawked their
+religious pictures and portraits of the Virgin and the saints for
+pesetas rose to fame, and gained wealth in their later days. A <i>pintura
+de la Feria</i> became a term in Spain for a meretricious picture. Some of
+the Feria paintings were still-life subjects, and others were <i>sargas</i>,
+large screens or banners used in sacred processions.</p>
+
+<p>One of the sights of modern Seville is the F�brica de Tabacos, a factory
+where a large number of women and girls are employed. The building is a
+handsome one, in the baroque style, in the Calle de San Fernando. The
+<i>cigarreras</i> work in overcrowded rooms. On public holidays they don
+their smartest dress, and are to be seen at the <i>romerias</i> and dances.</p>
+
+<p>A survival of the ancient potter's art in Seville is the factory of La
+Cartuja, in Triana, owned by the English firm of Prickman and Sons. The
+works supply almost the whole country with china, and examples of
+antique Spanish majolica may be seen here. La Cartuja was once a
+convent. The church should be seen; it has a fine door in the <i>Mud�jar</i>
+style.<a name="page_237" id="page_237"></a></p>
+
+<p>Campa�a's paintings in the Church of Santa Ana, in Triana, may be
+inspected after a visit to La Cartuja. Near this church are the streets
+inhabited by the Gitanas. The SS. Justa and Rufina, mentioned elsewhere
+in these pages, made pottery in this quarter in the Roman days.</p>
+
+<p>The custom of selling drinking water in the streets is common almost
+everywhere in Spain. Velazquez painted the familiar figure of the
+water-seller, who is to be seen to-day in the <i>calles</i> of Seville,
+crying <i>agua fresca</i>. The water is carried on the men's shoulders, in
+graceful Oriental jugs of earthenware.</p>
+
+<p>Sometimes one hears the sound of the drum and the <i>dulcinea</i>, a pipe
+played with one hand, and used to provide music for village dances in
+many parts of Spain. The music proceeds from a man, who is accompanied
+by a led bullock, and it announces that tickets may be bought for a
+lottery in which the prize is a horse. Piano organs enliven the streets,
+playing popular dance music, and these seem to have superseded the
+performances of guitarists.</p>
+
+<p>Time can scarcely hang heavily upon the visitor to 'the diadem in
+Andalusia's crown.' Days may be spent in the noble Cathedral, dreamy
+hours passed in the scented garden of the Alc�zar, or by the
+Guadalquivir, where the bulbul still sings as in the Moorish days. Each
+time one climbs to the summit of the Giralda, a fresh beauty in the
+prospect of the sunny, white city and the glowing plain fascinates the
+vision. The picture gallery should be visited more than once; and there
+are so many works of art in the churches, monasteries and public
+buildings that one is never at a loss for pleasant recreation or serious
+study.</p>
+
+<p>Delightful, too, are the cool evenings in the <i>plazas</i>, or the gardens,
+when the sinking sun sheds its beams on the stately Cathedral and the
+proud Giralda. The<a name="page_238" id="page_238"></a> storks sail homewards far overhead in the glow of
+the rising moon; a chorus of birds dies away in the tangled banks of the
+Guadalquivir. Brief night succeeds the twilight; day dawn soon appears,
+and the hawks flash from their eyries in the Giralda, and the mule bells
+begin to jingle in the sunlit streets.</p>
+
+<p class="figcenter">
+<a href="images/ill_268_lg.jpg">
+<img src="images/ill_268_sml.jpg" width="498" height="479" alt="A Roof Garden" title="A Roof Garden" /></a>
+</p>
+
+<p>The quay, which stretches from the Triana Bridge to the Delicias, forms
+a pleasant promenade. By the Golden Tower there are seats under the
+trees, and the kiosks of the <i>refresco</i> sellers, who dispense
+orange-water, lemonade and sarsaparilla to the sailors and the girls
+from the tobacco factory. Adjoining that part of the quay where English
+vessels are loaded with iron brought upon a tramway, there is a little
+booth for the<a name="page_239" id="page_239"></a> sale of refreshments. It is kept by a young Spaniard and
+his wife, named Jos�. The boothkeeper has made several trips to England
+in trading vessels, and he speaks English very fairly. Jos� has a
+'connection' among the British sailors, who come to his pavilion for
+rum, whisky and other drinks beloved of English tars. He possesses a
+great regard for England and the English, and among his customers Jos�
+is often addressed as Johnson.</p>
+
+<p>Near the Golden Tower there is another house of call used by seamen. In
+the window you will see advertisements of British beverages, and
+announcements in several European languages. Ships from Liverpool,
+Glasgow and Cardiff are often anchored in this part of the Guadalquivir,
+and now and then there is an English yacht in the port.</p>
+
+<p>The fishermen of Seville have a curious method of taking shad. They work
+a cross-line under water from two boats on opposite sides of the river.
+The line is armed with hooks, baited with pieces of meat. Now and then,
+the fishermen haul up a fish. But the Guadalquivir is heavily netted and
+fished, and the shad are not very plentiful in this reach. There are
+some very big eels in the river, which can be caught with a rod and line
+from the banks.</p>
+
+<p>As the <i>pescadores</i> slowly scull their boats down the river, they sing
+strange Andalusian melodies, with a kind of <i>y�del</i>. Their voices reach
+far along the stream on still days. The men are hard-working, and their
+catches scarcely repay them for their patience and labour in the burning
+sun.</p>
+
+<p>Along the quay, and at every point of entrance to Seville, there are
+customs' officers in uniform, with swords at their sides. The <i>consumo</i>
+is not a popular character in Spain. Peasants and small traders resent
+the tax upon the produce which they bring into the<a name="page_240" id="page_240"></a> markets, and many
+attempts are made to evade paying the duty. At C�rdova I heard a violent
+altercation between a peasant and a <i>consumo</i>, who demanded duty upon a
+live pigeon.</p>
+
+<p>Spain is the land of officials in uniform. Down the Guadalquivir you
+will see armed men who protect the wooden breakwaters. Then there are
+four grades of police, the <i>consumos</i>, and the watchmen, all of them
+provided with weapons.</p>
+
+<p>The quaint, irregular thoroughfares of Seville, its palm trees and olive
+gardens, its Morisco remains, its <i>hidalgos</i> and <i>do�as</i>, its brightness
+and gaiety, and its blue skies will not soon be forgotten by those who
+pass a short time within its ancient walls. Lord Byron praises the city
+as the most beautiful in Spain. It is certainly charming, but there are
+towns in the Peninsula more antiquated in aspect, and more picturesque
+in their surroundings. Still, the Andalusian capital possesses a strong
+fascination, and few persons will dispute, in the main, the truth of
+Byron's lines in the first canto of <i>Don Juan</i>:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="">
+<tr><td align="left"><span style="margin-left: 0em;">'In Seville was he born, a pleasant city,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Famous for oranges and women&mdash;he</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Who has not seen it will be much to pity,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">So says the proverb&mdash;and I quite agree;</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Of all the Spanish towns is none more pretty,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Cadiz, perhaps&mdash;but that you soon may see;&mdash;</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Don Juan's parents lived beside the river.</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">A noble stream, and call'd the Guadalquivir.'</span></td></tr>
+</table>
+
+<p>Since the days of Cervantes, the aspect of the city and the manners and
+customs of its inhabitants have not undergone any profound change. The
+monumental buildings remain, and the cry of the watchman and the notes
+of the guitar are still heard by night in the tortuous alleys, and under
+the palm trees of the <i>plazas</i>. The careless, merry Sevillanos continue
+to love the<a name="page_241" id="page_241"></a> dance, the song, the bull fight and the theatre more than
+science and literature. We may see the types sketched by the great
+satirist in <i>The Jealous Estremaduran</i>, if we will but enter one of the
+fashionable <i>caf�s</i> during the evening. It would be unfair to say that
+Sevillian society is composed entirely of adventurers, but they are a
+distinctive class in the pleasure-loving capital. 'In the city of
+Seville,' writes Cervantes, 'is a class of idling, lazy people who
+locally go by the common name of "the children of the ward"; they are
+considered as foragers on the public; they are the sons of rich parents,
+not of the nobility; always well-dressed, fond of pleasure, extravagant
+and expensive, plunging themselves and their parents in debt; always
+feasting and revelling; every way bringing discredit on society,
+defrauding and injuring their creditors.'</p>
+
+<p>The stranger will not be in the city many hours before he notices a
+curious device on public buildings, official uniforms and elsewhere.
+This is the node, or knot (<i>el nodo</i>), which forms a part of the
+coat-of-arms of Seville. The knot is in the centre of an ornamental
+circle, and on one side of it are the letters NO and on the other DO.
+This legend in full is <i>No madeja do</i>, or, <i>No me ha dejado</i>, which
+means: 'It has not deserted me.' The symbol of the <i>nodo</i> was adopted
+after the fealty of the <i>muy leal</i> city to Alfonzo X.</p>
+
+<p class="figcenter">
+<a href="images/ill_271_lg.jpg">
+<img src="images/ill_271_sml.jpg" width="182" height="183" alt="Arms of Seville NODO" title="Arms of Seville NODO" /></a>
+</p>
+
+<p><a name="page_242" id="page_242"></a></p>
+
+<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV<br /><br />
+<i>The Alma Mater of Bull-fighters</i></h2>
+
+<div class="blockquot"><p>'The Arabs were much given to bull-fighting, and highly skilled in
+the <i>lidia</i>, whether mounted or on foot.'&mdash;<span class="smcap">Sanchez de Nieva</span>, <i>El
+Tor�o</i>.</p></div>
+
+<p class="nind"><span class="letra">S</span>EVILLE
+is so renowned in the annals of the great Spanish sport of
+bull-fighting, that I propose to devote a chapter to a brief history and
+description of the 'science of tauromachia,' or the recreation of the
+<i>lidia</i>. Mr. Leonard Williams, in <i>The Land of the Dons</i>, is somewhat
+apologetic to his readers for introducing three chapters upon the
+bullfight and its history; but such is the enthusiasm exhibited for the
+pastime, that Mr. Williams states that thirty chapters, instead of
+three, would scarcely be disproportionate to the importance in which the
+<i>corrida</i> is esteemed by the Spanish nation. While making personal
+confession that I am not an <i>aficionado</i>, or enthusiast, of the art of
+bull-fighting, I will endeavour to convey to the reader a conception of
+the influence of the sport upon the Andalusian public, from which the
+moralist and sociologist may draw their conclusions.</p>
+
+<p>There is an odour of Pharisaism in the British fox-hunter's denunciation
+of the bull fight on the score of cruelty to animals. But in defence of
+the hunter, it may be pointed out that he rarely sacrifices the life of
+his steed in order to be in at the death of a fox, and that he would
+certainly scorn to torture a worn-out and decrepit horse by riding it
+till it dropped<a name="page_243" id="page_243"></a> with a ruptured heart. In bull-fighting there is no
+pity shown for horses. The emaciated beasts, upon which the <i>picadores</i>,
+or spearmen, are mounted, are urged at the bull, and serve as a target
+for its terrible horns until they are no longer able to stand upon their
+legs. Even when ripped open, or otherwise wounded, the bleeding,
+terrified creatures are sewn up, or have their wounds plugged with tow,
+and are again lashed and spurred to the attack.</p>
+
+<p>Surely it is impossible to defend this element of the <i>corrida</i>. The
+Spaniard does not attempt to do so; he cannot easily understand the
+point of view that calls for such defence. All over Spain domestic
+animals used in the service of man are treated mostly with callous
+insensibility to their sufferings, and often with cruelty that appals
+and disgusts the stranger. What does it matter whether an old, used-up
+horse goes to the knacker or into the bull ring to end its days? In
+Spain there is no sentimental bond between the aged, faithful,
+hard-working horse and its owner. The horse or mule is a mere beast of
+burden and of draught, to be worked as hard as possible, half-fed,
+cursed, abused, and at all times beaten, goaded and kicked.</p>
+
+<p>It would seem that a long training in warfare, the effect of harsh rule,
+and the terrible example of the Inquisition form a trinity of evil that
+has made the mass of the Spanish people indifferent to the spectacle of
+certain kinds of pain. That this apathy to the sufferings of human
+beings and brutes is compatible with strong physical courage is a fact
+well supported by examples in the histories of nations and individuals.
+It is also true that the humane man can be exceedingly courageous.
+Cruelty in sport has, however, characterised other European countries
+than Spain, which in this matter may be said to stand where we stood,<a name="page_244" id="page_244"></a>
+ethically speaking, in the days of bull-baiting, cock-fighting and
+badger-drawing. The English crowd that went to see an unhappy victim of
+nervous irritability ducked in a dirty pond, for the offence of nagging
+at the goodman, was on the same level of civilisation as the mob in
+Spain that enjoyed the sport of arming blind men with swords, turning
+pigs loose among them, and urging the sightless to hack at the pigs,
+with the result that the men frequently injured one another instead of
+the porkers.</p>
+
+<p>So far, then, as bulls and horses are concerned, we can only expect to
+find blunted feeling in Spain. And I am not sure that we need expend
+much sympathy upon the bull of the arena. In the ordinary fate he has to
+die, and it is probable that he would prefer to live the life of a
+fighting bull than bear the yoke and drag the cumbrous cart along dusty,
+scorching high roads. At all events, the bull reared for fighting has a
+placid existence until he is 'warrantable'; and in the excitement of his
+short contest with men he may suffer much less pain than we imagine. And
+as for the <i>matadores</i>, the heroes of the populace, the favourites of
+the aristocracy,&mdash;well, it is their affair if they and their attendants
+choose to risk their lives to make a Seville holiday. The human
+performers in the drama are not forced to fight. If one falls, he is not
+flogged till he rises to face the bull again, and when injured he is
+tended at once by skilful surgeons.</p>
+
+<p>This is really all that one can say in reply to the charge of cruelty,
+and it is little enough. Bull-fighting is specifically a Spanish sport,
+and efforts to introduce it into other countries have failed. British
+and American visitors to Seville are frequently to be seen at the Plaza
+de Toros; and at Algeciras and La Linea, the soldiers of the British
+garrison, and the people of Gibraltar, are the principal supporters of
+the bull rings. Throughout<a name="page_245" id="page_245"></a> Spain the word <i>toro</i> creates keen interest
+in all classes of society. The State, the Church and the aristocracy
+support the recreation of the <i>corrida</i>. Most of the bull rings have
+their chapels attached, where the performers receive the sacrament and a
+priestly blessing before entering the perilous arena. Ladies of the
+highest birth are among the breeders of fighting bulls; even some of the
+clerics rear beasts for the pastime, and attend the exhibitions of
+tauromachia. The passion for the sport is deep and apparently
+ineradicable in the people of Spain. Isabel the Catholic, after
+witnessing a sanguinary display in the ring, endeavoured to suppress
+bull-fighting. But not even the popular Queen could divert her subjects'
+interest from the absorbing sport. Moral suasion and attempted
+legislative methods are alike futile. The people demand the bull fight.
+In the very midst of war's alarms, and during civil trouble, the <i>plazas
+de toros</i> were thronged with enthusiastic spectators. Jovellanos,
+Charles III., Se�or Castelar, and Se�or Ferreras, the editor of <i>El
+Correo</i>, are among those who have protested against bull-fighting.
+'Spain pays no heed to any of these agitators,' writes Mr. Leonard
+Williams, 'but continues unmoved the proud traditions of the arena. The
+superb bull ring inaugurated not long ago at Barcelona was consecrated
+by the clergy in procession, on the very day on which a novel of the
+naughty Tolstoi was thrust upon the list <i>librorum expurgatorum</i>.' In
+Spain the schoolmaster is a bankrupt, while the famous bull-fighter
+receives five thousand pesetas for killing two or three bulls. There are
+sociological inferences to be drawn from this fact.</p>
+
+<h3><span class="smcap">Bull-fighting of the Past.</span></h3>
+
+<p>There is no doubt that encounters between men and bulls are of ancient
+origin in the Peninsula. The<a name="page_246" id="page_246"></a> Moors are said to have brought
+bull-fighting into Spain, and there is historical proof that exhibitions
+of daring in worrying and attacking bulls were one of the chief
+recreations of the Moorish feast days. During times of truce between
+Moslems and Christians, displays of tauromachia were arranged by the
+rival leaders, and knights of both sides took part in the ring. The
+great Cid distinguished himself in fights with fierce bulls, and his
+horsemanship in the arena was widely admired. In these early days of the
+sport, the tournament, or <i>lidia</i>, was celebrated in the largest <i>plaza</i>
+of the towns. Raised seats were erected for the cavaliers and ladies,
+and the <i>f�tes</i> were attended almost entirely by the higher classes of
+Andalusian and Castilian society. The combatant of the bull was mounted
+on a plucky Arabian horse, and armed with a lance, called the <i>rej�n</i>, a
+weapon about five feet in length. At a signal the bull was let loose.
+The knight charged the beast, and endeavoured to thrust his spear-head
+into the neck. An expert performer sometimes killed his bull at the
+first thrust. When hurled from his steed by a charge of the bull, the
+knight was bound by the rules of the ring to face the brute on foot,
+with a sword. Vassals assisted their master by essaying to draw the
+attention of the bull, and at the right moment the knight plunged his
+steel into the animal's neck.</p>
+
+<p>Such combats appear to have been held in Andalusia as early as the
+eleventh century. In one of Goya's bull-fighting sketches, we may see a
+Moor, with a cloak on the left arm, and a dart in the right hand,
+practising the <i>suerte de banderilla</i>. In the fifteenth century
+bull-fighting was recognised as the chief national sport. In 1567 Pius
+V. issued a threat of excommunication for all rulers who permitted
+bull-fighting within their realms, and for all priests who witnessed the
+shows. Fighters who fell in the ring<a name="page_247" id="page_247"></a> were denied burial with Christian
+rites. The Bull of the Pope was utterly disregarded. Nobles continued to
+erect bull rings and to arrange <i>corridas</i>. The Church then exercised
+wonted discretion. A decree came from Salamanca that priests of a
+certain order might be present at bull fights, and the institution of
+the <i>lidia</i> was made semi-sacred and wholly respectable.</p>
+
+<p>At Valladolid, Charles I. engaged and killed a bull in the public arena.
+Succeeding kings and the flower of the nobility yearned to graduate in
+the art of bull-fighting. The sons of <i>hidalgos</i> resorted to the
+slaughter-houses of the towns to practise with cloak and sword the
+feints and passes of the <i>matador</i>. A valorous bull-fighter won his way
+to women's hearts and to the favour of princes. In 1617 the Pope issued
+a Bull announcing that the Virgin was conceived immaculately and was as
+pure as her divine offspring. The announcement threw Seville into a
+frenzy of delight. Archbishop de Castro gave a splendid service in the
+beautiful Cathedral. Guns boomed from the ramparts of the city, and all
+the church bells clanged and pealed. In the bull ring, Don Melchor de
+Alc�zar, a friend of Velazquez, arranged a special display. The Don,
+with his dwarf and four immense negroes, gave a remarkable show of their
+daring to a host of spectators.</p>
+
+<p>Upon the day that Fernando VII. abolished the University of Seville, he
+established an academy of bull-fighting in the city. The building was
+constructed with a small ring for the practice of students in the art of
+tauromachia, and contained stables, bedrooms, and other apartments. From
+that time Seville was regarded as the classic home of bull-fighting, and
+many of the most valiant fighters were trained in that city. Then arose
+the professional <i>matador</i>, or <i>espada</i>,<a name="page_248" id="page_248"></a> the swordsman who faces the
+bull single-handed, when it has been worried and incensed by the
+<i>picadores</i> and the <i>banderilleros</i>.</p>
+
+<p>Two of the first paid <i>matadores</i> were the brothers Juan and Pedro
+Palomo. They were succeeded by Marti�ez Billon, Francisco Romero and his
+son Juan, and Jos� Delgado Candido, who was killed on the 24th of June
+1771. The original Plaza de Toros of Seville was constructed in 1763,
+and from that date until the end of the century several bull rings were
+built in Andalusia and Castile.</p>
+
+<p>'Andalusia,' write the authors of <i>Wild Spain</i> 'has always been, and
+still remains, the province where the love of the bull and all that
+pertains to him is most keenly cherished, and where the modern bull
+fight may to-day be seen in its highest perfection and development. It
+provides the best bull-fighters and the most valued strains of the
+fighting bull. It may be added that the Andalusian nobility were the
+last of their order to discontinue their historic pursuit; and when,
+during the darker days of this sport, the Royal order of the Maestranza
+de Sevilla was created by Philip V., it was conceded in the statutes
+that members of the order could hold two <i>corridas</i> with the long lance
+annually outside the city walls. Three gentlemen subsequently received
+titles of exalted nobility of this order in respect of brilliant
+performances with the lance.' Jos� Candido, usually known as Pepe Hillo,
+brought about a great revival of the <i>corrida</i> after the Bourbons had
+sought to discountenance the sport of the nobility. <i>Pepe Hillo</i> is the
+title of a drama concerned with the valiant exploits of the celebrated
+master among <i>matadores</i>. Hillo, though he was said to be illiterate,
+drew up the rules of the sport, and even to-day he is regarded as one of
+the highest authorities upon the art of the bull fight.<a name="page_249" id="page_249"></a></p>
+
+<p>According to Mr. Leonard Williams, Francisco Romero, of Ronda, in
+Andalusia, was 'the first great exponent of the modern <i>toreo</i>.' Romero
+was put to shoemaking, but he abandoned that homely trade for the
+profession of bull-fighter, acting first as a page to the knights who
+encountered the bulls. It was Romero who introduced the pass of
+fluttering the cloak, or red cloth, in the face of the bull, and then,
+at the fitting opportunity, thrusting the sword into the creature's
+neck. Most of the reputed <i>matadores</i> are of Sevillian birth. In the
+days of Romero and his son, Juan, who died at the age of one hundred and
+two, there lived the famous Sevillian <i>toreros</i>, the brothers Palomo,
+Manuel Bell�n, Lorenzo Manuel, Joaquin Rodriguez, and Pepe Hillo, or
+Illo.</p>
+
+<p>Among the Andalusian schools of bull-fighting Ronda was renowned for
+daring, and Seville for coolness. The intrepidity of the Sevillian
+bull-fighters was remarkable. The <i>salto del trascuerno</i>, or jump across
+the head of the bull, was one of their favourite feats. Mr. Williams
+tells us that the most redoubtable of all the <i>toreros</i> of Seville was
+one Martin Barcaiztegui, called Martincho, a cowherd of Guipuzcoa.
+Martincho was a pupil of the famous Jos� Leguregui, and his bravery
+excelled that of his trainer. 'His favourite accomplishment was to mount
+upon a table, when his legs were closely fettered with massive irons.
+The whole was then set opposite the <i>toril</i>. The bull, emerging, sighted
+the table, covered with a crimson cloth, and charged it, when Martincho
+would leap along his back from head to tail, and alight in perfect
+safety. The table, one presumes, went flying into splinters. On a
+certain occasion, at Zaragoza, Martincho, seated in a chair, killed a
+bull by a single thrust, using his hat as a <i>muleta</i>.'</p>
+
+<p>Martincho died in 1800, having survived the dangers<a name="page_250" id="page_250"></a> of the arena. He
+lived for a time with the artist Goya, who has drawn his friend in
+several of his bull-fighting pictures. Costillares and Pepe Hillo were
+also celebrated for their reckless daring in the bull-fighting
+exhibitions of Seville. These heroes retired from the ring before Godoy
+influenced Maria Luisa to suppress the <i>corrida</i>. For three years there
+was no bull-fighting in Spain. Upon the revival of the sport under
+Joseph Bonaparte, Pedro Romero was appointed chief instructor of
+Ferdinand's academy of tauromachia at Seville. This <i>matador</i> died at
+Ronda in 1839. During his public career, he killed no less than 5,600
+bulls.</p>
+
+<h3><span class="smcap">Bull-fighting of the Present.</span></h3>
+
+<p>Montes now comes into prominence among the famous <i>toreros</i> of
+Andalusia. Francisco Montes fought for the first time at Madrid in 1832.
+He attracted the notice of Candido, of the academy of bull-fighters at
+Seville, and he was accepted as a pupil and granted a pension of six
+<i>reales</i> per day. Montes introduced the modern style in the art of the
+<i>torero</i>. He wrote a treatise on bull-fighting, entitled: <i>El arte de
+torear � pie y � caballo</i>. 'Considered to be the <i>torero's</i> very bible
+for the infallible wisdom of its precepts.'</p>
+
+<p>The <i>matador</i> of to-day is the idol of the populace; but he is not so
+honoured by persons of noble birth as in the earlier times of
+bull-fighting. Luis Mazzantini is perhaps the greatest living <i>torero</i>.
+Guerrita has retired. Antonio Fuentes and Reverte are accomplished
+bull-fighters. Montes died of injuries received in the ring, in the year
+1850, at the age of forty-six.</p>
+
+<p>To show the favour formerly extended to the <i>torero</i>,<a name="page_251" id="page_251"></a> we may quote the
+story of Lavi and Queen Isabel II. Lavi was a Romany by birth, and a
+bold <i>matador</i> of his day. During a royal <i>corrida</i>, the gipsy pluckily
+tore out the <i>mo�a</i>, or bunch of ribbons in the bull's neck, and
+advanced towards the Queen. 'Here,' he cried, 'this is the first <i>mo�a</i>
+your majesty has had the honour of receiving at my hands!'</p>
+
+<p>The retinue of the <i>matador</i> consists of the <i>picadores</i>, or mounted
+spearmen, the <i>banderilleros</i>, or dart throwers, and the <i>monos sabios</i>,
+who repair the damages to the wretched horses and thrash them to their
+feet. The <i>matador</i> is clad in silk and gold, with a spangled cloak,
+which he wears in the parade of the fighters previous to the display. It
+is stated by one writer that a bull fight in Seville cost from �1100 to
+�1200. The value of each bull killed is about �70. The <i>matador's</i> fee
+is from �120 to �200; but this includes the fees paid by him to his
+<i>cuadrilla</i>, or troupe. The horses are valued at from �120 to �200,
+according to the number killed by the bull. The cost of the seats is
+from a <i>peseta</i> to three <i>duros</i>. Guerrita could 'command all over Spain
+and in the South of France almost any remuneration.' The <i>banderilleros</i>
+receive about fifty dollars, and the <i>picadores</i> something less than
+that for their share in the performance.</p>
+
+<p>The glory that surrounds the <i>matador</i> induces a large number of Spanish
+youths to adopt the profession of bull-fighting. In consequence, there
+is a surplus of indifferent <i>toreros</i> and novices, who are awaiting
+their chance for promotion and for an appearance in the arena.</p>
+
+<p>These hangers-on of the sport are to be seen in the Puerta del Sol of
+Madrid, and in the <i>paseos</i> and streets of Seville. They have a 'horsey'
+air, and are proficient at lounging, and chaffing the women who pass by.
+A little pigtail hangs from the brims of their hats, and they are fond
+of frilled shirts, in which they<a name="page_252" id="page_252"></a> display paste studs. Every city and
+provincial town of Spain has its <i>aficionados</i> of bull-fighting. These
+amateurs talk learnedly upon <i>encierros</i>, <i>suertes</i>, and <i>pases por
+alto</i>. They are vain of their acquaintance with popular <i>toreros</i>, and
+they read all the literature of the beloved sport. The <i>Historia del
+Toreo</i> is better known among these 'sports' than the poems of 'Herrera
+the divine.' At the <i>caf�s</i> they pore over the bull-fighting journals,
+<i>El Tor�o</i>, <i>El En�no</i>, and <i>La Lidia</i>.</p>
+
+<p>Mr. H. T. Finck describes the bull fight as 'the most unsportsmanlike
+and cowardly spectacle I have ever seen.' This author does not believe
+that bull-fighting is highly dangerous. 'No man,' he writes, 'who has a
+sense of true sport would engage with a dozen other men against a brute
+that is so stupid as to expend its fury a hundred times in succession on
+a piece of red cloth, ignoring the man who holds it.'</p>
+
+<p>The bull fight not dangerous! I can imagine the indignation of the
+devotees of the sport at such a suggestion. Personally, I am not in a
+position to affirm how great or how small is the peril to the man who
+finds himself alone in a ring, face to face with a savage Andalusian
+bull. I have, however, been told by a Spaniard, living in Madrid, that
+the fluttering of the red cloth certainly distracts the bull's attention
+from its combatant, and that the animal invariably closes its eyes when
+the <i>muleta</i> is whisked in its face. This 'fact,' given on the authority
+of my Spanish friend, may throw a side-light on the art of the
+<i>matador</i>. But I am certainly not prepared to say that bull-fighting is
+without danger to the human performers in the tournament. Many lives
+have been lost in the arena, and injuries are of comparatively common
+occurrence. On October 7, 1900, Dominguin was killed at Barcelona; two
+novices were wounded at<a name="page_253" id="page_253"></a> Carabanchel; Parrao was injured at Granada,
+Telilas had his collar-bone broken at Madrid, and Bombita was wounded at
+the same place. Such was one day's list of mishaps in the amphitheatres
+of Spain.</p>
+
+<p>Until infuriated by the lances and darts, many of the bulls are far from
+savage. There is the story of a bull in the arena, that recognised the
+voice of a lad, who had tended it on the plains, and came towards its
+friend with apparent pleasure at the re-meeting. On the other hand,
+there is the account of the bull of Muruve, who fought at Seville, in
+1898, and carried a horse and a <i>picador</i> upon its horns from the
+barrier to the centre of the ring. A strong bull will sometimes toss a
+<i>picador's</i> saddle high in the air; yet Mr. Williams tells us that two
+men are required to carry the saddle. Bulls frequently leap the
+<i>barrera</i> of the arena, although the height is over five feet. 'At
+M�laga, some six years ago, a bull leaped over the barrier at precisely
+the same spot <i>fourteen</i> times in swift succession. At Madrid, in 1898,
+another cleared <i>both</i> barriers,' writes Mr. Williams, 'landing with his
+head among the spectators, but falling back into the <i>callej�n</i>. On
+April 30, 1896, at Madrid, Ermita�o, the second bull of the <i>corrida</i>,
+cleared the barrier four times, jamming a carpenter between a pair of
+doors and severely injuring him. All the above I have myself witnessed;
+but other feats, perfectly authenticated, are even more remarkable.'</p>
+
+<p>The Plaza de Toros at Seville is a handsome building. It was constructed
+to seat fourteen thousand spectators. The chief fights take place on
+Domingo de Resurrecci�n, and during the week of the <i>feria</i>, in April.
+The seats are arranged in boxes (<i>palcos</i>), the <i>asientos de barrera</i>
+(barrier seats) and the <i>asientos de grada</i>. A higher price is charged
+for seats in the <i>sombra</i>, or shade; while the cheaper positions,
+occupied<a name="page_254" id="page_254"></a> by the poorer classes, are in the <i>sol</i>, or sunshine.</p>
+
+<p>It is fashionable to drive to the <i>corrida</i> behind four or six horses or
+mules, with gay trappings and jangling bells. Hawkers, thieves,
+programme vendors and beggars throng around the <i>plaza</i>. The half-hour
+of waiting, preliminary to the first combat, is enlivened by the arrival
+of smart people and notabilities of the city, while the orchestra plays
+a selection of pieces.</p>
+
+<p>Reverte or Fuentes arrives, and is acclaimed by his admirers. The
+knowing <i>aficionados</i>, who have seen the doomed bulls in their
+enclosure, promise an excellent show. The seats gradually fill; there is
+a loud hum of conversation and a waving of fans by the <i>se�oras</i> in the
+<i>palcos</i>. At a signal from the President of the <i>corridas</i>, the ring is
+cleared of the groups of <i>toreros</i> and their friends. Then the band
+strikes up, and the bull-fighters march out, with the <i>matadores</i> in
+front of their attendants. They salute the President. The key of the
+bull enclosure is thrown down, an official unlocks the door, and into
+the arena canters the first bull, to encounter a charge from the
+<i>picador</i>. Sometimes the bull refuses to fight. The beast is lazy,
+good-tempered, or dazed. Not even the darts will enrage the creature. It
+gazes upon its tormentors with benign amazement. This poor sport; <i>toro</i>
+must be worried into a passion. An explosive dart is thrown at the bull.
+The fire burns into its nerves. It is more than the most placid bull
+nature can endure with patience. <i>Toro</i> lowers its horns and rushes upon
+its assailants.</p>
+
+<p>The spectators, men, women and children, closely watch every move and
+double of the fighters. A <i>picador</i> is thrown. The horse, with a ghastly
+dripping wound in its flank, rushes around the ring. It is met by the
+bull, gored, and tossed in the air. The wounded nag cannot regain its
+feet. Again and again<a name="page_255" id="page_255"></a> the infuriated <i>toro</i> vents its rage on the
+struggling horse. Presently, the bull's attention is drawn from the
+steed, and it turns to face the gaudy <i>matador</i>. A thrust of a dagger
+ends the convulsive kicking of the dying horse.</p>
+
+<p>With scientific precision, the swordsman flutters his <i>muleta</i> in the
+bull's face. At each charge the <i>matador</i> bounds aside, and the beast
+worries the red rag. At length, <i>toro</i> stands snorting and pawing the
+ground. The magnificent brute surveys his enemy with hatred, and makes
+another rush. Again it is thwarted. Finally, the sword is plunged deftly
+into the creature's viscera. <i>Toro</i> trembles, falls, and lies prone. The
+<i>coup de grace</i> is administered with a big knife. There is deafening
+applause, the strains of the band, and the dead bull is dragged from the
+ring by a team of mules.</p>
+
+<p>'When I see children at the <i>corrida</i>, I sigh and think of the future of
+Spain,' said my Spanish friend. Such expression of opinion is almost
+treasonable. Long live the bull fight! Humanitarian cant is not to be
+taken seriously. It is not only the Spanish people who love the sport.
+'There are no more enthusiastic patrons of the bull ring in Madrid,'
+writes Mr. H. C. Chatfield Taylor, author of <i>The Land of the Castanet</i>,
+'than many of the foreign diplomats, and one remembers clearly the
+Secretary of the United States Legation, stationed in Madrid at the time
+of a former visit, saying that he was an annual subscriber, and had not
+missed a <i>corrida</i> during his entire term of office.'</p>
+
+<h3><span class="smcap">The Life of the Fighting Bull.</span></h3>
+
+<p>In Great Britain our nobility and gentle-folk breed racehorses. In Spain
+the aristocracy and grandees rear bulls for the ring. The breeders of
+bulls are<a name="page_256" id="page_256"></a> termed <i>ganaderos</i>. Around Seville, Jerez, Huelva and
+Valladolid are born the <i>toros bravos</i>. At the age of one year the bulls
+selected for the arena are branded, and sent on to the plains to graze,
+in charge of a <i>conocedor</i>, who is assisted by an <i>ayudante</i>. When the
+bulls are two years of age, they are tried for the first time to prove
+their pluck and pugnacity. At four years old they are put into huge
+enclosures of good pasturage, and in time of scarcity they are fed upon
+vetches, maize and wheat. From five to seven <i>toro</i> is warrantable for
+the <i>lidia</i>. At his trial, at the age of two years, the owner of the
+herd invites a number of friends to the ranche. Young and clever
+horsemen attend these trials, and vie with one another in courage. The
+<i>caballeros</i> are armed with the <i>garrochas</i>, lances about twelve feet in
+length, with short steel points. Visitors to Seville may often see
+parties of mounted sportsmen returning from these <i>tentadores</i>, or
+trials.</p>
+
+<p>A bull is separated from its companions. The horseman, carrying the
+<i>garrocha</i>, pursues the brute, and attempts to overturn it by a powerful
+thrust on the flank, delivered at full gallop. The horseman must be a
+bold rider, possessed of coolness and strong in the arm. If the charge
+is successful, <i>toro</i> tumbles with its feet in the air. Another rider
+now takes up the attack. He has a sharper spear, and is called <i>el
+tentador</i>. Should the young bull refuse to charge, it is discarded as a
+<i>toro bravo</i>, and the slaughter-house or the life of labour awaits it.
+The chosen bulls are then christened, and entered upon the breeder's
+list of warrantable animals. In due time their names appear on the
+brilliant placards advertising the <i>corridas</i> of Seville or Cadiz.</p>
+
+<p>'The <i>tentadero</i> at the present day,' writes the authors of <i>Wild
+Spain</i>, 'affords opportunity for aristocratic<a name="page_257" id="page_257"></a> gatherings, that recall
+the tauromachian tournaments of old. Even the Infantas of Spain enter
+into the spirit of the sport, and have been known themselves to wield
+the <i>garrocha</i> with good effect, as was, a few months ago, the case at a
+brilliant <i>f�te champ�tre</i> on the Sevillian <i>vegas</i>, when the Condesa de
+Paris and her daughter, Princess Elena, each overthrew a sturdy
+two-year-old; the Infanta Eulalia riding <i>� ancas</i>, or pillion-fashion,
+with an Andalucian nobleman, among the merriest of a merry party.'</p>
+
+<p>Travelling by rail across the wide and lonely plains of Southern and
+Central Spain, the stranger often sees large herds of bulls, quietly
+grazing in charge of an attendant, who leans upon a long wooden staff,
+and wears a plaid upon his shoulder. The Spanish travellers crowd to the
+window at the magical words <i>los toros</i>, and in an animated manner the
+points of the herd are discussed. This pleasant pastoral life lasts for
+five years of the bull's life, though during that time it has to endure
+the trial with the <i>garrocha</i>. The bulls are divided into three classes
+after the <i>tientas</i>, or trials, <i>i.e.</i>, those of the first rank, the
+'brave bulls'; those of the second order, the <i>novillos</i>, which are used
+by second-rate <i>matadores</i> and beginners, and those sentenced to death,
+or a life of toil. Amongst the most eminent strains of Andalusian bulls
+used for the ring are those of C�mara, Miura, Muruve, P�rez de la
+Concha, Conradi, Adalid, Ibarra, Saltillo, and Anastasio Martin.</p>
+
+<p>The animals are sold from four to eight at a time, according to the
+status of the <i>corrida</i> for which they are purchased. If the distance to
+the ring is short, the bulls are driven by night through the country,
+and pastured in the daytime. They are led by peaceable cattle with bells
+hung from their necks. 'These intelligent beasts keep the wild ones
+together and out of<a name="page_258" id="page_258"></a> mischief,' says Mr. Leonard Williams, 'with the
+same unerring watchfulness as a collie controlling a flock of sheep, and
+lightening to an incalculable extent the labours of the accompanying
+horsemen.' At night the bulls are driven into the town, the sides of the
+streets being barricaded. When the beasts are consigned to buyers at a
+long distance from the ranche, they are conveyed by rail in strong
+boxes.</p>
+
+<p>Just before the encounter in the ring, the <i>toros</i> are confined in the
+<i>chiqueros</i>, dark dens with strong doors that are opened and closed by
+ropes pulled from above. Difficulty is often experienced in coaxing
+refractory animals into these cells. The operation is witnessed by
+<i>aficionados</i>, who pay a fee for the privilege.</p>
+
+<p>Among the best-known <i>garrochistas</i> of modern times are the Se�ores Don
+Antonio Miura, Don Faustino Morube, Don Miguel Garcia, Don Guillermo
+Ochoteco, Don Jos� Silva, Don Fernando Concha, Don Agusto Adalid, Don
+Angel Zaldos, Don Manuel Sanchez-Mira, Marques de Bogaraya, Marques de
+Guadalest, Don Frederico Huesca, and the Marques de Castellones. Two of
+the finest exponents of the art of wielding the <i>rej�n</i>, or short
+lance&mdash;a weapon surviving from the early times of the <i>lidia</i>&mdash;are the
+Se�ores Heredia, Ledesma, and Gran�. Mr. Williams says that there are
+not a dozen horsemen in Spain and Portugal who can successfully perform
+the feat of killing the bull with the <i>rej�n</i>.</p>
+
+<p>'An animated spectacle it is on the even of the <i>corrida</i>,' write the
+authors of <i>Wild Spain</i>, 'when amidst clouds of dust and clang of bells,
+the tame oxen and wild bulls are driven forward by galloping horsemen
+and levelled <i>garrochas</i>. The excited populace, already intoxicated with
+bull-fever and the anticipation of the coming <i>corridas</i>, lining the way
+to<a name="page_259" id="page_259"></a> the Plaza, careless if in the enthusiasm for the morrow they risk
+some awkward rips to-day.</p>
+
+<p>'Once inside the lofty walls of the <i>toril</i>, it is easy to withdraw the
+treacherous <i>cabestros</i>, and one by one to tempt the bulls each into a
+small separate cell, the <i>chiquero</i>, the door of which will to-morrow
+fall before his eyes. Then, rushing upon the arena, he finds himself
+confronted and encircled by surging tiers of yelling humanity, while the
+crash of trumpets and glare of moving colours madden his brain. Then the
+gaudy horsemen, with menacing lances, recall his day of trial on the
+distant plain, horsemen now doubly hateful in their brilliant glittering
+tinsel. No wonder the noble brute rushes with magnificent fury to the
+charge.'</p>
+
+<p>The bull fight of Spain and Portugal is the modern form of the
+gladiatorial shows of ancient Rome. At Urbs Italica, the Roman city of
+old, is the ring wherein many victims of Pagan persecution were forced
+to combat with fierce beasts. It is but a step upwards from this
+sanguinary sport to the tournament with bulls, introduced into Andalusia
+by the Moors. The fascination of the horrible is the motive that impels
+men to witness exhibitions involving risk of human life and cruelty
+towards animals. Our bull-baiting with dogs was certainly not more
+sportsmanlike than the Spanish duels between knights, armed only with
+the lance or sword, and a fierce bull of the plains. Yet bull-baiting
+was a favourite diversion of the British nation from the time of King
+John until about a hundred years ago. In the reign of Elizabeth
+bear-baiting was a fashionable recreation in London, and there were
+'Easter fierce hunts, when foaming boars fought for their heads, and
+lusty bulls and huge bears were baited with dogs' (<i>Sports of England</i>).</p>
+
+<p>When public opinion began to recoil from such<a name="page_260" id="page_260"></a> barbarous amusements,
+Windham, in the House of Commons, made a brilliant speech in defence of
+the sport of bull-baiting, and the Bill for its abolition was rejected.
+That was in 1802. Yet, no doubt, a number of our countrymen of that
+period were accustomed to denounce the atrocious cruelty of the Spanish
+bull-fighters.</p>
+
+<p>Statute 5 and 6, William IV., in 1835, made bull-baiting and
+cock-fighting illegal. The Act enjoined 'that any person keeping or
+using any house, pit, or other place, for baiting or fighting any bull,
+bear, dog, or other animal (whether of a domestic or wild kind), or for
+cock-fighting, shall be liable to a penalty of �5 for every day he shall
+so keep and use the same.' In 1837 the provisions of this Act were
+extended to Ireland.</p>
+
+<p>We must remember, therefore, that a high stage of culture and refinement
+must be attained before nations will consent to abandon cruel and
+dangerous contests between men and brutes, or between beasts. Even in
+Spain there is a growing revolt from the exhibitions of combats between
+bulls and other animals, which are sometimes given in the big towns. In
+these fights&mdash;which take place in a cage in the centre of an arena&mdash;a
+wretched, half-fed lion or elephant is pitted against a bull.
+Cock-fighting still flourishes in the Peninsula. It is popular in
+Seville, and like bull-fighting, the sport has its <i>aficionados</i> in
+every town and hamlet. Sunday, after Mass, is the favourite day for a
+display of cock-fighting. These <i>funciones gallisticas</i> have been
+described by one or two writers upon Spain, who agree that the diversion
+is of a degrading character.</p>
+
+<p>Those among my readers who are interested in bull-fighting, its history
+and its anecdotes, will find a chapter on 'Tauromachia' in that
+fascinating work <i>Wild Spain</i>, by Mr. Abel Chapman and Mr. Walter J.
+Buck.<a name="page_261" id="page_261"></a> A full account of the sport, and the most modern of all the
+numerous contributions to the literature of the bull ring, is that in
+the three special chapters of Mr. Leonard Williams's <i>The Land of the
+Dons</i>, published in 1902.<a name="page_262" id="page_262"></a></p>
+
+<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV<br /><br />
+<i>Information for the Visitor</i></h2>
+
+<p class="nind"><span class="letra">M</span>OST
+English visitors to Seville travel by way of Paris, Ir�n, the
+Spanish frontier town, and Madrid. By this route the interesting towns
+of Vittoria, Burgos, Valladolid and Segovia may be visited should the
+tourist's time permit. Many travellers break their journey at Madrid,
+spend a day or two in that city, and proceed by the night-express to
+Seville. For comfort, it is advisable to take the south express <i>train
+de luxe</i> from the Quai D'Orsay, Paris. This train is made up of
+first-class carriages only, and provided with sleeping berths, for which
+there is an extra charge. By the ordinary express trains the journey is
+slower, and the traveller has to provide his sleeping accommodation in
+the shape of rugs and pillows. A pillow may be hired at most of the
+large Spanish railway stations for one peseta, <i>i.e.</i>, sevenpence
+half-penny in British money.</p>
+
+<p>Railway travelling in Spain is not luxurious. The first-class
+compartments are usually stuffy, and at night they are ill-lighted,
+while the second-class carriages will not compare with the English
+third-class. Compartments of the <i>tercera clase</i> (third-class) are
+uncomfortable and cushionless. They may be used for short day journeys
+in Spain by the stranger who wishes to come into touch with the people.
+As a rule, the third-class passengers are quite orderly in behaviour,
+and the foreigner need not fear to travel with them.<a name="page_263" id="page_263"></a> Still, from the
+point of view of comfort, the Spanish third-class cannot be recommended,
+especially to ladies.</p>
+
+<p>The journey by rail from Madrid is across the monotonous plains of La
+Mancha, made world-famous by the exploits of Don Quixote, through
+interminable olive gardens, wide grass meadows, and by groups of bare
+and fantastic rocks, to ancient C�rdova. Thence we reach the fertile
+land of Andalusia, follow the windings of the clay-stained Guadalquivir,
+and come into the district of the cactus and almond tree, and a
+semi-tropical climate.</p>
+
+<p>Before leaving the railway station square, the stranger must submit to
+the inspection of his luggage by the customs' officers (<i>consumos</i>), who
+are on the watch for taxed articles. Usually the search is a mere
+formality, as English visitors are rarely regarded as 'suspects.' Assure
+the officer that you have nothing to sell, and he will in most instances
+refrain from overhauling your baggage.</p>
+
+<p>Hotel omnibuses, cabs and outside porters await the arrival of every
+train at the Estaci�n de Cordoba. The fare for a one-horse carriage to
+any part of Seville, with one or two passengers, is a peseta, and for
+each piece of luggage the charge is from half-a-peseta to a peseta. The
+driver expects a <i>propina</i> ('tip') of at least half-a-peseta. Avoid
+hotel touts and loafers who crowd outside the railway station.</p>
+
+<p><i>Hotels.</i>&mdash;The majority of English and American visitors stay at the
+H�tel de Madrid, at the corner of the Plaza del Pacifico. It is a large
+house, with a court in the Moorish style, adorned with palms. The
+position is central. The boarding terms are from about twelve pesetas
+per day, but the charge is from about fifteen pesetas in the spring
+season. The H�tel de Paris is also in the Plaza del Pacifico. Here<a name="page_264" id="page_264"></a> the
+tariff is about ten pesetas per diem, and the cuisine is of the
+first-class Spanish order.</p>
+
+<p>Smaller, but comfortable, hostelries are H�tel de Roma and the H�tel
+Europa, with a pension tariff of ten pesetas. If the visitor desires to
+see something of the life of Spanish people of the middle-class, he will
+prefer to take up his quarters in one of the minor hotels. Such a house
+is that of Juan Zamanillo, H�tel de la Victoria, in the Plaza Nueva. The
+charge here is from five pesetas a day, which includes a comfortable
+bedroom, with clean linen and mosquito curtains to the bed, luncheon
+(<i>almuerzo</i>), and dinner (<i>comida</i>). The Victoria is frequented by
+English artists, and the proprietor is accustomed to English guests. The
+head waiter is an intelligent man. In hotels of this order the sanitary
+arrangements are Spanish. Even in the first-class houses of Spain these
+arrangements need improvement. On the other hand, the rooms are
+scrupulously clean, the cuisine very fair, and the bedrooms comfortable.</p>
+
+<p>At most of the hotels there is an extra charge for the early breakfast
+(<i>desayuno</i>), which consists of a cup of chocolate, flavoured with
+cinnamon, or of <i>caf� con leche</i> (coffee with milk), and a small roll
+without butter. Many Spaniards take a cup of coffee in their bedrooms
+about half-past eight in the morning, and do not eat until luncheon,
+which is usually served in Seville from eleven till one. Visitors who
+are accustomed to a substantial breakfast often find themselves somewhat
+faint by the hour of <i>almuerzo</i>. The two meals are much alike in their
+courses. Soup, fish, meat or poultry, salad, cream cheese of Burgos,
+fried potatoes, various kinds of cakes and fruit are served at luncheon
+and dinner. The table wine is provided free of charge, but it is often
+of a very inferior quality, and should be used sparingly, especially in
+hot weather.<a name="page_265" id="page_265"></a> A cheap, palatable wine is the Rioja. Mineral waters can
+be had at all the hotels and <i>caf�s</i>.</p>
+
+<p>At the Spanish houses, as distinguished from the hotels mostly
+frequented by foreigners, Andalusian dishes form the chief part of the
+<i>menu</i>. Shad, sea-bream and codfish, garnished with onions, are served
+cold. <i>Pollo con arroz</i> (fowl with rice), and curried rice, with cockles
+and sausages, are favourite dishes. One course is usually composed of
+stewed mutton, or beefsteaks grilled. The meal begins with eggs, boiled,
+poached, or made into savoury omelettes. Those visitors who do not enjoy
+the flavour of garlic should say to the waiter, "<i>No ajo, sirvase</i>,"
+<i>i.e.</i>, "No garlic, if you please," before ordering an omelette. In the
+larger hotels the cookery is usually French, with an occasional dish of
+the country.</p>
+
+<p><i>Caf�s.</i>&mdash;Spaniards spend a good share of their leisure time in the
+<i>caf�s</i>. In Seville the chief resorts of this kind are in the Calle de
+las Sierpes, the Calle Tetuan, and the Plaza Nueva. It is the custom in
+Spain to make business appointments and to arrange friendly meetings in
+the <i>caf�s</i>. The drinks are coffee, chocolate, tea, wines, liqueurs, and
+mineral waters. Coffee is usually taken black, with cognac. The spirits
+are <i>ca�a</i>, <i>agua ardiente</i>, and cognac. A favourite liqueur is
+anisette. At some of these houses Bass's ale and Scotch whisky can be
+obtained. The Spanish bottled cider (<i>sidra</i>) is a refreshing drink,
+mixed with lemonade, in hot weather.</p>
+
+<p>An English medical practitioner, Dr. Dalebrook, resides in the Calle
+Albareda, leading out of the Calle Tetuan. A guide, whom I can recommend
+as well-informed, is Se�or Carlos Rud�, 22 Otumba. Se�or Rud� is known
+as "Charles" by the English visitors. He speaks English well, and can
+obtain entrance to private collections of paintings in the city.<a name="page_266" id="page_266"></a></p>
+
+<p>A large stock of interesting photographs of Seville, pictures and
+characters is kept by Se�or Julio Beauchy, 24 Calle de Rioja.</p>
+
+<h3><span class="smcap">A List of Books upon Seville, or containing References to the City.</span></h3>
+
+<h4><i>History.</i></h4>
+
+<p>'Sevilla' (A volume in the series '<i>Espa�a</i>')&mdash;Don Pedro de
+Madrazo.</p>
+
+<p>'Annales de Sevilla'&mdash;Don Ortiz de Zu�iga.</p>
+
+<p>'Sevilla Hist�rica,' etc.&mdash;By 'A Son of Seville.'</p>
+
+<p>'Histoire des Arabes d'Espagne' (3 vols.)&mdash;De Circourt.</p>
+
+<p>'Memoirs of the Kings of Spain' (5 vols.)&mdash;W. Coxe.</p>
+
+<p>'History of Spain and Portugal'&mdash;Dunham.</p>
+
+<p>'Ferdinand and Isabella'&mdash;Prescott.</p>
+
+<p>'History of the Reformation in Spain'&mdash;T. M'Crie.</p>
+
+<p>'The Ottoman and the Spanish Empires'&mdash;L. Ranke.</p>
+
+<p>'History of the Reign of Philip II.'&mdash;R. Watson.</p>
+
+<p>'Philip II.'&mdash;Prescott.</p>
+
+<p>'Charles V.'&mdash;Armstrong.</p>
+
+<p>'Recherches sur l'histoire et la litt�rature de l'Espagne'&mdash;Dozy.</p>
+
+<p>'Spain'&mdash;H. E. Watts.</p>
+
+<p>'The Moors in Spain'&mdash;S. Lane-Poole.</p>
+
+<p>'The Inquisition'&mdash;Llorente.</p>
+
+<p>'The Story of Spain'&mdash;E. E. and S. Hale.</p>
+
+<p>'Historia de la Ciudad de Sevilla'&mdash;Joaquin Guichot.</p>
+
+<p>'Historia de Sevilla'&mdash;Alonso Morgado.</p>
+
+<p>'Antig�edades Prehist�ricas de Andalucia'&mdash;Miguel de Gongora.</p>
+
+<h4><i>Art.</i></h4>
+
+<p>'Descripci�n Art�stica de la Catedral de Sevilla'&mdash;Cean Bermudez.</p>
+
+<p>'Seville Mosque Cathedral' (Paper Architect. Society)&mdash;R. H.
+Carpenter.</p>
+
+<p>'An Architect's Note Book in Spain'&mdash;D. Wyatt.</p>
+
+<p>'Annals of the Artists of Spain'&mdash;Sir W. Stirling-Maxwell.</p>
+
+<p>'Spanish and French Painters'&mdash;G. W. Smith.</p>
+
+<p>'Velazquez'&mdash;G. C. Williamson.</p>
+
+<p>'The Industrial Arts of Spain'&mdash;J. F. Ria�o.</p>
+
+<p>'La Giralda'&mdash;A. Alvarez Benavides.</p>
+
+<p>'Alc�zar de Sevilla'&mdash;J. Gestoso y P�rez.</p>
+
+<p>'La Imprenta en Sevilla.'</p>
+
+<p>'Velazquez: Life and Work'&mdash;G. H. Stokes.</p>
+
+<p>'Renaissance Architecture and Ornament in Spain'&mdash;A. N. Prentice.</p>
+
+<p>'Seville Cathedral' (article in 'Macmillan's Magazine,' May
+1903)&mdash;Havelock Ellis.</p>
+
+<h3><i>Literature.</i></h3>
+
+<p>'History of Spanish and Portuguese Literature' (2
+vols.)&mdash;Bouterwek.</p>
+
+<p>'History of Spanish Literature'&mdash;Ticknor.</p>
+
+<p>'The Spanish Drama'&mdash;G. H. Lewes.</p>
+
+<p>'Vida de Cervantes'&mdash;M. F. Navarette.</p>
+
+<p>'Tipograf�a Espa�ola'&mdash;Mendez.</p>
+
+<p>'Spanish Literature'&mdash;H. Butler Clarke.</p>
+
+<p>'Life of Cervantes '&mdash;J. Fitz-Maurice-Kelly.</p>
+
+<p>'Cervantes'&mdash;H. E. Watts.</p>
+
+<h3><i>Social and General.</i></h3>
+
+<p>'Letters from Spain'&mdash;Doblado (Blanco White).</p>
+
+<p>'Handbook for Spain'&mdash;R. Ford.<a name="page_268" id="page_268"></a></p>
+
+<p>'Old Court Life in Spain'&mdash;F. M. Elliott.</p>
+
+<p>'The Bible in Spain'&mdash;Geo. Borrow.</p>
+
+<p>'Spanish Vistas'&mdash;G. P. Lathrop.</p>
+
+<p>'Voyage en Espagne'&mdash;T. Gautier.</p>
+
+<p>'Spain and Portugal' (Handbook)&mdash;Karl Baedeker.</p>
+
+<p>'The Zincali'&mdash;Geo. Borrow.</p>
+
+<p>'A Summer in Andalusia' (2 vols.)&mdash;R. Bentley.</p>
+
+<p>'Seville' (article in 'Harper's Magazine,' March 1901)&mdash;Arthur
+Symons.</p>
+
+<p>'Spanish Cities'&mdash;C. A. Stoddard.</p>
+
+<p>'The Land of the Castanet'&mdash;H. Chatfield-Taylor.</p>
+
+<p><a name="page_269" id="page_269"></a></p>
+
+<p><a name="page_270" id="page_270"></a></p>
+
+<p><a name="page_271" id="page_271"></a></p>
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+<p class="c">
+<a href="#A">A</a>,
+<a href="#B">B</a>,
+<a href="#C">C</a>,
+<a href="#D">D</a>,
+<a href="#E">E</a>,
+<a href="#F">F</a>,
+<a href="#G">G</a>,
+<a href="#H">H</a>,
+<a href="#I">I</a>,
+<a href="#J">J</a>,
+<a href="#K">K</a>,
+<a href="#L">L</a>,
+<a href="#M">M</a>,
+<a href="#N">N</a>,
+<a href="#O">O</a>,
+<a href="#P">P</a>,
+<a href="#R">R</a>,
+<a href="#S">S</a>,
+<a href="#T">T</a>,
+<a href="#U">U</a>,
+<a href="#V">V</a>,
+<a href="#W">W</a>,
+<a href="#X">X</a>,
+<a href="#Y">Y</a>,
+<a href="#Z">Z</a></p>
+
+<p class="nind">
+<a name="A" id="A">A</a><br />
+Abdelasis, <a href="#page_019">19</a>, <a href="#page_020">20</a>.<br />
+Abdelgafar, <a href="#page_022">22</a>.<br />
+Abdelmelic, <a href="#page_021">21</a>, <a href="#page_022">22</a>.<br />
+Abdelola, <a href="#page_019">19</a>.<br />
+Abderahman I., <a href="#page_021">21</a>.<br />
+Abu Abdallah, <a href="#page_024">24</a>.<br />
+Abu el K�sim, <a href="#page_026">26</a>.<br />
+Abu Said, Red King, <a href="#page_037">37</a>.<br />
+Alc�zar, <a href="#page_006">6</a>, <a href="#page_023">23</a>, <a href="#page_030">30</a>, <a href="#page_035">35</a>, <a href="#page_039">39</a>, <a href="#page_061">61</a>, <a href="#page_063">63</a>, <a href="#page_065">65</a>, <a href="#page_088">88</a>, <a href="#page_110">110-128</a>, <a href="#page_237">237</a>.<br />
+Aleman, author, <a href="#page_139">139</a>.<br />
+Alesio, painter, <a href="#page_101">101</a>.<br />
+Alfonso, the Wise, <a href="#page_006">6</a>, <a href="#page_034">34-36</a>.<br />
+Almohades, <a href="#page_028">28</a>, <a href="#page_030">30</a>, <a href="#page_031">31</a>, <a href="#page_032">32</a>, <a href="#page_073">73</a>, <a href="#page_110">110</a>, <a href="#page_213">213</a>.<br />
+Almoravides sect, <a href="#page_026">26-29</a>.<br />
+Amalaric, <a href="#page_013">13</a>.<br />
+Aqueduct, <a href="#page_011">11</a>.<br />
+Archbishop's Palace, <a href="#page_205">205</a>.<br />
+Arfian, artist, <a href="#page_153">153</a>.<br />
+Arms of city, <a href="#page_241">241</a>.<br />
+Augustus, <a href="#page_011">11</a>.<br />
+Averroes, <a href="#page_025">25</a>.<br />
+Avila, <a href="#page_005">5</a>.<br />
+Ayub, <a href="#page_020">20</a>.<br />
+Ayuntamiento, <a href="#page_063">63</a>, <a href="#page_211">211</a>.<br />
+<br />
+<a name="B" id="B">B</a><br />
+Barca, Hamilcar, <a href="#page_008">8</a>.<br />
+Bartolom�, San, church, <a href="#page_193">193</a>.<br />
+Bazan, author, <a href="#page_144">144</a>.<br />
+Berbers, <a href="#page_017">17</a>, <a href="#page_018">18</a>, <a href="#page_027">27</a>.<br />
+Bermudez, <a href="#page_149">149</a>, <a href="#page_179">179</a>.<br />
+Bernardo, San, church, <a href="#page_194">194</a>.<br />
+Bizet's <i>Carmen</i>, <a href="#page_141">141</a>.<br />
+Black Prince, <a href="#page_042">42</a>.<br />
+Blanco White, <a href="#page_059">59</a>, <a href="#page_069">69</a>.<br />
+Bonifaz, Admiral, <a href="#page_031">31-32</a>.<br />
+Books relating to Seville, <a href="#page_266">266-268</a>.<br />
+Borrow, George, <a href="#page_005">5</a>, <a href="#page_140">140-141</a>, <a href="#page_232">232</a>.<br />
+Buckle, <a href="#page_026">26</a>, <a href="#page_188">188</a>.<br />
+Bull-fights, <a href="#page_225">225</a>, <a href="#page_242">242-261</a>.<br />
+Byron, <a href="#page_005">5</a>, <a href="#page_139">139</a>, <a href="#page_240">240</a>.<br />
+<br />
+<a name="C" id="C">C</a><br />
+Caballero, Fernan, author, <a href="#page_139">139</a>.<br />
+<i>Caf�s</i>, <a href="#page_265">265</a>.<br />
+Campa�a, painter, <a href="#page_107">107</a>, <a href="#page_151">151-152</a>, <a href="#page_163">163</a>, <a href="#page_177">177</a>, <a href="#page_237">237</a>.<br />
+Cano, A., artist, <a href="#page_095">95-96</a>, <a href="#page_160">160</a>, <a href="#page_177">177</a>.<br />
+Caridad Hospital, <a href="#page_161">161</a>, <a href="#page_205">205-208</a>.<br />
+Carlos V., <a href="#page_063">63</a>, <a href="#page_123">123</a>, <a href="#page_127">127</a>, <a href="#page_128">128</a>, <a href="#page_176">176</a>, <a href="#page_187">187</a>.<br />
+Caro, historian, <a href="#page_131">131</a>.<br />
+Cartagena, <a href="#page_008">8</a>.<br />
+Cartuja, <a href="#page_236">236</a>.<br />
+Casa Abades, <a href="#page_202">202</a>.<br />
+Casa Pilatos, <a href="#page_039">39</a>, <a href="#page_062">62</a>, <a href="#page_124">124</a>, <a href="#page_132">132-134</a>.<br />
+Casa Taveras, <a href="#page_201">201</a>.<br />
+Casanova, sculptor, <a href="#page_091">91</a>.<br />
+Catalina, Santa, church, <a href="#page_191">191</a>.<br />
+Cathedral, <a href="#page_067">67</a>, <a href="#page_073">73</a>, <a href="#page_085">85-109</a>.<br />
+Cato, <a href="#page_006">6</a>.<br />
+Cepero, Don, <a href="#page_168">168</a>, <a href="#page_209">209</a>, <a href="#page_210">210</a>.<br />
+Cervantes, <a href="#page_006">6</a>, <a href="#page_067">67</a>, <a href="#page_135">135-139</a>, <a href="#page_212">212</a>, <a href="#page_241">241</a>.<br />
+C�spedes, artist, <a href="#page_103">103</a>.<br />
+Cid, <a href="#page_028">28-30</a>.<br />
+Columbus, Christopher, <a href="#page_006">6</a>, <a href="#page_025">25</a>, <a href="#page_043">43-46</a>.<br />
+Columbus, Fernando, <a href="#page_106">106</a>.<br />
+Columbus Library, <a href="#page_211">211</a>.<br />
+Cond�, historian, <a href="#page_024">24</a>.<br />
+C�rdova, <a href="#page_002">2</a>, <a href="#page_020">20</a>, <a href="#page_021">21</a>, <a href="#page_041">41</a>, <a href="#page_073">73</a>, <a href="#page_081">81</a>, <a href="#page_127">127</a>, <a href="#page_263">263</a>.<br />
+Corpus Christi, <a href="#page_230">230</a>.<br />
+Court of Oranges, <a href="#page_073">73</a>, <a href="#page_095">95</a>.<br />
+Custodia, <a href="#page_102">102</a>.<br />
+<br />
+<a name="D" id="D">D</a><br />
+Dancart, artist, <a href="#page_105">105</a>.<br />
+Dancing, <a href="#page_025">25</a>, <a href="#page_231">231-232</a>;<br />
+<span style="margin-left: 1em;">in cathedral, <a href="#page_228">228</a>.</span><br />
+Delicias, <a href="#page_081">81</a>.<br />
+Dello, painter, <a href="#page_147">147</a>.<br />
+Don Quixote, <a href="#page_138">138</a>.<br />
+Dunham, historian, <a href="#page_092">92</a>.<a name="page_272" id="page_272"></a><br />
+<br />
+<a name="E" id="E">E</a><br />
+Edward VII. at Seville, <a href="#page_071">71</a>.<br />
+Egidius, Protestant preacher, <a href="#page_054">54</a>.<br />
+El Begi, the Sage, <a href="#page_024">24</a>.<br />
+El Greco, <a href="#page_107">107</a>, <a href="#page_183">183</a>.<br />
+Englishmen and Inquisition, <a href="#page_058">58-59</a>.<br />
+English sailors, <a href="#page_239">239</a>.<br />
+Ermenigild, <a href="#page_013">13-15</a>.<br />
+Eslava, composer, <a href="#page_228">228-229</a>.<br />
+Eyck, J. Van, <a href="#page_147">147</a>.<br />
+<br />
+<a name="F" id="F">F</a><br />
+Fabrica de Tabacos, <a href="#page_211">211</a>, 236<br />
+Feria of Seville, <a href="#page_225">225-226</a>;<br />
+<span style="margin-left: 1em;">street of, <a href="#page_235">235-236</a>.</span><br />
+Fernandez, painter, <a href="#page_149">149</a>, <a href="#page_205">205</a>.<br />
+Fernando I., <a href="#page_027">27</a>.<br />
+Fernando III., San, <a href="#page_031">31-34</a>, <a href="#page_104">104</a>, <a href="#page_113">113</a>.<br />
+Finck, H. T., <a href="#page_220">220</a>, <a href="#page_222">222</a>, <a href="#page_252">252</a>.<br />
+Fishermen of Seville, <a href="#page_239">239</a>.<br />
+Floods in Seville, <a href="#page_002">2</a>.<br />
+Frutet, F., painter, <a href="#page_183">183</a>.<br />
+<br />
+<a name="G" id="G">G</a><br />
+Gautier, <a href="#page_005">5</a>, <a href="#page_086">86</a>.<br />
+Gever, architect, <a href="#page_073">73</a>.<br />
+Gil, San, church, <a href="#page_191">191</a>.<br />
+Giordano, painter, <a href="#page_099">99</a>.<br />
+Gipsies, <a href="#page_226">226</a>, <a href="#page_232">232-234</a>.<br />
+Giralda Tower, <a href="#page_023">23</a>, <a href="#page_024">24</a>, <a href="#page_070">70</a>, <a href="#page_073">73</a>, <a href="#page_077">77-82</a>, <a href="#page_086">86</a>, <a href="#page_095">95</a>, <a href="#page_110">110</a>, <a href="#page_237">237</a>.<br />
+Golden Tower, <a href="#page_113">113</a>.<br />
+G�ngora, <a href="#page_135">135</a>, <a href="#page_142">142</a>.<br />
+Goya, <a href="#page_102">102</a>, <a href="#page_107">107</a>, <a href="#page_178">178</a>, <a href="#page_197">197</a>, <a href="#page_246">246</a>.<br />
+Granada, 23<br />
+Guadalquivir, <a href="#page_001">1</a>, <a href="#page_002">2</a>, <a href="#page_005">5</a>, <a href="#page_011">11</a>, <a href="#page_021">21</a>, <a href="#page_022">22</a>, <a href="#page_069">69</a>, <a href="#page_113">113</a>, <a href="#page_224">224</a>, <a href="#page_238">238</a>, <a href="#page_243">243</a>.<br />
+Guide to Seville, <a href="#page_265">265</a>.<br />
+<br />
+<a name="H" id="H">H</a><br />
+Hamilcar Barca, <a href="#page_008">8</a>.<br />
+Hasdrubal, <a href="#page_008">8</a>.<br />
+Hernandez, painter, <a href="#page_100">100</a>.<br />
+Herrera, <a href="#page_096">96</a>, <a href="#page_131">131</a>, <a href="#page_137">137</a>, <a href="#page_156">156</a>, <a href="#page_163">163</a>, <a href="#page_164">164</a>, <a href="#page_179">179</a>.<br />
+Herrera El Mozo, <a href="#page_155">155</a>.<br />
+Horse racing, <a href="#page_224">224</a>, <a href="#page_225">225</a>.<br />
+Hospital Civil, <a href="#page_210">210</a>.<br />
+Hotels, <a href="#page_263">263-265</a>.<br />
+<br />
+<a name="I" id="I">I</a><br />
+Ingunda, <a href="#page_014">14</a>.<br />
+Inquisition, <a href="#page_049">49-60</a>.<br />
+Isabella the Catholic, <a href="#page_042">42</a>, <a href="#page_044">44</a>, <a href="#page_048">48-51</a>, <a href="#page_060">60</a>, <a href="#page_061">61</a>, <a href="#page_122">122</a>.<br />
+Isidoro, San, <a href="#page_006">6</a>, <a href="#page_013">13</a>, <a href="#page_015">15-16</a>, <a href="#page_193">193</a>.<br />
+Italica, <a href="#page_008">8</a>, <a href="#page_011">11</a>, <a href="#page_012">12</a>, <a href="#page_081">81</a>, <a href="#page_176">176</a>, <a href="#page_259">259</a>.<br />
+<br />
+<a name="J" id="J">J</a><br />
+James, Henry, <a href="#page_192">192</a>.<br />
+Juan I., <a href="#page_121">121</a>.<br />
+Julian, San, church, <a href="#page_194">194</a>.<br />
+Justa and Rufina, <a href="#page_194">194-198</a>.<br />
+Justi, Professor, <a href="#page_147">147</a>, <a href="#page_172">172</a>.<br />
+<br />
+<a name="K" id="K">K</a><br />
+Keys of Seville, <a href="#page_033">33</a>.<br />
+King of the Suevi, <a href="#page_014">14</a>.<br />
+<br />
+<a name="L" id="L">L</a><br />
+Lathrop, G. P., <a href="#page_220">220</a>, <a href="#page_221">221</a>.<br />
+Leal, Vald�s, artist, <a href="#page_096">96</a>, <a href="#page_099">99</a>, <a href="#page_100">100</a>, <a href="#page_160">160-161</a>, <a href="#page_180">180</a>, <a href="#page_209">209</a>.<br />
+Leandro, San, <a href="#page_006">6</a>, <a href="#page_013">13</a>.<br />
+Lebrixa, scholar, <a href="#page_143">143</a>, <a href="#page_144">144</a>.<br />
+Leighton, Lord, <a href="#page_146">146</a>, <a href="#page_149">149</a>.<br />
+Leovigild, <a href="#page_013">13</a>.<br />
+Library of Cathedral, <a href="#page_129">129</a>.<br />
+Llorente, historian of Inquisition, <a href="#page_057">57-58</a>, <a href="#page_060">60</a>.<br />
+Lonja, <a href="#page_074">74</a>, <a href="#page_205">205</a>.<br />
+Losada, Doctor, <a href="#page_058">58</a>.<br />
+Lucia, Santa, church, <a href="#page_193">193</a>.<br />
+<br />
+<a name="M" id="M">M</a><br />
+Macarena, suburb, <a href="#page_234">234</a>, <a href="#page_235">235</a>.<br />
+M'Crie, historian of Inquisition, <a href="#page_050">50</a>, <a href="#page_054">54</a>.<br />
+Magellan, <a href="#page_046">46</a>, <a href="#page_047">47</a>.<br />
+Majos of Seville, <a href="#page_219">219</a>, <a href="#page_241">241</a>.<br />
+Marcos, San, church, <a href="#page_190">190</a>.<br />
+Maria de Padilla, <a href="#page_037">37</a>, <a href="#page_041">41</a>, <a href="#page_114">114</a>.<br />
+Marmolejo, painter, <a href="#page_100">100</a>, <a href="#page_153">153</a>.<br />
+Maxwell-Stirling, <a href="#page_148">148</a>, <a href="#page_157">157</a>, <a href="#page_172">172</a>, <a href="#page_183">183</a>, <a href="#page_208">208</a>.<br />
+Michelangelo, <a href="#page_105">105</a>.<br />
+Miguel of Florence, <a href="#page_074">74</a>.<br />
+Mir, <a href="#page_014">14</a>.<br />
+Monta�ez, <a href="#page_067">67</a>, <a href="#page_100">100</a>, <a href="#page_108">108</a>, <a href="#page_185">185</a>, <a href="#page_186">186</a>, <a href="#page_210">210</a>, <a href="#page_228">228</a>.<br />
+Moors, <a href="#page_022">22</a>, <a href="#page_028">28</a>, <a href="#page_030">30</a>, <a href="#page_031">31</a>, <a href="#page_062">62</a>, <a href="#page_065">65</a>, <a href="#page_066">66</a>, <a href="#page_067">67</a>, <a href="#page_069">69</a>, <a href="#page_073">73</a>, <a href="#page_077">77</a>, <a href="#page_088">88</a>, <a href="#page_109">109</a>, <a href="#page_110">110</a>, <a href="#page_113">113-114</a>, <a href="#page_123">123</a>, <a href="#page_124">124</a>, <a href="#page_129">129</a>, <a href="#page_132">132</a>, <a href="#page_190">190</a>, <a href="#page_202">202</a>.<a name="page_273" id="page_273"></a><br />
+Morel, sculptor, <a href="#page_106">106</a>.<br />
+Mosque of Seville, <a href="#page_020">20</a>, <a href="#page_023">23</a>, <a href="#page_073">73-82</a>.<br />
+Motamid II., <a href="#page_028">28</a>.<br />
+Mozart, <a href="#page_141">141</a>.<br />
+Munebrega, inquisitor, <a href="#page_057">57</a>.<br />
+Murillo, <a href="#page_099">99</a>, <a href="#page_101">101</a>, <a href="#page_102">102</a>, <a href="#page_103">103</a>, <a href="#page_104">104</a>, <a href="#page_168">168-175</a>, <a href="#page_177">177-179</a>, 209;<br />
+<span style="margin-left: 1em;">statue to, <a href="#page_212">212</a>.</span><br />
+Musa, <a href="#page_017">17</a>, <a href="#page_019">19</a>.<br />
+<br />
+<a name="N" id="N">N</a><br />
+New World, discovery of, <a href="#page_025">25</a>, <a href="#page_068">68</a>.<br />
+Niculoso, designer, <a href="#page_117">117</a>.<br />
+Novels of Cervantes, <a href="#page_135">135-139</a>.<br />
+Nu�ez, painter, <a href="#page_149">149</a>.<br />
+<br />
+<a name="O" id="O">O</a><br />
+Olmedus, <a href="#page_054">54</a>.<br />
+Omnium Sanctorum, church, <a href="#page_191">191</a>.<br />
+<br />
+<a name="P" id="P">P</a><br />
+Pacheco, <a href="#page_067">67</a>, <a href="#page_106">106</a>, <a href="#page_108">108</a>, <a href="#page_131">131-132</a>, <a href="#page_154">154-155</a>, <a href="#page_167">167</a>.<br />
+Palomino, painter, <a href="#page_157">157</a>.<br />
+Passion Plays, <a href="#page_231">231</a>.<br />
+Paula, San, church, <a href="#page_191">191</a>.<br />
+Pedro, the Cruel, <a href="#page_006">6</a>, <a href="#page_036">36-42</a>, <a href="#page_115">115</a>, <a href="#page_120">120</a>.<br />
+Pedro de Pampeluna, <a href="#page_146">146</a>, <a href="#page_211">211</a>.<br />
+Peninsular War, <a href="#page_071">71</a>.<br />
+Philip II., <a href="#page_064">64</a>, <a href="#page_115">115</a>.<br />
+Philip III., <a href="#page_067">67</a>.<br />
+Philip V., <a href="#page_067">67</a>.<br />
+Ph&oelig;nicians, <a href="#page_007">7-8</a>.<br />
+Pizarro Hernando, <a href="#page_006">6</a>, <a href="#page_047">47</a>, <a href="#page_048">48</a>.<br />
+Plague, <a href="#page_070">70</a>, <a href="#page_071">71</a>.<br />
+Plaza de Toros, <a href="#page_225">225</a>, <a href="#page_253">253</a>.<br />
+Ponce de Le�n, <a href="#page_057">57</a>.<br />
+Prado de San Sebastian, <a href="#page_051">51</a>.<br />
+Prescott, <a href="#page_138">138</a>.<br />
+Printing in Seville, <a href="#page_043">43</a>.<br />
+Prosperity, <a href="#page_048">48</a>, <a href="#page_049">49</a>.<br />
+Puerto del Perd�n, <a href="#page_074">74</a>.<br />
+Puigblanch, <a href="#page_051">51</a>.<br />
+<br />
+<a name="R" id="R">R</a><br />
+Recared, King, <a href="#page_016">16</a>.<br />
+Ria�o, architect, <a href="#page_101">101</a>, <a href="#page_103">103</a>, <a href="#page_211">211</a>.<br />
+Ribera, painter, <a href="#page_170">170</a>.<br />
+Roderic, the Goth, <a href="#page_017">17</a>, <a href="#page_018">18</a>.<br />
+Roelas, artist, <a href="#page_099">99</a>, <a href="#page_177">177</a>, <a href="#page_179">179</a>.<br />
+Roldan, artist, <a href="#page_108">108</a>.<br />
+Romans, <a href="#page_008">8-12</a>.<br />
+Romerias, <a href="#page_230">230</a>.<br />
+Rossini's <i>Barber</i>, <a href="#page_141">141</a>.<br />
+Roque, San, church, <a href="#page_193">193</a>.<br />
+Rueda, dramatist, <a href="#page_130">130</a>.<br />
+<br />
+<a name="S" id="S">S</a><br />
+Sagrario, <a href="#page_077">77</a>, <a href="#page_108">108</a>.<br />
+Saints of Seville, <a href="#page_082">82</a>, <a href="#page_194">194-198</a>.<br />
+Salvador, San, church, <a href="#page_193">193</a>.<br />
+Sanchez, artist, <a href="#page_148">148</a>.<br />
+Schlegel, <a href="#page_013">13</a>, <a href="#page_062">62</a>.<br />
+<i>Semana Santa</i>, <a href="#page_228">228-230</a>.<br />
+Siege of Seville, <a href="#page_032">32-34</a>.<br />
+Sierpes, Calle de, <a href="#page_218">218</a>, <a href="#page_219">219</a>.<br />
+Silver Tower, <a href="#page_030">30</a>.<br />
+Singing in <i>caf�s</i>, <a href="#page_232">232</a>.<br />
+Sturmio, artist, <a href="#page_095">95</a>, <a href="#page_153">153</a>, <a href="#page_163">163</a>.<br />
+<br />
+<a name="T" id="T">T</a><br />
+Tablas Alfonsinas, <a href="#page_103">103</a>.<br />
+Tarik, <a href="#page_020">20</a>.<br />
+Theudisel, <a href="#page_013">13</a>.<br />
+Toledo, <a href="#page_199">199</a>.<br />
+Torquemada, <a href="#page_057">57</a>, <a href="#page_061">61</a>.<br />
+Torriggiano, sculptor, <a href="#page_185">185</a>.<br />
+Trajan, <a href="#page_012">12</a>, <a href="#page_032">32</a>.<br />
+Triana, <a href="#page_032">32</a>, <a href="#page_024">24</a>, <a href="#page_057">57</a>, <a href="#page_232">232</a>.<br />
+Trinidad, church, <a href="#page_194">194</a>.<br />
+<br />
+<a name="U" id="U">U</a><br />
+University of Seville, <a href="#page_062">62</a>, <a href="#page_070">70</a>, <a href="#page_210">210</a>.<br />
+<br />
+<a name="V" id="V">V</a><br />
+Vald�s, Juan, painter, <a href="#page_207">207</a>.<br />
+Valer, the Protestant, <a href="#page_052">52-54</a>.<br />
+Vandals, <a href="#page_012">12</a>.<br />
+Varela, artist, <a href="#page_194">194</a>.<br />
+Vargas, fresco painter, <a href="#page_082">82</a>, <a href="#page_101">101</a>, <a href="#page_102">102</a>, <a href="#page_107">107</a>, <a href="#page_150">150</a>, <a href="#page_151">151</a>, <a href="#page_197">197</a>.<br />
+Vasquez, painter, <a href="#page_153">153</a>.<br />
+Velazquez, <a href="#page_165">165-168</a>, <a href="#page_170">170</a>, <a href="#page_212">212</a>.<br />
+Visigoths, <a href="#page_017">17</a>, <a href="#page_129">129</a>.<br />
+Vos, painter, <a href="#page_183">183-184</a>.<a name="page_274" id="page_274"></a><br />
+<br />
+<a name="W" id="W">W</a><br />
+Walls of Seville, <a href="#page_011">11</a>.<br />
+Watts, H. E., <a href="#page_017">17</a>, <a href="#page_137">137</a>.<br />
+Wilkie, David, <a href="#page_174">174</a>.<br />
+Williams, Leonard, <a href="#page_225">225</a>, <a href="#page_242">242</a>, <a href="#page_245">245</a>, <a href="#page_249">249</a>, <a href="#page_253">253</a>.<br />
+Wiseman, Cardinal, <a href="#page_141">141</a>.<br />
+Witiza, <a href="#page_018">18</a>.<br />
+Women of Seville, <a href="#page_219">219-222</a>.<br />
+Wyatt, Digby, <a href="#page_134">134</a>, <a href="#page_202">202</a>, <a href="#page_205">205</a>.<br />
+<br />
+<a name="X" id="X">X</a><br />
+Xeres, <a href="#page_017">17</a>.<br />
+<br />
+<a name="Y" id="Y">Y</a><br />
+Yusuf, <a href="#page_021">21</a>, <a href="#page_027">27</a>, <a href="#page_028">28</a>.<br />
+<br />
+<a name="Z" id="Z">Z</a><br />
+Zu�iga, Ortiz de, <a href="#page_205">205</a>, <a href="#page_266">266</a>.<br />
+Zurbaran, <a href="#page_104">104</a>, <a href="#page_156">156-159</a>, <a href="#page_165">165</a>, <a href="#page_169">169</a>, <a href="#page_170">170</a>, <a href="#page_177">177</a>, <a href="#page_180">180-182</a>, <a href="#page_211">211</a>.<br />
+</p>
+
+<p class="cspc">THE END</p>
+
+<p class="cspc"><i>Colston &amp; Coy. Limited, Printers, Edinburgh.</i><a name="page_275" id="page_275"></a></p>
+
+<hr />
+
+<p class="c"><a name="alterations" id="alterations"></a>Alterations in the text made by the etext transcriber:</p>
+
+<ol>
+<li>Abdelgfar=>Abdelgafar</li>
+
+<li>Abdelgafr=>Abdelgafar {2}</li>
+
+<li>Gr�nada=>Granada</li>
+
+<li>then it its pristine splendour=>then in its pristine splendour</li>
+
+<li>Francico=>Francisco {2}</li>
+
+<li>Alfonzo=>Aflonso {2}</li>
+
+<li>she had seem a fight=>she had seen a fight</li>
+
+<li>peceptions=>perceptions</li>
+
+<li>The ascetic artist was born in Seville, in 1502, and died there about
+the year 1658=>The ascetic artist was born in Seville, in 1502, and died
+there about the year 1568</li>
+
+<li>Capella de San Hermenegildo=>The Capilla de San Hermenegildo</li>
+
+<li>Hermenigildo=>Hermenegildo {2}</li>
+
+<li>Francisan Convent=>Franciscan Convent</li>
+
+<li>Alcaz�r=>Alc�zar {3}</li>
+
+<li>Franciso Pacheco=>Francisco Pacheco</li>
+
+<li>Emilio Pardo Bazan=>Emilia Pardo Bazan</li>
+
+<li>mannnerists=>mannerists</li>
+
+<li>Chasuble on San Ildefenso=>Chasuble on San Ildefonso</li>
+
+<li>San Ildefenso=>San Ildefonso</li>
+
+<li>Sacristi�=>Sacrist�a {numerous}</li>
+
+<li>Calices=>C�lices {3}</li>
+
+<li>La Anunciaci�n de Neustra Se�ora=>La Anunciaci�n de Nuestra Se�ora</li>
+
+<li>Neustra Se�ora de la Concepci�n=>Nuestra Se�ora de la Concepci�n</li>
+
+<li>Sacristia=>Sacrist�a {6}</li>
+
+<li>Sacristi� de los C�lices=>Sacrist�a de los C�lices {2}</li>
+
+<li>La Anunciaci�n de Neustra Se�ora=>La Anunciaci�n de Nuestra Se�ora</li>
+
+<li>Martinez Mo�tanes=>Martinez Monta�es</li>
+
+<li>Mahommedan=>Mohommedan</li>
+
+<li>nine fountain=>nine fountains</li>
+
+<li>cannnot=>cannot</li>
+
+<li>Spaniard are conservative=>Spaniards are conservative</li>
+
+<li>A suvival=>A survival</li>
+
+<li>it Morisco remains=>its Morisco remains</li>
+
+<li>Sevilla�os=>Sevillanos</li>
+
+<li>smart poople=>smart people</li>
+
+<li>A bull is separted=>A bull is separated</li>
+
+<li>'Sevilla Historica,'=>'Sevilla Hist�rica,'</li>
+
+<li>'Antig�edades Prehistoricas de Andalucia'=>'Antig�edades Prehist�ricas
+de Andalucia'</li>
+
+<li>'Descripci�n Artistica de la Catedral de Sevilla'=>'Descripci�n
+Art�stica de la Catedral de Sevilla'</li>
+
+<li>'Tipografia Espa�ola'=>'Tipograf�a Espa�ola'</li>
+
+<li>Dukes of Alcala=>Dukes of Alcal�</li>
+
+<li>F�brica de Tab�cos=>F�brica de Tabacos</li>
+
+<li>Domenico Theotocopuli &amp; Dominico Theotocopuli=>Dom�nico Theotoc�puli</li>
+
+<li>V�rgen de la Rosa=>Virgen de la Rosa</li>
+
+<li>Erminigild=>Ermenigild</li>
+
+<li>Cap de los Evangelestas=>Cap de los Evangelistas</li>
+
+<li>Sevilla Historica=>Sevilla Hist�rica</li>
+
+<li>Pedro Villegas Marmolego, 1520-1597=>Should be: Pedro Villegas
+Marmolejo, 1519-1596.</li>
+
+<li>Patio de los Naranjas=>Should be: Patio de los Naranjos</li>
+</ol>
+
+<hr />
+
+<p class="cb">A List of the Volumes in</p>
+
+<p class="cb"><big><big>The Medi�val<br />
+Town Series</big></big></p>
+
+<hr class="full" />
+
+<p>"<i>That most charming series of books.</i>"&mdash;<span class="smcap">Notes &amp; Queries</span></p>
+
+<p>"<i>There was ample room for a series which should put into the
+traveller's hand a compact</i> r�sum� <i>of what the research of local
+historians had discovered and arranged. This series has gone far to
+provide for this want. Such volumes as "Assisi" and "Florence" are
+indispensable companion-volumes to Baedeker.</i>"&mdash;<span class="smcap">Times</span></p>
+
+<p>"<i>The series is one of the first-rate things in the bookmarket.</i>"&mdash;<span class="smcap">Daily
+News</span></p>
+
+<p>"<i>An extremely pleasing series.... The volumes are fully illustrated,
+and the letterpress, charmingly written, is a perfect mine of
+information.</i>"&mdash;<span class="smcap">Graphic</span></p>
+
+<p>"<i>The intelligent traveller has not been long in recognising their
+worth.</i>"&mdash;<span class="smcap">Guardian</span></p>
+
+<p>"<i>Brought out with the dainty care for both artist and reader that we
+have a right to expect from Aldine House.</i>"&mdash;<span class="smcap">Saturday Review</span></p>
+
+<p>"<i>For the library they are perfection, a pleasure to handle, as they are
+also a pleasure to read.</i>"&mdash;<span class="smcap">Daily Telegraph</span></p>
+
+<p>"<i>They are guide-books, books for study, and books for reference, and at
+the same time little galleries of art.</i>"&mdash;<span class="smcap">Illustrated London News</span></p>
+
+<hr class="full" />
+
+<p class="c"><i>London: J. M. Dent &amp; Co.</i><br />
+<i>Aldine House, Bedford Street, W.C.</i><br />
+1903</p>
+
+<p><a name="page_276" id="page_276"></a></p>
+
+<p class="c"><i>List of Volumes</i></p>
+
+<p class="c"><i>With numerous Topographical Drawings, Reproductions from Paintings and
+Sculptures, Maps, and Plans. Fcap. 8vo (pocketable). In grey cloth and
+limp green paste grain roan bindings.</i></p>
+
+<p>ASSISI. By <span class="smcap">Lina Duff Gordon</span>. Illustrated by <span class="smcap">Helen M. James</span> and
+<span class="smcap">Nelly Erichsen</span>.{*}
+[<i>Second Edition.</i></p>
+
+<p>"Miss Duff Gordon has told the story of Assisi exceedingly well and
+produced one of the very best volumes that have yet appeared in the
+series."&mdash;<i>Times.</i></p>
+
+<p>BRUGES. By <span class="smcap">Ernest Gilliat-Smith</span>. Illustrated by <span class="smcap">Herbert Railton</span> and
+<span class="smcap">Edith Calvert</span>.{**}</p>
+
+<p>"The wonder is how Mr. Gilliat-Smith has so cleverly managed to outline
+all this material, and to describe all to be seen within such narrow
+limits."&mdash;<i>World.</i></p>
+
+<p>CAIRO. By <span class="smcap">Stanley Lane-Poole</span>, Litt.D., M.A. Illustrated by <span class="smcap">J. A.
+Symington</span> and <span class="smcap">Others</span>.{**}</p>
+
+<p>"A really good guide-book to Cairo. As a work of condensation, which
+nevertheless remains both attractive and instructive, the book is much
+to be recommended."&mdash;<i>Spectator.</i></p>
+
+<p>CHARTRES. By <span class="smcap">Cecil Headlam</span>. Illustrated by <span class="smcap">Herbert Railton</span>.{**}</p>
+
+<p>"There is no exaggeration in saying that it is the best book in the
+language on the town and church of which it deals. Everything is
+here."&mdash;<i>Speaker.</i></p>
+
+<p>CONSTANTINOPLE. By <span class="smcap">William Holden Hutton</span>. Illustrated by <span class="smcap">Sydney
+Cooper</span>.{*}</p>
+
+<p>"A delightful book which we cordially recommend to travellers visiting
+the Stambul."&mdash;<i>Athen�um.</i></p>
+
+<p>FLORENCE. By <span class="smcap">Edmund G. Gardner</span>. Illustrated by <span class="smcap">Nelly Erichsen</span>.{**}
+[<i>Third Edition.</i><br />
+</p>
+
+<p>"We recall few, it any, works of a similar kind which contrive to
+display so complete a picture of a historic city.... A guide which every
+tourist should take with him to Florence."&mdash;<i>Spectator.</i></p>
+
+<p>MOSCOW. By <span class="smcap">Wirt Gerrare</span>. Illustrated by <span class="smcap">Helen M. James</span>.{*}</p>
+
+<p>"A very pretty and handy guide to the city, which can easily be slipped
+into the pocket of the tourist and certainly ought to find its way
+there."&mdash;<i>Speaker.</i></p>
+
+<p>NUREMBERG. By <span class="smcap">Cecil Headlam</span>. Illustrated by <span class="smcap">Helen M. James</span>, and
+with Wood-cuts from Photographs.{*}
+[<i>Third Edition.</i><br />
+</p>
+
+<p>"The general history is remarkably well done, and the descriptive and
+biographical part is as cleverly done as the historical
+outline."&mdash;<i>Morning Post.</i></p>
+
+<p>PERUGIA. By <span class="smcap">Margaret Symonds</span> and <span class="smcap">Lina Duff Gordon</span>. Illustrated by
+<span class="smcap">H. M. James</span>.{*}
+[<i>Fourth Edition.</i><br />
+</p>
+
+<p>"Possesses charm as well as information, style as well as learning Work
+more sympathetically rendered we have rarely seen"&mdash;<i>Outlook.</i><a name="page_277" id="page_277"></a></p>
+
+<p>PRAGUE. By <span class="smcap">Count L�tzow</span>. Illustrated by <span class="smcap">Nelly Erichsen</span>.{*}</p>
+
+<p>"It is reasonable to prognosticate a great success for this charming
+little book.... Let us hope that our countrymen will rise refreshed and
+instructed."&mdash;<i>Athen�um.</i></p>
+
+<p>ROME. By <span class="smcap">Norwood Young</span>. Illustrated by <span class="smcap">Nelly Erichsen</span>.{**} [<i>Second Edition.</i><br />
+</p>
+
+<p>"All that distinguishes travel from sight-seeing. A complete series of
+the events, buildings, personalities and ideas which will most interest
+the better kind of traveller."&mdash;<i>Monthly Review.</i></p>
+
+<p>ROUEN. By <span class="smcap">Theodore Andrea Cook</span>. Illustrated by <span class="smcap">Helen M. James</span> and
+<span class="smcap">Jane E. Cook</span>.{**}
+[<i>Second Edition.</i><br />
+</p>
+
+<p>"This is your true <span class="smcap">Cook</span> to conduct you on your next visit to Normandy.
+Erudition, charming vivacity of style, and most excellent
+illustrations."&mdash;<i>Punch.</i></p>
+
+<p>TOLEDO. By <span class="smcap">Hannah Lynch</span>. Illustrated by <span class="smcap">Helen M. James</span>.{*}</p>
+
+<p>"No intelligent reader of the brilliant little monograph is likely to
+forget easily the pleasure which will have been derived from a perusal
+of its pages."&mdash;<i>Speaker.</i></p>
+
+<p>VERONA. By <span class="smcap">Alethea Wiel</span>. Illustrated by <span class="smcap">Nelly Erichsen</span> and <span class="smcap">Helen M.
+James</span>.{**}</p>
+
+<p>"Verona's story faithfully told by one who knows, who loves, and
+understands it."&mdash;<i>Times.</i></p>
+
+<p class="c"><i>In Preparation</i>:</p>
+
+<p>EDINBURGH. By <span class="smcap">Oliphant Smeaton</span>, M.A.</p>
+
+<p>OXFORD. By <span class="smcap">Cecil Headlam</span></p>
+
+<p>CAMBRIDGE. By the Very Rev. <span class="smcap">C. W. Stubbs</span>, D.D., Dean of Ely</p>
+
+<p>AVIGNON. By <span class="smcap">Ellen Marriage</span></p>
+
+<p>SIENA. By <span class="smcap">Edmund G. Gardner</span></p>
+
+<p>CANTERBURY. By Dr <span class="smcap">Sebastian Evans</span> and <span class="smcap">Frank B. Goldney</span>, F.A.S.</p>
+
+<p>LONDON. By <span class="smcap">H. B. Wheatley</span></p>
+
+<p>FERRARA. By <span class="smcap">Ella Noyes</span></p>
+
+<p>RAVENNA. By <span class="smcap">Edmund G. Gardner</span></p>
+
+<p>VENICE. By <span class="smcap">Thomas Okey</span></p>
+
+<p class="c"><i>Price per Volume</i>:&mdash;<br />
+{*} <i>Cloth 3/6 net; Roan 4/6 net.</i>
+{**} <i>Cloth 4/6 net; Roan 5/6 net.</i></p>
+
+<p><a name="page_278" id="page_278"></a></p>
+
+<hr />
+
+<p class="r"><i>Medi�val Towns</i></p>
+
+<p>The enjoyment of foreign travel is so largely dependent upon the
+sympathetic appreciation of the charms and treasures of the place
+visited that a tour may be wholly marred by an indifferent or ignorant
+guide; and so rarely is that charming companion to be found whose local
+knowledge is co-extensive with his artistic instincts, that one has
+perforce often to pursue one's journeys in search of the picturesque
+unattended. In such circumstances the <span class="smcap">Medi�val Town Series</span> fills the
+breach, furnishing a guide whose knowledge is that of an authority,
+whose descriptions do not weary us with their garrulity, and whose
+opinions we may treasure in the safety of our coat pocket; to which,
+also, we may always refer with pleasure when we wish to revive faded
+recollections.</p>
+
+<div class="figleft" style="width: 352px;">
+<a href="images/ill_308_lg.jpg">
+<img src="images/ill_308_sml.jpg" width="352" height="456" alt="Specimen Text Illustration" title="Specimen Text Illustration" /></a>
+</div>
+
+<p>Artist and author have both made the objects and scenes described the
+subject of careful personal observation, and are consequently able to
+impart to their work that charm of local colour which lends vitality to
+their pictures; every old-time thoroughfare and weather-beaten fabric
+supplies some legend of saint or hero, and as the story of these
+medi�val towns progresses, the reader's imagination is kindled until the
+very spirit of the past pervades the page.</p>
+
+<p class="c">* * * <i>This page is set in the type of the series.</i></p>
+
+<h2><a name="FOOTNOTES" id="FOOTNOTES"></a>FOOTNOTES:</h2>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> This and other interesting pictures may be seen by applying
+to the owner of the collection.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> In <i>Sevilla Hist�rica</i> the names of Juan Norman, Alonso
+Rodriguez and Gonzalo Rojas are mentioned as architects employed before
+1507.</p></div>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> <i>See</i> chapters on 'the Churches' and upon the 'Artists of
+Seville.'</p></div>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> There is an excellent Catalogue, with a short historical
+memoir of each artist, which can be purchased at the entrance of the
+Museo, for the trifling sum of one <i>peseta</i>. It is, of course, in
+Spanish.</p></div>
+
+<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> The titles of the pictures are given in Spanish in order to
+facilitate their identification in the Catalogue.</p></div>
+
+<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> The picture has been recently presented to the Museo, by
+the Infanta Da Maria Luisa Fernanda, and is only mentioned in the
+Catalogue, in a short notice at the end of the book.</p></div>
+
+<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> See separate chapter.</p></div>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Story of Seville, by Walter M. Gallichan
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+</body>
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@@ -0,0 +1,8638 @@
+The Project Gutenberg EBook of The Story of Seville, by Walter M. Gallichan
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Story of Seville
+
+Author: Walter M. Gallichan
+
+Illustrator: Elizabeth Hartley
+
+Release Date: November 13, 2011 [EBook #38009]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SEVILLE ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images available at The Internet Archive)
+
+
+
+
+
+
+
+[Numerous typographical errors, as well as many (but not all) of the
+mis-placed or missing accents of Spanish words, have been corrected.
+Please see the list of these at the end of this etext.
+(note of etext transcriber)]
+
+[Illustration: image of the book's cover]
+
+
+
+
+_The Story of Seville_
+
+          "He who Seville has not seen,
+          Has not seen a marvel great."
+
+    "To whom God loves He gives a house in Seville."
+
+_Popular Spanish Sayings._
+
+[Illustration: _Saints Justa y Rufina_
+
+_From the painting by Goya_]
+
+
+
+
+_The Story of Seville
+by Walter M. Gallichan_
+
+_With Three Chapters on the Artists
+of Seville by C. Gasquoine Hartley
+Illustrated by Elizabeth Hartley_
+
+[Illustration: colophon]
+
+_London: J. M. Dent & Co.
+Aldine House, 29 and 30 Bedford Street
+Covent Garden, W.C._ * * 1903
+
+_All Rights Reserved_
+
+
+
+
+PREFACE
+
+
+In the story of Seville I have endeavoured to interest the reader in the
+associations of the buildings and the thoroughfares of the city.
+
+I do not claim to have written a full history of Seville, though I have
+sketched the salient events in its annals in the opening chapters of
+this book. The history of Seville is the history of Spain, and if I have
+omitted many matters of historical importance from my pages, it is
+because I wished to focus attention upon the city itself. I trust that I
+have succeeded in awaking here and there an echo of the past, and in
+bringing before the imagination the figures of Moorish potentate or
+sage, and of Spanish ruler, artist, priest and soldier.
+
+Those who are acquainted with the history of Spain will appreciate the
+difficulty that besets the historian in the matter of chronological
+accuracy, and even in a narration of many of the main events. The
+chronicles of the Roman, Gothic and Moorish epochs are hardly accepted
+as reliable. Patriotic bias and religious enthusiasm are elements that
+frequently mislead in the making of history, though the Spaniard is not
+alone in the commission of error in this respect.
+
+Seville abounds with human interest. The city may at the first glance
+slightly disappoint the visitor, but he cannot wander far without a
+growing sense of its fascination. Most of the noteworthy buildings are
+hidden amidst narrow alleys, for the designers of the city have shown
+great economy in utilising space. It is therefore difficult to gain
+large general views of Seville, unless one ascends the Giralda, while
+the obtrusion of modern dwelling-houses and stores often mars the view
+of fine public edifices. But the modernity of Seville seldom strikes one
+as wholly out of place and in sharp contrast to the ancient monuments.
+The plan is Morisco, and the impression conveyed is partly Moorish and
+partly mediaeval. In a word, Seville brings us at every step closely in
+touch with antiquity.
+
+For the chapters on the Artists of Seville I am indebted to C. Gasquoine
+Hartley (Mrs. Walter M. Gallichan), who has devoted much study to the
+art of Spain. The drawings by Miss Elizabeth Hartley were prepared while
+I was gathering material for the book in Seville, and the illustrations
+will be found to refer to the text. I have also to thank my brother, Mr.
+F. H. Gallichan, for his plan of the city.
+
+The frontispiece photograph of Goya's picture of SS. Justa and Rufina
+was reproduced in the _Art Journal_ as an illustration to an article on
+"Goya" by C. Gasquoine Hartley. My thanks are due to Messrs. Virtue &
+Company for permission to reproduce the picture in this book.
+
+WALTER M. GALLICHAN.
+
+       THE CRIMBLES,
+    YOULGREAVE, BAKEWELL,
+    _August 20, 1903_.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I
+
+                                                                    PAGE
+
+_Romans, Goths and Moors_                                              1
+
+CHAPTER II
+
+_The City Regained_                                                   26
+
+CHAPTER III
+
+_Seville under the Catholic Kings_                                    62
+
+CHAPTER IV
+
+_The Remains of the Mosque_                                           73
+
+CHAPTER V
+
+_The Cathedral_                                                       85
+
+CHAPTER VI
+
+_The Alcazar_                                                        110
+
+CHAPTER VII
+
+_The Literary Associations of the City_                              129
+
+CHAPTER VIII
+
+_The Artists of Seville_                                             146
+
+CHAPTER IX
+
+_Velazquez and Murillo_                                              165
+
+CHAPTER X
+
+_The Pictures in the Museo_                                          176
+
+CHAPTER XI
+
+_The Churches of the City_                                           187
+
+CHAPTER XII
+
+_Some Other Buildings_                                               201
+
+CHAPTER XIII
+
+_Seville of To-day_                                                  213
+
+CHAPTER XIV
+
+_The Alma Mater of Bull-fighters_                                    242
+
+CHAPTER XV
+
+_Information for the Visitor_                                        262
+
+_Index_                                                              269
+
+
+
+
+ILLUSTRATIONS
+
+
+                                                                   PAGE
+
+_SS. Justa and Rufina, from the painting by_
+GOYA (_photogravure_)                                      _Frontispiece_
+
+_Roman Amphitheatre at Italica_                                        1
+
+_The Guadalquivir_                                                     3
+
+_Roman Walls_                                                          8
+
+_The Pillars of Hercules and Julius Caesar_                            11
+
+_Moorish Fountain in the Court of Oranges_                            23
+
+_Roman Capital_                                                       25
+
+_Old Walls of the Alcazar_                                            41
+
+_Sword of Isabella_                                                   49
+
+_Plaza San Francisco_                                                 55
+
+_Fountain in Bath, Alcazar_                                           66
+
+_Puerta del Perdon_                                                   75
+
+_Stone Pulpit in Court of Oranges_                                    78
+
+_Cuerpo de Azucenas_                                                  79
+
+_The Giralda_                                                         84
+
+_Pinnacle of the Cathedral_                                           87
+
+_Puerta Mayor--The Central Door of the
+Cathedral_                                                            89
+
+_Pinnacle of the Cathedral_                                           91
+
+_Interior of the Cathedral_                                           97
+
+_Patio de las Doncellas_                                             111
+
+_In the Garden of the Alcazar_                                       125
+
+_Cancela of the Casa Pilatos_                                        133
+
+_The Guardian Angel_ (MURILLO)                              _facing_ 172
+
+_The Conception_ (MURILLO)                                  _facing_ 178
+
+_The Road to Calvary_ (VALDES LEAL)                         _facing_ 180
+
+_Saint Hugo in the Refectory_ (ZURBARAN)                    _facing_ 182
+
+_The Crucifixion_ (MONTANES)                                _facing_ 186
+
+_Minaret of San Marcus_                                              190
+
+_Puerta de Santa Maria_                                              195
+
+_Patio del Casa Murillo_                                             203
+
+_Amphora_                                                            212
+
+_Patio del Colegio_, _San Miguel_                                    215
+
+_The Golden Tower_                                                   223
+
+_A Roof Garden_                                                      238
+
+_Arms of Seville_                                                    241
+
+_Plan of City_                                              _facing_ 268
+
+[Illustration: Roman Amphitheatre at Italica]
+
+
+
+
+The Story of Seville
+
+
+
+
+CHAPTER I
+
+_Romans, Goths and Moors_
+
+    'The sound, the sight
+     Of turban, girdle, robe, and scimitar
+     And tawny skins, awoke contending thoughts
+     Of anger, shame and anguish in the Goth.'
+
+     ROBERT SOUTHEY, _Roderick_.
+
+
+Seville the sunny, the gem of Andalusia, is a city in the midst of a
+vast garden. Within its ancient walls, the vine, the orange tree, the
+olive, and the rose flourish in all open spaces, while every _patio_, or
+court, has its trellises whereon flowers blossom throughout the year.
+Spreading palms overshadow the public squares and walks, and the banks
+of the brown Guadalquivir are densely clothed with an Oriental verdure.
+
+The surrounding country of the Province of Sevilla, _La Tierra de Maria
+Santisima_, is flat, and in the neighbourhood of the city sparsely
+wooded. On the low hills of Italica and San Juan de Aznalfarache, the
+Hisn-al-Faradj of the Moors, olive groves cover many thousands of acres.
+The plain is a _parterre_ of wide grain fields, and meadows of rife
+grass, divided by straight white roads, with their trains of picturesque
+mule teams and waggons, and their rows of tall, straight trees. Here and
+there the cold grey cactus serves as a fence, but there is no other kind
+of hedgerow.
+
+Far away, across the yellow wheatfields, and beyond the vine-clad slopes
+of the middle distance, rise the huge shoulders and purple peaks of wild
+sierras.
+
+The Guadalquivir, rolling and eddying in a wide bed, takes its tint from
+the light soil and sand, and is always turbid, as though in spate. Below
+Seville, on the left bank of the river, stretch the great salt marshes,
+or Marismas, haunted by the stork, the heron, and innumerable wildfowl.
+Here, among the arms of the tidal water, the cotton plant is cultivated.
+Winter floods are a source of danger to Seville, especially when a
+south-west wind is blowing and the tide ascending the river. Then the
+Guadalquivir overflows its banks and deluges the town and the flat land,
+drowning live stock and destroying buildings. In 1595 and 1626 occurred
+two of the worst floods, or _avenidas_, on record. The flood of 1626
+washed away the foundations of about three thousand houses.
+
+[Illustration: The Guadalquivir]
+
+It is probable that the southern kingdom of Andalusia derived its name
+from the Vandals, who overran the country after the Roman occupation.
+The region was then known as Vandalitia, or Vandalusia. Lower Andalusia
+has been said to be the Tarshish of the Bible. The Phoenicians called
+the land Tartessus, or Tartessii. Nowadays Andalusia includes the
+provinces of Sevilla, Huelva, Cadiz, Cordova, Jaen, Granada and
+Almeria, and has a population of over three millions. Seville is the
+capital, the seat of an archbishop, and a university town. The traveller
+from Northern Europe will feel the spirit of Spain upon him as he
+approaches Seville from Cadiz or Cordova through a semi-tropical country
+under a burning blue sky. He will note everywhere the influence of the
+Arab in the architecture of modern public buildings, churches and
+dwelling-houses, in the tortuous, narrow streets, in the features,
+language, music and garb of the people, and in many of the customs of
+the district. The character of the landscape is strange, the atmosphere
+vivid, and the distant objects show sharply against the horizon. For
+leagues he will traverse groves of olive, or vineyards, and pass across
+wastes purple with the flower of the lavender or scarlet with poppies.
+
+Seville of to-day is white, clean and bright. Gautier noted that the
+shadows of the houses in the narrow thoroughfares are blue, in contrast
+to the white of the dazzling buildings at noon. During the _siesta_ of
+the hot months, the streets are deserted daily for about four hours,
+shutters screen the rooms from the blinding sunshine, and awnings are
+drawn across the roofs of the _patios_. In the evening the town awakens,
+and the _plazas_ and alleys are thronged and gay until two in the
+morning. Everyone endeavours to lead an _al fresco_ life, and to
+conserve physical energy in this city of eternal sunshine. Unlike Toledo
+and Avila, where the houses are sombre and the doors heavy and barred,
+as though the towns were inhospitable, Seville opens wide the gates of
+its beautiful courts so that the passer-by may peep within.
+
+'Seville is a fine town,' wrote Lord Byron, in a letter, during his stay
+in Spain in 1809. We may regret that he had so little to say about the
+fascinating capital. George Borrow, who lived for a time in the Plazuela
+de la Pila Seca, near the Cathedral, speaks in rapturous phrases of the
+view of Seville and the Guadalquivir. 'Cold, cold must the heart be
+which can remain insensible to the beauties of this magic scene, to do
+justice to which the pencil of Claude himself were barely equal. Often
+have I shed tears of rapture whilst I beheld it, and listened to the
+thrush and the nightingale piping their melodious songs in the woods,
+and inhaled the breeze laden with the perfume of the thousand orange
+gardens of Seville.'
+
+The city is rich in antiquities, in historic buildings associated with
+illustrious names, in works of art and in sumptuous palaces. A great
+company of the spirits of famous kings, warriors, explorers, authors,
+painters and priests spring up in the imagination as one stands in the
+aisles of the splendid Cathedral, or dreams amid the roses and the
+tinkling fountains of the secluded gardens of the Alcazar. Here, to this
+prized and fertile territory of southernmost Spain, came Publius
+Cornelius Scipio and Cato. Trajan, Hadrian and Theodosius were born at
+the municipium of Italica, a few miles from modern Seville. El Begi,
+'the most accomplished scholar of Spain,' spent the greater part of his
+life in the city.
+
+San Isidoro and San Leandro lived here. Moorish monarchs and Christian
+sovereigns ruled from the palace, and in their turn attacked and
+defended the fair city. The figures crowd before the mind's
+eye--Ferdinand III., who redeemed the town from the Moriscoes, Alfonso
+(_El Sabio_) the Learned, Pedro I. the Cruel, and Ferdinand and Isabella
+the Catholic. We see the fair, blue-eyed Genoese youth, Christoforo
+Colombo, or Columbus, the maker of the modern prosperity of Seville,
+who, after achieving fame, was alternately petted and punished by his
+sovereigns. We picture the triumphant return of Hernando Pizarro to the
+city, with half a million pesos of gold, and a great treasure of silver.
+
+Lope de Rueda, 'the real father of the Spanish theatre,' a gold-worker
+of Seville; Fernando de Herrera, the poet; the mighty Cervantes, who
+spent three years of his life in the Andalusian capital; Velazquez,
+Zurbaran, Roelas, Murillo and minor artists of note were either born in
+the city or closely associated with it.
+
+For the present we must take a look back into the dim and remote period
+when the Phoenicians came to wrest the soil of Southern Spain from the
+race of mingled Celtic and Iberian blood. It is at this uncertain date
+that the history of Seville may be said to begin.
+
+       *       *       *       *       *
+
+We learn from the historians of Phoenicia that the shrewd, practical
+and industrious people of that marvellous ancient civilisation were
+great colonisers. 'The south of Spain,' writes Professor George
+Rawlinson, 'was rich in metallic treasures, and yielded gold, silver,
+copper, iron, lead and tin.' In their quest for valuable metal, certain
+Phoenician explorers discovered the Peninsula of Iberia, and in the
+mineral-yielding region watered by the Guadalquivir they founded the
+colony of Tartessii. Doubt exists whether Tartessii was the name given
+to the plains of the Guadalquivir or to a town. Strabo, Mela and Pliny
+state that the Phoenicians built a town and called it Tartessus. Was
+this town the foundation of Seville? No one will attempt to give an
+authoritative answer, though it has been stated that the town was not
+Cadiz, the Gades of the Phoenicians. Two cities of considerable
+importance appear to have been the marts of the Phoenician _Sephela_,
+or plain, and it is not wholly improbable that Seville was one of them.
+
+[Illustration: Roman Walls]
+
+In the choice of new territory for the development of mining and
+agriculture, the enterprising colonists displayed much intelligence.
+They settled upon a soil that will bring forth richly without artificial
+stimulation.
+
+The hill ranges produced vines and olive trees, yielding fine wine and
+ample oil. Tunny and other fish were plentiful in the sea, and the
+rivers afforded large eels.
+
+This is all that can be known of the Phoenician colony in Southern
+Spain. We are beginning to tread upon firmer historic ground when
+Hamilcar Barca landed at Cadiz in 237 B.C., after a series of victories
+in Africa, and subdued Andalusia. Hasdrubal, son-in-law of the
+conqueror, was the founder of Cartagena, or New Carthage, the centre of
+Carthaginian rule in Spain, and the wealthiest city of the Peninsula.
+
+But during the second Punic War the Romans invaded Iberia, and gained
+all the eastern coast from New Carthage to the Pyrenees. Plutarch says
+that Publius Cornelius Scipio came to Spain with eleven thousand
+soldiers, seized Cartagena, reduced Cadiz, and founded the city of
+Italica, near Seville. Hispalis was the Roman name given to the city on
+the Guadalquivir until Caesar changed the name to Julia Romula. The city
+then became the capital of Roman Spain, a centre of industry, and a
+fortress. A splendid aqueduct, which has partly endured to this day, was
+constructed to bring a plentiful supply of water from the hills. The
+aqueduct was extended by the Almohades in 1172, and forms one of the
+interesting monuments of the Roman and Arab colonisers. Around the city
+were reared high walls, with watch towers, and many strong gates. It is
+said that the walls of Seville were five miles in length, and it has
+been stated that they were once ten miles long. Within the gates were
+palaces, temples to the honour of the Sun, Hercules, Bacchus and Venus,
+and other fine edifices.
+
+Under Augustus, Spain was part of the Roman Empire. In Seville the rule
+of the conquerors was beneficent, and the original inhabitants were
+fairly governed, while the city was extended and new crafts introduced.
+Under the Romans, Christianity came to the Peninsula, and Seville was
+made the seat of a bishop. The remaining portions of the great aqueduct,
+the wall, the two high granite columns in the Alameda de Hercules, with
+the statues of Julius Caesar and Hercules upon them, the shafts of the
+columns discovered in the Calle Abades, and the beautiful fragments of
+capitals and statues in the Museo Arqaelogico are the chief vestiges of
+Seville in the days of the Romans. At Urbs Italica, 'the camp of the
+Italians,' there still exists a grass-grown, mouldered amphitheatre, the
+only remnant of a mighty town.
+
+Built on the slopes once dotted with the tents of the aboriginal hamlet
+of Sancios, Italica lies about five miles to the west of Seville, amid
+olive gardens and wheatfields. The circus is a ruin; but the passages
+can be followed below the tiers of seats, and one may peer into the dens
+once tenanted by the lions and other fierce beasts. Bees hum amongst the
+wild thyme, lizards creep on the worn stones, and a tethered ass grazes
+in the arena. The glory of Rome has departed; the plaudits from those
+deserted and grassy seats have not been heard for centuries; and blood
+has ceased to redden the floor, where fragrant herbs now spring and
+butterflies sun themselves on fallen masonry. Here is all that is left
+of Italica, the home of Trajan and Hadrian, and the asylum for Scipio's
+aged warriors. For a period the decaying town was known as Old Seville,
+and tons of its masonry were removed to build Seville the New.
+
+Rome fell, and the Silingi Vandals swarmed into the country, captured
+Hispalis, and made it the seat of their empire. This period in the
+history of Seville is dark, and beset with difficulty for the annalist.
+About the year 520 a great horde of Goths spread over Andalusia. They
+seized the Vandal capital, but afterwards established a new capital of
+their own at Toledo.
+
+[Illustration: The Pillars of Hercules and Julius Ceasar]
+
+Amalaric was the first of the Gothic monarchs who sat on the throne in
+Seville. He reigned probably from about the year 522. Theudis ruled in
+Seville (531 to 548), and we read that he was murdered there after an
+attempt to expel the Byzantine troops of Justinian from Africa.
+Theudisel, or Theudigisel, was general to Theudis, whom he succeeded as
+ruler at Seville. Theudisel shared the fate of his predecessor on the
+throne. After a reign of eighteen months, he was killed by the
+sword-thrusts of a dozen nobles of his retinue, while taking supper in
+his palace. This 'monster of licentiousness' was wont to kill all women
+who repelled his addresses, and his assassination was a work of
+vengeance on the part of outraged fathers and husbands among his
+courtiers.
+
+Schlegel says the Goths were ready converts to Christianity, but 'in the
+Arian form.' At a later period of their supremacy in Spain there came a
+wider adherence to orthodox Catholicism, and the civil power was largely
+in the hands of the bishops and clergy. The most influential bishop of
+this day was Saint Isidore (San Isidoro) who held office in Seville. His
+brothers, Leander and Fulgentius, were also prelates, and his sister,
+Florentina, was made a saint. Saint Leander was the elder brother of
+Isidore, and through him the youth received his education after the
+death of his parents. The pupil was earnest and diligent in his studies,
+and as he grew to manhood he zealously assisted his brother, who then
+held the See of Seville, in converting the Goths from the heresy of
+Arius.
+
+Dissensions between the orthodox and the Arians caused great strife and
+family bitterness among the ruling class. During the reign of King
+Leovigild rebellions broke out in Castile and Leon. The leader of the
+rebels was Leovigild's own son, Ermenigild, who had married Ingunda,
+daughter of Brunichilda and of Sigebert. Ingunda professed the orthodox
+faith, while Gosvinda, the second wife of Leovigild, was of the Arian
+sect. A rivalry arose between the two dames. According to Gregory of
+Tours, Gosvinda determined that Ingunda should be compelled to embrace
+the heterodox creed. One day when the two disputants were together,
+engaged in hot controversy, the fanatical Gosvinda gripped Ingunda by
+the hair of her head, threw her to the ground, trod upon her, and bade
+an Arian priest baptize the prostrate woman.
+
+This incident not unnaturally brought about a quarrel between Leovigild
+and his son. Ermenigild was then ruling in Seville, while Leovigild
+maintained his court at Toledo. The trouble grew when Leander, the uncle
+of Ermenigild, persuaded the young man to forsake Arianism. His father
+was deeply angered, and vowed that the Gothic crown should never come to
+an apostate. The Archbishop of Tours states that the father was the
+first to take up arms after the rupture, but other historians suppose
+that the turbulent Ermenigild began the hostilities.
+
+This domestic difference led to serious warfare. Ermenigild was besieged
+in Seville by his father's forces, after begging aid from Mir, King of
+the Suevi, in Galicia. Mir started with an army to assist the rebellious
+prince, but on the way he was defeated by Leovigild, and forced to aid
+the monarch. For a year Ermenigild resisted the siege of Seville. The
+people were on the point of starvation when he resolved upon
+capitulation. Nothing remained but flight, and the prince made his
+escape from the city and reached Cordova. There he was captured,
+divested of his regal garments and authority, and banished to Valencia.
+Very soon the strife was renewed. Ermenigild, panting for a reprisal,
+solicited aid from the Greeks and rebels of the east coast, and invaded
+Estremadura. His father went to meet him with a force of his bravest
+men. The attack was made by Leovigild, who drove his son's army from
+Merida into Valencia, and took the young man a prisoner.
+
+The King was stern, but he could not act ungenerously towards his foe
+and son. He offered Ermenigild pardon and favour on condition that he
+would reject his heretical faith. The rebel refused the terms; he would
+rather remain in his dungeon than practise hypocrisy. Again the father
+besought the son, through an Arian priest, to renounce his false
+doctrine, and again Ermenigild was resolute. In a passion, he cursed the
+cleric, crying: 'As the minister of the devil, thou canst only guide to
+hell! Begone, wretch, to the punishments which are prepared for thee!'
+This was more than Leovigild could bear. He immediately sentenced his
+son to death. The legend of Ermenigild's last days relates that on the
+night of his execution a light from Paradise shone in his cell, and that
+angels watched over the grave, singing hymns in his praise. Ermenigild
+was sainted, and one of his bones is at Zaragoza.
+
+It was in this time of religious stress and civil discord that Saint
+Isidore of Seville began his labours. For about thirty-six years he
+ruled as governor of the church in the city. His hand was open towards
+the poor, and he preached with fervid eloquence. It is to the industry
+of Isidore that Spain owes respect, for his writings are the only basis
+for a history of the chief events during the Gothic epoch. He wrote the
+_Historia de Regibus Gothorum, Wandalorum et Suevorum_, and one of the
+celebrated books of study of mediaevalism, _The Etymologies or Origins of
+Things_.
+
+San Isidore's philosophy was Platonic and Aristotelian. In theology he
+followed the teaching of St. Gregory the Great. He was a puritan in his
+attitude towards the play.
+
+'What connection,' he writes, 'can a Christian have with the folly of
+the circus games, with the indecency of the theatre, with the cruelty of
+the amphitheatre, with the wickedness of the arena, or with the
+lasciviousness of the plays? They who enjoy such spectacles deny God,
+and, as backsliders in the faith, hunger after that which they renounced
+at their baptism, enslaving themselves to the devil with his pomps and
+vanities.'
+
+The gift of oratory possessed by Saint Isidore was predicted in his
+infancy by the issue of a swarm of bees from his mouth. His body was
+laid to rest, in 636, in Seville.
+
+When King Fernando decided to collect all the bones of martyrs and
+saints that he could find in the cathedrals and burial grounds, he
+raised an army and came to Seville, which was then under the Moors. Ibn
+Obeid, the chief of the Moriscoes, favoured Fernando's scheme, and
+allowed the King to enter the city to search for the remains of Justus.
+These bones could not be found; but while the seekers were at their task
+the spirit of Saint Isidore appeared to them, and said that the remains
+of Justus could not be discovered, as it was ordained that they should
+rest at Seville. Saint Isidore then offered his own remains for removal,
+and his embalmed corpse was taken to the Church of John the Baptist, in
+Leon, in 1063.
+
+Until the time of Recared I. the Goths in Spain remained Arians. When
+they forsook their early faith, they adopted a ritual which differed
+from that of the Catholics. It was not until the reign of Alfonso VI.
+that the Roman service was used throughout the land. The civil law of
+the Goths was founded on the _Forum Judicum_ of the Romans. This lengthy
+code became later the _Fuero Juzgo_, and was eventually adapted to the
+community by Alfonso X. in 1258, and known as the _Siete Partidas_, or
+Seven Sections. Under the Gothic code slavery was permitted, and great
+power was vested in the hands of the nobility.
+
+'The old Roman civilisation,' writes Mr. H. E. Watts, in his _Spain_,
+'which the Celtiberians had been so quick to adopt, sat awkwardly on
+these newer barbarians. It was a heritage to which they had not
+succeeded of nature, and a burden too great for them to support? The
+Romans had made one nation of Spain. The Visigoths were not much more
+than an encampment.' When the Berbers, new converts to Mohammedanism,
+began to cast envious eyes upon lovely Andalusia, the Goths were
+demoralised through easy living in a southern clime. Spain had become a
+nation of lords and serfs, and the slaves, the mass of the people, had
+no heart to fight for the land that had been wrested from them.
+
+When Tarik, lieutenant of Musa, came with a force of seven thousand
+Berbers to battle for the Prophet and to conquer Spain, the Gothic King,
+Roderic, hastily collected an army of defence and advanced towards
+Xeres. Theodomir, Governor of Andalusia, had learned that the invaders
+were marching from Algeciras, where they landed on the 30th of April
+711. The Berbers had many horsemen, well-equipped and valiant, while
+Roderic possessed only a small number of mounted men.
+
+It was not until 19th July that the decisive and memorable battle was
+fought. The Gothic King met his foes on the banks of the Guadalete
+(_Wad-el-leded_) 'the river of delight.' It is said that the combat
+lasted for seven days. The Goths, though enervated, had not wholly lost
+their prowess, and they strove desperately with the fierce host of
+Tarik. So bravely fought the defenders that the Moors grew disheartened;
+but their leader, sword in hand, and calling upon Allah, told his troops
+that they had no vessels with which to escape from the country. The
+Berbers must win or perish. Spurring his steed, Tarik dashed into the
+Gothic ranks, cleaving a way as he rode, and inspiring his followers to
+a supreme effort. Roderic also rallied his soldiers to a last stand. His
+army numbered more than that of the Berber general, but the men were
+ill-trained, and no match for the desperate enemies who had battled in
+many campaigns.
+
+Some Spanish historians assert that the sons of Witiza, the King
+dethroned by Roderic and sentenced to death, aided by other traitors,
+deserted their companies and joined the Berbers. It has also been
+recorded that Count Julian, whose daughter was dishonoured by Roderic,
+had allied himself with the foe in Africa. These stories have not,
+however, been accepted by later chroniclers.
+
+The battle was to the Moors. Roderic was either killed on the field by
+Tarik himself, or taken prisoner and released to spend the rest of his
+days in a monastery. One account states that Tarik slew his opponent,
+and sent the head to Musa, who had it conveyed to the Court at Damascus.
+The beaten Goths retreated rapidly before the advancing army. Some
+followed Theodomir into Murcia, others went to the Asturian mountains.
+The band of the Andalusian Governor was pursued by the enemy and routed;
+and Theodomir was compelled to surrender and to confess fealty to the
+Khalif. Upon this condition the Governor was allowed to possess Murcia
+and parts of Valencia and Granada, his territory being known as Tadmir.
+
+Seville was soon in a state of siege. Envious of the good fortune of his
+lieutenant, Musa came to Andalusia with eighteen thousand Arabs of
+valour. He was assisted in command by his sons Abdelola and Meruan. His
+eldest son, Abdelasis, remained in authority in Africa. The Sevillians
+made a valiant defence of their beautiful city; but after several weeks
+of siege Musa led his army through the gates. From that hour, until its
+capture by Fernando III., the Andalusian capital was in the hands of the
+Moors. Carmona and neighbouring towns were also seized by Musa.
+
+After the subjection of Seville, the Arab general started upon a
+campaign. It appears that Musa had not left an efficient force within
+the city walls, for the inhabitants rose and attempted to expel their
+victors. Hearing of the trouble, Musa sent his son Abdelasis into Spain
+to quell the revolt in Seville. Abdelasis used suasion first; but the
+natives were in arms and ardent to regain the city. They prepared for a
+second siege. With much slaughter, the son of Musa put down the
+rebellion of the newly-conquered citizens, and proceeded through the
+south of Spain, winning battles everywhere. Musa was so gratified by his
+son's successes that he appointed him ruler of the annexed territory.
+
+Abdelasis had a reputation for humane conduct towards the vanquished
+people. He fell in love with Egilona, widow of the unfortunate Roderic,
+and made her first a member of his harem and afterwards his wife. That
+he respected her is shown by the fact that her counsel was always sought
+in affairs of government.
+
+The Berber King of Seville was to learn that the throne is not the most
+peaceful resting-place after war's alarms. Scandal was set abroad that
+Abdelasis was scheming to become sole ruler of the Berber dominion, and
+this report reached the ears of Suleyman, brother and heir of the
+Khalif. There is no doubt that Suleyman resented the favour shown to
+Musa and his sons, while he feared that Abdelasis might one day contest
+with him for sovereignty. Seized by this fear, the heir to the crown
+gave secret orders for the killing of the three sons of the great
+commander, Musa.
+
+One day, while Abdelasis was taking part in the devotions within the
+Mosque of Seville, hired murderers crept up to him and stabbed him to
+death. The two brothers of Abdelasis shared the like fate. The head of
+the King was sent to the Khalif at Damascus, who caused it to be shown
+to Musa. Then the brave general, gazing in anger upon his sovereign,
+cried aloud: 'Cursed be he who has destroyed a better man than himself!'
+The distracted Musa fell sick through grief, and soon died.
+
+There is another account of the death of Musa. His jealousy of Tarik,
+who conducted the first successful campaign in the Peninsula, led the
+general to treat his inferior officer with indignity. The friends of
+Tarik at Damascus, in the Court of the Khalif, breathed vengeance upon
+Musa, and prevailed upon the monarch to punish his commander-in-chief. A
+party of arrest seized Musa in his camp, and brought him before the
+Khalif, who commanded that he should be degraded and publicly beaten.
+The disgrace broke Musa's heart and caused his death.
+
+Abdelasis was succeeded by Ayub, who acted as Viceroy of the Khalif. The
+new ruler preferred Cordova to Seville, and thither he removed with his
+retinue. For a long period the city was one of lesser importance; but it
+gained greatness and independence under Abul Kasein Mohammed in 1021. In
+the time of Abbad and Al-Motamid II. the population of the town rose to
+four hundred thousand, and the grandeur of the place rivalled, if it did
+not exceed, that of Cordova. In 1078 proud Cordova was subject to
+Seville, and the ancient metropolis of the Moors in Spain was falling
+into decay, while 'the pearl of Andalusia' was shining in its chief
+splendour.
+
+Abderahman I., Emir of Cordova, in 777, made a bold stroke by
+proclaiming himself Khalif and sole ruler of Spain. It is not necessary
+to recount the victories of Abderahman. He came in triumph to Seville
+and was bade welcome. 'His appearance, his station, his majestic mien,
+his open countenance,' writes Dunham, 'won the multitude even more
+perhaps than the prospect of the blessings which he was believed to have
+in store for them.' Abderahman's rule in Seville laid the foundation of
+the city's prosperity. He narrowed the channel of the Guadalquivir, and
+made the river navigable; he built residences, and laid out gardens, and
+transplanted the palm tree into Spain. We read that the Moorish King was
+honourable, bold and generous, and possessed of a fine sense of justice.
+He encouraged letters, and was a benefactor of educational institutions.
+The King was also a poet, and loved the society of intellectual men.
+
+Although the peaceful arts flourished in Seville at this period, the
+city was frequently the scene of battle. Conspiracies, factions and
+revolts constantly disturbed Spain, and during the reign of Abderahman
+several rival chiefs made assault upon Seville. One of these was Yusuf,
+who raised troops, took the fort of Almodovar, and moved towards Lorca.
+There he was met by Abdelmelic, general of Abderahman, who overcame the
+rebel force, killed the leader, and sent his head, after the Oriental
+manner, to the King. The trophy was displayed at Cordova. But the
+rebellion was not quelled by Abdelmelic's victory. Yusuf's three sons
+gathered an army and made attacks upon Toledo, Sidonia, and Seville.
+Another insurrection broke out at Toledo, under one of Yusuf's
+relatives, Hixem ben Adri el Fehri.
+
+Upon the advice of Abderahman's first minister, the King proposed an
+amnesty, to last for three days. Hixem accepted the terms, and gained
+pardon. But he abused the King's clemency at a later date, and came
+with a body of troops to the gates of Seville. There was hard fighting,
+but the Governor, Abdelmelic, preserved the city and drove away the foe.
+Strife was again caused by the Wali of Mequinez, one Abdelgafar, who
+came bent upon the capture of Seville. The Wali was encountered by
+Cassim, young son of Abdelmelic. Fear seized the youthful officer, and
+he fled with his soldiers. He was met by his father, who drew his dagger
+and killed the young man, saying: 'Die, coward! thou art not my son, nor
+dost thou belong to the noble race of Meruan!' The Governor then pursued
+the enemy, but they escaped him, and came near again to Seville.
+Abdelmelic hurried to the Guadalquivir, and in a night fight he was
+overcome and received a wound. The troops of the Wali poured into the
+city. But in spite of his injury the Governor entered Seville, and after
+a furious combat expelled the host of Abdelgafar. The Wali was
+afterwards caught and killed on the bank of the Xenil. In reward for his
+bravery, the King made Abdelmelic Governor of Eastern Spain.
+
+It is stated that, in 843, a fleet of ships, manned by Norman pirates,
+sailed up the Guadalquivir. The pirates made a sudden raid upon Seville.
+The inhabitants were taken by surprise, the town was robbed, and the
+thieves made good their escape to the river.
+
+Seville in the days of Moorish might was one of the fairest cities on
+earth. Beautiful palaces were built upon the sites of the Roman halls,
+gardens were shady with palms, and odorous with the blossom of orange
+trees, and there were hundreds of public baths. The streets were paved
+and lighted. In winter the houses were warmed, and in summer cooled by
+scented air brought by pipes from beds of flowers.
+
+Poetry, music and the arts were cultivated; the philosopher and the
+artist were held in respect. There were halls of learning and great
+libraries, which were visited by scholars from all parts of Europe.
+
+[Illustration: Moorish fountain in the Court of Oranges]
+
+The Alcazar, the Mosque, the lordly Giralda Tower and other remains
+testify to the ancient splendour of Seville. It was the Moor who applied
+the method of science to the cultivation of the plains, who bred the
+cattle, introduced the orange tree, and planted the palm in the city.
+Granada and Seville were centres of silk-growing. Here were manufactured
+the damascened swords and other weapons, and beautiful metal work of
+divers kinds, which was in demand all over Spain for centuries. Moorish
+civilisation was unsurpassed for its handicrafts and architectural
+decorations. Long after the Christian reclamation of Seville, the
+_Mudejar_, or Moor, living under the new rule, was employed by the State
+to construct bridges and to build castles, to design houses, and to
+decorate them with the wonderful glazed tiles and imperishable colours.
+
+Among the learned Moors of Seville the most eminent was Abu Omar Ahmed
+Ben Abdallah, known as El Begi. Abu Omar's father had spared no cost in
+providing for his son's education. He employed as tutors the greatest
+scholars of the time, and sent the lad to Africa, Syria, Egypt and
+Khorassan in order to confer with sage men and doctors of repute. At the
+age of eighteen years Abu Omar was wonderfully cultured, and as he grew
+to middle age there was no man who could surpass him in knowledge of
+arts and sciences. 'Even in his earliest youth, the Cadi of that city,
+Aben Faweris,' says Conde, 'very frequently consulted him in affairs of
+the highest importance.' El Begi, the Sage, was born in Seville and
+lived there during most of his life.
+
+Many philosophers must have mused in this cultured age amid the orange
+trees of the court of the magnificent mosque. From the summit of the
+Giralda, astronomers surveyed the spangled sky, making observations for
+the construction of astronomical tables. Chemists questioned nature in
+the laboratories by means of careful experiments, and mathematicians
+taught in the schools. There were seventy public libraries in Andalusia;
+the library of the State contained six hundred thousand volumes, and the
+catalogue included forty-four tomes. Scholars also possessed large
+private libraries. There was no censorship, no meddling with the works
+of genius. Men of science were encouraged to investigate every problem
+of human existence. Abu Abdallah wrote an encyclopaedia of the sciences.
+The theory of the evolution of species was part of the Arab education.
+Moorish thought was destined to influence Spain for ages. The discovery
+of the New World was due to the Mohammedan teaching of the sphericity
+of the earth, and it was the work of Averroes that set Christopher
+Columbus thinking upon his voyage of exploration.
+
+The Moors in Seville were not only a cultured and devout community. They
+were commercial and manufacturing, weavers of cotton, silk and wool,
+makers of leather and paper, and growers of grain. In their hours of
+recreation they played chess, sang and danced. Their dances have
+survived to this day in the south of Spain, and may be witnessed in the
+_cafes_ of Seville and Malaga.
+
+[Illustration: Roman Capital.]
+
+
+
+
+CHAPTER II
+
+_The City Regained_
+
+     'All the intellect of the country which was not employed in the
+     service of the church was devoted to the profession of arms.'
+
+     BUCKLE, _History of Civilisation_.
+
+
+In 1023 Abu el Kasim Mohammed, then Cadi of Seville, raised a revolt
+against the Berber rulers of Andalusia. The rising was successful, and
+the town once more became a capital. Under the Abbadid dynasty, and the
+rule of Motadid and Motamid, Seville was secure and peaceful. Stirring
+days came with the rise of the Almoravides in the eleventh century. In
+Morocco, Yussuf, son of Tashfin, had been inspired to wage battle in the
+name of a reformed religion. The Almoravides, or Mourabitins, _i.e._,
+'those who are consecrated to the service of God,' were a fanatical sect
+led by an intrepid warrior. They had made havoc in Northern Africa,
+deposing sovereigns and seizing territory. Now they were to make history
+in Spain.
+
+Under Alfonso III. the Spaniards of the northern and central parts of
+the Peninsula had prospered in their arduous task of stemming the
+advance of the Moors northwards. Spain had won back Asturias, Galicia,
+and part of Navarre, and in time Leon and Castile were restored to
+Christian rule. But under Almanzor, a most redoubtable commander, Leon
+fell, and the whole population of its capital was slaughtered. The death
+of Almanzor, in 1002, brought about vast changes for the Moorish
+kingdom in the south of Spain. There was no great leader to control the
+fortunes of Islam. The territorial governors were in constant dispute,
+and often at war one with the other. It was a golden opportunity for the
+soldiers of the Cross.
+
+In 1054 Fernando I., a sagacious ruler of Leon and Castile, made a
+crusade against the Moors of Portugal, and brought the King of Toledo to
+his knees. He besieged Valencia and brought his troops into Andalusia.
+Under Alfonso VI., Toledo was recovered, amid the rejoicings of the
+Christian host, who anticipated a speedy delivery from the Morisco
+domination. The coming of Yussuf and his fierce Almoravides dashed the
+hopes of Alfonso's army. Finding themselves encompassed with growing
+dangers, the Moors of Spain begged the assistance of the powerful
+Almoravides. A conference of the Moorish rulers was held at Seville, and
+a message sent to Yussuf. The Almoravide King was astute. At first he
+displayed but little sympathy for his brethren in Spain. But the offer
+of Algeciras induced him to promise aid, and he came with a strong army
+of Moors and Berbers. Alfonso was informed that a profession of belief
+in the creed of Mahomet would spare him from certain death. The
+Christian sovereign replied by allying himself with Sancho of Navarre,
+and bringing a force to meet Yussuf. Between Badajoz and Merida the
+armies met in a terrible conflict. Alfonso was forced to retreat, and
+for the present Yussuf offered no further demonstration of his military
+skill.
+
+Next year the King of Morocco returned to Spain with his army, and
+exhorted the Moors of Andalusia to unite with him in a war of
+extinction. The petty sovereigns showed but little enthusiasm for a
+campaign. Probably they distrusted Yussuf's motives. Such suspicion was
+not without a basis, for when the Almoravides came for the third time,
+the monarch plainly stated that he purposed to annex all the remaining
+Mohammedan region. With a hundred thousand men, Yussuf took Seville and
+Granada. Alfonso came to the assistance of the Sevillians with a force
+of twenty thousand; but the Almoravides seized the city, and held it
+until the days of the Almohades in 1147.
+
+Alfonso then sought the alliance of France to assist his nation in
+expelling the African invaders. But the power of the Almoravides grew.
+Cordova was their seat of government, and Seville was one of their most
+important cities. The Moriscoes in Spain were no longer an independent
+race, but under the sway of Morocco. Motamid II. doubtless rued the hour
+when he sought aid from Yussuf. Fair Seville had passed out of his
+hands.
+
+At this time there arose the famous Cid, the revered warrior and type of
+Spanish chivalry. Many are the legends and ballads extolling the bravery
+of this champion of Christendom. Some of the stories of his deeds are so
+improbable that certain historians of Spain have regarded the hero as a
+character of fable; but Professor Dozy has investigated the old
+chronicles, both Spanish and Moorish, and reached the conclusion that
+there _was_ a Cid, a mighty soldier and a devout Catholic, named Rodrigo
+Diez de Bivar. There is no doubt that the Cid loved the field of battle
+from his youth, and that he was ever ready to fight, sometimes for the
+Christians, and sometimes for Moorish chieftains at war with one
+another. In the end he became a valorous freebooter, with a following of
+the sons of noble families. The Cid came at least on one occasion to
+Seville as an emissary of King Alfonso to Motamid, to collect sums due
+from the Arab ruler. Motamid was then at strife with Abdallah, King of
+Granada, who was assisted by certain Christian _caballeros_, including
+Garci Ordonez, formerly standard-bearer to Fernando. The Cid endeavoured
+to restrain the King of Granada from making war upon Motamid's city, but
+Abdallah was not to be influenced for peace. He went forth and was met
+by the combined armies of the Cid and Motamid of Seville, and defeated
+with much loss. Ordonez and the Christian cavaliers were taken
+prisoners. The Cid took his tribute, and certain costly gifts for
+Alfonso from Motamid, and departed. Soon after this episode in
+Andalusia, Alfonso heard that Rodrigo, the Cid, had retained some of the
+presents sent by the King of Seville. This report was set going by Garci
+Ordonez in revenge for his defeat at the hands of the Cid and Motamid,
+and the tale was credited by King Alfonso. There was already prejudice
+against the Cid in the royal mind, and Alfonso was still further
+displeased when his general went to attack Abdallah without permission.
+When he heard that, to crown all, the Cid had exhibited dishonesty,
+Alfonso was wroth, and banished Rodrigo from the kingdom. But the Cid
+gained immense power and homage as an independent sovereign, and when
+Alfonso was in sore need of a general to fight for him against the
+Almoravides, he approached the gallant Rodrigo with assurances of
+friendliness, and solicited his aid. Perhaps the missive of Alfonso went
+astray; at anyrate, the Cid did not at once respond to the King's call
+for help. This apparent apathy incensed Alfonso. Again he sought to
+punish the Cid, confiscating his estates and imprisoning his wife and
+children. And again the invincible Rodrigo proclaimed himself a king on
+his own account. He died in 1099, and at his death his territory was
+taken by Yussuf, the Almoravide. The Cid's bridle, worn by his steed,
+Babieca, hangs in the Capilla de la Granada, in the south-east corner of
+the Court of the Oranges at Seville.
+
+The Almoravides appear to have been an exceedingly energetic and
+turbulent race. They were, indeed, too fond of warfare, for they were
+constantly fighting amongst themselves when they were not at war with
+the Christians. Under their dominion every ruler of a city who could
+raise troops called himself sovereign, and made attack upon the governor
+of the nearest wealthy centre. The Almoravide rule was not so just and
+prudent as that of the Moors who preceded them, and the people groaned
+under its despotism. Conquest by the Almohades came as a redemption from
+the tyranny of the Almoravides.
+
+In Northern Africa, the land of prophets and of new sects, Mohammed, son
+of Abdalla, proclaimed himself the _Mehdi_, and gained the adherence of
+a great horde of devotees. These Unitarians were even more fervent in
+piety than the Almoravides. The _Mehdi's_ general, Abdelmumen, soon
+became the victor of Moorish Spain. Seville was secured by the invaders
+in 1147, and remained under the Almohade rule till 1248. The Almohades
+built the great mosque, with its high minaret, part of the structure
+being formed of stonework of the Roman period; the Alcazar, a huge
+palace, which extended as far as the bank of the Guadalquivir to the
+Golden Tower, and many other magnificent edifices. The palace of the
+Moorish sovereigns at Seville was erected in the form of a triangle,
+with the chief gate at the Torre de la Plata (Silver Tower), which stood
+in the Calle de Ataranzas until 1821, when it was taken down.
+
+Trade revived in the city after its capture by the Almohades; the
+weavers, the metal-workers, and the builders and the decorators of
+houses found constant employment under the new ruler, Abu Yakub Yussuf.
+The Christian Spaniards saw a revival of the Mohammedan fortunes, and
+lamented the influx of this vigorous infidel host. Earnest prayers were
+addressed to the knights of the Cross in all the nations of Europe
+beseeching succour for the faithful in Spain. Pope Innocent III.
+declared a crusade, and called upon foreign Christian rulers to aid the
+Spaniards, with the result that a number of French and English crusaders
+travelled to Spain. A memorable battle was fought in the Sierra Morena,
+the range dividing Castile from Andalusia, and the Almohade army was
+almost destroyed. After this repulse the Moors never made a military
+demonstration of any importance in Castile, but remained in Andalusia
+and the southern districts. Seville and Cordova each had a different
+governor; the Almohade unity was ruptured, and the empire was crumbling.
+
+We have now reached the last days of the Morisco rule in Seville. The
+deliverer, Fernando III., the adored Saint Fernando, came to the throne
+at an auspicious hour, and upon his accession made ready for war upon
+the Mohammedans. In 1235 Cordova was taken by Fernando, and Jaen and
+other towns fell into his hands. Assisted by Aben Alhamar, King of
+Granada, who had been compelled to yield allegiance to the victorious
+Fernando, the Christian monarch marched upon Seville. The inhabitants
+prepared for a stubborn defence. A Moorish fleet guarded the mouth of
+the Guadalquivir, while the troops of the Almohades awaited attack
+within the city. Fernando sent war vessels from the Biscayan coast to
+San Lucar to attack the Moorish fleet. The navy was in the command of
+Admiral Raymond Boniface (Ramon Bonifaz), and in an engagement the
+Moorish ships were driven from their position. Bonifaz lived in Seville
+after the capture of the town. On the front of a house in Placentines,
+now the shop of a dealer in antiquities, there is this inscription in
+Spanish and French: '_Esta casa fue cedida por el Santo Rey D. Fernando
+III. a su almirante D. Ramon Bonifaz cuando conquesto a Sevilla
+libertando del dominio Sarraceno_.'
+
+The infidels next made a stand on land, but failed to overcome the army
+of Fernando. For fifteen months Seville was besieged. Provisions were
+brought into the town from the surrounding district of Axarafa, thirty
+miles long, on the right bank of the Guadalquivir. This
+highly-cultivated region is said to have contained a hundred fertile
+farms. Seville was connected with the suburb of Triana (the town of
+Trajan) by a bridge of boats and a chain bridge. The boat-bridge was
+broken by Fernando during the siege by launching heavy vessels upon it.
+But still the defenders held out behind their high, broad walls, driving
+back the charges of the Christians against the sturdy gates, and raining
+missiles from the towers. At length, when Triana and Alfarache were in
+the hold of Fernando's force, and all food supplies cut off, the
+defenders were forced to yield. On 23rd November Fernando made a
+triumphal entry. The vanquished ruler, Abdul Hassan, who had proved a
+most courageous defender, was offered territory and money if he would
+continue to live in Seville, or in a city of the kingdom of Castile, as
+a dependent officer of the King. The Moor proudly rejected these terms;
+he preferred to leave the scene of his defeat, and with thousands of his
+people he departed for Africa. It is stated that three or four hundred
+thousand Moors had quitted Seville before its capture. If this is true,
+only a few Almohades remained in the place. Those who elected to stay
+were bade to render the same tribute to Fernando as they had been in the
+habit of paying to their princes. Such as desired to return to their
+country were offered the means of travelling and protection.
+
+The triumphant King, escorted by his troops, the loyal inhabitants and
+the clergy, proceeded to the mosque. Christian bishops purified the
+temple, and dedicated it to the service of God and the Virgin, and a
+high and imposing Mass was celebrated. Amid festivities and ceremonies,
+Fernando took possession of Seville and all its rich treasure. He
+occupied the Alcazar, then in its pristine splendour, and divided the
+houses and land around the city among his knights.
+
+The Christian King was brave, and his treatment of the conquered shows
+that he had a strain of mercy in his nature. He was, however, an
+intensely bigoted pietist, for at Palencia he set fire with his own
+hands to the faggots to burn heretics. His austerities were excessive,
+and fasting is said to have weakened his body. Fernando died from dropsy
+at Seville, four years after his conquest of the town. On his deathbed
+he called his son Alfonso, bade him farewell, and exhorted him to follow
+justice and clemency. Then, amid deep sorrow in the city, the King took
+the Mass, and passed away. In 1671 Fernando III. was canonised by Pope
+Clement X.
+
+The keys of Seville, which were given up by the Governor at the
+surrender of the city, may be seen in the cathedral. One key is of
+silver, and bears the inscription: 'May Allah grant that Islam may rule
+for ever in this city.' The other key is made of iron-gilt, and is of
+_Mudejar_ workmanship. It is lettered: 'The King of Kings will open; the
+King of the Earth will enter.' San Fernando's shrine is on view in the
+cathedral on May 30, August 22 and November 23, when honour is paid to
+the body of the sainted monarch by the soldiers of the Seville garrison,
+who march past with the colours lowered.
+
+In the collection of paintings in the house of Senor Don Joaquin
+Fernandez Pereyra, 86, Calle Betis, Triana, there is a picture
+attributed to Velazquez, and said to have been painted by him at the age
+of twenty-eight, representing the Sultan of Seville handing the keys of
+the city to San Fernando.[A] It is said that Velazquez painted himself
+as model of the King. If the work is not that of the master, it is by an
+artist of parts. The colour is good, and the horse well drawn and
+painted.
+
+Fernando III. was succeeded by his son Alfonzo X., _El Sabio_, 'the
+Learned.' He occupied the Palace of the Alcazar, and devoted his leisure
+to the study of geometry, ancient laws, history and poetry. The King
+wrote verse to the Virgin in the Galician dialect, which resembles the
+Portuguese tongue, and was, for his age, a versatile and accomplished
+scholar. His ambition was great, and though he was called 'the Learned,'
+he was prone to serious error in the conduct of the affairs of
+government. He attempted to take Gascony, which was then in the
+possession of Henry III. of England, and governed by Simon de Montfort.
+The King's military enterprises were costly, and as they failed, the
+people resented the increase of taxes, and especially the measure of
+direct taxation. When Alfonso presented Algarve to the King of Portugal,
+with his natural daughter, Beatrice de Guzman, the nobles rebelled under
+the King's brother, Felipe, and were aided by the King of Granada.
+Alfonso invited the malcontent party to a conference of arbitration at
+Burgos. The knights were appeased; but the King was forced to yield his
+ground, and to make many concessions. Upon the death of Alfonso's eldest
+son, Fernando, a dispute arose concerning the heir to the crown.
+Fernando left two sons, born to him by Blanche, sister of Philip IV. of
+France. The second son of Alfonso, Sancho, was announced as rightful
+successor, but this proclamation was a cause of offence to Philip IV.,
+who claimed that the eldest child of his sister was the lawful heir to
+the throne of Castile. The King of France demanded that Alfonso should
+restore the dowry to Blanche, and allow her and the children to come to
+France. Alfonso refused the request. War was then declared by Philip of
+France; and further anxiety was caused by the disloyalty of Sancho, who
+took the lead of the discontented party, and laid siege to Toledo,
+Cordova, and other towns. The King was at his wit's end. He begged aid
+from Morocco, from the infidels, while, at the same time, he desired the
+Pope to excommunicate Sancho. Eventually the quarrel between King and
+Prince was patched up. Alfonso appears to have cherished affection for
+his unruly son, for upon hearing, soon after the reconciliation, that
+Sancho was seriously ill, the King died of grief.
+
+So closed the troubled career of Alfonso el Sabio. He was a type of the
+bookish student, a great reader, but without a knowledge of human
+nature, and devoid of aptitude for governing a nation. In his fondness
+for book-learning, and his incapacity for ruling, Alfonso may be
+compared to James I. of England. It is claimed to the credit of the
+learned monarch that he encouraged the arts and education in the royal
+city of Seville, and founded the university. He loved the retirement of
+his study in the beautiful Alcazar rather than the council seat; but, at
+the same time, he had a craving for power and wished to extend his
+realm. Alfonso the Learned presented a reliquary to the chapter of the
+cathedral, which may be seen among the treasures. His body rests in the
+Capilla Real (Royal Chapel), where it was interred in 1284.
+
+There is but little of interest to record in the annals of Seville until
+the time of Pedro I. Under Alfonso XI., a great council was held in the
+city to discuss plans for defending Andalusia from the Emperor of
+Morocco, who had landed in Spain with a powerful army. The King of
+Portugal attended the conference and promised his support, and in a
+battle fought near Tarifa the invading force was driven back. During the
+reign of Alfonso XI., the Earl of Derby and the Earl of Salisbury came
+to Spain, to fight for Christianity, and to offer amity to the martial
+King.
+
+With the death of Alfonso XI., we come to the days of his son, Pedro I.,
+the most renowned of all the Christian sovereigns who made court at the
+capital of Andalusia. The reign of Pedro el Cruel abounds with so much
+'incident' from the story-teller's point of view, that many tales,
+ballads and plays of Spain are concerned with the exploits of this
+remarkable King. In some of the narratives he is portrayed as a
+veritable monster of cruelty and perfidy; in others he is represented as
+a severe, but just, monarch, with sympathy for the lower classes. Pedro
+was sixteen when he came to the throne. Fearing an attempt on the part
+of Enrique (son of Alfonso XI. by his mistress, Leonora de Guzman) to
+seize the crown, Pedro contrived to lure Leonora to Seville, and to
+imprison her in the Alcazar. From this dungeon the wretched woman was
+sent to other prisons, until she was done to death. There was no limit
+to Pedro's ferocity when his malignity was aroused. His deeds suggest an
+insane lust for bloodshed, and a delight in the infliction of suffering.
+He killed with his own hand, or by the aid of bravoes, all relatives,
+rivals and dangerous persons who came within his power. His first wife
+was Blanche of Bourbon, niece of King John of France; but he deserted
+her in two days, to return to his mistress, the lovely Maria de Padilla.
+When Pedro's fancy fell upon the handsome Juana de Castro, he declared
+that his union with Blanche was invalid, and induced the Bishops of
+Salamanca and Avila to perform a marriage service. Soon after the
+wedding Pedro left his bride, and insolently avowed that he had only
+experienced a passing passion for her.
+
+One day Abu Said, King of Granada, wrote to Pedro of Seville, begging an
+audience of him that he might seek his help in resisting an enemy,
+Mahommed-ibn-Yussuff. To this request Pedro acceded. Abu Said, escorted
+by three hundred of his court, and a number of menials, journeyed to
+Seville, and was received most graciously by the King, who gave orders
+that the visitor and his retinue should be well cared for in the
+Alcazar. The Red King, Abu Said, possessed a splendid treasure of
+jewels. Among the precious stones was the famous ruby which now
+decorates the royal crown of England. It is possible that the Moorish
+King intended to present certain of his gems to Pedro, for we read that
+he brought his treasure with him to Seville. But his host, hearing how
+fine a store of jewels lay within his reach, commanded a number of hired
+murderers to purloin the treasures by force. The guest and his nobles
+were surprised in their apartments; they were stripped of their
+valuables and money, while the Red King was deprived of the very clothes
+that he wore. Dressed in common raiment, and seated upon a donkey, the
+unfortunate Abu was taken, amid the derision of the rabble, to a field
+without Seville, and there executed with thirty-six of his courtiers.
+Pedro's excuse for his treachery and cruelty was that the King of
+Granada had betrayed him in his war with Aragon, a charge that could not
+be founded.
+
+Among the beauties of Seville of that date was the Senora Urraca Osorio.
+When Pedro saw her, he vowed to bring her within his power. At first he
+paid her compliments and endeavoured to win her favour by flattery and
+gifts. Urraca was a proud woman. In all likelihood she recoiled from
+this brutal flatterer and deceiver of women, and not even his kingly
+rank could induce her to pay the least heed to his addresses. No one
+dared to foil Pedro; the _senora_ doubtless surmised the revenge that
+the King would plan against her. Yet she bravely refused to lend her ear
+to his proposal, preferring death to the forfeiture of her self-respect.
+Then Pedro threatened a terrible punishment. Urraca still refused.
+Faggots were piled in the market square of the town, and the persecuted
+lady was led forth and burned to death in public.
+
+The people of Seville seem to have been hypnotised by their cruel
+sovereign. For these horrible deeds they even offered pleas of
+extenuation, and, according to some Spanish historians, Pedro was one of
+the most popular of the kings that lived in the city after its
+restoration to the Christians. A certain Bohemian strain in the King's
+character no doubt appealed to a mass of his subjects. He was credited
+with sympathy for the labouring class and a desire to protect the people
+against the tyranny of the nobles. Where his own personal interests were
+not concerned, Pedro the Cruel sometimes evinced that sense of equity
+that led Felipe II. to describe him as 'the Just.' But in private
+matters Pedro displayed no trait of justice and no hint of magnanimity.
+
+Now and then Pedro would muffle himself in his _capa_, don his sword,
+and wander from the palace after dark to the low quarters of Seville.
+He liked to study the life of the _Mudejares_, the Jews, and the
+artisans, and to rub shoulders with his subjects when they were scarcely
+likely to recognise him. One night the King was roaming in the alleys of
+the city, keeping an eye upon all who passed by, and probably hoping
+that he might find an unlucky watchman off his guard and neglecting his
+duty. Suddenly a passing hidalgo pushed against the King. Pedro abused
+the stranger; there was an altercation, and swords were whipped out of
+their sheaths. In the dim light of the thoroughfare the combatants
+clashed blades, and engaged in a duel to the death. Presently the King's
+opponent received a thrust in a vital part of the body, and falling to
+the pavement, he lay bleeding to death. A few weeks before this night's
+encounter Pedro had forbidden street-fighting, on penalty of capital
+punishment for the unwary custodians of order in the city.
+
+With a grim smile, the King sheathed his weapon and went home to the
+Alcazar, musing upon the consternation of the authorities when the
+corpse of the _caballero_ was discovered. Next morning he sent for the
+Alcalde, or Mayor of the city. 'Sir,' said Pedro, 'you fully understand
+that I hold you accountable for any breach of the peace that occurs in
+the streets of Seville?' The Mayor humbly responded that he knew the
+fresh regulation which his majesty had been pleased to enforce. At that
+moment a page brought word to the King that the dead body of a hidalgo
+had been found, early that morning, in the plaza near where the Casa
+Pilatos now stands. 'What means this?' demanded Pedro, turning to the
+affrighted Alcalde. 'If the murderer of this gentleman is not found in
+two days, understand that you will be hanged.' The Mayor's face was
+white as he bowed himself from the royal chamber. With a sinking heart
+he prepared himself for his fate. There was scarcely any hope of
+tracking the assassin in forty-eight hours.
+
+The wretched Mayor sat down in his room to meditate upon the best means
+of tracing the criminal. Meanwhile the story of the murder was abroad,
+and people were talking of the affair. The gossip reached the ears of an
+old woman, who went at once to the Alcalde, telling him that she had
+seen a fight from her bedroom window late during the previous night. The
+combatants appeared to be gentlemen, but to make sure, she lit a candle
+and leaned out of the window. One man had his back towards her, and she
+could not see his face. But of the identity of his opponent she was
+quite certain: _it was his majesty the King, and no other_. When she
+saw, beyond a doubt, that it was the King who plunged his blade into the
+hidalgo's breast, she felt terrified, blew out the candle, and withdrew
+her head from the window.
+
+'Thank God!' cried the Mayor, seizing the old woman's hand. Then he
+hurried to the Alcazar, sought a hearing from the sovereign, and said
+that he had found the murderer of the hidalgo. The King smiled. 'Indeed,
+your majesty,' said the Alcalde, 'I can let you look him in the face
+when he hangs on the gallows.' 'Good!' replied Pedro, still smiling
+incredulously.
+
+Hastening to the quarter of the Moorish artisans, the Mayor ordered them
+to make a cunning effigy of the King, and to bring it to him without
+delay. A few days after, the Alcalde requested his majesty to attend the
+hanging of the criminal in the Plaza de San Francisco. Greatly curious,
+Pedro came to the place of execution. And there, upon the gibbet, he saw
+a dummy of himself dangling from the rope. Struck with the humour and
+ingenuity of the Mayor's device, the King said: 'Justice has been done.
+I am satisfied.' The street where Pedro fought with the hidalgo is
+called the Calle della Cabeza del Rey Don Pedro, and the alley where the
+old woman lived is known as the Calle del Candilejo, or 'street of the
+candlestick.'
+
+[Illustration: OLD WALLS OF THE ALCAZAR.]
+
+In visiting the Alcazar we shall have more to recall of the career of
+Pedro the Cruel. The palace is haunted with memories of the King and of
+Maria de Padilla. Pedro was fond of Seville and preferred the Alcazar to
+any other residence. He made many alterations in the palace, built the
+rooms around the Patio de la Monteria, and brought material for their
+construction from the remains of Moorish edifices in Seville, Cordova,
+and other places.
+
+When Pedro caused his unfortunate wife, Blanche, to die in prison, from
+the dagger, or by poison, his subjects were at length aroused to
+indignation. The insensate ruler was bringing the nation to the verge of
+ruin by his misdeeds. France resented the dastardly murder of Blanche of
+Bourbon, and the King vowed revenge on Pedro. Enrique, brother of Pedro,
+was fighting for the crown, and had been proclaimed Sovereign at Toledo;
+while the Sevillians, who had long endured their King's severities and
+condoned his cruelties, were up in arms and threatening the royal
+palace. Pedro fled from Seville, and came eventually into Aquitaine, to
+the court of the English Black Prince at Bordeaux. The chivalrous Black
+Prince espoused the cause of Pedro against Enrique, pitying the fugitive
+King who had been forced to leave his country. In return for his
+support, Pedro offered his English ally a large sum of gold, and the
+great ruby stolen from Abu Said in the Alcazar of Seville.
+
+The campaign was decided in favour of the King of Spain, but its
+hardships cost the Black Prince his life. Pedro was again acknowledged
+King. His downfall was, however, fast approaching. Enrique conquered his
+brother, soon after the departure of the English army, and came to see
+him at Montiel in La Mancha. It is said that Pedro was treacherously
+drawn into a trap. In any case, he fell by the dagger of his brother
+Enrique; and so ended violently the life of one who had lived in
+violence and bloodshed.
+
+As our story is more concerned with the city of Seville than with the
+fortunes of the rulers of Spain, we may resume the narration at the time
+of Isabella and Fernando. No incidents of signal importance occurred in
+Seville between the death of Pedro I. and the accession of the famous
+Catholic Queen. With the reign of Isabella, the city became the theatre
+of events that influenced the whole of the nation, and indeed the whole
+of Christendom.
+
+It was at this time that the arts and letters of Spain began to revive.
+In Seville the year 1477 is the date of the first setting up of a
+printing press, by one Theodoricus el Aleman (the German). Konrad
+Haebler, in his work on _The Early Printers of Spain and Portugal_, says
+that for fifteen years the only printers in the city were German
+immigrants. One of the early important books printed in Seville was
+Diego de Valera's _Cronica de Espana_. In 1490 a firm of printers, under
+the title of Four German Companions, opened business, and in three years
+published nine volumes, while two years later there was a rival press
+owned by another German.
+
+It was in 1493 that the city saw the return of the great Columbus from
+his first voyage. For a long time the blue-eyed, dreamy Genoese,
+Christoforo Colombo, had mused upon the scientific works of the
+cultivated Moors, and speculated upon the existence of other lands far
+away across the restless ocean. Sceptics laughed at the dreamer; the
+clergy frowned at his impudent theories; but a few bold adventurers were
+inspired by his enthusiasm.
+
+The story of his setting forth has been often told. Let us welcome the
+sunburnt explorer upon his return to Seville on Palm Sunday 1493. The
+wondering people are all anxious to catch sight of Cristobal Colon, the
+Italian, who claims to have discovered a New World. He passes down the
+streets, a tall, brawny man, bronzed, with red hair, which became white
+at the age of thirty. To those who question him he replies with dignity
+and courtesy, becoming eloquent as he describes the marvels of the vast
+country beyond the sea. The whole city is talking of the great news; the
+foreign sailor is the hero of the hour. And now those who doubted
+Colon's sanity are singing his praises in all the public meeting-places
+of Seville. An office for the administration of this new country is
+instituted in the city. From the Queen and her Consort to the seller of
+water in the streets, everyone utters the name of the explorer with
+admiration. The ecclesiastics, who declared that it was impious to
+assert that the earth is a globe, are vexed that they have been found
+wrong in their arrogant statements. They continue to quote from the
+Pentateuch, and the writings of St. Chrysostom, St. Jerome and St.
+Augustine to show that pious authority was on their side.
+
+Queen Isabel had encouraged the Genoese sailor in his project, and the
+wealthy Pinzon family, of Palos, had assisted him with means, some of
+them also accompanying the explorer on his first voyage. Columbus was
+made an admiral, and promised further support in his expeditions. In May
+1493 he started again, having with him fifteen hundred men and a fleet
+of fifty vessels. The crews of these ships were made up of adventurers,
+gold-seekers, idlers and a sprinkling of scoundrels selected by the
+Government. In the company there were priests, and it was through the
+machinations of one of them, Father Boil, that Christopher Columbus
+incurred the displeasure of Isabel and Fernando. By every ship that was
+bound for Spain from the New World, Boil sent complaints of Columbus.
+Unfortunately, Isabel lent her ear to these slanders, and sent Francisco
+Bobadilla to dismiss Cristobal Colon, and to take his place. Bobadilla
+took possession of Columbus's charts and papers, put him into chains,
+and sent him, like a felon, in the hold of a ship to Spain.
+
+It is pitiful to read of the degradation of this honest and brave man,
+whose energies built up the prosperity of Spain, and made Seville one
+of the busiest cities of Europe. He laid his case before the Queen and
+Fernando, and vowed that he had in no sense neglected his duty towards
+the country of his adoption. We know that he was 'forgiven,' but the
+insult offered to him preyed upon the sensitive mind of the explorer.
+Yet he again resolved to visit the land that he had discovered; and in
+1503 he left Spain with four worn-out ships. A year later Columbus
+returned for the last time. The people of San Lucar, at the mouth of the
+Guadalquivir, welcomed back a captain in shattered health, and a crew
+wearied by hardship and exposure.
+
+Columbus now longed to settle quietly in Seville, and to end his days
+there. He found that his popularity was waning, and that his rents had
+not been collected properly during his absence. With the death of Isabel
+he lost royal patronage. His last voyage had cost him much; but the
+people of Seville believed him to be immensely rich, whereas his income
+was now meagre. 'Little have I profited,' writes Columbus, in a letter,
+'by twenty years of service, with such toils and perils; since, at
+present, I do not own a roof in Spain. If I desire to eat or sleep I
+have no resort but an inn; and for the most times have not wherewithal
+to pay my bill.'
+
+In his last days we picture Christopher Columbus bending over the
+manuscripts, which may be seen in the Biblioteca Columbina, the library
+at Seville founded by the natural son of Columbus. One of the
+manuscripts treats upon biblical prophecy. It was written to appease the
+Inquisitors, who, to the last, suspected the discoverer of heresy.
+Writing of this Apologia, Washington Irving says that the title and some
+early pages of the book are by Fernando Columbus; 'the main body of the
+work is by a strange hand, probably by Friar Gaspar Gorricio, or some
+other brother of his convent.' There are signs in the hand-writing that
+Columbus was old and in poor health when he wrote the work. The
+characters are, however, distinct. There are passages from the Christian
+Fathers and the Bible, construed by the author into predictions of the
+discovery of the New World.
+
+The gallant voyager was now prematurely aged, though he had led an
+abstemious life. Disappointment at the neglect of the world no doubt
+preyed upon his spirits in these last days of his career, for it is said
+that he possessed 'a too lively sensibility.' Upon the whole, Columbus
+was ill-used by Spain, though his memory is revered. It is the old, sad
+story of worth and genius. In 1506 Cristobal Colon died in a poor
+lodging at Valladolid. He left a son, born to him by his mistress,
+Beatrix Enriquez. In his will Columbus left money to Beatrix.
+
+Great honour was paid to the body of the famous explorer. Columbus was
+buried in the parish church of Santa Maria de la Antigua. Some years
+later the Sevillians desired that the remains should be removed to their
+city, and they were then carried to the Carthusian monastery of Las
+Cuevas, to the Chapel of St. Ann, or of Santo Christo. The house of Las
+Cuevas was a fine one, celebrated for its pictures and treasures, and
+surrounded with orange and lemon groves. But the bones of Columbus were
+not to remain in Seville. They were taken, in 1536, to Hispaniola, and
+laid in the principal chapel of the Cathedral of San Domingo. Finally
+the remains were removed to Havanna.
+
+While paying due respect to Christopher Columbus, we must not forget the
+great services rendered to the country generally, and to Seville, by
+Fernando de Magallanes, or Magellan, who embarked at that port in August
+1519 with five vessels. Passing the Canary Islands and Cape Verde, the
+Portuguese explorer reached Brazil, and went south to Patagonia, 'the
+land of giants,' arriving eventually at the dangerous straits which bear
+his name. Magellan never returned to Spain. Only two of his ships
+reached the Moluccas, and of the five that started but one came back to
+Seville on the homeward journey.
+
+These were the days when Seville was a bustling port of embarkation, and
+a great storehouse for treasure from America and the Indies. A fever of
+emigration seized the adventurous spirits of Andalusia; and Andrea
+Navigiero, a Venetian ambassador, who journeyed through Spain in 1525,
+says that the population of Seville was so reduced that 'the city was
+left almost to the women.'
+
+The discoveries and conquests of Pizarro, who came to Seville after his
+first voyage, added to the enthusiasm for emigration. But Pizarro found
+it a hard matter to raise money for the expenses of a second expedition.
+He contrived, however, to man three ships, and was about to start, when
+the Council of the Indies sought to inquire into the state of the
+vessels. Fearing that he might be hindered from his scheme, the explorer
+set sail at San Lucar, in great haste, and made for the Canary Islands.
+
+It was in January 1534 that Hernando, brother of Francisco Pizarro, was
+directed to return to Seville with a great hoard of treasure. The Custom
+House was filled with ingots, vases and ornaments of gold, and the
+inhabitants were much interested in the splendid spoil. Hernando Pizarro
+came later under a charge of cruelty to the subject race of South
+America. In his _Spanish Pioneers_, Mr Lummis tells us that 'Hernando
+was for many years imprisoned at Medina del Campo, and that he died at
+the age of a hundred. His brother, Francisco, who was born at Truxillo,
+in Estremadura, was a swineherd in his boyhood. Fired with the spirit
+of romance and adventure, the lad deserted his herd of pigs and ran away
+to Seville, where he found scope for his restless energy, and was able
+to influence seafaring men to accompany him on a cruise of discovery.
+
+Seville was now at the height of its commercial prosperity. There was a
+constant come and go of trading vessels; the silk trade was greatly
+developed, and leather was made for the markets of Spain. Isabel took
+much interest in the improvement of the commerce of the city. When she
+ascended the throne, Seville was notorious for its gangs of thieves and
+criminals of all kinds, while the surrounding country was insecure
+through the numbers of bandits who waylaid and robbed traders and
+farmers on the roads. The Queen determined to stamp out crime by
+rigorous measures. She held a court in the _salon_ of the Alcazar, and,
+in the Castilian custom, presided over the hearing of criminal charges.
+Once a week, Isabel sat in her chair of state, on a dais covered with
+gold cloth. For two months she conducted a crusade against robbery in
+the city, recovering a great amount of stolen property, and condemning
+many offenders to severe penalties. Her severity struck alarm among the
+vagabond and thieving population, and probably terrified a number of the
+people who had reason to fear justice. Four thousand subjects left the
+town. The respectable burghers grew concerned, dreading that this
+depopulation would injure the city and deprive it of workmen. A
+deputation of citizens waited upon Isabel and begged her to relax her
+austerity. The Queen was therefore prevailed upon to offer an amnesty
+for all offenders except those convicted of heresy.
+
+Isabel's fortunes as a ruler were largely determined by her charms. The
+Sevillians could not fail to worship the tall, fair young Queen, with
+the frank and beautiful countenance and blue eyes. Her very
+unconventionality delighted her court and the army; and when she rode at
+the head of her troops, in a suit of mail, with a sword by her side,
+every _caballero_ was ready to follow the fair commander through blood
+and fire. Isabel's sword, a pretty little weapon, is to be seen in the
+Real Armeria at Madrid.
+
+The Queen was one of those magnetic personages to whom all things are
+permissible. Even in modern times it is considered unseemly for a
+Spanish woman to engage in field sports, or any kind of athletic
+exercise; but the Spaniards of Isabel's day not only forgave, but
+revered, the Queen who sat on the judicial bench, donned masculine
+attire, carried weapons, and took a man's part in the government of her
+state. Had it not been for the terrible taint of bigotry, which led
+Isabel to sanction deeds of persecution and cruelty, her character would
+have presented an example approaching the excellence with which
+enthusiastic historians have credited it.
+
+[Illustration: Sword of Isabella]
+
+Four years after the accession of Isabel there began the reign of the
+Inquisition in Seville. When Alfonso de Hoyeda, Prior of the city, and
+Felipe de Barberis, Inquisitor of Sicily, persuaded Fernando that a
+crusade against heresy would replenish his exchequer by means of
+confiscation, the King was induced to listen to their proposal. At first
+Isabel recoiled from this scheme of torture and plunder. But her woman's
+mind and heart were not secure against the insidious influence of the
+priests, who used their utmost powers of suasion to convince her that
+Heaven approved of the destruction of heretics. Finally the Queen gave
+way; and the 17th of September 1480 saw the setting up of the tribunal
+of the Holy Office in the Dominican Convent of St. Paul at Seville.
+
+M'Crie, in _The History of the Reformation in Spain_, states that 'in
+the course of the first year in which it was erected, the Inquisition of
+Seville, which then extended over Castile, committed two thousand
+persons alive to the flames, burnt as many in effigy, and condemned
+seventeen thousand to different penances.' We must note, however, that
+according to Prescott these figures refer to several years and not to
+the opening years of the institution of the Holy Office in Seville. By
+the end of October 1481 it is recorded that three hundred persons had
+been burned to death in Seville. In about thirty-six years, four
+thousand victims went to the stake in the city, while many times that
+number were condemned to slavery, to perpetual imprisonment, to short
+terms, and to other punishments.
+
+'The modern Inquisition,' writes M'Crie, 'stretched its iron arms over a
+whole nation, upon which it lay like a monstrous incubus, paralysing its
+exertions, crushing its energies, and extinguishing every other feeling
+but a sense of weakness and terror.' Many of the Sevillians fled from
+the city and sought the protection of the Duke of Medina Sidonia, the
+Marquis of Cadiz, and the Count of Arcos.
+
+At this period a frightful pestilence swept over Seville, reducing the
+population by thirty thousand, and causing great suffering. The clergy
+resorted to prayer; charms and relics of the saints were displayed in
+the churches; but little or nothing was done in the way of preventing a
+spread of the plague by sanitation, or of alleviating the malady by
+medical science. It is a saddening picture--the people dying of the
+disease, thousands languishing in dungeons, and a multitude filled with
+fear lest they should succumb to the epidemic, or fall into the hands of
+the Inquisitors. Puigblanch, author of _The Inquisition Unmasked_,
+states that the number of the banished and the 'reconciled' in Andalusia
+from 1480 to 1520 was a hundred thousand. He asserts that forty-five
+thousand persons were done to death in the Archbishopric of Seville
+during this period.
+
+Without the city, on the Prado de San Sebastian, is the burning ground.
+As we stand there, the imagination conjures a procession accompanying a
+victim to the awful torture of the stake. The doomed man is an aged and
+devout Morisco, who has saved money by his industry. He has been found
+guilty of infidelity, and he has refused to partake of the Christian
+sacrament. He is dressed in the sanbenito, a yellow garment, with
+pictures of devils kindling a fire and burning faggots, and on his head
+is a fantastic conical cap of pasteboard, called the _coroza_. First
+comes a troop of soldiers to clear a path for the procession through the
+jostling rabble. The soldiers are followed by several priests in
+canonical vestments, and the boys of the College of Doctrine, who chant
+the liturgy. Then comes the convicted heretic, with a familiar on either
+side, and two friars, followed by the judges, ministers of government,
+and hidalgoes on horseback. In another procession comes the Inquisitors,
+and their standard of red, with the names and insignia of Pope Sixtus
+IV. and King Fernando upon it. The members of the Holy Office are
+escorted by esquires, and in the rear is a great mob of towns-people.
+But enough: imagination is at this point repelled. We turn away from the
+scene, and enter the shady gardens that stretch along the Guadalquivir,
+to scent the flowers and to listen to the thrush and nightingale.
+
+We cannot, however, close our perceptions to the fact that Seville
+played an important part in the Inquisition. In roaming the streets of
+the city, it is impossible to forget that this mighty instrument of
+fanaticism has left its impress on Spain. We remember that every son of
+Seville who dared to exercise his conscience in the matter of religious
+belief ran the risk of ending his life upon the Prado de San Sebastian.
+The terror of this institution must have blighted the lives of millions
+of Spaniards. And we are moved to the reflection that the good which
+Isabel performed with one hand was almost destroyed by the evil
+inflicted by the other.
+
+The story of Rodrigo de Valer, one of the first to embrace the Lutheran
+faith in Seville, is of deep interest. In the fashionable resorts of the
+town and at the jousts no youth was more popular than Rodrigo. He had
+charming manners, sat a horse gracefully, and could break a lance with
+the most skilful knights of the ring. His wealth procured him every
+pleasure; he gratified a taste for dress and spent much money upon
+horses. Suddenly he was missed from the dance and the tournament. His
+friends could not account for this changed mode of life. A passion for
+study had taken possession of the young man; and day after day he sat
+pouring over the Vulgate, and improving his knowledge of Latin, so that
+he might understand the book. In a few months Valer was able to quote
+long passages of the Bible from memory. Then he left his study and went
+back to his gay companions as an apostle of a new form of faith. He
+approached the clergy and the monks, and by argument endeavoured to
+convince them of the errors of their creed and ritual, appealing to the
+Bible as the criterion of religious truth. The priests were little
+inclined to listen to Rodrigo. But when they avoided him, the youth
+sought them, engaging them in discussion in the streets and striving to
+set forth his new doctrine. At length the indignant clerics of Seville
+brought the heretic before the Holy Inquisition. So cogent were his
+arguments that some of the members who secretly shared his opinions used
+their influence to save him from punishment. Fortunately Valer was of
+good family. He was declared to be insane, and spared from an extreme
+penalty, but his estates were taken by the tribunal.
+
+Rodrigo's relations now strove to dissuade him from renewing his
+endeavours to reform the Church. What could one helpless man achieve
+against the whole weight of authority? But Rodrigo was full of zeal. He
+began again to denounce the teaching of the clerics, inspired by the
+belief that others would soon follow him. For the second time he was
+arrested on a charge of heresy and sentenced to imprisonment for life.
+
+In the Church of St. Salvador, where Rodrigo was taken on days of
+festival, the fervent youth would rise after the sermon and condemn the
+teaching of the pulpit. Only his rank saved him from the flames. He was
+eventually imprisoned in a monastery of San Lucar, where he died at the
+age of fifty. Valer's sanbenito was displayed for a long time in the
+metropolitan church of Seville. It was inscribed: 'Rodrigo de Valer, a
+citizen of Lebrixia and Seville, an apostate, and false apostle, who
+pretended to be sent of God.'
+
+The teaching of Valer was not without fruit. He was the founder of a
+small, but fervent, sect of Lutheran Christians in Seville, whose
+doctrines gradually found acceptance among a number of the people. One
+of the reformed party was Juan Gil, known as Doctor Egidius, preacher in
+Seville Cathedral, who was joined by Vargas and the celebrated
+Constantine Ponce de la Fuente. M'Crie says that 'the small society in
+Seville grew insensibly, and became the parent stock, from which
+branches were taken and planted in the adjacent country.' Persecution
+was inevitable. Egidius was denounced and thrown into prison, while
+Vargas was murdered, and Ponce de la Fuente banished. After a long
+incarceration, Egidius returned to Seville; but he caught a fever, and
+died in a few days. De Montes says that the writings of Egidius, which
+were never printed, were worthy of praise. The Doctor wrote commentaries
+on Genesis and the Psalms, and while in prison he composed an essay on
+'Bearing the Cross.'
+
+Protestantism spread in Seville at this time. There was a church under
+the care of Doctor Christobal Losada, which met in the house of a lady
+of rank, Isabel de Baena, and was attended by the nobles Don Juan Ponce
+de Leon and Domingo de Guzman. In the Dominican Monastery of St. Paul,
+in the Nunnery of St. Elizabeth, and especially in the Convent of San
+Isidro del Campo, the new doctrines found disciples.
+
+One of the victims of the Inquisition was Torrigiano, the Florentine
+sculptor, whose statue of St. Jerome is in the Museo Provincial at
+Seville. The monument of Henry VII. in Westminster Abbey is the work of
+this artist, who ended his days in the cells of the Inquisitors' prison
+in Seville, in 1552. There is no doubt that many of the hapless
+prisoners died of diseases contracted in the insanitary dungeons of
+Seville and Triana, for Olmedus, one of the sufferers, describes the
+dens as vile in 'nastiness and stench.' The ordinary gaols were crowded,
+and many persons were immured in the Castle of Triana, and in the
+convents of the city.
+
+[Illustration: Plaza San Francisco]
+
+At Triana resided Gonzales-Munebrega, Archbishop of Tarragona, whose
+name was coupled with that of Torquemada as a ruthless persecutor. This
+officer of the Inquisition might be seen by the trembling populace
+walking in the castle gardens, accompanied by a guard of servants.
+Munebrega wore rich clothes of purple and silk, and maintained great
+pomp. He exhibited extreme cruelty, and scoffed at the sufferings and
+cries of the tortured.
+
+Llorente and Bernaldez relate some sickening details of the savage modes
+of torment imposed upon the victims of the Inquisition in Seville. It is
+not necessary that the tales of horror should be retold here. The first
+_auto-da-fe_ celebrated in the city was in 1559, when Don Juan Ponce de
+Leon and several other apostates were committed to the flames in one of
+the chief plazas. Ponce de Leon was described as 'an obstinate Lutheran
+heretic.' The heroic Doctor Juan Gonzalez, of Moorish ancestry, was
+burnt upon the same day for preaching Protestant doctrines. We see him
+leaving the Triana gaol on the morning of execution, 'cheerful and
+undaunted,' though he was accompanied by his two sisters, both of whom
+were condemned to the stake, and had left behind in the prison his
+mother and two brothers. The Doctor sang the 109th Psalm, and attempted
+to console his sisters, whereupon a gag was thrust into his mouth.
+
+'When they were brought to the place of execution,' writes M'Crie, 'the
+friars urged the females, in repeating the creed, to insert the word
+_Roman_ in the clause relating to the Catholic Church. Wishing to
+procure liberty to him to bear his dying testimony, they said they
+would do as their brother did. The gag being removed, Juan Gonzalez
+exhorted them to add nothing to the good confession which they had
+already made. Instantly the executioners were ordered to strangle them,
+and one of the friars, turning to the crowd, exclaimed that they had
+died in the Roman faith.' Doctor Christobal Losada, the pastor of the
+Protestant church in Seville, suffered death courageously upon the same
+day.
+
+Isabel de Baena, who allowed meetings of the Protestants in her house,
+and Maria de Bohorques were among the women of high birth who were
+burned in Seville. The story of the last-named lady has been told in a
+romance by a Spanish writer, entitled _Cornelia Bororquia_. Maria de
+Bohorques came into the grip of the Holy Office before the age of
+twenty-one. She was a pupil of Egidius, and a diligent student of the
+Scriptures. When seized and tortured by the Inquisition, she refused to
+name those of her friends who shared her belief. Dona Maria was then
+sent to the stake.
+
+Llorente recounts that two Englishmen were burned at one of the _autos_
+of Seville. Nicholas Burton, a merchant of London, who traded with
+Spain, arrived with his vessel at San Lucar while the persecution was
+raging in Seville. Somewhat imprudently, Burton spoke contemptuously of
+the Inquisition, though M'Crie states that the accusation of insolence
+was false. Burton was burnt alive, together with William Burke, a seaman
+of Southampton, and a Frenchman, named Fabianne. The Holy Office then
+seized Burton's cargo; but a part of it belonged to a London tradesman,
+who sent one John Frampton to Seville, with a power of attorney, to
+recover the goods. Frampton failed to make good his claim after four
+months of negotiation, and he returned to England to find greater
+powers. When he landed again in Spain, the agent was arrested, put in
+chains, and thrown into the dungeon of Triana. The charge against him
+was that he had a volume of Cato in his bag. He was questioned as to his
+creed, and ordered to repeat the Ave Maria. Subjected to the torture of
+the rack, the wretched man was forced to confess anything that his
+torturers desired. Frampton was imprisoned for two years, and then
+granted his freedom. His 'Narrative' is to be found in Strype's
+_Annals_.
+
+The unfortunate Constantine Ponce de la Fuente, who was one of the most
+active members of the reformed church in Seville, was seized by the
+Inquisition, and confined in an underground cell for two years, when
+dysentery put an end to his sufferings. In 1781 the last martyr perished
+in the flames at Seville. 'I myself,' writes Blanco White, 'saw the pile
+on which the last victim was sacrificed to human infallibility. It was
+the unhappy woman whom the Inquisition of Seville committed to the
+flames, under the charge of heresy, about forty years ago. She perished
+on a spot where thousands had met the same fate.' A traveller in Spain,
+named Wiffen, says: 'In the year 1842, whilst travelling in that
+country, I found myself in the Alameda Vieja of Seville, in front of the
+house formerly occupied by the Inquisition, where several of the
+prisoners were confined who were burned at the _auto-da-fe_ of 1560.'
+
+Such is the story of the Inquisition in Seville. I have not willingly
+dwelt upon this dark page in the history of the fair city. But it has
+been necessary to refer to the chronicles of this reign of terror; for
+the institution of the Holy Office in Seville is a matter of historic
+importance, and no record of the town could be in any sense complete if
+the annals of the Inquisition were overlooked. And in changing to a
+happier theme it is necessary that I should point out the repugnance
+that masses of the people of Seville exhibited towards the introduction
+of this engine of persecution in the city. Llorente, the Spanish
+historian of the Inquisition, tells us that when Fernando and Isabel
+commanded the Governors of the provinces to supply inquisitors and
+assistants to the royal capital, the inhabitants regarded the arrival of
+the agents of the Holy Office with extreme dissatisfaction, and that
+difficulty was experienced in collecting together 'the number of persons
+whose presence was necessary to the legal opening of their assembly.'
+
+Let us view the city of Isabella the Catholic in a brighter aspect. In
+the year 1490 an ambassador from Lisbon came to the Alcazar of Seville
+to confer with the Queen concerning a proposed marriage between young
+Alonso, heir to the Portuguese throne, and Isabel, the Infanta of
+Castile, and the dearly-loved namesake of the royal mother. It was with
+mingled sentiments of joy and sadness that Isabel consented to the
+union. The month of April was chosen for the ceremony of betrothal, and
+it was arranged that feasts and tournaments should succeed the official
+celebration. Great preparations were made for the festivities. The lists
+were constructed on the bank of the Guadalquivir; hangings of costly
+material draped the galleries erected for the spectators of the jousts,
+and the royal palace was prepared for the reception of noble guests,
+knights of prowess, and their dames and daughters. On the first day of
+the _fetes_ a splendid procession passed through the streets to the
+lists, where thousands of the nobility were seated, all anxious to
+witness a combat in the arena between King Fernando and one of his most
+accomplished knights. The charming Infanta delighted everyone as she
+came with her seventy ladies-in-waiting, in court dress, and her hundred
+gallant pages as bodyguard. It was a scene which the people long
+recalled. All the rank and loveliness of Castile and Andalusia were
+around the arena when the sports began; the mail and weapons of the
+combatants glistened in the dazzling sunlight of the green meadow; and
+loud were the plaudits when his majesty broke his first lance in a
+furious and exciting tilt with a renowned esquire and champion of the
+lists. Throughout the tournament, Fernando acquitted himself as a true
+knight of the order of chivalry, displaying much courage and a great
+knowledge of the art of the tourney. In the autumn Isabel bade adieu to
+her daughter. A great retinue came to the Alcazar, to accompany the
+Princess to Portugal, in charge of the Cardinal of Spain and the Grand
+Master of St. James.
+
+By the Sevillians, Isabel appears to have been feared as well as
+worshipped. The aliens in the city, all except those who chose to
+embrace the Catholic faith, had, indeed, good reason to fear their
+Queen. Isabel's treatment of the Jews cannot be called humane, but she
+enjoined just conduct towards her Indian subjects. The Queen was humble
+in her obedience to the Chief Inquisitor, Torquemada, and ever ready to
+listen to the counsels of her spiritual guides. Towards heresy she
+showed no clemency, and her measures for dealing with bandits and other
+criminal offenders were excessively severe. But the romantic personality
+of Isabella the Catholic will always appeal to the imagination of the
+Andalusians.
+
+
+
+
+CHAPTER III
+
+_Seville under the Catholic Kings_
+
+     'In her own interior Spain had an arduous problem to solve--she had
+     to overcome the old energetic resistance of a whole people--the
+     tolerably numerous descendants of the former lords and conquerors
+     of the country who still adhered to the Arabian manners and
+     language, and even in part professed the doctrines of the
+     Mohammedan.'--SCHLEGEL, _Philosophy of History_.
+
+
+Seville in the sixteenth century was at the height of its prosperity. We
+have seen how the discoveries of Columbus, Magellan, and the brothers
+Pizarro enriched the city, brought vessels to the port with costly
+store, and opened a vast foreign trade. In every quarter of the town the
+hum of industry was heard. The Morisco artisans, who had become
+'reconciled' to the Christian creed, laboured in stone and metal, and
+there were silk weavers, leather workers, potters, and gold and silver
+smiths. One hundred and thirty thousand persons worked at the looms,
+which were numbered at sixteen thousand.
+
+Learning and the arts benefited by the increase of the city's wealth.
+The university, founded by Alfonso the Learned, was extended; the
+cathedral library was enlarged, and Seville became famous for its poets,
+historians, romance writers, and playwrights. Pacheco, painter and poet,
+had his circle of gifted artists and men of letters; and the doors of
+the Casa Pilatos, the beautiful mansion of the Dukes of Alcala, were
+open to all the lovers of learning and the students of art. Sculptors
+and painters were constantly employed upon works of art for the royal
+palace, the cathedral, and the churches. The _Mudejar_ architects and
+builders were engaged by rich dons, who had prospered by the discovery
+of the New World, to design and erect sumptuous residences in the
+Morisco style. Charitable institutions, such as the Hospital de la
+Caridad, were founded and liberally endowed, and an asylum for foundling
+children was built in the Calle de la Cuna. The highly ornate Casa de
+Ayuntamiento, or City Hall, was designed by Diego de Riano, and Hernan
+Ruiz built the upper part of the Giralda.
+
+The Emperor Charles V., one of the wisest rulers of Spain, occasionally
+made his residence at the Alcazar during the palmy days of Seville,
+though he favoured Segovia and Valladolid. The marriage of the monarch
+with Isabella, daughter of Emanuel, King of Portugal, was celebrated in
+the Alcazar of Seville with much splendour, and the ceremony was
+followed by feasts and diversions. Isabella of Portugal was a gifted
+woman, and extremely beautiful, and the union proved very happy. Charles
+was at this time highly admired in the city; but at a later date even
+the loyal Sevillians showed their displeasure with the Emperor. Certain
+of the merchants of the town disregarded the royal command that all the
+bullion brought in by the India fleet should be stored in the warehouse
+of the Board of Trade, and kept there in case the Government required to
+raise funds quickly for war expenses. The owners of the gold naturally
+preferred their shipments to the Government bonds promising repayment.
+They therefore secretly removed the bullion to their own houses. This
+action angered Charles, as the same practice enraged Philip at a later
+date, and the Emperor ordered the culprits to be put in chains, sent to
+prison, and to be deprived of their possessions. The command was heeded
+at once; and the merchants, and the officials who had connived at the
+misdemeanour of removing the bullion, were conveyed under a strong guard
+to Simancas. One of the offenders was put on the rack and died under
+torture. The gold was, however, never recovered by the State.
+
+The gorgeous Salon de Carlos V. was constructed in the royal palace
+during the reign of the Emperor, who also laid out the gardens on a new
+plan, and built the handsome pavilion in the grounds.
+
+Philip II. had been on the throne for many years before he paid his
+first visit to the southern metropolis. The King loved his mountain
+palace, the Escorial, where he passed his days in writing records of his
+reign, sending dispatches, and shooting with the gun and crossbow.
+Prescott says: 'It was a matter of complaint in the Cortes that he thus
+withdrew himself from the eyes of his subjects.' Even in his visits to
+Madrid, Segovia and Seville, Philip avoided society, and shut himself up
+in his closet with a great heap of papers on his table. When he
+travelled, the King rode in a close carriage, and tried to avoid the
+gaze of his subjects. As he grew older he developed a still stronger
+aversion to being seen abroad.
+
+In 1570, at the time of the preparations for the great war with the
+Turks, the recluse-King came to Seville. His entry was made the occasion
+of a splendid ceremonial and a demonstration of loyalty on the part of
+the inhabitants. Philip came from Cordova, and was met on the outskirts
+of the city by the officials and soldiery. Taking his oath to respect
+the privileges of the city, the Sovereign rode through the crowded
+streets in pomp, accompanied by knights and guards. A splendid canopy
+was held by the chief justices over the King's head as he proceeded to
+the Cathedral to take part in a solemn service. The monarch then took
+up quarters in the Alcazar, which he occupied for a fortnight. During
+his stay in Seville, Philip appeared at the _fetes_ which had been
+arranged for his entertainment. To show their homage to the King, the
+people of the city subscribed a hundred thousand ducats as a donation
+towards the cost of Philip's marriage with his fourth wife, Anne of
+Austria.
+
+The heavy expenses of the war in the Netherlands and with Turkey led to
+a despotic method of obtaining pecuniary supplies. Philip needed money,
+and to secure it as quickly as possible, he ordered that the officials
+of the Casa de la Contratacion at Seville should seize the cargoes of
+gold and silver that had just arrived in the port. This action aroused
+much indignation in the city, and the people grew incensed when the
+command was again given to confiscate the bullion consigned to merchants
+of Seville. When a number of treasure ships were on their homeward
+journey, the King sent Admiral Alvaro de Bazan to the Azores to
+intercept the vessels; and immediately upon the arrival of the fleet at
+San Lucar, the whole of the shipment was sent to Santander, and from
+that port to Flanders.
+
+Under Philip II. the Church in Seville rose to great power, and
+increased in wealth. The Archbishop of the city received an income of
+eighty thousand ducats a year, and the minor clergy profited by the
+King's patronage of the Church. It is not surprising that many of the
+sons of families of rank and position crowded into the profession of
+priest, and that the number of persons in holy orders soon swelled
+enormously. Arts and handicrafts were not considered gentlemanlike
+pursuits; the industry of the city was relegated to Spaniards of low
+birth, to the _Mudejares_, and to aliens. The _caballero_ of Seville
+aspired to join the Church Militant, or to enter the army. When Philip
+III., the Good, came to the throne there were no less than fourteen
+thousand chaplains in the diocese, while a hundred clerics were on the
+staff of the Cathedral alone.
+
+[Illustration: FOUNTAIN IN BATH, ALCAZAR.]
+
+The oppression of the Moriscoes in the city became severer in the days
+of Philip II. Doubt was cast upon the genuineness of belief among the
+'reconciled' Moors, and they were bidden to cease reading books in the
+Arabic language, to abandon their ceremonies, to change their mode of
+dress, and to speak in Spanish. The public baths, built by the cleanly
+Moriscoes, were destroyed in every city, and the _Mudejares_ were even
+forbidden to bathe in their own houses. These mandates exasperated the
+Moriscoes throughout Andalusia. They rebelled and fought desperately;
+but after frightful bloodshed and suffering, they were quelled and
+broken down, never to regain their ancient sway. The suppression of the
+heretics was complete by the time of Philip III. And at this time began
+the decline of Seville's prosperity.
+
+When Philip V. reigned, the sixteen thousand looms of the city had been
+reduced to less than three hundred, and the population was thinned to 'a
+quarter of its former number of inhabitants.' In the fruitful district
+around Seville the vineyards and olive gardens were in a state of
+neglect, and fields once fertile became wastes. Trade declined rapidly
+with the extirpation of heresy. The industrial population was deprived
+of its most skilful and industrious members when the last band of
+Moriscoes quitted the city. In the seventeenth century Andalusia
+suffered fearful poverty. Whole villages were deserted, the land was
+going out of cultivation, and the tax-collectors were enjoined to seize
+the beds and such wretched furniture as the indigent peasants possessed
+in their cheerless houses.
+
+When Philip II. died, loyal Seville honoured the departed King by a
+magnificent funeral service in the Cathedral. A monument, forty-four
+feet square, and forty-one feet in height, was designed by Oviedo, at a
+cost of fifteen thousand ducats. Montanes, the famous sculptor, whose
+work is to be seen in several of the Seville churches, produced some of
+the statuary to adorn the monument, and the young Pacheco, then unknown,
+assisted in the decoration. On November 25, 1598, the mourning multitude
+flocked to the dim Cathedral. While the people knelt upon the stones,
+and the solemn music floated through the long aisles, there was a
+disturbance among a part of the congregation. A man was charged with
+deriding the imposing monument, and creating a disorder in the holy
+edifice. He was a tax-gatherer and ex-soldier of the city, named Don
+Miguel de Servantes Saavedra. Some of the citizens took his side, for
+there was a feud between the civil and ecclesiastical authorities of
+Seville, and the tax-gatherer had merely shown public spirit. The
+brawler, whom we know as Cervantes, was expelled from the Cathedral with
+his companions, and order was restored. But he had his revenge. He went
+to his room and composed a satirical poem upon the tomb of the King,
+which was soon published and read everywhere in the city. Here is one of
+the English translations of the poem:--
+
+TO THE MONUMENT OF THE KING AT SEVILLE.
+
+    'I vow to God I quake with my surprise!
+     Could I describe it, I would give a crown--
+     And who, that gazes on it in the town,
+     But starts aghast to see its wondrous size;
+     Each part a million cost, I should devise;
+     What pity 'tis, ere centuries have flown,
+     Old Time will mercilessly cast it down!
+     Thou rival'st Rome, O, Seville, in my eyes!
+     I bet the soul of him who's dead and blest,
+     To dwell within this sumptuous monument
+     Has left the seats of sempiternal rest!
+     A fellow tall, on deeds of valour bent,
+     My exclamation heard. "Bravo!" he cried,
+     "Sir Soldier, what you say is true, I vow!
+     And he who says the contrary has lied!"
+     With that, he pulls his hat upon his brow,
+     Upon his sword hilt he his hand doth lay
+     And frowns--and--nothing does, but walks away.'
+
+The discovery of the New World, with its opulence of treasure, and the
+expulsion of the Moriscoes, did not yield a permanent prosperity to
+Seville. Even before the death of Philip II., the few far-sighted and
+reflective men doubted whether a great influx of gold and silver, and
+the annihilation of freedom of thought, were likely to benefit Spain,
+either in the material or spiritual sense. The gold fever seized like a
+frenzy upon the avaricious, and the early colonisers turned their backs
+upon any country that lacked precious minerals. Nothing save gold and
+silver was considered valuable. As a consequence these minerals became
+redundant, and in the meantime the cultivation of the land at home and
+abroad, and the development of manufactures, were neglected. No one had
+the enterprise to prevent the silting up of the tidal waters of the
+Guadalquivir, and so Seville lost its importance as a busy port.
+
+While nobles were fighting for gold, and harrying heretics, briars and
+weeds were spreading over the fields that the patient Moors had tilled
+and made marvellously fertile. The establishment of the _alcavala_ tax
+upon farming produce and manufactured articles hastened the decline of
+agriculture and of crafts in Andalusia. Finally, under the Bourbons,
+Cadiz became the rival of Seville, and the Council of the Two Indies was
+removed to the southern port in 1720. In good or ill fortune Seville
+remained loyal, winning for itself the title of: _Muy noble, muy leal,
+muy heroica e invicta, i.e._, 'Very noble, very loyal, very brave and
+invincible.'
+
+Some interesting pictures of Seville at the close of the eighteenth and
+beginning of the nineteenth centuries are to be found in the _Letters
+from Spain_, by D. Leucadio Doblado, written in 1824. Doblado is the
+pseudonym of Blanco White, son of the British Vice-Consul at Seville in
+those days. White was born in the city in 1775, brought up as a
+Spaniard, and sent to the University. His parents were very austere
+Catholics, but reading and study developed a sceptical tendency in young
+White's mind, and he subsequently came to England and was well-known in
+Unitarian circles.
+
+In his _Life_, Blanco White describes the quaint ceremony of entrance
+into the University of Seville. 'Every day of the week preceding the
+admission, the candidate was obliged to walk an hour in the principal
+quadrangle of the college, attended by one of the servitors, and his own
+servant or page--a needy student who, for the sake of board, lodgings
+and the cast-off clothes of his master, was glad in that humble capacity
+to go through the course of studies necessary for the profession--Divinity,
+Law or Medicine--which he intended to follow.' The custom of the
+_caravanas_ was a trying ordeal for the student. He was compelled to run
+the gauntlet of the gibes of a mob of spectators, as a trial of his
+patience. No physical violence was permitted, except when a candidate
+lost his temper. An irascible victim was speedily ducked in the basin of
+the fountain of the quadrangle. Ladies came to see the sport. When White
+passed through this ordeal, he was dressed in fantastic garments, and
+led by his tormentors by a rope.
+
+In 1800, Blanco White saw the outbreak of yellow fever that ravaged the
+city. The plague began in Triana, and the infection was said to have
+been brought from Cadiz by seamen. As in previous instances of
+pestilence, there was no enforced isolation of the diseased, and no
+relief of the suffering poor. Prayers were offered for succour in the
+Cathedral and the churches, and a special service of the Rogativas, used
+in the times of severe affliction, was performed on nine days after
+sunset. One of the choicest relics of the Cathedral, a piece of the True
+Cross, or _Lignum Crucis_, was exhibited as a charm on the Giralda
+Tower. Many persons advised that a wooden crucifix, in one of the
+chapels of the suburbs, should be also employed. It had been of great
+service in the plague of 1649, staying the epidemic after half of the
+inhabitants had been destroyed. A day was fixed for the solemn ceremony
+of blessing the four winds of heaven with the True Cross from the
+Cathedral treasury. The great fane was crowded with supplicants. As the
+priest made the sign of the Cross, with the golden casket containing the
+_Lignum Crucis_, a frightful clap of thunder made the Cathedral tremble.
+In forty-eight hours the deaths increased tenfold. The heat, the
+polluted air of the Cathedral, the infection that spread among the
+worshippers, and the fatigue of the service caused a great spread of the
+fever in the city. Eighteen thousand persons perished from the
+pestilence.
+
+During the Peninsular War, Soult's troops did considerable damage to
+parts of Seville. The church that contained the bones of Murillo was
+pillaged by the soldiers, and the tomb of the great painter was
+destroyed. On February 1, 1810, the city surrendered with all its stores
+and arsenal, and Joseph marched in. The French force had appeared before
+Seville in January 1810. 'In Seville all was anarchy,' writes Sir W. F.
+P. Napier, in his _History of the War in the Peninsula_; 'Palafox and
+Montijo's partisans were secretly ready to strike, the ancient Junta
+openly prepared to resume their former power.' It was a time of revolt
+in the city; mobs went through the streets, calling for the deposition
+of the Junta, and vowing violence against the members. Seville was
+besieged for the last time in 1843, at the time of Espartero's regency.
+An account of the siege is given in _Revelations of Spain_, by an
+English Resident, who writes: 'I saw full twenty houses in different
+parts of the city--this was about the entire number--which Van Halen's
+shells had entirely gutted. The balls did limited damage--a mere crack
+against the wall, for the most part a few stones dashed out, and there
+an end. But the bombs--that was indeed a different matter! Wherever they
+fell, unless they struck the streets, and were buried in the ground,
+they carried destruction. Lighting on the roof of a house, they
+invariably pierced through its four or five floors, and bursting below,
+laid the building in ruins.' Probably not more than twenty lives were
+lost through the bursting of the shells. Most of the men of the city
+were defending the walls, and the women took refuge in the churches. The
+Cathedral sheltered a large number of women and children, who slept and
+cooked there. The Junta of Seville occupied the Convent of San Paolo
+during the siege.
+
+Edward VII. of England, when Prince of Wales, paid a visit to Seville,
+and spent several days in the city, in 1876.
+
+We have now briefly surveyed the more interesting events in the history
+of the city and noted incidents in the lives of eminent Sevillians from
+the time of the Goths until the present century.
+
+
+
+
+CHAPTER IV
+
+_The Remains of the Mosque_
+
+     'I have never entered a mosque without a vivid emotion--shall I
+     even say without a certain regret in not being a
+     Mussulman?'--ERNEST RENAN, _Islamism and Science_.
+
+
+In the year 1171, Abu Yakub Yusuf, the conquering Moor, began the
+building of a mighty _mezquita_, or mosque, in the captured city of
+Seville. The important work was given into the hands of a famed
+architect, one Gever, Hever, or Djabir, the correct spelling of whose
+name has puzzled the historians. Gever is said to have been 'the
+inventor of Algebra.' Whether he really designed the Mosque is difficult
+to determine. Some Spanish writers have asserted that the first stage of
+the Giralda Tower was commenced in the year 1000 of the Christian era
+'by the famous Moor, Herver.' From the discovery, at a great depth, of
+certain pieces of Roman masonry, it is supposed that an amphitheatre
+once occupied the ground now covered by the Cathedral, the Giralda, and
+the Court of the Oranges.
+
+There is no doubt that the Mosque of the Almohade ruler was a vast and
+noble building, resembling in most of its characters that of Cordova.
+The minaret, now called the Giralda, is certainly one of the most
+ancient buildings in the city. It is recorded that the Moorish
+astronomers used the tower as an observatory. Probably the minaret
+served the double purpose of praying-tower and astronomical outlook. In
+building the tower the remains of ruined Roman and Gothic structures
+were used by the Moors, just as the Christians afterwards employed
+portions of the mosques and palaces for building their temples. The
+original minaret was about two hundred and thirty feet in height. At
+each corner of the minaret stood four huge brass balls, which were
+thrown down in the earthquake of 1395.
+
+If we enter the precincts of the old Mosque by the Puerta del Perdon, in
+the Calle de Alemanes, we shall see the bronze-covered doors which may
+have formed one of the entrances to the building. The bronze has been
+spoilt by paint, but one can note the distinctly Moorish character of
+these great doors. This gate was reconstructed by Alfonso XI. after the
+victory of Salado. In its present state it dates from 1340. Bartolome
+Lopez added the plateresque ornamentations about 1522. The sculptures
+over the doorway are statues of St. Peter and St. Paul, an Annunciation
+and the Expulsion of the Money Changers from the Temple. Before the
+Lonja was built, the merchants of Seville used the court within as an
+exchange. Hence the relief of the Expulsion, a fine piece of carving by
+the Italian, Miguel, representing Christ chastising the money changers
+from the Temple. Miguel of Florence was one of the early Renaissance
+sculptors who came to Spain.
+
+Under the archway of the Gate of Pardon is a modern shrine. At almost
+all hours of the day sin-stricken supplicants, chiefly women, may be
+seen kneeling on the stones before the altar.
+
+[Illustration: Puerta del Perdon]
+
+Through the gateway we enter the quiet retreat of the Patio de los
+Naranjas, or the Court of the Oranges, which formed the courtyard of the
+ancient Morisco temple. The lofty Cathedral is before us; on the left
+towers the imposing Giralda, and to the right hand is the Sagrario,
+or parish church. There is a beautiful Moorish fountain in the centre of
+the court, with an octagonal basin. Every Morisco _patio_ had its
+fountain, orange and lemon trees, and marble seats. In the walls of the
+Sacristry of the Sagrario, we shall find further traces of the Moorish
+decoration in the form of _azulejos_ which belonged to the original
+Mosque.
+
+The _patio_ is smaller than that of the _mezquita_ of Cordova, and with
+the exception of the few relics which I have described, there is not
+much suggestion of former grandeur.
+
+But imagination calls forth the figure of a Mueddjin upon the minaret,
+chanting the _Adyan_, or call to prayer, as the sun tints the sky at its
+setting. The worshippers repair to the baths to purify themselves for
+devotion by washing their bodies. 'Regularly perform thy prayer at the
+declension of the sun,' says the Sura, 'at the first darkness of the
+night and the prayer of daybreak; for the prayer of daybreak is borne
+witness unto by the angels.' Five times during the day the pious
+Mohammedans spread their mats here, and prayed to Allah.
+
+The Crescent has vanished from the Giralda. A figure of Christian faith
+stands there in its stead, and from the Cathedral issue the strains of
+the choristers and the swelling of the organ. For long centuries this
+spot in the heart of Seville has been dedicated to worship. Romans,
+Visigoths, Moors and Catholic Christians each in their day of power have
+bent the knee to their deities upon the ground which we are now
+treading. It is a strange, composite fane! The lower part of the Giralda
+is Moorish, the upper part Christian. In the middle of the Court of the
+Oranges we have the Moslem fountain; and in the wall is a stone pulpit
+from which many eminent Catholic divines have preached against heresy.
+The Giralda, incorporated with the Cathedral, dominates all, but it is
+the most Moorish feature of the great pile.
+
+[Illustration: Stone Pulpit in Court of Oranges.]
+
+We must now inspect the minaret. Our way is through the Capilla de la
+Granada of the Cathedral. Here we may see one more monument of the
+Moors, a horseshoe arch, once a part of the Mosque. Within, suspended
+from the roof, is a huge elephant's tusk, a bridle, said to have
+belonged to the Cid's steed, and a stuffed crocodile, a present from the
+Sultan of Egypt, who sent it to Alfonso el Sabio, with a request for the
+King's daughter as wife.
+
+The ascent of the Giralda is not laborious. We can walk up the inclined
+plane without losing breath; and at each window of the stages there are
+lovely peeps of the city and the vast plain of the Guadalquivir. From
+these windows there are fine outlooks upon the Cathedral, and the
+details of its wonderful buttresses can be well studied as we ascend
+stage by stage. The stages, or _cuerpos_, of the tower are all named.
+
+We soon arrive at the Cuerpo de Campanas, where there is a peal of
+bells. Santa Maria is a ponderous bell which cost ten thousand ducats.
+It was set up in the year 1588 by the order of the Archbishop Don
+Gonzalo de Mena. This bell is vulgarly called 'the plump' by reason of
+its great bulk and weight. Its note is deep and resonant, and can be
+heard all over the city, and far away in the country, when the wind is
+favourable.
+
+[Illustration: Cuerpo de Azucenas]
+
+Another _cuerpo_ is that of the Azucenas, or white lilies, so called on
+account of its architectural urns, with ironwork flower decorations. El
+Cuerpo del Reloj (the Clock Tower) contained the first tower-clock made
+in Spain. It was put in its place in the presence of King Enrique III.
+The present clock was the work of Jose Cordero, a monk, and it dates
+from 1765. It is said that portions of the old clock were used by
+Cordero.
+
+Around the more modern part of the Giralda is an inscription in Latin:
+_Turris Fortisima Nomen Domini_. Each word of the motto occupies one of
+the faces of the tower. The Cuerpo de Estrellas, or Stage of the Stars,
+is so named in allusion to the decorations of its faces. Notice the
+_ajimez_ windows as you ascend the tower. The fourth and last _cuerpo_
+is the Corambolas, or billiard balls, referring to the globes of stone
+in the decoration.
+
+We emerge upon a gallery below the great statue of La Fe, thirteen feet
+in height, and made out of bronze by Bartolome Morel, in 1568. This
+figure of a woman is a vane, which moves with every wind in spite of its
+size and weight. It is a wonderful piece of workmanship. The head of the
+Faith is crowned with a Roman helmet, and in the woman's right hand is
+the great standard of Rome in the time of the Emperor Constantine. In
+the left hand the figure holds a palm branch, a symbol of conquest. The
+true name of the statue is La Fe Triumfante; but in the common speech of
+Seville it is spoken of as Victoria, Giraldillo, Santa Juasma, and El
+Muneco.
+
+Don Alfonso Alvarez-Benavides, in his little book on _La Giralda_,
+published in Seville, tells us that the statue of the Faith has suffered
+several lightning strokes. One of these attacks severely scorched the
+upper section of the tower. In the afternoon of April 26, 1884, during a
+terrific thunder-storm, a shower of sparks fell upon the Giralda and
+caused much damage. Again, on the 18th of June 1885, lightning assailed
+the building. The work of restoration began in the year 1885, and was
+completed in 1888, under the direction of Fernandez Casanova.
+
+It was in 1568 that Hernan Ruiz erected the highest _cuerpo_ of the
+minaret by order of the Cathedral authorities. Ruiz was often employed
+by the Church, and his work may be seen in the restored _mezquita_ of
+Cordova.
+
+The Giralda is about three hundred feet in height. As the surrounding
+country is level, we can command a very wide expanse from the gallery
+below the statue of the Faith. Looking over the roofs and dome of the
+Cathedral, we see the Plaza de Toros, and the suburb of Triana, on the
+opposite bank of the Guadalquivir. Among the low hills beyond the
+Cartuja, to the right of Triana, is the ancient Roman amphitheatre of
+Italica, while in the extreme distance are blue mountains.
+
+Beyond the Alcazar we note the Parque, the Delicias, the Prado de San
+Sebastian, and the red clay hills of Coria on the right bank of the
+broad river. Further away are the interminable marshes bordering the
+estuary, and beyond is San Lucar. Below us is the Archbishop's Palace
+and the gardens of the Alcazar. Seville is spread beneath us like a huge
+map. We look down on roof gardens, into _patios_, along the white,
+narrow _calles_, into the _plazas_, and across the housetops to the
+fertile land beyond the Roman walls.
+
+It is a prospect that inspires the spectator. Fair, sunny, fruitful
+Andalusia stretches around for league upon league, under a burning blue
+sky. The air is clear; there is scarcely a trace of smoke from the
+myriad chimneys of the city. No town could be brighter and cleaner. We
+are above the brown hawks that nest in the niches of the Cathedral. They
+float on outspread wings over the buttresses. The passengers in the
+streets are like specks; the trees in the Court of the Oranges are but
+shrubs. It is one of the finest panoramas in Spain. One is reluctant to
+descend from this breezy platform, and to turn one's back upon the fine
+bird's-eye view of Seville and the surrounding landscape.
+
+It is a misfortune that sun, wind and rain have almost expunged the
+frescoes that decorate the niches of the Giralda. They were the work of
+Luis de Vargas, who painted the altar-piece in the Chapel of the
+Nativity in the Cathedral. Vargas was a pupil of Perino del Vaga in
+Italy. One of the paintings on the Giralda represented the Saints of
+Seville, St. Justa and St. Rufina, who protect the tower from harm, and
+other subjects were scenes in the lives of saints and martyrs. Vargas
+also executed the fresco of Christ bearing the Cross, or the _Calle de
+Amargura_, on the outside of Patio de los Naranjas. The picture was
+restored by Vasco Pereyra, in 1594. We read of Luis de Vargas that he
+was extremely devout. He practised austerities and mortifications, and
+slept with a coffin by his bedside, to remind him of the insecurity of
+this earthly life. The ascetic artist was born in Seville, in 1502, and
+died there about the year 1568.
+
+Like the monument of London, and many other high towers, the Giralda has
+often been used by suicides. A number of despairing persons have thrown
+themselves from its summit.
+
+[Illustration: The Giralda]
+
+
+
+
+CHAPTER V
+
+_The Cathedral_
+
+    'How reverend is the face of this tall pile,
+     Whose ancient pillars rear their marble heads
+     To bear aloft its arched and ponderous roof,
+     By its own weight made steadfast and immovable,
+     Looking tranquillity.'--WILLIAM CONGREVE.
+
+
+'Let us build such a huge and splendid temple that succeeding
+generations of men will say that we were mad.' So said the pious
+originators of Seville Cathedral, in the year 1401. After one hundred
+years, the temple was still unfinished, and to this day masons are at
+work upon the dome.
+
+When San Fernando captured the city of Seville from the Moors, and made
+it his capital, the Mosque, which stood on the site of the Cathedral,
+was consecrated to the service of the Christian faith. It was used for
+Catholic worship until its disrepair became a reproach. Then the Chapter
+decided to erect a worthier fane, one which would astonish posterity.
+The Cathedral should be huge and magnificent, rivalling in its area all
+the other cathedrals of Spain. Toledo Cathedral is 'rich'; Salamanca,
+'strong'; Leon, 'beautiful.' The Cathedral of Seville is called the
+'great.'
+
+In point of size the edifice ranks third among the cathedrals of Europe.
+It is the largest Gothic cathedral in the world, larger than Cologne and
+Milan. The superficial areas of the great cathedrals are as follows:--
+
+    St. Peter's  230,000 feet square
+    Cordova      160,000
+    Seville      125,000
+    Milan        110,000
+    St. Paul's    84,000
+
+In 1511, five years after the practical completion of the building, the
+dome gave way. It was re-erected by Juan Gil de Hontanon, an architect
+who subsequently designed the new Cathedral of Salamanca (1513). The
+original architects are supposed to have been of German nationality.[B]
+Earthquake shocks endangered a part of the structure at a later date,
+and Casanova, who restored the Giralda Tower, superintended the
+renovation, which was begun in 1882. Six years after Casanova's
+restoration, the dome again collapsed, and from that time until to-day
+the work of repair has proceeded.
+
+Theophile Gautier, writing of this splendid pile, states:
+
+'The most extravagant and most monstrously prodigious Hindoo pagodas are
+not to be mentioned in the same century as the Cathedral of Seville. It
+is a mountain scooped out, a valley turned topsy-turvy; Notre Dame at
+Paris might walk erect in the middle nave, which is of frightful height;
+pillars as large round as towers, and which appear so slender that they
+make you shudder, rise out of the ground or descend from the vaulted
+roof, like stalactites in a giant's grotto.'
+
+In Caveda's description of the Cathedral, we read: 'The general effect
+is truly majestic. The open-work parapets which crown the roofs; the
+graceful lanterns of the eight winding stairs that ascend in the
+corners to the vaults and galleries; the flying buttresses that spring
+lightly from aisle to nave, as the jets of a cascade from cliff to
+cliff; the slender pinnacles that cap them, the proportions of the arms
+of the transept and of the buttresses supporting the side walls; the
+large pointed windows that open between them, one above another, just as
+the aisles and chapels to which they belong rise over each other; the
+pointed portals and entrances--all these combine in an almost miraculous
+manner, although these are lacking the wealth of detail, the airy grace,
+and the delicate elegance that characterise the cathedrals of Leon and
+Burgos.'
+
+[Illustration: Pinnacle of the Cathedral]
+
+It was during the long and exhausting endeavours of the Castilian Kings
+to expel the Moors from Spain, that gold and treasure was paid into the
+coffers of the Chapter for the cost of erecting the marvellous
+Cathedral of Seville. Bishops, deans and clergy forfeited one half of
+their stipends to meet the heavy charges of architects, artists, stained
+glass designers, masons, carvers, and innumerable craftsmen and
+labourers. An army of artists and mechanics was employed upon the vast
+work. During the century of construction, the Catholic kings who resided
+in the Alcazar, showed great interest in the undertaking, while the
+noble families subscribed liberally towards the cost, and the poor gave
+of their slender store of pesetas.
+
+The exterior of the Cathedral is a type of the finest Spanish Gothic
+architecture, though the incorporated Giralda Tower is distinctly
+Morisco, and much older in style. Within the consecrated precincts, we
+may see traces of the _Mudejar_ handicraftsmen amid early Gothic and
+Renaissance architectural details.
+
+The Cathedral consecrated ground contains within its confines the
+Moorish Patio de los Naranjas, the high minaret, the Columbus Library,
+offices of the Chapter, and the Church of the Sagrario. There are nine
+doors to the Cathedral proper, and a gateway with doors, leading to the
+Patio de los Naranjas, or Court of the Oranges.
+
+
+THE EXTERIOR OF THE CATHEDRAL.
+
+From the Calle del Gran Capitan, on the west side of the Cathedral, one
+may gain a conception of the extent and the magnificence of the
+building. It is best to begin our inspection of the doors from this
+side. Here we shall find three entrances, or _puertas_. The chief door
+is in the centre. It is elaborately decorated, and is in fine
+preservation. Thirty-two figures stand in niches. Over the door is a
+beautiful relief of the Assumption by Ricardo Bellver.
+
+[Illustration: Puerta Mayor.
+
+THE CENTRAL DOOR OF THE CATHEDRAL]
+
+Puerta del Bautismo, or San Juan, is embellished with sculptures by
+Pedro Millan, which deserve careful inspection. The third doorway is the
+Puerta del Nacimiento, or San Miguel. This is also adorned by the
+sculpture of Pedro Millan. The upper part of the Cathedral viewed from
+this side is not of much beauty. It is modern, dating from 1827.
+
+[Illustration: Pinnacle of the Cathedral]
+
+At the south side of the Cathedral is the Puerta de San Cristobal, or de
+la Lonja, added by Casanova in 1887. As we make the circuit of the
+edifice, we shall see the turrets and numerous pinnacles of the roof.
+The effect is impressive and bewildering. Centuries of labour are here
+represented in noble form and beauty of outline. The flying buttresses
+are especially graceful and the great dome is majestic in its
+proportions. Cean Bermudez compares the Cathedral with 'a high-pooped
+and beflagged ship, rising over the sea with harmonious grouping of
+sails, pennons and banners.'
+
+In the east facade are the Puerta de los Campanillas and the Puerta de
+los Palos. These doors are magnificently decorated with sculptures by
+Lope Marin, executed in the year 1548. There are three entrances on the
+north side. That leading from the Court of the Oranges is named the
+Puerta del Lagarto, from the stuffed crocodile which hangs from the
+ceiling. The Puerta de los Naranjas is in the centre of the court. This
+door is kept closed except on days of festival. The third door is the
+unfinished one bearing the name of the Puerta del Sagrario.
+
+       *       *       *       *       *
+
+As we survey this immense monument of the Christian faith, we are led to
+muse upon the power of the early Catholic Church in Spain. It was no
+half-hearted belief that urged men of all ranks of society to deny
+themselves in contributing to the huge outlay that went to the planning,
+erection and decoration of this mighty Cathedral.
+
+The dictates of the Chapter ruled the councils of the State and the
+conferences of kings and courtiers. When the throne lost power, the
+bishop's chair gained in authority. In the reign of Philip III. the
+Cathedral of Seville had no less than one hundred clergy on its staff.
+Dunham, in his _History of Spain_, states that 'half a dozen could
+assuredly have been sufficient for the public offices of devotion.' But
+there was no question of restricting the number of ministers and
+confessors in these days of perfervid devotion. It was considered
+heretical to even speak of stinting the wealth that was freely poured
+into the coffers of the hierarchy. To this devotion and liberality we
+owe the great treasure-house of art beneath whose broad shadow we stand.
+The painters, sculptors and craftsmen were under the patronage of the
+Church; they could not have subsisted without such patronage. And in
+most cases they gave their services gladly, for their heart was in their
+labours, and devotion inspired them. Few desired any other kind of
+employment; the highest service was that of holy religion.
+
+A great faith, such as the Romish, inspires its devotees to the building
+of resplendent temples. The Christians would not merely imitate the
+Moors in the beauty and richness of their churches. They pledged
+themselves to excel the magnificence of the _mezquitas_, and to show
+mankind that God is honoured most devoutly by those who spare neither
+wealth nor industry in the setting up of fanes dedicated to His worship.
+We cannot grasp the Spanish character until we realise that its keynote
+in the past was profound piety and deep loyalty towards the Church and
+the Crown. The cathedrals of Spain are testimony to this devotion to the
+Christian creed. They are solemn historic memorials of faith.
+
+Worshippers in the Seville Cathedral are reverential; there is no
+apparent insincerity in their responses and genuflexions. In Italy and
+France there is a less manifest reverence during divine services. But
+the Spanish temperament has remained religious through all the stress of
+heretical days and the changing fortunes of its dynasties. It is not
+only the women who are devout, for many men are present at the
+celebrations in the cathedrals and churches. Very imposing are these
+Spanish services in the half-light of the _capillas_:
+
+    'Dim burn the lamps like lights on vaporous seas;
+     Drowsed are the voices of droned litanies;
+     Blurred as in dreams the face of priest and friar.'
+
+The organ music is often superb, and the choristers are highly trained.
+Besides the organ, reed and string instruments are used to accompany the
+singing during important festivals. The smoke of incense mounts in the
+lofty naves and aisles; the altars glow with candle-lights, and the
+sweet, rich voices of the boys hover under the vaulted roofs. Rich and
+poor alike sit or stand upon the flagged floors. The preachers are often
+very eloquent, and they preach in the purest form of the Castilian
+language.
+
+The dim light of the interior of the Cathedral is a hindrance to the
+full enjoyment of the very numerous works of art that adorn the chapels.
+This gloom is characteristic of the Spanish cathedrals and churches. The
+best time in the day to inspect the pictures in Seville Cathedral is
+before eight in the morning. It is an early hour; but the light is then
+fairly good, and the chapels are usually quiet. I advise the visitor to
+spend several hours in the Cathedral, if he desires to study the inner
+architecture, carvings, pictures and statues. A mere ramble through the
+naves and a peep into one or two of the _capillas_ will not suffice. It
+is well to select a portion of the interior for each day's inspection.
+Shun the loafers who offer their services as guides. They have no
+knowledge of the art treasures, and they possess a faculty of invention.
+
+I trust that my description will assist the stranger in his tour of the
+Cathedral. The chief objects of art are indicated, or briefly described,
+in the remaining part of this chapter. The account is not to be taken as
+exhaustive. A thorough treatise on the architecture of the building
+alone would require more space than I have at my command, and it might
+prove somewhat tedious to the reader who is not acquainted with the
+technical terminology of architecture.
+
+
+THE INTERIOR OF THE CATHEDRAL.
+
+Enter by the Puerta del Lagarto, in the Patio de los Naranjas. One's
+first impression when within the Cathedral is that of its magnitude and
+the 'frightful height,' which struck Theophile Gautier. The length,
+exclusive of the Capilla Real, is three hundred and eighty feet; the
+width is two hundred and fifty feet. The nave is one hundred and
+thirty-two feet in height, and over fifty feet in width.
+
+There is great dignity in the lofty columns, and a sense of vastness
+possesses us as we gaze upwards. The floor is of fine marble. It was
+laid in the years 1787 to 1795.
+
+_The Capilla de los Evangelistas_ is the first chapel near to the
+_puerta_. It has a fine altar piece in nine parts, the work of Hernando
+de Sturmio, containing a picture of the ancient Giralda. The paintings
+are on panel, and the brown tints are characteristic of the early
+Sevillian School of Art.
+
+By the Puerta de los Naranjas, the great door on this side of the
+Cathedral, there are two altars. One is the Altar de la Asuncion, and
+the other is dedicated to La Virgen de Belen. The Assumption picture as
+executed by Carlo Maratta. The face of the Virgin is clear, but somewhat
+dark in tone, and the light is not favourable for viewing the picture.
+On the other side of the doorway the light is better. The altar is
+adorned by a painting of the Virgin, from the brush of the famous Alonso
+Cano. It is a rather conventional presentment of Holy Mother, but the
+features are not without beauty. On the whole, the painting is not
+equal in merit to most of the works of the last Andalusian master. The
+hands and feet of the figure are finished with the care characteristic
+of Cano's art.
+
+Alonso Cano has been called the 'Michelangelo of Spain.' He studied in
+Seville under Pacheco and Juan de Castillo, and painted pictures for
+some of the religious houses. Cano was also a sculptor and architect. He
+was forced to leave the city after wounding an antagonist in a duel. In
+1651 he was appointed a Canon of Granada, and during his residence in
+the old Moorish city, Cano painted works for the churches. The artist
+was of an irritable disposition; but he spent the latter part of his
+life in religious exercises, and gave freely to the poor. He died in
+poverty, in 1667, and received alms from the Church.
+
+Writing of Alonso Cano, in his _Spanish and French Painters_, Mr Gerard
+W. Smith says: 'Although he was never in Italy, his fine feeling for
+form, and the natural charm and simplicity of his composition, suggest
+the study of the antique, while in painting, the richness and variety of
+his colouring could hardly be surpassed.'
+
+_The Capilla de San Francisco_ is next to the altar of Alonso Cano. Here
+we may try to see a painting of the Glorification of St. Francis by
+Herrera el Mozo, and one of the Virgin and San Ildefonso, by Juan Valdes
+Leal. Herrera's picture is not of value. He was a much less capable
+artist than his father, Francisco Herrera el Viejo (the elder), from
+whose roof the mozo ran away to Italy. Upon his return to Seville, the
+young man was so conceited and affected in his painting that he failed
+to produce any fine work. The Glorification of St. Francis and the
+picture by Leal can be scarcely seen in the sombre shadows of the
+chapel.
+
+[Illustration: Interior of the cathedral]
+
+_The Capilla de Santiago_ adjoins the last chapel. There are two
+paintings here; one by Juan de las Roelas of St. James (Santiago) and
+one of St. Lawrence (San Lorenzo) by Valdes Leal. Roelas was painting in
+Seville at the time of Herrera the Elder. He is said to have studied art
+in Venice. The finest work of this artist is to be seen in the Church of
+San Isidoro.[C] In the Capilla de Santiago there is a dilapidated tomb
+of Archbishop Gonzalo de Mena, who died in 1401.
+
+_The Capilla de Escalas_ contains two pictures of note by Luca Giordano,
+strong in character, drawing, and colour. Over the tomb of Bishop
+Baltasar del Rio, who died in 1540, is an altar relief of the Day of
+Pentecost by a Genoese artist.
+
+_The Capilla del Bautisterio_ has one of Murillo's finest works,
+representing St. Anthony of Padua's Vision of the Child Jesus. Part of
+this picture was cut out and stolen in 1874. It was traced to New York,
+and restored to the Cathedral a few months later. The picture was
+originally painted for the Capuchin Convent in 1656, and afterwards came
+into the possession of the Chapter. A Baptism of Christ, also the work
+of Murillo, is above this painting. In this chapel is the font of holy
+oil, which is consecrated in Holy Week. This _pila_, or monument, was
+made by Antonio Florentin in 1545-1546. It is used for the exposition of
+the Host, and is exhibited near the Puerta Mayor in Easter Week.
+Originally the _pila_ was a tall construction of three storeys on
+columns, with a large cross. Between the columns were coloured figures
+of saints. Some of the effigies were modelled in clay, and others were
+carved from wood. They were beautifully designed. In 1624 the building
+was altered and spoiled by the addition of another storey of the
+composite order. 'Its effect in the midnight service is superb,' writes
+Sir Stirling Maxwell, 'when blazing with church plate and myriads of
+waxen tapers it seems a mountain of light, of which the silver crest is
+lost in the impenetrable gloom of the vaults above.'
+
+On the west side of the Cathedral, which we have now reached, is the
+Altar de la Visitacion, with pictures by Marmolejo and Jeronimo
+Hernandez. By the principal door is another altar, that of Nuestra
+Senora del Consuelo, with a painting by one of Murillo's pupils, Alonso
+Miguel de Tobar. Close to the Puerta del Nacimiento we shall find some
+fine works by Luis de Vargas, the celebrated fresco artist. There are
+three _capillas_ on this side of the building, called the Capilla de los
+Jacomes, the Capilla de San Leandro, and the Capilla de San Isidoro.
+They may be passed by, as they contain no important works of art.
+
+At the Puerta del Nacimiento we reach the south aisle, and come to
+
+_The Capilla de San Laureano_, with a tomb of Archbishop Alonso de Exea,
+who died in 1417.
+
+_The Capilla de Santa Ana_ is the next chapel on the south side. Here
+there is an interesting old altar, with several pictures painted in the
+early part of the fifteenth century.
+
+_The Capilla de San Jose_ contains a notable work by Juan Valdes Leal,
+the Marriage of the Virgin, and a poor picture by Antolinez.
+
+_The Capilla de San Hermenegildo_ is noteworthy for the image of the
+saint by Montanez, and the tomb of Archbishop Juan de Cervantes by
+Lorenzo de Bretana. The marble of the tomb is much worn.
+
+_The Capilla de la Antigua_ is a larger chapel, with fourteenth-century
+decorations of the altar. There is also a fine monument to Cardinal
+Mendoza, executed in 1509 by the Italian Miguel. The figures are very
+quaint. Adjoining this chapel is the Altar de la Gamba, with the
+Generacion by Luis de Vargas, a famous picture described in the art
+chapters of this book. The immense painting opposite is St. Christopher,
+by Mateo Perez de Alesio, painted in 1584.
+
+For painting the San Cristobal Alesio received four thousand ducats. The
+saint is quaintly clad in hose, and the figure is gigantic. Sir Stirling
+Maxwell draws attention to the fine colouring of the parrot seen in the
+distance. Mateo de Alesio, who was an Italian by birth, died in the year
+1600.
+
+Passing through the _Capilla de los Dolores_, which is unimportant, we
+come to the splendid _Sacristia de los Calices_, built by Riano and
+Gainza in the years from 1530 to 1537. Diego de Riano, sculptor and
+designer, was often employed by the Cathedral authorities. He delighted
+in lavish and fantastic embellishment, and introduced the Italian
+methods of ornamentation. Martin Gainza was of the same school. He was
+an architect and sculptor of great repute, and he assisted Riano in much
+of his work.
+
+The Crucifix is the work of Montanez. It was removed from the Cartuja
+Convent. Murillo's _Angel de la Guarda_, or Guardian Angel, is in this
+sacristy. This picture was presented to the Cathedral by the Capuchins
+in 1814. It is one of the best of Murillo's works. Borrow much admired
+the _Guarda_, and Sir Stirling Maxwell describes the diaphanous drapery
+of the child's dress in terms of praise. The angel holds a child by the
+hand, and points to heaven. Notice the rich colouring of purple and
+yellow in the vesture of the angel.
+
+On the same wall are the _Ecce Homo_, the Virgin, and St. John, the work
+of Morales; St. Dorothy by Murillo; a painting of Fernando de Contreras
+by Luis de Vargas; Pieta and Death of the Virgin by a German artist, and
+a picture by Juan Nunez of the fifteenth century.
+
+Goya's fine painting of St. Justa and St. Rufina is here. Elsewhere in
+this book I have told the legend of these guardian saints of the
+Giralda. Goya's conception of them is unconventional, and unlike that of
+Murillo, who represents the two maidens with halos around their heads.
+We have the figures of two charming potter-girls in Goya's picture, two
+creatures of earth, lovely, but not ethereal. The Holy Trinity of 'El
+Greco' (the Greek) is one of the interesting examples of this great
+Toledan artist's work. Zurbaran is represented in the Sacristia by his
+painting of St. John.
+
+_The Sacristia Mayor_ is in the Renaissance style. It was built by the
+designers of the Sacristia de los Calices about the year 1532. Campana's
+admirable Descent from the Cross is here, but the picture has been
+indifferently restored. There is also a work of Murillo, SS. Leandro and
+Isidoro.
+
+The Cathedral Treasury is in this sacristy. One of the principal objects
+of interest is the splendid _custodia_, used for carrying the Host. It
+is the work of Juan d'Arphe, a celebrated gold-worker, who was born in
+Avila in 1535. In 1564 he constructed the _custodia_ of that city, and
+in 1580 began a work of a similar character for Seville Cathedral. Many
+designs were submitted for the inspection of the Chapter, but Juan
+d'Arphe's was chosen as one unequalled in Spain. The _custodia_ is about
+twelve feet high, round in form, with four storeys, each one supported
+by twenty-four columns. Some of the columns are Ionic; the rest are
+Corinthian and composite in design. Between the columns are a number of
+statuettes, and the base and cornices are profusely adorned with
+bas-reliefs. In the first storey there was originally seated a figure of
+Faith, but it was changed in 1668 for one of the Virgin of the
+Conception, when the _custodia_ was restored by Juan Segura. The second
+storey is the repository of the Host, and in the third and fourth
+storeys are figures of the Church Triumphant and the Holy Trinity.
+Crowning the edifice was a small dome and cross, which was replaced in
+1668 by a statue of the Faith. The _custodia_ is of beautiful and simple
+design.
+
+The _Tablas Alfonsinas_, a reliquary, given to the Church in 1274 by
+Alfonso el Sabio, are in the Treasury. Crosses, plate and sacerdotal
+vestments are among the treasures. The canonical robes date from the
+fourteenth century. The keys of Seville, yielded to Fernando el Santo on
+the day of conquest, are also shown here.
+
+_The Capilla del Mariscal_ adjoins the Sacristia Mayor. In this chapel
+is the great altar-piece of Pedro Campana, restored in 1880. The work is
+in ten parts, representing scenes in the life of Christ, and containing
+portraits of Marshal Pedro Caballero and his family.
+
+_The Sala Capitular_ was the work of Riano and Gainza. It was begun in
+1530 and finished in 1582. The plateresque decorations are very
+beautiful. Note the fine ceiling, the marble medallions, and the
+pavement. Murillo's Conception is here, and the Four Virtues of Pablo de
+Cespedes. There is a picture of San Fernando by Pacheco, the
+father-in-law and instructor of Velazquez. The ovals between the windows
+were the work of Murillo. This _sala_ is close to the Puerta de los
+Campanillas, and beyond this entrance, on the east side of the
+Cathedral, is
+
+_The Capilla de la Concepcion Grande_, containing a monument to
+Cardinal Cienfuego, a modern work. The other small chapel on this side
+is that known as
+
+_The Capilla de San Pedro_. Here are nine pictures by Zurbaran, well
+worthy of notice, and a tomb of Archbishop Diego Deza, restored in 1893.
+
+_The Capilla Real_ is between the two smaller chapels of the east end.
+In design this chapel is Renaissance. The decorations are luxuriant and
+there is a high dome. Gainza began to build the chapel in 1541, and his
+work was carried on by Hernan Ruiz, who planned the choir of Cordova
+Cathedral, and afterwards by Juan de Maeda.
+
+On the chief altar is a figure of the Virgin of the Kings, dating from
+the thirteenth century. It was presented to San Fernando by St. Louis of
+France. The fair hair is real; the crown that adorned the head was
+stolen in 1873. On each side of the doorway are tombs. One is that of
+Alfonso el Sabio, and the other is the tomb of his mother.
+
+The shrine of the adored San Fernando is in front of an altar. In the
+Panteon are the coffins of Pedro el Cruel, his mistress Maria de
+Padilla, the Princes Fadrique, Alonso and Pedro, and others. Over San
+Fernando's coffin is the ivory figure of the Virgin of Battles, which
+the King carried upon his saddle when he went to the wars. The monarch's
+pennant and sword are also displayed.
+
+Murillo's Mater Dolorosa is in the sacristy of this _capilla_. There are
+portraits of St. Ignatius and St. Francis Xavier, by Pacheco.
+
+In the later styles of the Capilla Real we may see examples of the
+Grotesque, or _Estilo Monstruoso_, with which the buildings of Seville
+abound. Diego de Riano's work in the Ayuntamiento, or City Hall, is full
+of instances of this development of fanciful design and bizarre effect.
+Gainza, the collaborator of Riano, is responsible for the articulations
+and curious, lavish adornment of the Royal Chapel of the Cathedral. The
+sacristy of the _capilla_ was built and decorated by Gainza after plans
+by Riano. We may now inspect the stained-glass windows, in which we
+shall find the influence of Italian artists. It must be noted that art
+in Spain has been profoundly influenced by Italy. Michelangelo is
+reverenced by Spanish artists. Many of the early Spanish painters went
+to Italy to study, and brought back with them new ideas and fresh
+methods of painting. 'Spanish artists,' writes Professor Carl Justi,
+'did their best to Italianize themselves in the studios of Roman and
+Florentine masters.'
+
+Cristobal Micer Aleman was the first to introduce the art of staining
+glass into Seville. Until 1504 stained glass windows had not been seen
+in the city, and Aleman was the designer of the first painted window of
+the Cathedral. Sir Stirling Maxwell states that in 1538 the Church paid
+Arnao of Flanders, Carlos of Bruges, and other artists the sum of ninety
+thousand ducats for staining the windows of Seville Cathedral. The work
+was not completed until twenty years later. The chief window pictures
+are the Ascension, Jesus and Mary Magdalen, the Awakening of Lazarus,
+and the Entry into Jerusalem. The Resurrection is the work of Carlos,
+and other pictures are by the two brothers Arnao.
+
+The isolated _Capilla Mayor_ has an altar-piece of wood, and a silver
+image of the Virgin by Alfaro. The painted scenes are from the
+Scriptures. Crowning the retablo are a crucifix and large statues of the
+Virgin and St. John. Dancart, the designer of the retablo, was of the
+Flemish school of decorative carvers. The work was begun about 1482 and
+finished in 1526.
+
+Between the _Coro_ (choir) and the Chief Chapel an enormous candelabrum
+is displayed during Semana Santa, or Holy Week. It is called the
+Tenebrario, and it was constructed by Bartolome Morel, a
+sixteenth-century sculptor. The structure is twenty-six feet high, and
+it is ornamented with several small images. During the imposing
+celebrations of Semana Santa, the candelabrum is lit by thirteen
+candles. Twelve of these lights represent the apostles who deserted
+their Master; the thirteenth candle stands for the Virgin, and when the
+twelve have been extinguished, the thirteenth still burns as a symbol of
+Mary's fealty to the Saviour.
+
+_The Coro_ was much injured by the collapse of the dome. Two grand
+organs were destroyed at this time. One of the most interesting objects
+preserved in the choir is the facistol, or choristers' desk, of
+Bartolome Morel, adorned with highly-finished carvings. The choir stalls
+were decorated by Nufro Sanchez, a sculptor of the fifteenth century,
+whose work suggests German influence. They are beautiful examples of
+carving.
+
+_The Coro_ is entered by either of the two doors of the front or
+_Trascoro_. There is a handsome marble facade; a painting of the Virgin
+by an unknown hand, and a picture said to be from the brush of Francisco
+Pacheco, the artist, author and inquisitor. The white marble frontage is
+adorned with bas-reliefs of the Genoese school, exhibiting fine feeling.
+Italian influence is manifest in the picture of the Holy Mother, which
+is highly decorative in style.
+
+Close to the _Coro_, near the chief entrance on that side of the
+Cathedral, is the tomb of Fernando Colon, son of Cristobal Colon
+(Columbus). The slab is engraved with pictures of the discoverer's
+vessels. An inscription runs: '_A Castilla y a Leon mundo nuebo die
+Colon:_' _i.e._, 'To Castile and Leon Columbus gave the New World.'
+
+The student of architecture and painting will find ample examples of
+varied styles of art in this great repository of sculpture, frescoes and
+panel pictures. He will be able to trace the development of
+architectural design from the fifteenth to the nineteenth century, both
+in the exterior and interior of the immense Cathedral. The art of the
+_Mudejar_, the Fleming, the Italian, the German and the Spaniard are
+here represented in masonry, decoration, stained glass, and upon canvas.
+Wandering designers and craftsmen of the Middle Ages looked upon Spain
+as a land of plenty. They came from Flanders, Italy and Genoa, and found
+favour with the wealthy Chapter of Seville. The artists employed to
+adorn the Cathedral range from Juan Sanchez de Castro, 'the morning star
+of Andalusia,' in 1454, to Francisco Goya, the last great painter of
+Spain.
+
+Many of the so-called Spanish school of artists were aliens who settled
+in the country. Pedro Campana was, for example, a native of Brussels.
+For twenty years he studied in Italy, and his Purification of the Virgin
+shows the Italian influence. Sturmio was probably a German named Sturm.
+Domenico Theotocopuli, called '_El Greco_,' was a Greek. Mateo Perez de
+Alesio was an Italian, who lived in Seville, and died at Rome in 1600.
+
+Luis de Vargas, the painter of the Nativity picture in the Cathedral,
+whose fresco work is to be seen elsewhere in the city, was a student of
+the Italian method. Vargas was a man of profound piety. He was born in
+Seville in 1502. After his death, scourges used for self-inflicted
+penance were found in his room, and by his bed was a coffin in which
+the ascetic painter used to lie in order to meditate seriously upon
+life.
+
+The religious devotion of Luis de Vargas is exhibited in the spirit of
+his work. This reverential treatment of sacred subjects is
+characteristic of all the Sevillian painters. In their art they
+worshipped. Martinez Montanez, or Montanes, the sculptor, was a zealous
+Catholic. In his coloured statues we perceive a melancholy reflection of
+his sombre mind, a pathos expressing itself in realistic conceptions of
+a suffering Christ and a sorrowful St. Francis Xavier. These tinted
+statues appeal powerfully to the imagination of the Sevillian populace.
+Many of the images were made for the solemn processions of Semana Santa.
+
+Among the artists employed in adorning the Cathedral there was not one
+more devoted to the Church than Pacheco. He was censor of art for the
+Inquisition, and in his writings we find precise counsels upon the
+fitting method of painting sacred pictures. To Pacheco the faith was of
+far greater moment than art. He was a close friend of Montanez, whose
+statues he sometimes coloured.
+
+_The Sagrario_ adjoins the Cathedral, and may be entered from the Court
+of the Oranges. The building serves as a parish church, and occupies the
+ground of the old _Sagrario_. It was begun in 1618 by Miguel Zumarraga,
+and completed in 1662 by Lorenzo Fernandez. The vaulted roof is
+remarkable. Pedro Roldan painted the retablo, which was formerly in the
+Francisan Convent. The convent stood in the Plaza de San Fernando, or
+Plaza Nueva, as it is sometimes called. Roldan was a contemporary and
+follower of Montanez. There is an important image of St. Clement by
+Pedro Duque Cornejo. The statue of the Virgin is the work of the devout
+Martinez Montanez.
+
+Beneath the church is the vault of the Archbishops of Seville. The
+terra-cotta altar is exceedingly decorative. In the sacristy there are
+some splendid _azulejos_, which formed part of the old Morisco mosque.
+
+
+
+
+CHAPTER VI
+
+_The Alcazar_
+
+    'How Sultan after Sultan with his Pomp
+     Abode his destined Hour, and went his way.'
+
+     RUBAIYAT OF OMAR KHAYYAM.
+
+
+The richest monument of Almohade might in Seville is the beautiful
+Alcazar, or 'Castle,' which stands at but a stone's-throw from the
+remains of the great mosque. It is a palace of dreams, encompassed by
+lovely perfumed gardens. Its courts and salons are redolent of Moorish
+days, and haunted by the spirits of turbaned sheiks, philosophers,
+minstrels, and dark-eyed beauties of the harem. As we loiter under the
+orange trees of quiet gardens, we picture the palace as it was when
+peopled by the chiefs and retinues of swarthy skin in the time of
+Abdelasis, and contrast what remains of the primitive structure and
+Morisco decoration with the successive additions by Christian kings.
+
+The nightingales still sing among the odorous orange bloom, and in the
+tangles of roses birds build their nests. Fountains tinkle beneath
+gently moving palms; the savour of Orientalism clings to the spot. Here
+wise men discussed in the cool of summer nights, when the moon stood
+high over the Giralda, and white beams fell through the spreading boughs
+of the lemon trees, and shivered upon the tiled pavements.
+
+[Illustration: Patio de las Doncellas]
+
+In this garden the musicians played, and the tawny dancers writhed and
+curved their lissome bodies, in dramatic Eastern dances. _Ichabod!_
+The moody potentate, bowed down with the cares of high office, no longer
+treads the dim corridor, or lingers in the shade of the palm trees, lost
+in cogitation. No sound of gaiety reverberates in the deserted courts;
+no voice of orator is heard in the Hall of Justice. The green lizards
+bask on the deserted benches of the gardens. Rose petals strew the paved
+paths. One's footsteps echo in the gorgeous _patios_, whose walls have
+witnessed many a scene of pomp, tragedy and pathos. The spell of the
+past holds one; and before the imagination troops a long procession of
+illustrious sovereigns, courtiers, counsellors and menials.
+
+       *       *       *       *       *
+
+The historians of the Alcazar suppose that the original structure was
+erected in 1181 for Abu Yakub Yusuf. Between the Puerta del Leon, in the
+Plaza del Triunfo, and the Sala de Justicia there are parts of the wall
+which are said to date back to the Roman times. It is generally asserted
+that the Moorish palace was reared on the ruins of a Roman praetorium,
+and that the original work was undertaken in the eleventh century. In
+its pristine form the Alcazar was of triangular design, and the
+buildings and gardens occupied a much greater space than they cover at
+the present day. The chief _puerta_ was originally at the Torre de la
+Plata, formerly standing in the Calle de Ataranzas, but pulled down in
+recent years; while another point of the triangle was at the Torre del
+Oro, on the bank of the Guadalquivir. Within these precincts there were
+vast halls, council rooms, dormitories, baths and gardens. The remaining
+portions of the walls and the towers show that the ancient fortress was
+very strong; and one can understand the difficulty experienced by
+Fernando the Good during his long siege of the citadel.
+
+In the Plaza de Santo Tomas is the Tower of Abdelasis, which was once
+part of the palace. It was from this tower that Fernando floated the
+Christian standard after the capture of the Alcazar. The chief entrance
+in our day is in the Plaza del Triunfo. It is called the Gate of the
+Lion (Puerta del Leon). We pass through, and come into the Patio de las
+Banderas (Court of the Banners), so called because a flag was hoisted
+here during the residence of the sovereign in the palace. The _patio_ is
+surrounded by modern offices, and planted with orange trees. A roofed
+passage on the right side of the court leads to the wonderful _Mudejar_
+halls and the salons of the Catholic kings. The passage is the Apeadero,
+or 'halting-place.' It was built by Philip V. The facade is in the
+Baroque style.
+
+Turning to the right from the Apeadero, we follow a corridor to the
+Court of Dona Maria Padilla, the mistress of Pedro the Cruel. The court
+is planted with orange and lemon trees and big palms. Arched galleries
+of a modern character seem out of place here. But in a moment we come
+into the Patio de la Monteria with its beautiful Moorish facade. The
+_ajimez_ windows, the cusped arches, and the decorations of this doorway
+are fine examples of Almohade art. There is an inscription in early
+Gothic characters, over the door, stating that 'the most noble and
+powerful Don Pedro, by the grace of God, King of Castile and Leon,
+caused these fortresses and palaces to be built in the era of _de mill
+et quatrocientios y dos_' (of Caesar). The date is 1364 A.D.
+
+We follow a passage to the Patio de las Doncellas (Court of the
+Maidens). This large and lofty hall has twenty-four beautiful Morisco
+arches, and singularly rich ornamentations. The fifty-two marble columns
+are of the Renaissance period, and were substituted between the years
+1540 and 1564 for the original pillars. Notice the glazed tiling
+decorations of brilliant colouring. These date from the time of Pedro
+the Cruel, who added to the ancient palace until little of the original
+remained. Notwithstanding, the style is distinctly Moorish, and the
+decoration was the work of _Mudejares_, whose quaint _azulejos_ may be
+here studied to advantage.
+
+The Salon de Embajadores adjoins the Court of the Maidens. This was the
+Hall of the Ambassadors. It is about thirty-three feet square. The dome
+is of the _media naranja_ or 'half orange' shape, the favourite design
+of the Moorish architects. On the walls are portraits of the monarchs of
+Spain. This is the most sumptuous of the salons of the Alcazar; the
+walls veritably dazzle the spectator with their richness of colouring.
+Not one inch of space on the arches, walls and doorways is left without
+an ornate pattern. The doors of the salon are massive and finely
+decorated. In this hall Charles V. was married to Isabella of Portugal.
+
+The Comedor, or dining-room, opens out of the Hall of Ambassadors on the
+west side. We find in this room the latest restorations of the palace.
+Here, on September 21, 1848, was born the Infanta Dona Maria Isabel de
+Orleans y Borbon, Condesa de Paris. The bedroom of Isabella the Catholic
+adjoins the Comedor.
+
+Returning to the Hall of the Ambassadors, we enter the room of Philip
+II., and pass through it to the small Patio de las Munecas. Note the
+pigmy figures in the ornamentation, which give the name of the Dolls'
+Court to this chamber. The upper parts of the gallery are modern, and
+were constructed in the years 1855 and 1856, at the time of the last
+extensive restoration of the Alcazar.
+
+The Salon of the Princes, approached from the Patio de las Munecas, is a
+spacious hall, in the mixed styles of the _Mudejar_ and the plateresque.
+The Dormitory of the Moorish Kings should be inspected. Then cross the
+Patio de las Doncellas to the Salon de Carlos V. This chamber has a
+remarkably fine ceiling, and beautiful decorations of _azulejos_, made
+by Cristobal de Augusta, an Italian, who worked in Triana in 1577. From
+the salon we may enter the room of Maria de Padilla.
+
+The upper apartments of the Alcazar can be viewed by special permission.
+I would strongly urge the visitor to obtain this permission. If he
+applies to the _conserje_ at the Palace of Pedro, he will be informed
+that admission is impossible without an order from the King of Spain.
+Such was my experience. I then asked for an order at the offices in the
+Patio de las Banderas, but the courteous officials were firm in their
+refusal, stating that 'no one but the King can give permission to visit
+the upper part of the Alcazar.' Still determined, I ventured to address
+His Majesty by letter, and in a few days I received a reply from the
+Intendencia General de la Real Casa y Patrimonio at Madrid. The letter
+was written by the royal secretary, and is a beautiful example of the
+ornate caligraphy in which educated Spaniards delight. I was told that
+'the Senor Marques de Irun, Alcaide of the Reales Alcazares, would grant
+me the desired permission.'
+
+At the hotel I inquired where the Marques de Irun resided. No one knew.
+My host searched through a Seville directory. The name of the Marques de
+Irun was not to be found in its pages. Finally, armed with the letter
+from the royal palace, I presented myself at the offices in the Patio de
+las Banderas, and displayed the missive.
+
+The effect was magical. The officials were even more polite than before.
+One of them wrote a note, which he asked me to give to the _conserje_,
+and I was bowed out of the office. The _conserje_ in the Patio de la
+Monteria scanned the open-sesame. And at last I gained entrance to the
+upper apartments of the Royal Alcazar.
+
+The visitor who has secured his permit will be rewarded. There is much
+to see in these chambers. Notice, first of all, the fine staircase
+constructed at the end of the sixteenth century. The seventeenth-century
+tapestries in the salons are magnificent examples of this art. Most of
+the subjects are Dutch; some are copies of pictures by David Teniers. In
+the first hall, at the head of the principal staircase, there is some
+handsome artesonada ceiling decoration of the fifteenth century.
+
+In the Oratory of the Catholic Kings there is the most notable specimen
+of ceramic art to be seen in Spain. It is a lovely retablo of
+_azulejos_, designed by Franciso Niculoso, an Italian, in 1504. Niculoso
+introduced this kind of _azulejo_ painting into Seville. The central
+picture represents the Visitation of the Virgin to St. Isabella. A
+smaller subject is the Annunciation, and there is a curious genealogical
+tree of the Saviour. The decorations are fantastic.
+
+In the Comedor there is a splendid laced ceiling of _Mudejar_
+workmanship, dating from the fifteenth century. The walls are covered
+with interesting tapestry pictures.
+
+Step on to the balcony of the Hall of the Ambassadors, and admire the
+roofing, the columns, and wealth of Oriental ornamentation. In the rooms
+of the Infantas there are _Mudejar_ ceilings of the fifteenth and
+sixteenth centuries. The portraits of princes and other royal personages
+are not of much artistic importance. There is a picture by Goya, a very
+spirited portrait of Dona Maria, wife of Don Carlos IV. Goya was the
+last of the great painters of Spain. A number of his works are in a
+gallery of the Prado Museum at Madrid, but very few of his paintings are
+preserved in Seville. This example in the Alcazar deserves the visitor's
+notice.
+
+One of the most interesting apartments on the upper floors of the royal
+palace is the bedroom of Pedro el Cruel. The _dormitorio_ is sumptuous
+with _Mudejar_ decorations of the sixteenth century. Near the doorway
+are four heads painted upon the wall. They are the heads of four
+disloyal justices who incurred the anger of their sovereign, and were
+condemned to death. The paintings throw a light upon the character of
+Pedro, who, no doubt, surveyed them with satisfaction whenever he
+entered the chamber. It is probable that the King feared assassination,
+for from this part of the palace there is a staircase descending to the
+quarters formerly occupied by the guards and royal bowmen. The story
+runs that Pedro had this stairway made in order to communicate with his
+faithful servant Juan Diente, a famous marksman with the bow.
+
+In the Dormitory of Queen Isabel there is a copy of Murillo's _Ecce
+Homo_, and various portraits of monarchs. The Salon Azul (Blue Room) is
+so named on account of the colour of its silk tapestries. The pastel
+paintings in this apartment are by A. Muraton, representing Queen Dona
+Isabel, the Infanta Dona Isabel, King Alfonso XII., and the Marquesa de
+Novaliches. There are also eighteen miniatures painted upon ivory.
+
+The modern bedroom has a Coronation of the Virgin, the work of Vicente
+Lopez, a copy of a Murillo, and another of Raphael's Holy Family.
+
+Let us saunter now in the sunny gardens of the Alcazar. We can reach
+them through the Apeadero, and by the steps leading from the tank at the
+entrance. The reservoir is full of carp, some of them of corpulent
+proportions. A few small fish may be seen basking near the surface of
+the water, but the bigger and warier carp do not often show themselves.
+Roses cluster about the steps, and twine on all the railings. We come to
+a tree-grown court, with a gallery running on one side, and an arched
+entrance to the Baths of Maria de Padilla. This garden is called El
+Jardin del Crucero. The underground bath is cool, and it is a rest to
+the eyes to escape for a few minutes from the dazzling sunlight of the
+gardens. Here the lovely Maria, faithful mistress of the ferocious
+Pedro, was wont to bathe in warm weather.
+
+To show their homage to the monarch's consort, the chivalrous courtiers
+came hither when the fair bather had taken her bath, and drank of the
+water in which she had washed her white limbs. It is said that these
+devoted servitors used sometimes to carry away some of the water in
+vessels 'to drink it with enjoyment.'
+
+Pedro el Cruel, of all the Christian sovereigns who lived in the
+Alcazar, was the most attached to the palace. He lavished money upon the
+building of the apartments which we have just inspected, and employed
+the cleverest _Mudejar_ designers and craftsmen. In the Hall of Justice
+he heard charges against criminal offenders; in the gorgeous salons he
+received illustrious guests, discoursed with his officers, and played at
+draughts with his courtiers. His image arises before the imagination as
+we stray under the lemon and orange trees of his quaint and charming
+pleasure-grounds. Coming to the throne in his sixteenth year, Don Pedro
+decided upon making Seville his capital.
+
+We have read in the historical sections of our account of the city how
+he earned the title of 'El Cruel.' But the story of his treachery
+towards his half-brothers has not been related.
+
+Don Fadrique, Master of the Order of Santiago, and half-brother of Pedro
+el Cruel, having confessed allegiance to the King, came one day to
+Seville, after a campaign with rebels in Murcia. The Master of Santiago
+went to the Alcazar with the intention of paying a visit to his
+half-brother, the King. Pedro was playing at backgammon in his private
+apartment of the palace when Don Fadrique came to him.
+
+The monarch received his general with genial courtesies, and bade him
+stay in the Alcazar. Leaving Pedro for a while, the Master went to the
+rooms of Maria de Padilla. He found her agitated and pale, but the
+sadness of her beautiful countenance did not cause him to suspect what
+lay upon her mind. Maria knew that Pedro longed to rid himself of all
+possible claimants to the throne. His eldest half-brother Enrique was in
+France, plotting against the Castilian throne. Pedro still dreaded a
+rising under Fadrique. He apparently doubted his professed fealty, and
+he had planned his murder. It is said that the Master of Santiago
+received hints of the fate that awaited him. But he returned to the
+quarters of the King, who was in company with several members of his
+court.
+
+Pedro had shut himself in an inner room, which had a wicket to it. From
+the wicket he shouted to his soldiers: 'Kill the Master of Santiago!'
+The bowmen obeyed. Fadrique drew his sword and made a stand, but he was
+soon overpowered, and struck down by blows on the head. The Master's
+servants were next seized and slaughtered. One of the train ran to the
+room of Maria de Padilla, pursued by his assailants, and threw himself
+behind Dona Beatrice, one of Maria's daughters. Pedro was among the
+pursuers. He tore the man from the arms of Beatrice, stabbed him, and
+gave him into the hands of his assassins. Returning to the room where
+Don Fadrique was expiring, Pedro saw that his half-brother was still
+breathing. Drawing his dagger, the King gave it to an attendant, and
+commanded him to kill the Master outright.
+
+During the siege of Seville by Fernando el Santo, the fortified palace
+was the chief point of attack. The massive walls of the Alcazar long
+resisted the assault of the besiegers. But the beleaguered Moors were at
+length compelled to offer surrender to the knights of the Cross. On the
+day of St. Clement the gates were thrown open, and San Fernando rode
+into the courtyard. In the King's hand was a sword; on his saddle the
+ivory image of the Holy Virgin. By his side rode Don Garcia de Varga and
+his brother Don Diego, the Conde Lorenzo, Pelago, and other brave
+cavaliers. The Khalif of the Alcazar escaped by the gate near the
+Hospital del Sangre. Henceforward, the palace was to be the residence of
+the kings of Castile.
+
+In 1379 Juan I. lived in the Alcazar. The King ascended the throne
+without opposition. Trouble arose soon with Portugal, and Juan marched
+at the head of thirty-four thousand soldiers into the enemy's territory.
+The Portuguese had a small force of only ten thousand men, including a
+few Englishmen. Near the village of Aljubarrota the armies met. There
+was a great battle, in which the Portuguese troops fought valiantly, and
+drove back the invaders.
+
+Don Juan was ill and weak during the engagement. He was carried on a
+litter by his knights, and in the retreat, the King was put on a mule,
+and hurried from the scene of action to the Tagus. Here the monarch
+embarked in a small boat for Lisbon, whence he returned to Seville to
+mourn his defeat in the seclusion of the Alcazar.
+
+Isabel and Fernando often sought the tranquil paths of this garden. The
+Catholic Queen and her Consort lived here in great state, in the palmy
+days of Seville, dispensing justice, listening to the counsels of
+Torquemada and the officers of the Holy Inquisition, and consulting with
+Columbus regarding the expansion of their realm and the development of
+trade with the New World. Many were the hours passed by the blue-eyed,
+fair-haired Queen in the private chapel.
+
+The pious Philip II. came here, though he preferred his mountain palace
+of the Escorial. He ordered the portraits of the Kings of Spain to be
+painted in the Hall of the Ambassadors. As we have read, Philip incurred
+the resentment of the Sevillian merchants by his confiscation of their
+ingots. But the prelates and clergy of the city honoured the sovereign,
+who always supported the Church and favoured the priests. In his reign
+the Primate of Spain was almost as wealthy as the Pope. The Archbishop
+of Seville received an income of eighty thousand ducats a year.
+
+Philip spent his time at the Alcazar in his usual daily labours, writing
+like a clerk in his private room until the small hours of the morning.
+Every morning he attended Mass. The King lived simply, for he feared the
+gout. But in spite of this form of frugality, Philip spent his revenue
+freely in maintaining a large household. In his retinue there were
+fifteen hundred persons, including forty pages, all of noble family.
+
+In the Queen's train there were twenty-six ladies-in-waiting, and four
+physicians were in constant attendance on Her Majesty. We may picture
+Philip moodily roaming in the gardens, dressed in black velvet, with a
+plumed cap. From his neck was suspended the fine jewel of the Golden
+Fleece. He wore sober clothes, and changed his suits once every month
+for new ones. His wear, like the cast of his mind, was sombre. A dread
+of society possessed the King, and in his later days he became more
+taciturn and morose.
+
+'I am absolute King,' was the boast of the despotic Philip. His ambition
+was to attain power, to extend his kingdom beyond the seas, and to crush
+out heresy. Yet Tennyson's love-dazzled Mary is made to ask, as she
+gazes upon the face of the Spanish King, in a miniature painting:
+
+    'Is this the face of one who plays the tyrant?
+     Peruse it; is it not goodly, ay, and gentle?'
+
+These gardens evoke reflections upon the ever-changing fate of Spain. We
+gaze at relics of the Moors, and remember the eight hundred years of
+that sanguinary history of the expulsion of the infidels. Yet everywhere
+there are traces of that mighty civilisation built up by Morisco
+knowledge and industry. The _Mudejar_ has touched the palace and the
+gardens with his magic wand. Fernando, Pedro, Philip, Carlos--all the
+Catholic sovereigns--preserved the Moorish style of decoration, and
+borrowed from the art of the hated race.
+
+Passing under a handsome gateway, represented in one of our
+illustrations, we come to a fountain surrounded by a tiled pavement, and
+overshadowed by trees. Before us is the Pavilion of Carlos Quinto, with
+a fine ceiling and _azulejos_. This summer-house was built by Juan
+Hernandez in 1543. Turn to the left, and inspect the archway in the
+wall, and the curious mural paintings. We may then retrace our steps to
+the pavilion, and pass another tank and a grotto till we reach the maze
+and a tangled garden beyond it. This is the Garden of the Labyrinth.
+Further, we may not ramble.
+
+In 1626 a theatre stood in the large _patio_ near the Puerta del Leon,
+by which gate we must leave the Alcazar. The playhouse was of oval form,
+with three balconies, and one part of the theatre was reserved for
+ladies. The travelling actors who visited Seville preferred this theatre
+to any other in the city, as is shown by the archives of the palace. In
+the year 1691 the theatre was entirely destroyed by a great fire, and
+not a stone of the old building remains.
+
+The singular mingling of Christian and Moorish architecture and
+adornment in the modern Alcazar is characteristic of Seville. We find
+the same mixture of styles in the Casa Pilatos and in other mansions of
+the city. Even the railway station at the termination of the Cordova
+line affords an example of the perpetuation of Morisco design and
+decoration. It is this Moorish influence that lends a strange interest
+to Seville. Some writers have declared that these mixed styles of
+architecture are anomalous. There is certainly an air of the grotesque
+in the combination of _Mudejar_ windows, cusped arches, columns, and
+_azulejos_, and Renaissance and Gothic features. But despite the element
+of incongruity, the effect is often pleasing, while the mingling of the
+styles is especially interesting from the historical point of view.
+
+In our inspection of the Sevillian monuments we are able to estimate the
+enormous sway that the Moors exercised upon the Andalusian mind. That
+influence will probably endure for very many centuries to come.
+Spaniards may abhor the faith of Allah, and detest the children of
+Mahomet; but they have never refused to learn the arts of the Moors, nor
+to apply them to the building of sacred and secular edifices. In the
+poorest villages of Southern Spain we rarely fail to notice some trace
+or another of the Moorish builder.
+
+[Illustration: In the Garden of the Alcazar.]
+
+The Orientalism of the Alcazar remains in spite of the pseudo-Moorish
+restorations and the Renaissance additions. It is perhaps an atmosphere,
+a suggestion, rather than the reality. Still, the pile is a very
+remarkable monument, and every stone of it has its tale to tell of
+memorable scenes and great events. One is tempted to linger hour after
+hour in the dreamy gardens, watching the gaudy butterflies and the
+peering, green lizards, and thinking of the bygone greatness of Seville.
+
+Let us conjure one more illustrious figure to the view before we quit
+the palace grounds. Here the Emperor Charles V. roamed with his young
+bride, Isabella of Portugal. The portraits of Charles show a well-knit
+figure, and a good forehead, with the projecting lower jaw
+characteristic of his family. He was fond of music, and was accounted
+well cultured. Mr. Edward Armstrong tells us, however, in his _Emperor
+Charles V._, that the sovereign was a 'singularly bad linguist.' He knew
+only a few words of Spanish after he had ruled Castile and Aragon for
+two years. 'French was his natural language, but he neither spoke nor
+wrote it with any elegance.' The Emperor's knowledge of theology was
+scanty; and though he was a stern defender of the Catholic faith, he
+could scarcely read the Vulgate.
+
+Isabella was but twenty-three years of age at the time of her marriage
+with Charles. She was, however, no child. Her intelligence was quick.
+The Princess was short, spare in body, with a clear white skin. The
+wedding was celebrated in Seville, in March 1526. For the honeymoon the
+Emperor and his bride visited Cordova and Granada.
+
+Charles liked the seclusion of his palace in Seville. 'Not greedy of
+territory, but most greedy of peace and quiet,' was the description of
+the monarch by Marcantonio Contarini, in 1536. He was strongly attached
+to his wife; he was fond of children, and kept pet animals, 'including a
+parrot and two Indian cats.' The Emperor was interested in gardening,
+and he introduced the carnation into Spain. At table he was a glutton,
+and unable to exercise self-control over his greedy appetite. It was
+said that Charles five times drained a flagon, containing nearly a quart
+of Rhenish wine, during a single meal. We need not be surprised that he
+suffered from severe attacks of gout. Yet he would not forego the
+pleasures of the table, and when his physician warned him that beer was
+injurious to his constitution, the Emperor refused to give up drinking
+it.
+
+In dress Charles was economical. He went to Italy in a shabby suit,
+hoping by his example to check the tendency to extravagance displayed by
+his courtiers and the nobles of Spain. His servants were sometimes in
+tattered clothes.
+
+'A fine taste for art seemed inborn in Charles,' writes Mr. Armstrong.
+'Before he ever set foot in Italy he had summoned Italian architects and
+sculptors to build the splendid Renaissance palace at Granada, which was
+destined to remain unfinished.... Music was a passion from boyhood. The
+Emperor's choir was the best in Europe. To his choristers he was most
+generous, for when their voices broke he would educate them for three
+years, and afterwards, if they recovered voice, he would give them the
+preference for places in his chapel.'
+
+
+
+
+CHAPTER VII
+
+_The Literary Associations of the City_
+
+     'Among no other people did the spirit and character of the middle
+     age, in its most beautiful and dignified form, so long continue and
+     survive in manners, ways of thinking, intellectual culture, and
+     works of imagination and poetry, as among the
+     Spaniards.'--SCHLEGEL, _Philosophy of History_.
+
+
+We have noted that in the Visigoth and Moorish periods Seville was a
+centre of literature and the arts. The Christians had their St. Isidore,
+a famed historian and theological writer, and the Moriscoes acclaimed
+the sagacious El Begi, 'whose knowledge was a marvel.' Many Moorish
+scribes laboured in the city before San Fernando regained it for the
+Spaniards; but very few of their names have lived through the stress of
+turbulent times, when every man was for fighting, and art and letters
+languished.
+
+When we reach the fifteenth century, we find that certain enterprising
+German printers set up presses in Seville, and that books, such as Diego
+de Valera's _Cronica de Espana_, were printed and published.
+
+The printing press gradually destroyed the wonderful art of the
+illuminated missal, in which the monks excelled, and letterpress began
+to supersede manuscript. In the Cathedral Library of Seville is the
+great Bible of Pedro de Pampeluna, in two volumes. It was transcribed
+for Alfonso the Learned, and the work is perhaps unmatched. Rich
+illuminations abound in the pages, testifying to the skill and the
+patience of the artist.
+
+But this industry, followed with such zeal by the clergy, was soon
+lost. With the advent of machinery more books were produced, and they
+came into the hands of the people, who in the pre-printing days were
+unable to purchase the costly volumes of manuscript.
+
+At this time also secular dramas began to take the place of mystery
+plays. The theatre has remained one of the favourite recreations of the
+Spanish people, and on the modern stage serious plays, dealing with
+social problems, are often produced. Among the playwrights of Spain the
+name of Lope de Rueda is held in reverence, for it was he who opened the
+way for them. 'The real father of the Spanish theatre' was a native of
+Seville, and by trade a goldsmith. From 1560 to 1590, the dramas of Lope
+de Rueda were performed in Seville. Cervantes may have been influenced
+by this pioneer of dramatic art, for, as a youth, he saw Lope de Rueda
+act.
+
+In his zenith, the player's stage consisted of half-a-dozen planks, laid
+upon four benches. There was no scenery. Old blankets served as curtain
+and 'back sheet.' Between the acts a few singers sang without any
+instrumental accompaniment. With such primitive paraphernalia this
+Thespian travelled about with his company of mummers, writing his own
+dramas, and acting in them. He died about the year 1567.
+
+Contemporary with Lope de Rueda and Cervantes was Domingo de Bercerra,
+who was born in the city in 1535. During the campaign with the Turks, he
+was seized by Moorish pirates and taken prisoner with Cervantes to
+Algiers. De Bercerra is known for his translation of Giovanni della
+Casa's _Il Galateo_. Hieronimo Carranza, who wrote _Philosophia y
+destreza de las Armas_, and Juan de la Cueva, writer of plays and poems,
+lived in Seville at this time.
+
+We now enter upon an era memorable in the literary annals of the city.
+This is the period when Seville could boast of her scholars, poets,
+dramatists and historians, and lay claim to distinction as possessing
+the most cultured circle of writers and artists in the whole of Spain.
+Fernando de Herrera, born in 1534, in Seville, holds a high position
+among Spanish poets. His _Cancion a Lepanto_, a poem in celebration of
+the victory of Lepanto, 'deserves,' says Mr. Butler Clarke, 'to be
+placed side by side with the first eclogue of Garcilaso as one of the
+noblest monuments of the Spanish tongue.'
+
+Rodrigo Caro, the historian, and one of the Sevillian authors, says in
+his _Illustrious Men, Natives of Seville_, that Herrera 'understood
+Latin perfectly, and wrote several epigrams in that language, which
+might rival the most famous ancient authors in thought and expression.
+He possessed a moderate knowledge of Greek.' The prose writings of 'the
+divine Herrera' are marked with the same beauty as his poetry. He wrote
+a great general history of his country, up to the reign of Carlos V.,
+and earned from Lope de Vega the title of 'the Learned.'
+
+We learn that Fernando de Herrera was a tall man, with a handsome
+countenance, thick curling hair, and a beard. The love of his life
+appears to have been 'spiritual'; he was enamoured of Eliodora, Countess
+of Gelves. This adoration was of the nature of that manifested by Dante
+for Beatrice. The poet calls his divinity 'Love,' 'Sun,' and 'Star,' but
+there is an unreality in his odes to the Countess. We read, too, that
+Herrera was well read in philosophy, and expert in mathematics.
+
+At this time there were two resorts in Seville for authors, artists, and
+men of culture. One was the house of the refined and versatile Pacheco,
+Canon of the Cathedral; the other was the Casa Pilatos, the mansion of
+the Duques de Alcala. In the circle of Francisco Pacheco we shall find
+all the notable painters and poets of Seville; Cespedes, Cervantes, and
+Velazquez, who married Pacheco's daughter, were frequenters of the
+Canon's hospitable house. It was Pacheco who collected and published
+Herrera's poems, under the patronage of the Conde d'Olivarez, and to him
+we owe the preservation of some wonderful fragments of a poem on the art
+of painting, composed by Pablo de Cespedes. These selections were quoted
+by Pacheco in his treatise on art, and one of the finest passages is
+that of counsel to an artist in painting a horse. Except for these
+portions, nothing remains of the poem of Cespedes, which was a work of
+high merit, written in the purest form of the Castilian language. The
+author was a man of conspicuous ability. He painted, wrote, carved
+statuary, and designed buildings.
+
+The genial Pacheco is perhaps better known as a writer upon painting,
+and a maker of Latin verse, than as an artist with the brush. His great
+book on art, _Arte de la Pintura_, was published in 1649. It is
+anecdotal, technical and historical, and displays the credulity of the
+writer in regard to the miraculous. He had the honour of training
+Velazquez, his future son-in-law, and the satisfaction of discovering
+the power of his young pupil.
+
+We will now take our way to the Casa Pilatos, which stands in the
+_plaza_ of that name. Passing under a gateway, we enter a court. On the
+right is a very beautiful ironwork door in the _Mudejar_ form. An
+attendant opens it, and we pass into an inner _patio_, surrounded by
+busts, portions of antique sculpture, and two statues of Athena. In the
+centre is a fountain. The _casa_ was designed by Moorish artists, early
+in the sixteenth century, for Don Pedro Enriquez, and his wife Dona
+Catalina de Ribera. A descendant, Don Fadrique, who had travelled in
+Palestine, added the so-called Praetorium, and probably named the mansion
+after Pontius Pilate. There are unlettered persons in Seville who will
+assure you that Pilate lived in the house.
+
+[Illustration: Cancela of the Casa Pilatus.]
+
+The third Duke of Alcala, Fernando Enriquez de Ribera, established a
+great library here, and the Casa Pilatos was the rendezvous of a
+polished coterie. The Duke collected pictures, procured Roman relics
+from Italica, and had cabinets of coins and medals, and cases containing
+manuscripts. He was an amateur painter, a patron of the fine arts, and
+the encourager of struggling genius. Pedro de Madrazo, in his _Sevilla y
+Cadiz_, states that 'the Casa Pilatos is an august representation of the
+architectural genius of the sixteenth century; memorable for the
+reunions of Pacheco, Cespedes, the Herreras, Gongora, Jauregui, Baltasar
+de Alcazar, Rioja, Juan de Arguizo, and Cervantes.'
+
+Other writers describe the architecture of the palace as pseudo-Moorish.
+It is indeed a mixture of Gothic, Moorish, and Renaissance designs,
+adorned with _azulejos_, the decorations being _Mudejar_ for the greater
+part. Pacheco, the friend of the Duke de Alcala, painted the salon.
+
+Mr. M. Digby Wyatt, in his valuable work, _An Architect's Note Book in
+Spain_, describes the Casa Pilatos as possessing two special 'points of
+architectural value,' _i.e._, 'the entirely Moresque character of the
+stucco work at a comparatively late date, and the profuse use of
+_azulejos_ or coloured tiles. It is ... in and about the splendid
+staircase that this charming tile lining, of the use of which we have
+here of late years commenced a very satisfactory revival, asserts its
+value as a beautiful mode of introducing clean and permanent
+polychromatic decoration.'
+
+In the principal garden there are remains from Italica. The orange,
+lemon and jasmine grow profusely in this sunny, sheltered corner of the
+city. Here the cultured Duke Fernando Enriquez de Ribera discoursed with
+his illustrious guests, when the stars twinkled and the air was sweet
+with the odour of the jasmine and rose. No doubt Francisco Pacheco
+brought his pupil Velazquez to the symposia. We can picture Cervantes
+relating the story of his imprisonment in Algiers, or diverting the
+company with anecdotes of the thieves and sharpers of Seville, whose
+exploits are recorded in his novel of _Rinconete y Cortadillo_. Gongora,
+the poet, whose affectations and 'Gongorisms' offended George Henry
+Lewes, probably read his verses to a critical audience in the salon. Wit
+vied with wit, scholar discussed with scholar, and artists discoursed
+upon the new methods of painting. This was the intellectual centre of
+Seville, where kindred souls uttered their deepest thoughts, assured of
+sympathy and of comprehension. When the courtly owner of the palace
+died, his library, his treasures and curiosities were removed to Madrid,
+and Sevillian men of letters and painters lost a true friend.
+
+In 1588, Miguel de Servantes Saavedra, otherwise Cervantes, lived in the
+city. In his twenty-first year, while at Madrid, he had written a
+pastoral poem called _Filena_, some sonnets and canzonets. A few years
+later he obtained a position as chamberlain to Cardinal Julio Aquaviva
+at Rome; but he was not long in Italy. The love of adventure inspired
+him to enlist in the expedition force sent by Philip II. against Selim
+the Grand Turk. At the famous battle of Lepanto the young soldier
+received a wound in the left hand, which necessitated amputation. The
+surgeons bungled, and Cervantes lost the use of his arm. Still, he
+continued to serve as a private soldier in the ranks.
+
+In 1575, Cervantes was aboard a galley called the _Sun_, and when
+journeying from Naples to Spain, he and the entire crew were captured,
+and borne to Algiers as prisoners. For five years he lay in a dungeon
+until a sum was paid in ransom. Upon returning to his native land, he
+joined his mother and sister at Madrid, and there he led a studious
+life for three years. His fighting days were at an end. He had seen
+strange things in foreign lands, and greatly enriched his store of
+experience of life. Henceforward he gave of his knowledge of the world,
+and toiled as a writer of poetry, dramas and marvellous romances. His
+struggle with fortune was severe. He wrote thirty comedies without
+gaining recognition. At this time he married Dona Catalina de Solazar y
+Palacios y Vozmediano.
+
+In Seville there lived two relatives of the soldier-dramatist. They were
+merchants, with a large business, and it is said that they offered
+Cervantes employment. Mr. J. Fitz-Maurice Kelly tells us that the author
+obtained a post in the Real Audencia in Seville, probably that of
+tax-gatherer. Cervantes himself relates that 'he found something better
+to do than writing comedies.' Whether he sat on a stool in the
+mercantile office of his relations, or travelled as a tax-collector in
+Andalasia, is perhaps not quite certain. At anyrate, the dramatist
+continued to produce plays. He sought an appointment as
+Accountant-General of the new kingdom of Granada, or as Governor of
+Secomusco in Guatemala, or as Paymaster of the galleys at Cartagena, or
+as Corregidor in La Paz. His application was unnoticed, and it was not
+until 1808 that the document was unearthed. It is a story of hardship,
+neglect and disappointment. The soldier who had lost an arm in combat
+with his country's foes, the genius whose name was to reach the far ends
+of the civilised world, was forced to go begging for situations, which
+were refused to him. He still plied his pen for poor returns in the way
+of money. For Rodrigo Osorio he agreed to write six comedies at fifty
+ducats each. The price was not to be paid unless each play was 'one of
+the best ever presented in Spain.' Was there ever a more arbitrary
+contract? It is doubtful whether Cervantes received anything for this
+work. Then came the quarrel between the Church and the Stage.
+Playwrights and actors were banned, and four months before the death of
+Philip II. all the theatres were closed.
+
+The clouds lifted slightly. In 1595 'Miguel Cervantes Saavedra of
+Seville' won the prize offered by the Dominicans of Zaragoza for a
+series of poems in honour of St. Hyacinthus. He appears to have earned
+his living at this period as a tax-gatherer. Sometimes he was to be
+found at Pacheco's house, and at the Casa Pilatos. Cervantes discerned
+the genius of Herrera, and the two poets became friends. A sonnet in
+praise of Herrera was written by Cervantes.
+
+Fresh trouble beset the unfortunate author. 'About this period Cervantes
+fell into the first of his money troubles,' writes Mr. Watts, in his
+_Miguel de Cervantes_, 'in connection with his office. Having to remit a
+sum of 7,400 _reals_ from Seville to Madrid, he entrusted it to the
+hands of one Simon Freire, as his agent. Freire became bankrupt, and
+fled from Spain. This involved Cervantes in a debt to the crown, for
+which, being unable to pay, he was thrown into prison. Having reduced
+the amount by what he recovered from the bankrupt estate of Freire to
+2,600 _reals_, Cervantes was released after a detention of three months.
+Neither then, nor at any time afterwards--although the affair hung over
+him to trouble him for many years--was there any charge implicating his
+own personal rectitude.'
+
+Cervantes' pictures of the seamy side of Sevillian life were drawn
+vividly in his _picaresco_ novels. The tales contain phrases in
+_Germania_, or thieves' argot, showing that the author closely observed
+his types of low life. It was not until he had reached his fifty-seventh
+year that he finished the first part of _Don Quixote de la Mancha_. The
+great romance was partly written during Cervantes' imprisonment in La
+Mancha. There are three versions of the circumstances that brought about
+his confinement. One account is that Cervantes made himself unpopular as
+a tax-gatherer. But could that be made a felony or misdemeanour meriting
+gaol? Another story relates how he became a factory-owner, and polluted
+the Guadiana with waste matter; while a third report ascribes his
+punishment to the offence of uttering satires upon a lady.
+
+In 1605 _Don Quixote_ was published, in a quarto volume, by Juan de la
+Cuesta of Madrid. Within seven months the book had reached its fourth
+edition. W. H. Prescott, in his essay on 'Cervantes,' states that two
+editions were issued in Madrid, one in Valencia, and one in Lisbon. Yet
+the author was not relieved of the burden of poverty. Fame sounded his
+name far and wide. But he had sold the copyright of his romance. And
+although his reputation was established beyond all doubt, he does not
+appear to have been in a position to obtain worthier remuneration for
+his labours. What is perhaps more strange, the leading incidents of his
+life were scarcely known in Spain when his first biographer, Mayans y
+Siscar, essayed a history of the great writer's career. Seven towns
+claimed him as a native when Tonson, in London, issued the first English
+edition in 1738.
+
+'If Cervantes, like his great contemporary, Shakespeare, has left few
+authentic details of his existence,' writes Prescott, 'the deficiency
+has been diligently supplied in both cases by speculation and
+conjecture.'
+
+In 1616 Cervantes fell sick of a dropsy. He was then in the sixty-ninth
+year of his age. After a brief illness, the genius expired, receiving
+the extreme unction as a devout Catholic.
+
+In the Calle de Santa Clara in Seville is the Casa de los Marqueses de
+Castromonte, a house mentioned by Cervantes in his novel, _La Espanola
+Inglesa_ ('The Spanish-English Lady'). This _novela_ relates the
+adventures of a Cadiz maiden, who was carried to England by one of the
+Earl of Essex's captains in 1596.
+
+We must now quit the stately Casa Pilatos, with its great literary
+traditions, and briefly note a few more of the writers who are
+associated with Seville. One of these is the novelist Cecilia Boehl von
+Faber, of German descent, who wrote under the _nom de plume_ of Fernan
+Caballero. This gifted authoress wrote several novels of social life in
+Spain, in which she did not flinch from attacking faulty institutions.
+She had even the courage to condemn the national pastime of
+bull-fighting, an institution that very few Spaniards have ventured to
+call in question. Fernan Caballero lived in the street that bears her
+pen-name, and a tablet will be found upon the house which she occupied.
+
+Mateo Aleman, author of _Guzman de Alfarache_, who is sometimes ranked
+next to Cervantes, lived in the parish of San Nicolas. Alberto Lista,
+the poet, also resided in Seville.
+
+Lord Byron was here in August 1809. In a letter he writes:--
+
+'We lodged in the house of two Spanish unmarried ladies, who possess
+_six_ houses in Seville, and gave me a curious specimen of Spanish
+manners. They are women of character, and the eldest a fine woman, the
+youngest pretty, but not so good a figure as Donna Josepha. The freedom
+of manner, which is general here, astonished me not a little; and in the
+course of further observation, I find that reserve is not the
+characteristic of the Spanish belles, who are, in general, very
+handsome, with large black eyes, and very fine forms.' ...
+
+The elder of the two ladies presented Byron with a tress of her hair,
+measuring about three feet in length, and begged a lock of his
+lordship's hair in return.
+
+I have already mentioned Blanco White, who was born in Seville, and
+wrote _Letters from Spain_, in the name of Leucadio Doblado. His
+reminiscences should be read for the pictures of Sevillian society, in
+the early part of this century. White's _Life_, by J. H. Thorn, was
+published in London, in 1845.
+
+Theophile Gautier spent some time in the city, and related his
+impressions in his _Voyage en Espagne_, which is the most ably written
+of all books upon Spanish places and people. The author of _Mademoiselle
+de Maupin_ excels in his descriptions of Seville, its monuments,
+paintings, and its life and character. He praises the charms of
+Sevillian _donas_, declaring that they 'quite deserve the reputation for
+beauty which they enjoy.'
+
+The eccentric George Borrow came to Seville to distribute the
+Scriptures, as an agent of the Bible Society. His experiences with the
+clerical authorities of the city are recounted in _The Bible in Spain_.
+It is not strange that the priests of 'the Spanish Rome' resented the
+intrusion of the English Protestant missionary, and it was fortunate for
+Borrow that the Inquisition days were of the past. Otherwise, he would
+have suffered in the manner of the hapless Lutherans of Ponce de Leon's
+time. As it was, the heretical _colporteur_ had seventy-six copies of
+the New Testament confiscated. The books had been placed in the keeping
+of a bookseller. Borrow was never timid. He went straight to the
+ecclesiastical governor, and asked why the Testaments had been seized.
+The dignitary's reply was that the books were 'corrupting,' and he
+soundly reproved the audacious Protestant for venturing to disseminate
+such dangerous literature in orthodox Seville.
+
+George Borrow does not write in flattering terms of the Andalusians. He
+says: 'I lived in the greatest retirement during the whole time that I
+passed at Seville, spending the greater part of each day in study, or in
+that half-dreamy state of inactivity which is the natural effect of the
+influence of a warm climate. There was little in the character of the
+people around to induce me to enter much into society. The higher class
+of the Andalusians are probably upon the whole the most vain and foolish
+of human beings.' ...
+
+Such was Borrow's opinion of the society of Seville. He appeared to be
+quite as contemptuous of the frivolous rich class as he was of most
+scholars and literary men. Fashionable London was never able to
+'lionise' Bohemian Borrow. He loved 'the wind on the heath,' the song of
+the waves on the Norfolk coast, the purple _sierras_ of Spain, and the
+company of those children of nature, the _Kaulos_ of Britain and the
+_Zincalis_ of Castile. Elsewhere, however, in his writings, George
+Borrow speaks highly of the Spaniards in general. It was the pretensions
+of 'respectability,' whether in Spain or England, that called forth his
+pungent sarcasms.
+
+We must not forget that a famous prelate of the Roman Catholic Church,
+Cardinal Wiseman, was born at Seville, in 1802.
+
+It is perhaps not out of place in this chapter to allude to the
+attraction that Seville has possessed for three great musical composers.
+Mozart laid the scene of his _Don Juan_ and _Figaro_ in the city.
+Bizet's _Carmen_ is concerned with Seville; and most famous of all in
+local interest is Rossini's _Barber_. Rossini's opera is still popular
+in Spain. I saw it acted by an excellent company at Cordova, in May
+1902.
+
+The dispersal of the cultured circle of Casa Pilatos would seem to mark
+the hour of the beginning of the decline of literature and the arts in
+Seville. We may feel astonishment that the writers of the Inquisition
+times were able to publish any works save those of theology, church
+history, or devotion. But we must remember that Pacheco was a cleric,
+that Gongora was a priest, and that Rioja held a post in the Holy
+Office. Antonio, the bibliographer, was a canon of the Cathedral, and
+Cervantes was a staunch Catholic. These authors were safe; they were
+either priests of the Church or sworn defenders of the faith.
+
+Philosophers, scientific writers, and heterodox thinkers were unable to
+survive their environment. New thought was stamped out as soon as it was
+uttered, and it was seldom indeed that bold spirits dared to express
+innovating opinion. The greatest writer could scarcely subsist upon the
+earnings of his pen. He was forced, as in the case of Cervantes,
+Calderon, and Lope de Vega, among many other authors, to enter the army.
+The choice lay between the military and the ecclesiastic professions.
+Outside of these no man possessed a status.
+
+With the decline of literature in Spain, the teaching that science is an
+evil spread everywhere. In the seventeenth century, on the authority of
+Spanish historians, the arts had fallen into decay. At the same time the
+trade of Seville greatly suffered. The city was reaping the harvest of
+trouble sown by the Inquisition, with its disastrous proscriptions of
+scientific inquiry, and its taboos upon learning and the arts. Not only
+were Bibles burnt publicly in Seville and elsewhere, but secular books,
+treating upon many subjects, were thrown to the flames, in the height of
+the Inquisition fanaticism. At the end of the fifteenth century six
+thousand volumes were thus destroyed at Salamanca. Such wanton acts
+contributed to the causes that brought the downfall of Spain. When
+Cordova, Granada and Seville were under the Saracen rule, the conquered
+Christians were protected in their religious rights, and there was no
+restraint upon knowledge. These cities possessed excellent schools and
+huge libraries. The Arabic and Spanish languages were both spoken, and
+there was an Arabian translation of the Bible. Unfortunately, the
+Christians failed to profit by this example of rational tolerance when
+they again came into power.
+
+Classical learning was fostered in Seville by Antonio de Lebrixa, who
+lectured in the University, about 1473. Lebrixa had studied for ten
+years in Italy. He was opposed by the Sevillian clergy, who claimed sole
+authority in instruction; but fortunately Lebrixa found favour with
+influential persons, and so contrived to save himself from persecution.
+Queen Isabella had lessons from the learned Lebrixa, who may be called
+the Erasmus of Spain. But the royal tutor narrowly escaped the awful
+punishments of the Holy Tribunal, under Deza, Archbishop of Seville, and
+successor of Torquemada. The Inquisitor-General commanded the
+manuscripts of Lebrixa to be seized, and accused him of heresy for
+making corrections on the text of the Vulgate, and for his exposition of
+passages of Scripture.
+
+'The Archbishop's object,' wrote Lebrixa in an Apologia, 'was to deter
+me from writing. He wished to extinguish the knowledge of the two
+languages on which our religion depends; and I was condemned for
+impiety, because, being no divine but a mere grammarian, I presumed to
+treat of theological subjects. If a person endeavour to restore the
+purity of the sacred text, and points out the mistakes which have
+vitiated it, unless he will retract his opinions, he must be loaded with
+infamy, excommunicated and doomed to an ignominious punishment!'
+
+'Is it not enough that I submit my judgment to the will of Christ in the
+Scriptures? Must I also reject as false what is as clear and evident as
+the light of truth itself? What tyranny! to hinder a man, under the most
+cruel pains, from saying what he thinks, though he express himself with
+the utmost respect for religion! to forbid him to write in his closet or
+in the solitude of a prison! to speak to himself, or even to think! On
+what subject shall we employ our thoughts, if we are prohibited from
+directing them to those sacred oracles which have been the delight of
+the pious in every age, and on which they have meditated by day and by
+night.'
+
+Lebrixa here eloquently announces the right of the layman to translate
+the Scriptures and to expound religion. He claims that liberty of
+inquiry and of speech which belongs to every man. His case is typical of
+the vast difficulties that encompassed all thinkers of his age.
+
+Science and letters were not only hindered by the Church. Some of the
+kings of Spain were hostile towards learning, while others were
+apathetic. Carlos IV. instructed his Prime Minister to inform the heads
+of universities that 'what His Majesty wanted was not philosophers, but
+loyal subjects.' It was no uncommon custom of the inquisitors to enter
+private libraries, and to carry away such books as they considered
+heretical or dangerous.
+
+In Seville, therefore, as elsewhere throughout Spain, institutions
+tended to crush out the genius of authors, and to discourage philosophy
+and science. We cannot wonder that Emilia Pardo Bazan, a modern Spanish
+writer, should say: 'Perhaps our public is indifferent to literature,
+especially to printed literature, for what is represented on the stage
+produces more impression.' It has also been said that the upper classes
+of Madrid would rather spend their money on fireworks or on oranges than
+on a book.
+
+But Spain possesses to-day four or five gifted novelists, who give their
+readers true pictures of modern life and manners. Valdes and Galdos are
+social influences. Their books are eagerly read and discussed by the
+young intellectual spirits in whose earnestness lies the hope of Spain.
+
+
+
+
+CHAPTER VIII
+
+_The Artists of Seville_
+
+BY C. GASQUOINE HARTLEY
+
+     'Beauty, like all other qualities presented to human experience, is
+     relative.'--WALTER PATER.
+
+
+'The art of Spain was, at the outset, wholly borrowed, and from various
+sources: we see heterogeneous, borrowed elements assimilated sometimes
+in a greater or less degree, frequently flung together in illogical
+confusion, seldom, if ever, fused into a new harmonious whole by that
+inner welding fire which is genius; and we see in the sixteenth century
+a foreign influence received and borne as a yoke, because no living
+generative force was there to throw it off; and finally we meet this
+strange freak of nature--a soil without artistic initiative bringing
+forth the greatest initiator in modern art--Diego Velazquez.'
+
+These words, which form a portion of the address delivered by the late
+Lord Leighton to the students of the Royal Academy Schools, in the year
+1889, epitomise the salient points in the artistic history of Seville.
+An almost impenetrable gloom shadows the early records of her art. Only
+one work remains to testify to the skill of her artists, during the
+thirteenth century. This is a rare old Bible, written on vellum and
+richly illuminated. It was transcribed for Alfonso, the Wise, by Pedro
+de Pampeluna, in the thirteenth century, and its numerous miniatures
+represent the pristine efforts of the Sevillian school of painting.
+
+During the fourteenth and fifteenth centuries, the artists of Seville
+were wholly dominated by the Flemish school. The great master of the Low
+Countries, Jan van Eyck, visited the Peninsula, and from that time the
+Flemish influence continued to increase in potency. Flemish works of art
+were largely imported into Spain, and three Flemish artists, according
+to Professor Carl Justi, were employed in the court of Isabella la
+Catolica. The Gothic characteristics of the Northern school are manifest
+in all the pictures of this period. They may be readily recognised by
+their long lean figures, their definite, almost harsh outlines, and
+their rich colours, which are frequently embellished with gold.
+
+The pictures painted during these years bear little trace of Italian
+influence, although we know that in the year 1466 a Florentine painter,
+Dello, who belonged to the school of Giotto, was living in Seville. No
+authentic works from his hand remain, but he amassed great wealth, as a
+proof of which we are told that he always painted in an apron of stiff
+silk brocade.
+
+Many of these paintings, dating to the fourteenth and fifteenth
+centuries, bear no signature. They are classified without distinction as
+the _Escuela Flamenca_, and the Spaniards apparently regard them with
+scant reverence. They are all interesting, while many of them possess
+great charm, and reveal well-developed artistic power. The Gothic
+influence is dominant, but a distinctly Spanish tendency can frequently
+be discerned. Local dress and customs are often depicted, and the
+pictures are executed with the relentless vigour, which is the specific
+characteristic of the early Spanish school. Examples of these
+Hispano-Flemish pictures will be found in the Museo, in the _Cap de
+Santa Ana_ and the _Cap de la Antigua_, in the Cathedral, and in many of
+the churches.
+
+The earliest Sevillian artist of whom we have any distinctive record is
+Juan Sanchez de Castro, who lived in the city from 1454 to 1516. Sir W.
+Stirling-Maxwell calls him 'the morning star of the school of
+Andalusia.' He quickly absorbed the Flemish influence, and his works are
+wholly Gothic, both in conception and manner of treatment. No details of
+his life are extant, but the wreckage of time has spared his work, and
+we can still study both a fresco and a panel painting executed by his
+hand.
+
+In the Church of San Julian, situated in the _plaza_ of that name, is a
+giant San Cristobal, painted by Sanchez in 1484. It is executed in
+tempera upon the wall of the church, close to the principal entrance.
+The figure of the saint is of enormous size, entirely subordinating the
+remainder of the composition, thus producing an effect of exaggeration
+and lack of proportion. The fresco has unfortunately been repainted, and
+little of the old master's work remains, except his signature and the
+date 1484.
+
+Of infinitely greater value is his painting on panel, preserved among
+the pictures collected by the late Senor D. Manuel Lopez Cepero, which
+may now be seen in the house of Murillo, described elsewhere in these
+pages. The picture is painted upon a panel of wood, covered with canvas
+and carefully prepared plaster, as was the manner of the early masters,
+who did none of their work hurriedly, and devoted much time to the
+painstaking preparation of their materials. The picture may be regarded
+as a typical instance of the Hispano-Flemish manner. The conventional
+grief, symbolised by the drooping eyelids, falling tears and set
+countenances of the women; the harsh outlines; the extreme length of the
+reclining figure of the Christ, all bear the imprint of the Gothic
+school. The picture deserves much study. Its decorative proportions,
+extreme simplicity and harmony of colour can hardly be praised too
+highly. It is a meritorious herald of the work of the Sevillian artists.
+
+Juan Nunez, the pupil of Sanchez, continued to imitate the manner of his
+master. His finest work is a composition, representing the _Pieta_. It
+was painted for the Chapter of the Cathedral, during the latter half of
+the fifteenth century, and now hangs in the _Sacristia de los Calices_,
+where many of the choicest treasures of art are preserved. The Virgin
+supports the dead body of the Christ; St. Michael and St. Vincent are at
+her side, while kneeling ecclesiastics pray below. The Flemish manner
+still prevails, and the Gothic stiffness of the Saviour's figure bears a
+strong resemblance to the work of Sanchez. Cean Bermudez praises the
+picture very highly, and states that it is not inferior to Albert Duerer
+in colour and arrangement of the drapery. Like many of the early
+religious painters, Nunez appears to have been destitute of a sense of
+humour, and in a picture of St. Michael and St. Gabriel, painted for the
+Chapter of the Cathedral, he depicted the saints adorned with
+gaily-coloured peacocks' wings.
+
+The Hispano-Flemish manner was perfected by Alezo Fernandez, who came
+from Cordova, in 1525, to work in Seville Cathedral. Lord Leighton
+considers him 'the most conspicuous among the Gothic painters,' and
+without doubt, his work marks a further advancement in the development
+of the Andalusian school. It bears testimony to advancing knowledge. For
+the first time we perceive clearly the growth of a distinctive Spanish
+style. The Flemish manner is still strongly visible, but from out of
+this eclecticism emerges that forceful effort after truth and natural
+expression, which is the conspicuous characteristic of the Spanish
+school. His finest picture is the Virgen de la Rosa, in the Church of
+Santa Ana, at Triana. The charm of this work is very great. The mellow
+splendour of its tones, and the lofty spirit in which it is conceived
+render it a study of high merit. Other pictures by this master may be
+seen in the Palacio Arzobiscopal, where hang the Conception, the Birth
+of the Virgin, and the Purification, three works of great interest; and
+in the Church of San Julian, where there is a fine altar-piece. The
+figure of San Pedro depicted upon the left of the composition is one of
+the ablest; beside him is San Antonio, while San Julian and San Josef
+stand upon the left. Over the altar are representations of the
+Incarnation and the Crucifixion.
+
+During the opening years of the sixteenth century a new influence from
+without was imposed upon the Spanish school of painting. The Italian
+Renaissance extended to Spain, and this movement, which in Italy
+produced the brilliant group of the _quatrocentisto_, fell upon the
+artistic genius of Spain as a deadening blight. It was alien to the
+temper of the Spanish nation. The simple, truthful directness of their
+early mode was forgotten; gradually their art became steeped in a
+hopeless mannerism.
+
+Luis de Vargas, who was born in Seville in 1502, was the first
+Andalusian artist, whose work testifies to the Italian influence. He
+spent many years studying in Italy. He was a devout Catholic, and like
+all the artists of Seville was supported by the munificence of the
+Chapter of the Cathedral. Unfortunately his frescoes, upon which his
+reputation, according to Cean Bermudez, largely rested, have been almost
+entirely obliterated. Dim traces of them may be seen upon the Giralda
+Tower, and upon the outer wall which encloses the Court of the Oranges;
+but it is impossible to appraise the work of De Vargas from these
+time-spoilt relics.
+
+Of his panel paintings only a small number have been preserved. They are
+simple, yet powerful in design; the colour is fresh, and the drawing is
+good. They are specially noteworthy for the charm with which women are
+portrayed, a characteristic unusual among the artists of Spain. The
+earliest known work of De Vargas was The Nativity, which was painted for
+the Chapter of the Cathedral, in 1555, and placed over the Altar del
+Nacimiento, where it still hangs. Sir W. Stirling-Maxwell says that the
+figure of the Virgin, as she stands gazing upon her babe, 'bears a
+simple dignity not unworthy of Raphael.' The grouping of the figures is
+admirable. Notice especially the peasant, as he kneels and offers his
+basket of young doves. The care bestowed upon the execution of the
+details shows that De Vargas had not yet forgotten the example of the
+early masters. The goat, the sheaf of corn, the Spanish pack-saddle, all
+the accessories are painted with Flemish accuracy.
+
+The Temporal Generation of our Lord, in the south transept of the
+Cathedral, adjacent to the colossal figure of San Cristobal, is
+generally considered the masterpiece of Luis de Vargas. It is an
+allegorical composition, representing Adam and Eve adoring the infant
+Christ, who rests in the arms of the Virgin. The picture is lacking in
+charm, but the figures are finely conceived, and executed with power.
+Indeed, the life-like drawing of Adam's leg has given the picture its
+name of _La Gamba_ (the leg). It is reported that the Italian Perez de
+Alesio, the painter of the giant San Cristobal, exclaimed when gazing
+upon his handiwork, 'The whole of my figure is of less merit than the
+leg of Adam.'
+
+Greater than Luis de Vargas was the Flemish painter Pedro Campana, who
+came to Spain and settled in Seville in the year 1548. He had spent many
+years in Italy, studying in Rome, and his pictures bear the impress of
+a combined Flemish-Italian influence. He stayed in Seville for
+twenty-four years, and is always identified with the artists of
+Andalusia. His finest picture, The Descent from the Cross, was painted
+for the Church of Santa Cruz in the year he came to Seville, 1548. The
+strength and realism of this work are truly majestic. It is, without
+doubt, the finest picture painted by the Italian mannerists in Seville.
+It exerted great influence upon the artists of a later day. Pacheco
+declared that its realism was so overmastering that he did not care to
+be left alone with it in the dimly-lighted chapel. Murillo spent long
+hours in earnest contemplation of the picture. He was wont to perform
+his devotions before it, and once, when asked why he sat watching the
+picture so intently, he is reported to have answered, 'I am waiting
+until those men have brought the body of our Blessed Lord down the
+ladder.' It was beneath this picture that the favourite master of
+Seville chose to be buried. The picture now hangs in the _Sacristia
+Mayor_ of the Cathedral. It was rescued from the Courts of the Alcazar,
+where it had been wantonly flung by the French, during the War of
+Independence, and tolerably restored by Joaquin Cortes, in 1882.
+
+Seville contains many other works by the Flemish master. In the _Cap de
+Mariscal_, in the Cathedral, is a very beautiful Purification of the
+Virgin. The charm and simple grace of the fair-haired maiden, who stands
+upon the left of the picture, contrasts vividly with the form of the
+beggar beneath. The half-length portraits of the Mariscal Don Pedro
+Cabellero and family, which also hang in the chapel, are individual and
+life-like. There is little trace of Italian influence in the rendering
+of these figures; they are all painted with Flemish carefulness. Other
+works of Campana may be seen in the Church of San Pedro and the Church
+of Santa Ana, at Triana. The individuality of Campana can hardly be too
+strongly emphasised. His pictures possess many of the essential and
+distinctive attributes, which characterise the work of the greatest of
+the Sevillian artists.
+
+Contemporary with Luis de Vargas and Pedro Campana--the masters of the
+early Italian mannerists--worked a group of artists of lesser fame.
+Antonio de Arfian, 1537-1587, a native of Triana, painted frescoes for
+the parish church of St. Mary Magdalen. Juan Bautista Vasquez, in 1568,
+executed an altar-piece for the Church of Our Lady of the Pomegranate,
+in the Court of the Oranges; and other works since destroyed, for the
+Cathedral. Alonso Vasquez painted many pictures for the Cathedral and
+the Convents of St. Francis and St. Paul. The few of these works which
+remain may be seen in the Museo, where they hang neglected, fast rotting
+in their frames. These artists closely imitated the style of De Vargas.
+
+More individuality is revealed in the works of Pedro Villegas Marmolego,
+1520-1597, an artist whose pictures are extremely rare. The Virgin
+visiting Elizabeth, which hangs over the _Altar de la Visitacion_ in the
+Cathedral, is a good example of his work, and displays his charm as a
+colourist. The garments of both the Virgin and Elizabeth are beautiful
+with radiant harmony. The works of Francesco Frutet--like Campana a
+Flemish artist trained in Italy, who came to Seville, about the year
+1548--will be noticed in the account of the Museo.
+
+Another foreigner, who worked in Seville during this period, was
+Sturmio, probably a German, who, in 1554, painted nine pictures on panel
+for the _Cap de los Evangelistas_, in the Cathedral. These studies are
+important, for they afford the earliest instance of the fine brown
+tones distinctive of the Sevillian school. The central picture depicts
+St. Gregory saying Mass, while around him are grouped the fourteen
+evangelists, and the saints of the city. Santas Justa and Rufina, the
+holy maids, frequently portrayed by the artists of Seville, are among
+the best.
+
+The work of all these artists, who may be classified as the early
+Italian mannerists, reveals a distinctive personality. The individuality
+of the artist constantly breaks forth, through the strong Italian bias,
+while traces are often revealed of the truthful expression of the early
+Hispano-Flemish mode.
+
+As the sixteenth century drew to its close, the tendency to adopt a
+style of affected mannerism was largely augmented in the work of the
+artists of Andalusia, the result being a corresponding loss of national
+individuality. All that was essentially Spanish was for the time
+forgotten, submerged in an imported Italianism. The pictures of these
+later mannerists are dreary and almost entirely without interest. Their
+work may be readily identified by the conventional conceptions, the flat
+tones, the dry, hard colours, and the utter lack of that element of
+charm, so essential to all works of art.
+
+Juan del Castillo, 1584-1640, and Francisco Pacheco, 1571-1654, may be
+regarded as types of this phase in the record of Andalusian art. Their
+reputation rests largely upon the renown of their pupils. Juan del
+Castillo was the master of Murillo and Alonso Cano, and the chief
+interests incited by the study of his work, rests in tracing the
+influence he may have exercised in moulding the work of the Sevillian
+favourite. His best picture is the Assumption, in the Museo, in which
+the figure of the Virgin has some merit.
+
+Francisco Pacheco, the father-in-law and devoted teacher of Diego
+Velazquez, claims our attention as an individual, rather than as an
+artist. He painted innumerable pictures, which may still be viewed in
+the Cathedral, the churches and the Museo, but none rise above the level
+of mediocrity. They are carefully executed and rarely offend the rules
+of drawing, but they are all hopelessly 'mannered,' and entirely devoid
+of individual imagination.
+
+We owe a debt of gratitude to Pacheco for his _Arte de la Pintura_, a
+treatise upon the principles of art, and the lives of the artists of
+Spain, published in Seville in 1649. In style the work is pompous and
+prolix, and often very tedious, but as a record of the lives of the
+Sevillian artists it possesses great value. Pacheco was the Inquisitor
+of Art, or Familiar of the Inquisition. His authority under the Holy
+Office was great, and it was his duty to see that no indecorous or
+indecent pictures found their way into the churches. Here is a copy of
+the commission which was granted to him: 'We give him commission and
+charge him henceforward that he take particular care to inspect and
+visit all sacred subjects which may stand in shops or in public places;
+if he finds anything to object to in these he is to take the picture
+before the Lords, the Inquisitors.'
+
+The degraded Italian taste was carried to its uttermost limits by
+Herrera El Mozo (the younger), 1622-1625, who, by a strange anomaly, was
+the son of the man, who was the first to break completely away from the
+trammels of the pseudo-Italian manner. His works may be viewed in the
+Cathedral and the Museo; they instance the degradation which had been
+brought upon the art of Seville, by the unintelligent adoption of an
+alien style.
+
+It is a relief to revert to the work of those men, whose sturdy Spanish
+spirits refused to bend beneath the yoke of conventional tradition. The
+work of the cleric, Juan de la Roelas, 1560-1625, bears little, or no,
+trace of the degenerate pseudo-Italianism, although his pictures are not
+exempt from foreign influence. They are Venetian in colour, soft, yet
+free, in their drawing. They exhibit many of the features, afterwards
+amplified in the work of Murillo. His finest composition is the Death of
+San Isidore, in the parish church, dedicated to that saint. The theme of
+the picture is the transit of the holy man, Archbishop of Seville,
+during Gothic days. Many figures fill the canvas, but with true artistic
+unity, the interest is centralised upon the dying saint, who rests upon
+the ground, clad in dark mantle and finely-painted pontifical robes.
+Subtle discernment is manifested in the grouping of the figures. The
+aged fathers are thrown into distinct relief, by the youthful bloom of
+the children who kneel beside them. The shadowy forms of the
+worshippers, as they kneel in the receding aisles of the church, lend
+atmosphere to the study. The heavens are depicted above, and in the
+midst of a blaze of glowing light, the Virgin awaits with Christ, the
+coming of the saint.
+
+San Santiago, destroying the Moors in the battle of Clavigo, which hangs
+in the Cathedral, affords another fine instance of the work of Roelas.
+Three more of his pictures may be seen in the University--The Holy
+Family, The Nativity, and the Adoration of the Shepherds, while several
+hang in the Museo. A figure of a black-robed kneeling saint, in the Holy
+Family, is said to be the portrait of Roelas.
+
+Francisco de Herrera, 1575-1656, termed, el Viego (the Elder) to
+distinguish him from his son, possessed a character of unusual vigour.
+The traditions which have survived, reveal the temper of the man. His
+methods were eccentric. He worked with a dashing pencil, and it was his
+custom to employ any implement, which presented itself as convenient. It
+is reported that upon one occasion, when short of a brush, he painted a
+picture with a spoon. His fame induced numerous artists--the young
+Velazquez being among them--to seek his studio; but his irascibility was
+so great that few of them remained. He broke many a maul-stick across
+their shoulders, and frequently he was left without a single pupil to
+execute his mandates.
+
+It is said that one day, when this had occurred, he rushed into the
+kitchen, and insisted upon the serving-maid becoming his attendant; and
+amidst oaths and blows, he forced the trembling girl to prepare a canvas
+for the composition he desired to execute. His turbulent spirit led him
+into difficulties, and he was accused--whether falsely or not it is now
+impossible to say--of coining money. To escape punishment he sought
+sanctuary in the College of the Jesuits, where he painted the Legend of
+St. Hermingild, now in the Museo. In the year 1624 Philip III. came to
+Seville, and visited the college. In common with all the house of
+Austria, the King had a fine appreciation of art, and when he saw the
+work of Herrera, he at once recognised its merits, and desired to see
+the artist. Herrera knelt at the King's feet, and told the reason of his
+confinement in the convent. 'What need of silver and gold has a man
+gifted with a talent like yours? Go, you are free,' was the answer of
+the King.
+
+Such was the nature of the man, whose cogent individuality
+re-established a national Spanish style. His pictures are distinguished
+for their vigorous force. Sir W. Stirling-Maxwell calls him 'the most
+remarkable of the painters, who learnt their art solely in Andalusia';
+while Palomino, often termed the Spanish Vasari, says that the boldness
+of his manner conveys to his figures the appearance of being painted in
+relief. Several of his pictures are now in the Museo; the Cathedral
+possesses none, but there is one in the Church of San Bernardo, which,
+in spite of dirt and dim lighting, affords a fine instance of the power
+of Herrera. In the upper portion the Lord is shown with a band of
+attendant angels, while below St. Michael divides the sinful from the
+righteous. The canvas is overcrowded; a fault in which the majority of
+the compositions of Herrera share, and the form of St. Michael is
+somewhat uncouth, but the picture is full of power, and many of the
+figures, especially among the hosts of the wicked, are drawn with a fine
+freedom of handling.
+
+Francisco de Zurbaran, a peasant, born in Estremadura, in the year 1598,
+was the veritable follower of Herrera. His work more fully than that of
+any other artist typifies the genius of Spain. Lord Leighton speaks of
+him 'as a man of powerful personality, in whom more than any of his
+contemporaries, the various essential characteristics of his race were
+gathered up--its defiant temper, its dramatic bent, its indifference to
+beauty, its love of fact, its imaginative force, its gloomy fervour, its
+poetry, in fact, and its prose.'
+
+He was the pupil of Juan de las Roelas, but his work soon eclipsed that
+of his master. From the very first he cast from him all mannered
+tradition, and determined unflinchingly to follow natural methods. He
+copied all objects directly from Nature, and while still a lad working
+in the studio of Roelas, he refused to paint drapery, without having it
+placed upon a lay figure to represent the living model. He has been
+termed the Spanish Caravaggio from his strict adherence to Nature, and
+his delight in breadth and strong contrasts of light and shadow. As he
+saw Nature thus he painted her, without desire to soften or to
+idealise. His one purpose was to portray conscientiously the exact
+impression of the objects he beheld. And for this reason he may be
+designated the herald of Velazquez. His pictures lack the facility, the
+charm and the impelling force of the great master; but in their
+adherence to Nature and strict nationality of style they are in nowise
+inferior. The Adoration of the Shepherds, the fine picture in our
+National Gallery, formerly ascribed to Velazquez, is now held to be the
+work of Zurbaran. His colour is above all praise; his tints, although
+sombre, have at times, as Sir W. Stirling-Maxwell justly remarks, 'the
+depth and brilliancy of Rembrandt.'
+
+His earliest work was a series of pictures, illustrative of the life of
+the Apostle Peter, which he painted for the Chapter of the Cathedral.
+They may still be inspected in the _Cap de San Pedro_, but unfortunately
+the deficiency of light renders it well-nigh impossible to see them.
+
+The celebrated Death of St. Thomas Aquinas, and the remarkable series of
+pictures, painted for the Chartreuse monks of Santa Maria de las Cuevas,
+are now in the Museo.
+
+For the Church of the Hospital del Sangre he painted eight small
+pictures of female saints. They are portraits of the beauties who
+reigned in the city during the life of Zurbaran, and are among the most
+charming of the pictures of women to be found in Seville. Especially
+mark Santa Matilda in her crimson robe, embroidered with gold and
+pearls, Santa Dorotea in lilac, and Santa Ines in purple, and bearing a
+lamb in her arms.
+
+The fame of Zurbaran was overshadowed by Murillo, who became the central
+figure in the artistic life of Seville, during the latter half of the
+seventeenth century.
+
+The position Murillo occupies in the record of Andalusian art is so
+significant, that it appears fitting to notice his work, and that of his
+brilliant contemporary Velazquez, in a separate chapter; and to conclude
+this brief chronicle of the Sevillian artist with two names--Alonso Cano
+and Juan de Valdes Leal, the last painters of Andalusia, whose work is
+worthy of special note.
+
+Alonso Cano, 1601-1667, was not born in Seville, but came to the city,
+when quite young, to receive instruction from Pacheco and Juan de
+Castillo. He painted pictures for the Carthusians, and the other
+convents and churches, but a duel, fought with a brother artist, in
+1639, drove him from the city. The finest instance of his work in
+Seville is Our Lady of Bethlehem, in the Cathedral. It was painted in
+Malaga for Senor D. Andres Cascentes, who presented it to Seville. The
+light is dim, and it can only be seen by the glow from the tapers which
+burn upon the altar. It is somewhat conventional in treatment, and bears
+distinct traces of Italian mannerism. Yet the picture is not without
+charm, and the Spanish national note is not entirely absent. The hands
+and feet are painted with extreme care, and the crimson robe and
+dark-blue mantle of the Virgin are exquisite in colour. The picture may
+be regarded as typical of his work. One of his chief faults was
+repetition, and he was frequently accused by his contemporaries of
+copying from the works of other masters; a charge which he is said to
+have challenged, with the following answer: 'Do the same thing, with the
+same effect as I do, and all the world will pardon you.' His power as an
+artist has been somewhat over-estimated, and his claim to be called 'the
+Michelangelo of Spain' rests solely upon the fact that he was sculptor
+and architect as well as painter.
+
+Juan de Valdes Leal, 1630-1691, lived until the time when Andalusian
+art was fast approaching its decline. His early life was embittered by
+jealousy of Murillo, and much of his energy was expended in useless
+quarrels with his brother artists. His pictures are mannered, but the
+best are vigorous, and their main defects are due to hasty execution. He
+appears to have had no power to finish his work; when he tried to be
+careful he became weak. The Museo contains many of his pictures. The
+Virgin bestowing the Chasuble on San Ildefonso in the _Cap de San
+Francisco_, in the Cathedral, is one of his finest works. The two
+pictures in the Hospital de la Caridad were painted to illustrate the
+vanity of worldly grandeur. They are theatrical, and have little
+'literary' attraction, but the execution exhibits a certain power. In
+one of them a hand holds a pair of scales, in which the sins of the
+world--represented by bats, peacocks, serpents and other objects--are
+weighed against the emblems of Christ's Passion; in the other, which is
+the finer composition, Death, with a coffin under one arm, extinguishes
+a taper, which lights a table spread with crowns, jewels and all the
+gewgaws of earthly pomp. The words _In Ictu Oculi_ circle the gleaming
+light of the taper, while upon the ground rests an open coffin, dimly
+revealing the corpse within.
+
+It was this picture which caused Murillo to remark that it was something
+to be looked at with the nostrils closed. To which rather uncertain
+praise Leal is reported to have replied, 'Ah, my compeer, it is not my
+fault, you have taken all the sweet fruit out of the basket and left me
+only the rotten.'
+
+With the death of Valdes Leal, at the close of the seventeenth century,
+the long chain of artists, who had made the name of Seville famous,
+terminates. He left behind him no painter of specific merit. The artists
+who remained were dreary conventionalists, without originality, mere
+copyists of those who had preceded them. The study of their work yields
+neither pleasure nor profit. It is better to leave the record of the
+artists of Seville, while the memory of her greatest masters is still
+vivid, than to trace the slow decay of her art into feeble mediocrity.
+
+       *       *       *       *       *
+
+_Note._--In order to facilitate the finding of the works of the artists
+mentioned in this chapter, this list is appended, naming their chief
+pictures, and the places where they may be found.
+
+   Artists.                 Pictures.               Where Situated.
+
+  Pedrode Pampeluna        Illuminated Bible.      Library of the Cathedral.
+   (thirteenth century).
+
+  Juan Sanchez de          Fresco of San           San Julian.
+   Castro (1454-1516)       Cristobal.
+          "                Painting on panel       House of Murillo.
+                            of the Entombment.
+
+  Juan Nunez (fifteenth    Pieta.                  Sacristia de los
+   century).                                        Calices, Cathedral.
+
+  Alezo Fernandez          Conception.             Palacio Arzobiscopal.
+   (worked in Seville
+   about 1508).
+          "                Birth of the Virgin.    Ditto.
+          "                Purification.           Ditto.
+          "                Virgen de la Rosa.      Santa Ana, Triana.
+          "                Altar-piece.            San Julian.
+
+  Luis de Vargas           Frescoes.               The Giralda Tower.
+   (1502-1568).                                     Outer Wall of the
+                                                    Court of the Oranges.
+          "                The Nativity.           Altar del Nacimiento,
+                                                    Cathedral.
+          "                Temporal Generation     Altar de la Gamba,
+                            of Our Lord.            Cathedral.
+          "                Portrait of Don         Ditto.
+                            Juan de Medina.
+
+  Pedro Campana            The Descent from        Sacristia Mayor,
+   (1503-1580).             the Cross.              Cathedral.
+          "                Purification of the     Cap de Mariscal,
+                            Virgin.                 Cathedral.
+          "                Portraits.              Ditto.
+          "                Altar-piece.            San Pedro.
+          "                Retablo, with           Santa Ana, Triana.
+                            fifteen paintings.
+
+  Antonio de Arfian       Frescoes on the          St. Mary Magdalen,
+   (1537-1587).            History of St.           Triana.
+                           George.
+
+  Juan Bautista Vasquez   Altar-piece.             Altar of Our Lady of
+   (worked in                                       the Pomegranate,
+   Seville about 1568).                              Court of the
+                                                    Oranges.
+
+  Alonso Vasquez          Various works.           Museo.
+   (_d._ 1648).
+
+  Pedro Villegas          Virgin visiting          Altar de la Visitacion,
+   Marmolego               Elizabeth.               Cathedral.
+   (1520-1597).
+          "               Doubtful Works.          Museo.
+
+  Francesco Frutet        Several Works.           Museo.
+   (worked in Seville
+   about 1548).
+
+  Sturmio (worked in      St. Gregory saying       Cap de los Evangelistas,
+   Seville about 1554).    Mass.                    Cathedral.
+          "               Evangelists.             Ditto.
+          "                Saints.                 Ditto.
+
+  Herrera, el Mozo        Several Works.           Cathedral.
+   (1622-1685).
+          "                     "                  Museo.
+
+  Juan de las Roelas      Martyrdom of St.         Museo.
+   (1560-1625).            Andrew.
+          "               Other works.             Ditto.
+          "               Death of San             San Isidore.
+                           Isidore.
+
+  Juan de las Roelas       San Santiago.           Cap de Santiago,
+   (1560-1625).                                     Cathedral.
+          "                Holy Family.            The University.
+          "                Nativity.               Ditto.
+          "                Adoration of the        Ditto.
+                            Shepherds.
+
+  Herrera, el Viego        Legend of St.           Museo.
+   (1576-1656).             Herminigild.
+          "                Other works.            Ditto.
+          "                St. Michael and the     San Bernardo.
+                            Hosts of the Wicked.
+
+  Juan de Castillo         Assumption.             Museo.
+   (1584-1640).
+          "                Other pictures.         Ditto.
+          "                Virgin and Child.       House of Murillo.
+          "                Other works.            The Churches.
+
+  Francisco Pacheco        Many works.             Museo.
+   (1571-1654).
+          "                     "                  House of Murillo.
+          "                     "                  Cathedral.
+          "                     "                  Churches.
+
+  Francisco de Zurbaran    Legend of St.           Cap de St. Pedro,
+   (1598-1661).             Pedro.                  Cathedral.
+           "               Death of St.            Museo.
+                            Thomas Aquinas.
+           "               Other works.            Ditto.
+           "               Eight Female            Hospital del Sangre.
+                            Saints.
+
+  Alonso Cano              Our Lady of             Altar de la Virgin
+   (1601-1667).             Bethlehem.              de Belen, Cathedral.
+
+  Juan de Valdes Leal      San Ildefonso.          Cap de St. Francisco,
+   (1630-1691).                                     Cathedral.
+          "                Pictures illustrating   Hospital de la
+                            the vanity              Caridad.
+                            of worldly grandeur.
+          "                Many works.             Museo.
+
+
+
+
+CHAPTER IX
+
+_Velazquez and Murillo_
+
+     'The more the artist studies Nature, the nearer he approaches to
+      the true and perfect idea of art.'--Sir J. REYNOLDS.
+
+
+On the 15th of June, in the year 1599, Diego Rodriguez de Silva y
+Velazquez was born in Seville. Eighteen years later affords the record
+of birth of Murillo. Contemporary, or nearly so, they began their lives
+in the same environment, yet from their earliest youth they tended to
+develop upon divergent lines. The young Velazquez, at the age of
+thirteen, became the pupil of the vigorous Herrera, while Murillo
+entered the school of the academic Juan de Castillo.
+
+It was reserved for Velazquez to break away from the traditional
+limitations of the Sevillian school, while the work of Murillo was to
+develop them to their fairest fruition.
+
+The national manner, begun by Herrera and developed by Zurbaran, was, by
+the genius of Velazquez, carried to perfect fulfilment.
+
+The grave and truthful simplicity of his pictures is unsurpassed among
+the artistic records of any nation. His supreme effort was directed to
+the portrayal of Nature. With unerring judgment he selected the
+essential details of a composition, and painted them with unflinching
+fidelity. He depicted each colour precisely as the lighting of his
+canvas revealed it to him. He is the master of chiaroscuro, by the
+perfect unity of his tones. His style is wholly personal, his pictures
+bear pre-eminently the mark of individual expression. From his earliest
+youth this was his method of work. 'He kept,' Pacheco tells us, in the
+account he gives of his pupil and son-in-law, in his _Arte de la
+Pintura_, 'a peasant lad, as an apprentice, who served him as a study in
+different actions and postures--sometimes crying, sometimes
+laughing--till he had grappled with every difficulty of expression; and
+from him he executed an infinite variety of heads, in charcoal and chalk
+on blue paper, by which he arrived at certainty in taking likeness.' In
+this way did Velazquez train his power; and we are able to comprehend
+the wonderful portraits, which have rendered the House of Austria
+familiar to the world, when we picture the youth drawing his slave,
+again and yet again, in different attitudes and ever varied changes of
+expression.
+
+This, then, was the divergence between the methods of Velazquez and
+Murillo. The one painted Nature as she was; the other depicted men and
+women as they never could be, but in the guise of saints, according to
+the desires of the Catholic Church. It is in this dis-similarity of
+their aims, that we shall find the explanation of the fact, which cannot
+fail to impress the visitor to Seville, that, while the city abounds in
+the works of Murillo, no single picture from the hand of Velazquez is to
+be found in Cathedral, Church or Museo. The city of his birth is
+destitute of any commemoration of his genius, if we exclude a few
+pictures, of very doubtful authenticity, to be found in some of the
+private collections.
+
+The art of Seville was maintained by the munificence of the Church.
+Painting was the handmaid of the Catholic religion. Pictures were
+painted for the glory of God; they were valued as aids in the due
+performance of religious observance rather than as works of art. For
+the artist whose supreme desire was to follow truth Seville was no home.
+Realism was opposed to the very essence of the Catholic mind. The
+mediaeval spirit did not exist in Velazquez, the most modern of all the
+old masters; he yearned for a freer and wider scope for the development
+of his genius.
+
+In March, 1621, Philip III. died, and was succeeded by his young son,
+Philip IV., who at once began to collect about the throne the literary
+and artistic genius of the day.
+
+Accompanied by Pacheco, Velazquez went to Madrid and craved an audience
+of the King. The favour was denied, and after some months of waiting,
+the young artist returned to Seville. Next year he again sought the
+metropolis. One of the Canons of Seville Cathedral, Don Juan Fonseca,
+had obtained a post in the King's service; Velazquez painted his
+portrait. It was carried to the palace before it was dry, and in an hour
+the whole court had seen it. 'It excited the admiration of the capital,'
+writes Pacheco, exulting in the success of his favourite, 'and the envy
+of those of the profession, of which I can bear witness.' Velazquez's
+position was assured. He was formally received into the King's service,
+and became a member of the royal household. His genius was lost to
+Seville. He is classed among the artists of Castile, and to study his
+works it is necessary to visit, not Seville, but the Prado Museo, at
+Madrid.
+
+Of the pictures he painted in his youth none remain in Seville. The most
+famous are The Water Carrier, or Aguador, now in the collection of the
+Duke of Wellington, at Apsley House; The Omelet belonging to the late
+Sir Francis Cook; St. John in Patmos and The Woman and the Dragon, the
+property of Sir Bartle Frere; The Epiphany in the Prado Museo; and The
+Adoration of the Shepherds in the National Gallery.
+
+The Water Carrier and The Omelet are studies of street life, finished
+with great care; a class of picture known as _bodegones_, often painted
+by the Spanish artists. The former is the finer work. It is a
+magnificent instance of Velazquez's power during his student days.
+
+Either a study for this picture, executed by Velazquez himself, or a
+copy by one of his pupils, can be seen in the house of Murillo. The
+courteous owner, Senor Don Lopez Cepero, is always willing to show his
+valuable collection of pictures. He believes the work to be a genuine
+Velazquez, and it is just possible that it may be so, and in any case it
+is a study of much interest. The Corsican water-seller, clad in his
+brown frock, a well-known figure in the streets of Seville, hands a
+glass of water to a boy, while in the distance another figure is dimly
+discerned, with his face buried in an earthenware mug. The background is
+very dark; the figures alone stand in the light. There is no scenery,
+and the accessories are painted with absolute truth.
+
+       *       *       *       *       *
+
+While the art of Velazquez was unsuited to the city of his birth, the
+works of Murillo breathed the very spirit of the life around him. His
+pictures represent the religious emotion of his period; they may
+fittingly be termed, 'the embodied expression of Spanish Catholicism,
+during the seventeenth century.'
+
+This fact in a large measure accounts for the popularity of Murillo, and
+the rapid recognition which his merits received at the hands of his
+countrymen. His art appealed pointedly to the hearts of the people; the
+expression of his genius was comprehensible to them all. He speedily
+became the favourite artist in Spain, and his fame gradually extended
+throughout Europe.
+
+Murillo's artistic career may be divided into four periods. During the
+first he was needy and unrecognised, gaining a precarious livelihood by
+painting rude pictures for the Feria, a weekly fair, held every Thursday
+at the northern end of the Old Alameda, in front of the Church of All
+Saints. The artistic training he had received was slight. Juan de
+Castillo, who, as a relative of the family, had taught the boy free of
+charge, left Seville, and the young Murillo was too poor to enter the
+schools of Herrera, Pacheco, or Zurbaran. He was obliged to toil with
+strenuous effort to support himself and his sister, who was dependent
+upon him.
+
+We can picture the future genius of Seville, standing in the market of
+the Feria, exposing his pictures for sale. He would often paint them
+while he waited, or would alter each composition to suit the fancy of an
+intending purchaser. Ambitious dreams fired his imagination. Pedro de
+Moya, an artist friend, had been to Rome, and had returned imbued with
+the glories of the metropolis of art. Murillo aspired to visit Italy,
+and with this hope he toiled, until he had saved a sufficient sum to
+take him to Madrid. He at once sought the counsel and protection of his
+old friend Velazquez. The court artist received him with the utmost
+kindness. He gave him lodging in his own apartments, and obtained
+permission for him to work in the Royal Galleries. A new world was
+revealed to the young Murillo. For two years he worked, then Velazquez
+advised him to go to Italy, to continue his studies in Rome, or
+Florence. He offered him letters of introduction, and did all in his
+power to induce him to undertake the journey, but for some reason
+Murillo declined his offer and returned to Seville.
+
+His earliest work was to paint a series of studies of the Legend of St.
+Francis, for the Franciscan Convent, formerly situated behind the Casa
+del Ayuntamiento. They at once assured his fame; the unknown artist
+became the most popular painter in opulent Seville. The only person who
+failed to acknowledge his genius was Francisco Pacheco. Jealous for the
+fame of Velazquez, and unable to forgive the lack of appreciation which
+Seville had tended to his favourite, he makes no mention of Murillo or
+his works, in his _Arte de la Pintura_; a curious omission only to be
+accounted for by private enmity.
+
+None of the Franciscan cycle of pictures are in Seville, and only two,
+The Heavenly Violinist, and The Charity of St. Diego, are in Spain. They
+were carried away by the French during the War of Independence.
+
+The influence of the two years Murillo had spent in Madrid can readily
+be traced in these early paintings. The outlines are distinct and in
+some cases hard; while the tone of the shadows, and the treatment of the
+lights follows the method of the realists, and affords little or no sign
+of the melting indecision of outline, the manner so prevalent in his
+later work. The pictures belonging to this period are said to be painted
+in the _Estilo Frio_, or cold style. The best instance in Seville, is La
+Anunciacion de Nuestra Senora, in the Museo.
+
+In his later work Murillo abandoned the influence of Ribera, Zurbaran,
+Velazquez and the Spanish realists; he developed a manner more personal,
+and more in harmony with the mystic trend of his emotions. His outlines
+became softer, and his forms rounder, while his colour began to assume
+tones of melting transparency. A Spaniard writing of his work at this
+period remarks that his flesh tints seem to be painted '_con sangre y
+leche_' (with blood and milk).
+
+The first picture painted in this manner, which is known as the _Estilo
+Caledo_ (warm style), is Nuestra Senora de la Concepcion, executed for
+the brotherhood of the True Cross, in 1655, for the sum of 2500 _reals_.
+To this period belong the fine portraits of St. Leander and St. Isidore,
+in the _Sacristia Mayor_, of the Cathedral; the Nativity, which formerly
+hung behind the high altar, until it was carried away by Soult; and the
+celebrated St. Anthony of Padua, receiving the infant Christ, still to
+be seen in the _Cap del Bautistero_.
+
+The portraits of St. Leander and St. Isidore are among the finest
+instances of the powers of Murillo. All the accessories are painted with
+the utmost care, and perhaps the only criticism which can be offered is
+that the figures are rather short. These portraits must be classified
+with Murillo's fine _genre_ studies--those charming representations of
+gipsy life and beggar boys, by which he is largely known in this
+country, but of which Seville unfortunately possesses not a single
+example.
+
+The Nativity of the Virgin was received by Seville with a burst of
+enthusiasm. The St. Anthony was painted in 1565, the Chapter paying for
+it the sum of 10,000 _reals_. The light in the dim chapel renders it
+very obscure. A brown-frocked monk kneels at a table, and gazes at the
+Heavenly Child, who descends towards him. Upon the table rests a vase of
+lilies, and the story runs that they were so life-like that the birds,
+flying around the Cathedral, used to come and peck at them, while
+Murillo was engaged in painting them. The picture was restored, and
+almost repainted in 1833, which has doubtless done much to destroy its
+charm.
+
+Shortly after this time Murillo adopted his third and last manner, known
+as "el Vaporoso," in which the outlines are entirely lost, obliterated
+in a misty effect of light and shade.
+
+The first pictures painted in this method were executed for the Church
+of Santa Maria la Blanca, to illustrate the legend of our Lady of the
+Snow. They were carried away by the French and placed in the Louvre; but
+were rescued, and are now in the Academia de Belles Artes, at Madrid.
+The Virgin, appearing to the wife of a Roman senator, and telling her
+where she will find the patch of snow upon which to erect a church to
+her honour, is one of the loveliest of Murillo's conceptions.
+
+The great cycle of pictures for the Hospital de la Caridad were painted
+about this time, being completed between the years 1660 and 1674. Three
+of the pictures stand in their original position, Moses striking the
+Rock, The Miracle of the Loaves and Fishes, and the Charity of St. Juan
+de Dios. The figure of the Prophet, in Moses striking the Rock, Sir W.
+Stirling-Maxwell says, 'is one of impressive dignity.' Clad in pale
+yellow robe and violet mantle, he occupies the central position in the
+picture. Behind him stands Aaron, with mystic breastplate, and robe of
+subdued white. Around the two prophets are grouped numerous figures,
+men, women and children, all quenching their thirst with feverish
+eagerness. This has given the picture its name of La Sed (the thirst).
+The figures bear no resemblance to the men and women of Palestine, they
+are ordinary Spanish peasants, such as Murillo would see in the streets
+around him. This custom of introducing common types into his scriptural
+compositions, Professor Carl Justi considers as one proof of
+Murillo's genius. The personality of Christ, in the Miracle of the
+Loaves and Fishes, lacks the force of the ancient prophet, and the work
+as a whole is inferior to its companion picture. The Angel appearing to
+St. Juan de Dios, as he sinks under the burden of a sick man, well
+represents the later manner of Murillo. In colour this picture is good,
+the tones are finer than in either of the other works. The five
+remaining pictures, which completed this great series, were carried away
+by Soult. The finest, St. Elizabeth of Hungary washing the Feet of
+Beggars, is now at Madrid. The Return of the Prodigal is in the
+collection of the Duke of Sutherland. Two others, The Healing of the
+Paralytic, and Abraham with the Angels, are in England, while the last,
+St. Peter released from Prison, is in St. Petersburg.
+
+[Illustration: THE GUARDIAN ANGEL
+
+_Murillo_]
+
+The final work of importance undertaken by Murillo, was the execution of
+a series of twenty pictures for the Capuchin Convent of the Franciscans.
+The convent was destroyed in 1835, when its treasures were scattered.
+The greater number of the pictures are now in the Museo; the immense
+altar-piece of the Porciuncula is in Madrid; while the Angel de la
+Guarda is in the _Sacristia de los Calices_, having been presented to
+the Cathedral, by the Franciscans, in 1814. There is great beauty in
+this composition; which was founded upon the text, Matthew xviii. 10.
+
+An angel, in a rich yellow robe and royal purple mantle, points with one
+hand to heaven, while with the other she tenderly leads a lovely child.
+It is painted with great lightness of touch; the diaphanous drapery of
+the child's dress has a transparency of texture rarely seen in Spanish
+pictures.
+
+The life of Murillo was nearing its completion. He worked until its
+very close; and devotion to the art he loved was the immediate cause of
+his death. In 1678 he painted for the Hospital de los Venerables a very
+fine Conception, which has since been lost; he also executed two
+pictures for the Augustine Convent, now in the Museo. In 1681 he was
+summoned to Cadiz to paint an altar-piece for the Capuchins of that
+city. The work was nearly completed, when he fell from the scaffolding,
+upon which he was standing in order to reach upper portions of the
+picture. He received an internal injury, and returned to Seville to die,
+on April 3, 1682.
+
+The whole city sorrowed for his loss. His obsequies were conducted with
+great magnificence. His bier was carried by four marquesses and four
+knights. He was buried in the Church of Santa Cruz, beneath his
+favourite picture, The Descent from the Cross, by Pedro Campana. The
+spot was marked by a simple marble slab, upon which was engraved,
+according to his own desire, his name, the figure of a skeleton, and the
+words '_Vive Meritorus_.'
+
+The position Murillo occupies in the heart of Andalusia is almost
+unprecedented. To this day a picture of great merit is in Seville termed
+a 'Murillo.' What Cervantes was in literature Murillo was in art. Sir
+David Wilkie justly remarks, in his comparison of Velazquez and Murillo,
+'Velazquez by his high technical excellence is the delight of all
+artists; Murillo, adapting the higher subjects of art to the commonest
+understanding of the people, seems, of all painters, the most universal
+favourite.'
+
+   Artist.             Pictures.               Where Situated.
+  Velazquez (?)       Water Carrier.          House of Murillo.
+   (1599-1660).
+       "              A few doubtful          Private Collections.
+                       works.
+
+THE PRINCIPAL WORKS OF MURILLO IN SEVILLE CATHEDRAL.
+
+   Artist.             Pictures.               Where Situated.
+  Murillo             Angel de la Guarda.     Sacristia de los
+   (1617-1682).                                Calices.
+       "              SS. Leander and         Sacristia Mayor.
+                       Isidore.
+       "              Conception.             Sala Capitular.
+       "              St. Anthony of          Cap del Bautisterio.
+                       Padua.
+       "              Moses striking the      Hospital de la
+                       Rock.                   Caridad.
+       "              Miracle of the          Ditto.
+                       Loaves and Fishes.
+       "              Charity of St. Juan     Ditto.
+                         de Dios.
+       "              Seventeen works         Museo.
+                       from the Capuchin
+                       Convent, and
+                       other works.
+
+          Other Pictures in many of the Churches.
+
+
+
+
+CHAPTER X
+
+_The Pictures in the Museo_
+
+     'The office of art is to educate the perception of beauty.'
+
+     EMERSON.
+
+
+In the south-western quarter of Seville, in the midst of a palm-shaded
+_plaza_, stands the Museo Provincial, a picturesque structure, whose
+history dates back to the thirteenth century. It was originally a
+monastery, founded by the pious San Fernando, in the year 1249, for the
+monks of the order of the Merced, whose duty it was to redeem the
+Christian captives taken from the Infidel. Sumptuously rebuilt by Carlos
+V., it was a religious house of great wealth during the fifteenth and
+sixteenth centuries.
+
+Little of the former glory now remains. The convent was destroyed, and
+the monks expelled in the year 1835. New uses were found for the ancient
+edifice. The Roman and Visigothic relics were brought from Italica, and
+stored within the quiet cloisters. Numerous pictures, rescued from the
+convents and churches by the efforts of Dean Manuel Lopez Cepero, were
+hung upon the walls of the old convent church. The sole relic of the
+banished order of the Merceds are the emblazoned arms of the
+brotherhood, which may still be seen upon the rich and curiously-panelled
+doors.
+
+The majority of the pictures hang in the Salon de Murillo, the name now
+given to the convent church. The collection cannot be taken as
+representative of the genius of Seville. There are numerous examples of
+the work of Murillo, more than half of the room is occupied by the
+canvases of the Sevillian favourite. There are some fine instances of
+the work of Zurbaran. The elder Herrera and Valdes Leal are also well
+represented. But there are only two specimens of Luis de Vargas and Juan
+de las Roelas, while the works of Velazquez, Alonso Cano, Nunez, Campana
+and several other artists are entirely absent. The space which the
+compositions of these masters might have occupied is filled with
+comparatively worthless pictures, painted by the decadent artists, who
+lived during the eighteenth century.
+
+The pictures[D] are well lighted, in a tolerable state of preservation,
+and are arranged with some method.
+
+The compositions of Murillo immediately attract attention. There are
+more than twenty in number, almost all of which are ranged in the nave
+of the Salon. The seventeen pictures, painted for the Capuchin Convent,
+are the most important. The finest is Santo Tomas de Villanueva
+socorrierdo a los pobres[E] (rendering succour to the poor). Murillo
+esteemed this picture above all his works, and was wont to call it _su
+lienzo_ (his own picture). In literary conception the work has much
+merit. It is executed in the misty, _vaporoso_ manner. The light is
+skilfully handled and the figure of the saint is well realised. Robed in
+black, and bearing a white mitre in his hand, he stands at the door of
+his Cathedral, ministering to the needs of a beggar; whose feeble form,
+clad in filthy rags, affords a fine contrast with the calm beauty of
+the saint. Penurious men and women, waiting to be relieved, stand
+grouped in the foreground. The little urchin, who exultingly exhibits
+the _maravedis_ which have fallen to his share, is a typical Murillo
+beggar-boy.
+
+The two fine pictures of San Antonio with the infant Jesus are both
+instances of Murillo's latest manner. A similar picture is the Virgin
+revealing herself to San Felix de Cantalicio. The outlines in all three
+pictures are obliterated, lost in a haze of misty vapour. The deposition
+of the drapery in St. Leander and St. Buenaventura is admirable. The
+picture of Santas Justas y Rufina, supporting the famous Giralda Tower,
+to guard it from the ravages of the tempest, should be compared with the
+picture of the same saints by Francisco Goya, in the _Sacristia de los
+Calices_, in the Cathedral. In the composition of Goya we have an
+instance of a saintly subject treated in a realistic manner; Murillo
+follows the accustomed mode and depicts the maidens as holy saints,
+crowned with halos of glory.
+
+The fable that the picture of La Virgen con el Nino Jesus was painted
+upon a serviette has no foundation, as can readily be seen by examining
+the panel upon which the study is painted. The story, which is very
+widely credited, says that the cook at the Capuchin Convent, having
+rendered Murillo some service, was asked by him what recompense he
+desired. He at once craved a sketch from the hand of the great master.
+Murillo, according to the fable, took the serviette which the cook was
+carrying, and with a few rapid touches of his brush created the picture,
+which is still noteworthy for the brilliancy of its tints.
+
+[Illustration: THE CONCEPTION
+
+_Murillo_]
+
+One of the sweetest of Murillo's Madonnas may be seen in El Nacimiento
+de Jesucristo (The Nativity). Cean Bermudez praises this picture very
+highly, while Antonio Ponz, a later Spanish critic, says that the stream
+of light which floods the picture is worthy of Correggio. There are four
+Immaculate Conceptions. In one the Virgin is supposed to be a portrait
+of the daughter of Murillo. Possibly the finest is the one termed 'la
+Grande,' although the difference between the pictures is very slight.
+
+At the farther end of the nave, close to the works of Murillo, is El
+Martirio de San Andres, by Juan de las Roelas, a huge composition,
+crowded with numberless figures. In spite of this defect the picture has
+power. The expression of the faces is individual and life-like, and the
+form of the martyr, bound to his double-cross, is well drawn. The chief
+merit of the work rests in its colour, which is Venetian in many of its
+tones. Very beautiful is the picture of Santa Ana teaching the Virgin to
+read. The drawing, especially of the hands, is defective, but the flesh
+tints are full of rich warmth, indeed, the colouring of the whole
+picture can hardly be too highly praised.
+
+Near to the Martyrdom of St. Andrew hang the Vision de San Basilio and
+the Apoteosis of San Hermenegildo, two works of great size, by Herrera
+el Viego. The latter is the finer composition as the canvas of the
+Vision is overcrowded and the interest of the work is not sufficiently
+centralised. San Hermenegildo is a noteworthy instance of the power of
+Herrera, and exemplifies his vigorous individual style. The favoured
+saint of Seville ascends to heaven in a flood of yellow glory, which
+reveals the steel blue of his cuirass, and the rich crimson of his
+flowing mantle. Two angels bear the axe and chain, the trophies of his
+triumph; while all around cherubs hover, waiting to crown with flowers
+the newly-martyred saint. Beneath are three figures--a fair-haired,
+kneeling boy, the son of San Hermenegildo, St. Isidore, robed and
+mitred, and King Leovigild, the Visigoth, who imprisoned and killed his
+brother for his defection from the Arian faith.
+
+Upon the same wall as the Santa Ana are the works of Juan de Valdes
+Leal. They are of uneven merit, and traces of hurry and lack of careful
+completion may be discerned in almost all of them. One of the most
+interesting is, La Virgen, las tres Marias y San Juan, en busca (search)
+de Jesus. The figures convey the idea of motion, while eager expectancy
+finds expression in look and gesture. The series of pictures
+illustrative of the life of San Jeronimo are also interesting,
+notwithstanding the lack of harmony which mars several of the
+compositions. Entirely distinct are, La Concepcion, and La Asuncion.
+They are poor, both in drawing and colour; distinctly mannered, and
+devoid of simplicity and deep religious feeling.
+
+The works of Francisco de Zurbaran are collected in the old convent
+choir. In the centre is, La Apoteosis de Santo Tomas de Aquino,
+considered by some critics the masterpiece of Zurbaran. It is a triple
+altar-piece, allegorically representing the death of the patron of the
+College of St. Thomas. The saint is ascending to heaven to join the
+blessed Trinity, the Virgin, St. Paul, and the hosts of glory. Below sit
+the venerable figures of the Doctors of the Church; on the right kneels
+the Bishop Diego de Dega, the founder of the college, while the Emperor,
+Charles V., with a train of ecclesiastics, stands upon the left. The
+dark, mild face of the figure immediately behind the Emperor is supposed
+to be the portrait of Zurbaran. As a work of art the picture is
+defective; it lacks charm, and the literary interest of the composition
+is too diffused. The execution is excellent, the colour, though sombre,
+is rich with a splendid mellowness of tone, while each of the heads
+bears the imprint of being a separate study.
+
+[Illustration: THE ROAD TO CALVARY
+
+_Valdes Leal_]
+
+The three studies of Carthusian monks amply manifest the charm which
+this allegorical composition lacks. La Virgen de las Cuevas, and San
+Hugo en el refectorio will be found on either side of the choir, while
+the third of the series, Confrencia de San Bruno con Urban II. hangs
+close to the St. Thomas. The genius of Zurbaran is disclosed in these
+scenes of monastic life. All three pictures are executed with remarkable
+fidelity, but the finest of the three is St. Hugo visiting the monks in
+their refectory. It is painted with realistic and individual truth. The
+monks, clad in the white robes of the Carthusians, sit around a table at
+their mid-day repast. In the foreground stands the aged figure of St.
+Hugo, attended by a young page. The saint has come to reprove the order
+for unlawfully dining upon flesh meat. His purple vestments supply an
+effect of fine colour, which contrasts with the dull white cowls and
+frocks of the brothers. What cold, passionless faces! Zurbaran has
+embodied the very spirit of asceticism. Each monk is a portrait,
+probably drawn from life. It is a perfect realisation of a monastic
+scene from the life of ancient Spain.
+
+We can only touch briefly upon the remaining pictures of Zurbaran. They
+are all worthy of study. Signs of weak drawing can often be detected,
+but the effort after truthful expression, and the entire absence of a
+desire to please by any special trick of manner will commend his work to
+every student. Note the simple, yet powerful, sincerity of his
+Crucifixion. Consider the manner in which he has depicted the boy Jesus
+in the picture, El Nino Jesus. A boy clad in a simple gown of darkest
+grey; no halo surrounds his head, and upon his knees rests a twisted
+crown of thorns. One of the prickly spines has pierced the boy's
+finger, and with the verity of life Zurbaran depicts him pressing the
+finger to extract the thorn. The drawing of the figure is faulty and the
+execution of the little sketch is not equal to many of the other
+pictures, but the mode of treatment illustrates very convincingly the
+sincerity of the artist's purpose. Many of the studies of monkish
+figures are very fine. San Luis Beltran is a work of wonderful power.
+The careful painting of the hands, and the way in which every detail of
+the picture is subordinated to the whole effect deserve high praise.
+
+To turn from the works of Zurbaran to the pictures of Francisco Pacheco
+and Juan de Castillo is somewhat difficult. The hard, flat, lifeless
+portraits of the one, and the dull, faultily drawn, religious
+composition of the other, offer little inducement to linger. Were it not
+for the interest which attaches to these artists from the illustrious
+fame of their pupils, their very names would hardly be remembered.
+
+Equally disappointing are the majority of the remaining canvases, which
+hang in the nave of the Museo. The modern pictures appear out of place.
+The chief idea they convey is one of intense crudity of colour. Among
+the numerous pupils and imitators of Murillo not one is worthy of
+attention. The work of the pupils of Zurbaran reaches a somewhat higher
+level. The pictures of the Apostles, by the brothers Miguel and
+Francisco Polancos are good studies.
+
+[Illustration: SAINT HUGO IN THE REFECTORY
+
+_Zurbaran_]
+
+In the nave are two pictures, both good and one of fine merit, executed
+by artists not belonging to the Sevillian school. La Sagrada Cena (The
+Last Supper), by Pablo de Cespedes, the artist of Cordoba, 1538-1608,
+hangs upon the end wall of the nave, near to the Martyrdom of St.
+Andrew. The colour is good, there is a slight confusion of detail, but
+the picture is not without charm. The portrait of himself, by
+Domenico Theotocopuli,[F] 1548-1625, better known as El Greco, the
+genius of Toledo, will be found near the door. It is a magnificent study
+and testifies to the power of the hand which executed it. Composition
+and technique alike, are above praise. The portrait is life-like in its
+reality; we grow to know the dark face of the artist, as he stands, with
+his brush and palette in his hand.
+
+Three other rooms, of small size, complete the Museo. The pictures they
+contain are not of great importance, but there are a few interesting
+canvases in the old sacristy, leading from the south transept of the
+Salon. Among them are several compositions of the early fifteenth
+century, classified as belonging to the _Escuela Flamenca_, by artists
+whose names have not been preserved. The tones in many of these antique
+pictures are wonderful, and they are all painted with a naive
+simplicity. The colour in the two compositions, El Senor Coronado de
+espinas (thorns), and La Anunciacion de Nuestra Senora is especially
+good. The long lean figures and conventional grief depicted in El
+enterramiento del Senor, strongly resemble the similar picture by
+Sanchez de Castro, in the house of Murillo.
+
+The works of Francisco Frutet will be found in this room. The finest, a
+grand triptych, entitled, Jesus en el camino (road) del Calvario, is a
+work of much beauty. The central picture of the Crucifixion is finely
+conceived, and Sir W. Stirling-Maxwell thinks that several of the
+figures bear a resemblance to the Spasimo de Sicilia of Raphael.
+
+El Juicio Final, by Martin Vos, a Flemish painter, who worked in
+Seville during the early years of the sixteenth century, is a
+quaintly-conceived allegorical picture. This finest portion represents
+the hosts of the wicked. The drawing of the figures is good, but the
+canvas is much crowded.
+
+
+_The Statuary in the Museo._
+
+Before studying Spanish statuary, it is well to remember that this
+branch of art never attained to the same level in the Peninsula as the
+sister art of painting. The reason of this lack of development is not
+difficult to appreciate, when we remember that statuary was executed,
+almost without exception, for the religious uses of the Catholic Church.
+The images were needed to increase the pious fervour of the populace;
+they were carried in the religious processions, and often they were
+credited with miracle-working powers. The one necessity for a Spanish
+statue was that it should be an exact imitation of life. The more
+realistic the illusion, the greater was the power of the statue to
+conform to the requirements of the Church.
+
+It will readily be seen that marble--the substance most fitting for the
+artistic rendering of form, would not comply with these demands. Thus,
+in Spain, the classic marble was discarded, while wood and plaster were
+employed in its place. These substances could be readily coloured, or
+even covered with a canvas, like a skin, and then painted to counterfeit
+life. This barbaric custom--a relic of heathen days, did much to seal
+the doom of the art of sculpture in Spain. In seeking to imitate life
+the artists frequently rendered their statues grotesque. The ambition of
+art is not to be a deceptive imitation of nature. The true purpose of
+sculpture is to depict pure form; when it departs from this limitation
+it loses its distinguishing motive, the representation of repose, and
+becomes a degraded intermingling of the two arts of sculpture and
+painting.
+
+Yet, in spite of these limitations, there are several Spanish sculptors
+whose works deserve praise, and two of the most famous lived and worked
+in Seville.
+
+Pietro Torriggiano, of Florence, a roving soldier-sculptor, came to
+Spain, in the year 1520. He had journeyed in many lands, and to his
+skill we owe the fine tomb of Henry VII., in Westminster Abbey. He
+settled in Seville, and soon completed his great work, San Jeronimo
+penitente, now in the north transept of the Museo.
+
+It is impossible to rightly estimate the value of this work in its
+present position. The bright colours of the modern picture, which forms
+its background, are entirely unharmonious. The penitent saint, with his
+sinewy, attenuated form, frowning brow and shaggy locks, needs to be
+seen alone. Its original home was a lonely grotto in the gardens of the
+Jeronimite Convent; and in such a place of quiet solitude we must
+picture it, before we can appraise its worth. Cean Bermudez twice
+visited it in company with Francisco Goya. It excited their unbounded
+admiration, and Goya pronounced it 'the finest piece of work of modern
+sculpture in Spain, and perhaps in the world.' Torriggiano fell under
+the ban of the Inquisition, and died in the prison of the Holy Office.
+
+Facing the San Jeronimo, in the south transept, rests the Santo Domingo,
+of Martinez Montanes, the most eminent sculptor of Seville, if not of
+the whole of Spain. The date of his birth is not recorded, but we know
+he was working in Seville in the year 1607; he died in 1649. Like its
+companion work of art the Santo Domingo suffers from its situation. Such
+works are utterly unsuited to the crowded gallery; they need the silent
+cloister, or quiet corner in some convent church. The saint kneels and
+scourges himself. The figure is of wood and of great dignity. The
+colouring is subdued, so as not to interfere with the fineness of the
+conception. The statue is a powerful study of asceticism.
+
+Finer than the Santo Domingo is the Crucifixion, by Montanes, in the
+_Sacristia de los Calices_, in the Cathedral. It is unrivalled among the
+statues of Spain. The anatomy is excellent, the sufferings of the Christ
+are portrayed with powerful reality.
+
+[Illustration: THE CRUCIFIXION
+
+_Montanes_]
+
+
+
+
+CHAPTER XI
+
+_The Churches of the City_
+
+     'The different provinces of Spain differ from each other in their
+     architecture, as in their history; some of the buildings are purely
+     Moorish, others have a mixture of that style....' J. H. Parker,
+     _The Study of Gothic Architecture_.
+
+
+In order to appreciate the Andalusian character, it is essential that
+one should take into account the vast sway exerted by the Church in
+Spain. Devotion to piety has ever been one of the cardinal traits of the
+true Spaniard, and uncompromising faith in prelatical absolutism is
+considered one of the first virtues. In the long crusade against Saracen
+infidels, Arians, Jews, Protestants and apostates, men of high birth and
+wealth abandoned a life of ease to fight under the standard of Rome. To
+serve one's country as a priest or a soldier was the chief duty of the
+Christian.
+
+The wars of the country were fought to preserve the traditional faith.
+As early as the seventeenth century, the clergy possessed more power in
+Spain than in any other European country; and the sovereigns were
+pledged to protect the faith. The bishops were the king-makers, the
+predominant rulers of the nation. During the forty years' reign of
+Carlos V., the main object of the State was to suppress heresy, and this
+had been the ambition of all the rulers since Fernando the Saint.
+
+In the seventeenth century, the Church secured even greater power in
+temporal affairs; but this power began to wane when Florida Blanca, the
+new Minister, made a determined effort to lessen the dominance of the
+Church, in 1780. For diplomatic reasons, Blanca signed treaties with
+Turkey, Tripoli, Algiers and Tunis, thus exhibiting amity towards the
+very infidels, 'whom, in the opinion of the Spanish Church, it was the
+first duty of a Christian government to make war upon, and, if possible,
+to extirpate' (Buckle). The expulsion of the Jesuits was a part of the
+same policy. And now, for the first time for centuries, the secular
+authority gained supremacy over the spiritual class.
+
+The cathedrals and churches of Spain remain as instructive monuments of
+the powerful religious fervour of the Middle Ages. They were built by
+men of profound faith, by devotees who were ready to die for their
+creeds. Those who endowed the buildings gave ungrudgingly; rich and poor
+were liberal in contributing the means, and clerics sometimes yielded
+half of their stipends to assist in the cost of beautifying the
+venerated piles. One and all, those who subsidised the labour, the
+architects, masons, artists and carvers, were inspired by a deep faith.
+
+Such was the enthusiasm that produced the rich designs of rose windows
+like that of San Pedro in Avila, the doors of Toledo Cathedral, the
+marvellous architecture of Burgos Cathedral, and that of Leon and many
+other sacred buildings in the Peninsula. When surveying with delight
+these examples of aesthetic inspiration, we must remember that the
+artists worked not only to charm men, but to show reverence to their
+God. Every curve, tracery and adornment was conceived in a spirit of
+pious homage and of religious duty.
+
+It is only when faith is enfeebled that we may observe the touch of
+indifference in the hand of the ecclesiastical builder and artist. There
+is nothing 'cheap,' nothing hasty, nothing paltry in the scheme and
+construction of the temples dedicated by mediaeval believers to the
+worship of God and the Holy Virgin Mother. We may have outgrown the
+taste in certain forms of decoration, but the work will not strike us as
+ill-considered and commonplace. It stands as a testimony to the
+influence of faith and devotion upon the imagination and the artistic
+spirit.
+
+If the modern churches of Spain disappoint us, we must remember that in
+these days men have, to a marked extent, lost that tenacity of belief,
+which once urged them to expend a great share of their wealth upon the
+founding of splendid houses of worship. 'The temples made by hands' are
+to-day less beautiful than those of the age when creed ranked before
+country, and was the absorbing subject and the profoundest conviction of
+the Spanish mind.
+
+But the ancient cathedrals and churches endure as solemn memorials.
+Atmospheric influences do not cause crumbling and speedy decay in this
+land of dry winds and sunshine. The edifices were built to stand, and
+they have stood well the wear and tear of the centuries.
+
+Most of the Seville churches exhibit the art itself, or at least the
+artistic influence, of the Moorish designer. The reconciled and
+converted Morisco had to live among his conquerors. Why should he not
+set his hand to the building of their temples? The Christians were
+pleased to borrow from his designs, to imitate his half-orange cupolas,
+his graceful arches, his glazed tiles, ribbon decorations and _ajimez_
+windows. Why should he refuse to design churches, and erect and adorn
+them, for the good pay that the Christians offered? The _Mudejares_, or
+'reconciled' Moors, became, therefore, the chief and most
+lavishly-remunerated artisans of Seville. In building the churches and
+mansions of the city, they no doubt experienced a compensation for
+their subjection in the thought that they were permitted to labour with
+a free hand, and to design and embellish sacred or secular buildings
+after the manner of their own nation. They had no faith to inspire them;
+the religion foisted upon them was repugnant to their consciences and
+minds. But they possessed a potent stimulus to good execution--the love
+of art for art's sake. This was their inspiration, and we may see its
+effect in many details of ecclesiastic architecture in the Sevillian
+churches.
+
+[Illustration: Minaret of San Marcos.]
+
+_San Marcos._--This church is of exceptional interest on account of its
+tower, a fine example of Morisco architecture, and its beautiful
+_Mudejar_ portal. The tower is in the minaret form, and was no doubt
+built in imitation of the Giralda, which it resembles in miniature. It
+is seventy-five feet in height, and ten feet wide, the loftiest tower in
+the city, except, of course, the stupendous Giralda, which is reared
+over all other edifices. The church is of Gothic design, and dates from
+1478, though the much older tower and the chief portal are Arabian. The
+interior is not of much importance. It is said that the love-sick
+Miguel Cervantes used to ascend the tower of San Marcos to gaze around
+for one Isabel, a Sevillian beauty, who had entranced him. The church of
+San Marcos is approached from the Feria by the Calle de Castellar.
+
+_The Church of the Convent of Santa Paula_ is behind San Marcos, and
+within a few steps of that church. The _azulejos_ covering the walls are
+fine examples of sixteenth-century workmanship from the potteries of
+Triana. The reliefs of saints on the Gothic portal of the nunnery are
+from the design of Pedro Millan, a famous sculptor, and are the work of
+Niculoso of Pisa. From the convent we may retrace our steps to San
+Marcos, turn to the right, and follow the Calle San Luis to
+
+_Santa Marina._ The handsome Gothic portal of this church has some
+notable sculptures. It is said that the tower and the chapels are the
+remains of a mosque.
+
+_San Gil_ is on the left-hand side of San Luis, close to the Church of
+Santa Marina. It was originally a Moorish _mezquita_. The doorways are
+Gothic. The effigies of the Saviour and the Virgin within the church are
+attributed to Roldan, one of the pupils of Montanez.
+
+_Omnium Sanctorum_ is in the Plaza de la Feria. This church stands on
+the former site of a Roman temple, and it was built by Pedro the Cruel
+in 1356. It exhibits a mingling of Gothic and _Mudejar_ architecture.
+There are three naves and three doors. On the tower are some noteworthy
+frescoes. Francisco de Rioja, the poet, lived in this parish.
+
+_Santa Catalina_ is situated in the _calle_ of that name. This church
+was also built on the ground once occupied by a Roman fane, and
+afterwards by a Mohommedan mosque. The facade is another instance of the
+survival of Moorish art, while the principal chapel is Gothic. Within
+are three remarkable paintings by Pedro de Campana, a Flemish artist,
+who is claimed as one of the Sevillian school. These masterpieces of
+early Andalusian art are described in the chapter on the painters of
+Seville.
+
+The inspection of these churches would fill a long day. But there are
+several more fine _parroquias_ to be visited, for it must be remembered
+that the churches are the art museums of Spain, and no one can gain
+knowledge of the development of architecture, sculpture and painting in
+the country without spending a considerable portion of one's time in the
+dim, perfumed naves and chapels. The stranger will be impressed by the
+garish decoration of the interiors of many of the churches of Seville.
+Gilt is spread lavishly, and the effect is often tawdry. Some of the
+images are poor, especially in the modern churches, and one's taste is
+often shocked by their incongruity. The figures of the Virgin often lack
+dignity and beauty. But, as Mr. Henry James points out in his sketch
+'From Normandy to the Pyrenees,' in _Portraits of Places_, those images
+of the Holy Mother are 'the sentiment of Spanish Catholicism' of modern
+times. They are, therefore, instructive from that point of view.
+
+But from a devotional, as well as an aesthetic, standpoint, one is
+disposed to ask whether the sacred idols would not gain in nobility,
+pathos and stateliness if the Virgin were represented in the realistic
+garb of a Jewish woman of the people, instead of in modern dress, with
+trappings of lace and jewellery. It is with no disrespect towards
+Catholic prejudices in this matter that one expresses this view. The
+mediaeval conception of the Madonna in painting appeals to the
+imagination, because in the works of the great masters there is beauty,
+simplicity and convincingness.
+
+In the northern district of the city, beyond the Convento de Santa
+Paula, we may, in a few minutes, reach--
+
+_Santa Lucia._--This church is now used for profane purposes; but its
+splendid Gothic portal remains. The Morisco tower is also notable.
+
+_San Roque_ is in the Barrio de San Roque, not far from Santa Lucia. The
+church was destroyed by fire in 1759, and rebuilt in 1769. It is not of
+great interest, though the arches of the naves are graceful, and the
+small tower is worthy of note. In times of flood, the Guadalquivir
+inundates this suburb, and the water flows into the church.
+
+_San Bartolome_ may be reached from the last-mentioned church by the
+Recared o Industria and the Calle Tinte. The church was built on the
+site of a Jewish synagogue, after the expulsion of the Jews by the
+Catholic Kings of Spain. The _retablo_ and the sculpture of our Lady of
+Joy is antique and interesting.
+
+_Santa Maria de las Nieves, or la Blanca_, is close to San Bartolome.
+Until the year 1391 this church was a synagogue. It has three small
+naves, marble columns, and plateresque ornamentation. The two doors are
+Gothic. There is a painting attributed to Murillo, and one of our Lady
+of the Augustias, with the dead Christ in her arms, by Luis de Vargas,
+the famous fresco painter.
+
+_San Salvador_ is in the centre of the city, behind the Audencia, and
+may be reached from Sierpes by the Calle de Gallegos. This church is not
+of much importance from its age; but it contains effigies by Montanez,
+the most celebrated being the figure of San Cristobal.
+
+_San Isidoro_ is built upon the ground where a fine mosque once stood.
+It is stated that St. Isidore was born upon this spot or close to the
+church. Juan de las Roelas painted the Translation of San Isidoro for
+the principal altar. There are also pictures by Murillo, Valdes, and
+Tortolero, and a statue of Santa Catalina by Roldan the Elder.
+
+_San Julian_ should be visited for an inspection of the large painting
+of San Cristobal, the work of Juan Sanchez de Castro. The painting of
+St. Christopher has been retouched. It was executed in 1484, and the
+work is of great interest as an example of the art of the earliest
+Sevillian painter.
+
+I have now mentioned thirteen churches. There are more to visit.
+
+_San Bernardo_ is in the suburb of that name. It is built on the spot
+where a hermitage stood until 1593. The church has three wide naves. It
+should be visited for an inspection of the pictures. In the left nave is
+a painting of the Last Judgment, the work of Herrera the Elder.
+
+The _Cena de Jesus_ is by Francisco de Varela. It was executed in 1622,
+and is regarded as one of the finest works of that painter. The statues
+of St. Michael, the Faith, St. Augustine and St. Thomas are the work of
+Luisa Roldan. The organ of this church is one of the best in Seville.
+
+[Illustration: Puerta de Santa Maria]
+
+_The Convent Church of La Trinidad._ The associations of the church are
+of considerable interest. In the time of the Roman rule in Seville, the
+palace, ecclesiastical court, and dungeons of a governor were built upon
+this ground. The church is dedicated to the saints of Seville, Justa and
+Rufina, the guardians of the Giralda. When the Romans conquered the
+Spaniards, they sought to convert the subject-people to the Pagan
+religion. Among the potters of Trajan's town, now known as the suburb
+of Triana, were two girls, both of great beauty, named Justa and Rufina.
+The maidens were renowned for their Christian piety. They refused to
+worship the Roman gods, and in their zeal they became iconoclasts. Their
+image-breaking brought them beneath the tribunal; they were sentenced to
+extreme punishment. The wretched victims were scourged, and forced to
+walk barefooted on the bleak mountains of the Sierra Morena. But this
+persecution failed to shatter their fervent devotion to Christianity.
+They continued to protest against the religion of the Romans. Justa was
+imprisoned and slowly starved to death, while Rufina was cast to the
+lions in the arena.
+
+The portraits of the youthful saints have been painted by several of the
+Sevillian artists. Murillo's SS. Justa and Rufina is in the picture
+gallery at Seville. The treatment is conventional. The saints are
+holding a model of the Giralda in their hands, and the martyrs' palms.
+At their feet are broken crockery, showing the nature of their calling.
+To the left are the ruins of a building. The figures of the maidens are
+large, and halos surround their heads.
+
+In the same gallery are two pictures of the Sevillian saints by an
+unknown artist. One is a portrait of Santa Justa. The saint is holding a
+white vase and the martyr's palm in her hands. Santa Rufina, in the
+other painting, is bearing a plate and a palm branch. The Santa Justa is
+the more notable of these works. The conception is beautiful and the
+colouring subdued.
+
+H. Sturmio's painting of Justa and Rufina is in the Cathedral, and so is
+that of the celebrated Luis de Vargas. From the artistic standpoint, the
+picture of the two saints by Francisco Goya is the finest of all. It is
+to be seen in the _Sacristia de los Calices_ in the Cathedral.
+
+In the crypt of the Convent Church of La Trinidad is shown a rock, to
+which the saints were bound when scourged by their persecutors. There is
+a poor shrine in a dim cellar; and the sacristan shows a long, dark
+passage, full of water, which is said to be a part of the Roman prison,
+where heretics were confined and starved to death. The story of the
+saints of Triana is legendary; but it is no doubt credited as actual
+history among the devout of the city.
+
+It is recorded that the martyrs incurred death for breaking a statue of
+Venus. Tradition is hazy concerning the place of their burial. In one
+account we learn that SS. Justa and Rufina were laid to rest in Burgos.
+Another historian assures us that they were buried in Seville, while a
+third story relates that their bones are in the mountainous Asturias, in
+the North of Spain.
+
+A big book might be written on the churches of Seville alone. There are
+so many of those edifices, and few of them are devoid of interest to the
+antiquarian, art lover, and student of ecclesiastical history. The
+amalgamated Moorish and Renaissance elements in the Seville churches
+lend a charm to the architecture and the adornments. This strange
+combination of styles is only to be found in the Christian churches of
+Spain. Almost everywhere we are confronted in Andalusia with this
+seeming incongruity, the employment of designs for religious edifices
+from the hand of the despised and detested _Mudejar_. The phenomenon is
+strange and instructive. The zealous Catholic kings, sworn to the
+extirpation of the Moslems, allowed the Moors to build their churches in
+the style of temples devoted to Allah.
+
+The same monarchs who ordered the destruction of the beautiful Moorish
+baths in Cordova and Seville were willing that Mohammedan genius should
+have full play in the design, construction and decoration of Christian
+temples.
+
+But, after all, was it not a question of necessity? When a nation has
+only two honourable professions, the military and the clerical, where is
+the scope for a development of skill in the industrial arts? The
+Moriscoes were martial, but they never neglected the peaceful
+occupations. Sadly had Spain to learn that the neglect of culture and
+the arts was the cause of her decline. Germans, Italians and Moors were
+employed in the erection and adornment of ecclesiastic and civil
+buildings. The Teutons Johann, and his son Simon, of Cologne, were the
+chief architects of Burgos; and it is probable that German designers and
+masons performed a large share in the building of Seville Cathedral. At
+Burgos, Toledo and Leon we may note the influence of French architects.
+
+The interiors of the churches of Seville are so dark that it is often
+difficult to see the pictures clearly. Even on the brightest days the
+sunshine penetrates imperfectly through the stained windows, and in some
+cases the works of art are in the gloomiest chapel or recess of the
+building. The sacristans are usually to be found in or near the
+churches, and they are mostly courteous to the visitor, and anxious to
+point out the most important paintings, statues and relics. But in their
+desire to please, they sometimes ascribe the pictures to the wrong
+artist. A daub by an unknown artist becomes a work of Zurbaran, if the
+stranger appears to be greatly interested in that painter.
+
+Several spurious Murillos were shown to me. Now and then, the sacristan
+knows very little about the art treasures of his church. When you ask
+who painted a picture or carved an image, the attendant shrugs his
+shoulders, and murmurs _No se_ (Don't know). The boys who volunteer as
+guides are of no service to the visitor. In the chapter of information I
+have given the name of a reliable guide.
+
+
+
+
+CHAPTER XII
+
+_Some Other Buildings_
+
+  'Fair is proud Seville; let her country boast
+   Her strength, her wealth, her site of ancient days.'
+
+  _Childe Harold_, Stanza lxv.
+
+
+The _palacios_ and fine _casas_ of Seville are numerous. Some of them
+retain a distinctly _Mudejar_ design in their architecture, and all of
+them possess an Oriental atmosphere or tone. One may spend many hours in
+visiting the courts of the big houses of the city. As a rule, the porter
+has instructions to admit strangers into the courts, but very rarely
+within the houses. But from the courts one may gain very considerable
+knowledge of the progress of architectural style in the dwelling-houses
+of the South of Spain, where, above all, we may trace the influence and
+art of the Morisco designer and craftsman.
+
+We will first visit the Casa de los Taveras, in the Calle Bustos Tavera.
+The house is principally celebrated as the scene of the tribunal of the
+Inquisition from 1626 to 1639. In the corridors is a collection of
+family portraits.
+
+Finer, from the point of view of architecture and adornment, is the Casa
+de los Marqueses de Torre Blanca, in the Calle de Santiago, number
+thirty-seven. It has a very beautiful _patio_, and a splendid marble
+staircase. These two houses are mentioned as well worth seeing in the
+little book _Sevilla Historica_.
+
+Roaming in the Calle O'Donnell, I peeped into the court of number
+twenty-four. The fine _patio_ is surrounded with the heads of bulls
+killed in the arena. Number seventeen in the Calle Alfonso XII. is
+another handsome _casa_, with a typical court. Visitors may discover
+many sumptuous houses in this quarter of the city. The Casa Alba once
+had eleven courts and nine fountains. It is decidedly Moorish in build,
+with Renaissance details in the stucco-work. This beautiful palace, in
+the Calle de Duenas, was at one time owned by the Ribera family (the
+Dukes of Acala). It was begun about 1483. The Casa Alba is larger than
+the Casa Pilatos, described in the literary chapter of this book.
+
+Mr. Digby Wyatt says of the Casa Alba, in his _Architect's Note Book in
+Spain_, that this is one of the rare instances of Renaissance
+ornamentations executed by Moorish workmen. 'For these, no doubt, they
+were furnished with drawings or models, since in no other parts of the
+same building, and especially in many beautiful rooms in the interior,
+where they have apparently been left to themselves, they have reverted
+partly to _Mudejar_ work, and partly to the old types of geometrical
+enrichment, which may be regarded as specifically their own. Much of
+this is almost reduced to a flat surface by repeated coats of
+whitewash.'
+
+The Casa de los Abades is 'more Italian in its plateresque than is usual
+in other houses in Seville,' says Mr. Digby Wyatt. The mansion was built
+early in the fifteenth century, and was modified and embellished by the
+Pinedos, a Genoese family, in 1533. Mr. Wyatt tells us that: 'If it were
+not for the peculiar engrailed double edging to the arches, the thinness
+of the marble central window shaft, and a few Oriental turns here and
+there given to the foliage and enrichments of the mouldings, one
+could almost believe that this architecture was regular Genoese
+cinque-cento.' After the Pinedo family, the _casa_ came into the hands
+of the Abades, members of the Cathedral staff.
+
+[Illustration: Patio del Casa Murillo]
+
+A _Mudejar_ window in the Fonda de Madrid has been sketched by Mr. Digby
+Wyatt in the afore-mentioned book. This is an _ajimez_ window, 'through
+which the sun shines.' It is of brickwork and was 'once covered
+apparently in Moorish fashion with thin plaster, excepting the column
+which is of white marble.'
+
+We may now visit the Palacio Arzobiscopal, the Archbishop's Palace, in
+the Plaza de la Giralda. The doors are in the plateresque style. You may
+enter the courtyard, and ascend the marble staircase, which is one of
+the most beautiful in the city. The _Salon_ contains some pictures that
+were formerly in the Cathedral. Among them are three paintings by Alejo
+Fernandez, an artist of the early Sevillian school, representing the
+Conception, Birth, and Purification of the Virgin. There are also
+pictures by J. Herrera and Juan Zamora.
+
+It is a few steps across the _plaza_ to the Casa Lonja. This Renaissance
+edifice was erected in 1583. The Academy of Painters formerly held their
+councils in the Lonja. It is now a library, and a repository of archives
+relating to the Indies. The _patio_ is fine, paved with marble, and
+surrounded by a double arcade. On the fountain is a statue of Columbus.
+A marble staircase, constructed in the time of Charles III., conducts
+the visitor to Achivo General de Indias.
+
+From the Casa Lonja pass down the Calle Santa Tomas to the Hospital de
+la Caridad. This institution has a church, built by Miguel de Manara. In
+the _Annales de Sevilla_, the author, Ortiz de Zuniga, says that the
+record of the Brotherhood of the Holy Charity dates back to 1578, and
+that the institution had probably existed then for a century. The object
+of La Santa Caridad was to provide Christian burial for evildoers and
+offenders against the law of Spain. La Caridad is, however, associated
+with Don Miguel de Manara Vicentelo de Leca, Knight of Calatrava, a Don
+Juan of Seville, who abandoned his profligate life, and became a devout
+pietist. In his youth, Manara was a renowned duellist, a boon companion,
+and a gambler. He was generous to his friends in a spendthrift fashion,
+and he was cultured enough to expend large sums of his wealth upon the
+fine arts. Murillo was under his patronage and enjoyed his friendship.
+
+Don Miguel de Manara was born in the year 1626, and is supposed to have
+married the _senorita_ of the House of Mendoza. There are several
+stories of the young rake's career in Seville, and of his resolve to
+dedicate his riches to the service of the Church and to the poor of the
+city of his birth. One day a gift of some choice hams was sent to
+Manara. In compliance with the regulations, the hams were detained by
+the customs' officers until the dues upon them were paid. The Don was
+extremely angered at the detention of the hams. He went out, in a
+furious passion, to upbraid the officials for the delay. As he paced
+fuming through the streets, 'the Lord poured a great weight upon his
+mind,' and Manara was suddenly convicted of the sinfulness and folly of
+his life. Such is one account of Don Miguel's 'conversion.' Another
+annalist informs us that Manara, while stumbling homewards after a night
+of carousal, saw a funeral procession approaching him. The priests and
+the usual torch-bearers accompanied the bier. Stepping up to the
+bearers, the young man said: 'Whose body is that which you are
+carrying?' The reply was startling: 'The body of Don Miguel de Manara.'
+The prodigal reeled away, filled with horror; for he had looked upon the
+corpse, and seen his own features. Upon the next morning Manara was
+found insensible in a church. It was the turning-point in his life. He
+became an ascetic and devotee. Because he liked chocolate, he refrained
+even from tasting that innocent beverage. He was seen no more among the
+dissolute of Seville, and his money went to the building and decoration
+of the Hospital and Church of the Holy Charity. In his treatise
+_Discurso de la Verdad_ (Discourse upon Truth) Don Miguel Manara tells
+us of the hollowness of existence apart from holiness. He reflects often
+upon the solemnity of death, and the necessity for practising virtue and
+charity. His repute as an almsgiver of discretion was so great that one
+Don Gomez de Castro gave him an estate worth 500,000 ducats for
+charitable disbursement.
+
+In the Sala del Cabildo of La Caridad, you may see a portrait of the
+pious founder, painted by Juan de la Valdes. Manara has a sad, thin
+face. He is seated at a table covered with black velvet and gold, and he
+appears to be reading aloud. A charity lad is seated on a stool, with a
+book on his knees. Manara's Toledan sword is exhibited in a case. He
+died in 1679, and bequeathed his fortune to the hospital, except some
+legacies to servants. To his confessor the Don presented his ivory
+Christ. His sister received a picture, which was upon his bedstead,
+representing the Saviour on the Cross. The work was said to be from the
+brush of Murillo.
+
+The founder was interred in the vault of the hospital church. There is a
+legend that, two months after burial, the corpse was found without any
+trace of decay. It is also related that by the touch of some documents
+which had belonged to Manara, a knight of the Order of Santiago was
+cured of a headache.
+
+In Mr. C. A. Stoddard's account of La Caridad, in _Spanish Cities_, the
+name of the founder is given wrongly as Manana. Mr. Stoddard writes that
+Don Miguel desired to be buried at the church door, with the epitaph
+upon his tomb: 'Here lies the worst man in the world.' Manara was,
+however, buried in a vault of the church, and in the inscription upon
+the stone he was lauded as 'the best of men.'
+
+For viewing Murillo's pictures in the Hospital Church of La Caridad, it
+is best to seek admission in the afternoon. The Charity Hospital is
+built in the Greco-Romano style from designs by Bernard Simon de Pineda,
+or Pereda. Visitors should examine the five large _azulejos_ of the
+exterior, said to have been designed by Murillo, the friend of the
+founder. The centre is Charity, a woman with a child in each arm and a
+boy at her side. Other designs represent Santiago slaying Moors, and San
+Jorge spearing the dragon.
+
+Sir Stirling-Maxwell speaks of the Church of La Caridad as 'one of the
+most elegant in Seville.' The aisle widens beneath a lofty and ornate
+dome. One of the chief objects of interest is the famous retablo; but
+the church is mostly visited by admirers of Murillo. The eleven works of
+the master, which once adorned the building, were painted in four years.
+Soult carried away five of the paintings. Four of them were sold by the
+French marshal, and one was presented to the Louvre. Mr. Stoddard
+praises Moses and the Rock as one of the finest pictures of Murillo.
+There are three groups in the scene. Water gushes from a dark rock in
+the centre of the picture, and Moses, with hands folded, offers thanks
+for the miracle. Behind is Aaron, in an attitude of worship. The
+Israelites press forward to quench their thirst. _Le Sed_ (The Thirst)
+has been reproduced by engraving, and is well known.
+
+The other pictures by Murillo are the Infant Saviour, the Annunciation,
+and the San Juan de Dios. In the last painting the saint, assisted by an
+angel, is bearing a sick man to the hospital. Christ feeding the Five
+Thousand (_Pan y Peces_) and the Young John the Baptist are large
+pictures, showing Murillo's broad method.
+
+The curious paintings by Juan Valdes Leal are described in the chapter
+on 'The Artists of Seville.' They are at the west end of the church.
+
+The court through which one enters the hospital is very handsome, and a
+good example of the Sevillian _patio_. A Sister of Charity conducts the
+visitor to the wards and to the council room of the institution. The
+sick and the convalescent recline upon their beds, and there is a hush
+in the long chambers. The patients are all men. They appear to be well
+cared for, and the wards are clean and sunny.
+
+In the Plazo de Alfaro, number seven, is the house where tradition
+states that Murillo lived. From the Plaza de Giralda follow the Calle de
+Barceguineria, and take the second street on the right hand side,
+passing the Church of Santa Teresa. Turn to the right at the end of the
+Calle de Santa Teresa. Murillo's house is in a corner of the Plaza de
+Alfaro. It is now occupied by the Senores Lopez Cepero, two cultured and
+courteous brothers, the nephews of a greatly respected dean of the
+Cathedral, who in his day collected a number of fine pictures, and did
+much to encourage artists in the city.
+
+Don Juan Maria Lopez Cepero speaks English well. I paid three visits to
+the historic _casa_ that he inhabits, and he told me that his house was
+open to all lovers of art who desire to see his collection of pictures.
+In the chapter on Sevillian artists will be found descriptions of some
+of the oil paintings in the Casa Murillo.
+
+Don J. Lopez Cepero showed me his beautiful garden, with its Moorish
+bath, frescoed walls, rose trees and carnations. The _patio_ is planted
+with palms, and on the walls are pictures. The mural paintings in the
+garden have been attributed to Luis de Vargas; but they are
+unfortunately almost obliterated. At the end of a long salon, covered
+with pictures, is the room wherein Murillo is said to have died on April
+3, 1682.
+
+I am indebted to Don Lopez Cepero for the opportunity of seeing his
+valuable pictures, for the information which he gave me concerning books
+upon Seville by Spanish authors, and for the permission granted to my
+collaborator to reproduce some of the paintings in photography. His
+services to me were most valuable, and I now repeat my thanks for his
+assistance.
+
+The University, founded by Alfonso the Learned, is in the Calle de la
+Universidad. In the rooms are portraits of St. Francis of Borja and of
+Ignatius Loyola by Alonso Cano, and a picture of a saint by Zurbaran.
+The University Church has a notable retablo by Roelas; an Annunciation
+by Pacheco, and statues of St. Francis of Borja and of Loyola by
+Montanez. There is a monument to Enriquez de Ribera, and one to his wife
+Catalina in the nave. The Don was the first owner of the Casa Pilatos,
+and a benefactor of the city. It was he who founded the excellent
+Hospital Civil, in 1500, in the Calle de Santiago. The building was
+reconstructed near the Puerta de la Macarena in 1559.
+
+The Hospital Civil is best reached by the tramway from the Plaza de la
+Constitucion. It is surrounded by gardens, and has a charming _patio_.
+In the church of the hospital there are pictures of saints by Zurbaran,
+and the Apotheosis of St. Ermenigild and Descent of the Holy Ghost by
+Roelas.
+
+The most handsome of the Renaissance buildings in Seville is that of the
+Casa de Ayuntamiento, or City Hall, in the Plaza de la Constitucion. It
+was designed by Riano in 1526. The ornate carved doors, and the
+plateresque ornamentations of the masonry are highly decorative, and the
+marble floors and vaulted ceiling within should be seen. In the
+Municipal Library of the Ayuntamiento is the banner of the city, of the
+fifteenth century, bearing a figure of San Fernando.
+
+We have not yet visited the Biblioteca Columbina, given to the city by
+Fernando, son of Christopher Columbus. It is in the Cathedral precincts,
+and can be entered from the Patio de los Naranjos (the Court of the
+Oranges). The beautiful illuminated Bible of Alfonso the Learned, by
+Pedro de Pampeluna, used to be shown here, but it has, I believe, been
+removed by the Chapter. The Columbus manuscripts are here, in glass
+cases. There is a copy of the _Tractatus de Imagine Mundi_, with notes
+by Columbus, and the famous treatise attempting to prove Scriptural
+prophecies concerning the discovery of the New World. A sword here
+exhibited is said to be that of Perez de Vargas, used by him in the
+capture of Seville. I have referred to the manuscripts of Christopher
+Columbus in the historical portion of this book.
+
+Close to the Fabrica de Tabacos is the Palace of San Telmo, the former
+residence of the Dukes de Montpensier. The building dates from 1734, and
+it was first used as a naval school. It passed into the hands of the
+Infanta Maria Luisa, widow of the Duke of Montpensier. The _palacio_ has
+been shorn of its splendour by the removal of most of its works of art.
+It is of little interest; but the garden is a beautiful shady retreat,
+with semi-tropical plants and trees.
+
+There are but few statues in the streets of the city. Velazquez has been
+honoured by a bronze figure, which stands in the Plaza del Duque de la
+Victoria. It was cast by Susillo in 1892. The monument to Murillo, in
+the Plaza del Museo, is also of bronze. It is the work of Sabino
+Medinia, and the cast was made in Paris in 1864.
+
+Number eleven in the Plaza del Duque de la Victoria is now a large
+drapery store. It was formerly the splendid palace of the Marquis de
+Palomares. It is a fine example of a Seville residence.
+
+As we wander from church to palace and alcazar of this ancient and
+beautiful capital, we are often reminded of the words of Cervantes in
+_The Two Maiden Ladies_: 'Seville is a city of Spain, of which you
+cannot fail to have heard frequent mention, considered, as it is, to be
+one of the wonders of the world.'
+
+[Illustration: Amphora]
+
+
+
+
+CHAPTER XIII
+
+_Seville of To-day_
+
+     'To have seen real donas with comb and mantle, real caballeros with
+     cloak and cigar, real Spanish barbers lathering out of brass
+     basins, and to have heard guitars upon the balconies.'--THACKERAY,
+     _Cornhill to Cairo_.
+
+
+'Many monuments, fine religious processions, splendid bull fights, and
+not much business,' was the pithy description of modern Seville given to
+me by an intelligent Basque _senora_, living in the Province of
+Santander. The picture is a good one. As to the monuments, we have seen
+that the city abounds with them. But it is not only the historic
+buildings, associated with the Romans, Goths, Berbers and Almohades,
+that lend the fascination of antiquity to Seville. The Andalusian
+features, the manners, the speech, the domestic habits, the music, songs
+and dances of the people remind us hourly, while in the city, of the
+Seville of a thousand years ago.
+
+A spell of Orientalism, strange and seductive, comes upon the stranger,
+as he sits on the marble benches under the palms in the Plaza de San
+Fernando, watching the olive-skinned _chicos_ at their evening pastime
+of mimic bull-fighting, or dancing, with quaint, slow movement of the
+feet and much swaying of the body, to a semi-barbaric accompaniment of
+clapping hands and a low chanting. The gaunt mules, with their Arabesque
+wool trappings and panniers, that pass slowly by, the water-sellers in
+their white garments and hemp-soled shoes, and the women with their
+black lace _mantillas_, which must surely be a survival of the
+Mohammedan veil, all serve to impress one with their suggestion of
+Moorish influence.
+
+Electric lights and electric tramcars scarcely mar the charming
+illusions of the Oriental and the mediaeval in the Seville of to-day. The
+tokens of modernity are subservient; they do not jar continually as in
+Madrid, perhaps the most commonplace of Spanish cities. In Seville you
+cannot forget the Moriscoes, and the part they played in the making of
+the city, the memories of Christopher Columbus, the art of Velazquez and
+Murillo, the romances of Cervantes, and the traditions of the Mother
+Church of Christendom. Every step causes reflection upon the past. You
+are carried back to the Middle Ages from the ringing of matin bells till
+the midnight cry of the watchman.
+
+The costume of the Sevillian _caballero_--and remember that every man in
+Spain is a cavalier--has suffered, no doubt, in picturesqueness since
+the time of Don Quixote. But there is a real grace and a romantic charm
+in the winter _capa_, flung upon the shoulders, with one of its
+plenteous folds muffling the mouth, and another thrown back to show the
+gorgeous lining of amber, green, or crimson. One looks for the point of
+a scabbard, containing a good Toledan blade, below the cloak. It is not
+there, though the practice of carrying weapons still survives everywhere
+in the Peninsula.
+
+Once only have I seen the sword carried by a civilian in Spain.
+Travelling from Cordova to Toledo by rail, I had as companion a young
+man who had provided himself with a cutlass and a revolver, in case of
+assault by robbers. The sword was thrust through the straps of his bag.
+Revolvers are frequently worn on a belt under the coat, and most of the
+working class carry the _navaja_, a knife with a long blade, a sharp
+edge, and a keen point.
+
+[Illustration: Patio del Collegio San Miguel.]
+
+There is, however, no need for the traveller to provide himself with a
+six-shooter or a dagger; indeed, the revolver hung at the head of the
+bed, as I have seen it in a Seville hotel, is not only superfluous, but
+the mere possession of arms is apt to cause surmises as to the valuables
+carried by the armed stranger, and may lead to the pilfering of his
+portmanteau.
+
+The custom of going about armed is just one of those mediaeval usages
+that still prevail in spite of the suppression of brigandage and the
+protection of the railway trains and stations by the vigilant,
+well-trained and courteous Civil Guards. Spaniards are conservative;
+they cling to practices that are no longer necessary, and the carrying
+of knives and pistols is one of those quixotic characteristics of the
+race, which will probably survive for several generations. As a matter
+of fact, the stranger in Seville is as safe, to say the least, as he is
+in London. The species Hooligan is unknown in Spain, though, of course,
+there are thieves in the country as in every other quarter of
+Christendom throughout the globe. The _navaja_ is never worn and used
+ostentatiously. It is the weapon of the criminal population and the
+disreputable, and it is too often drawn in street broils and for
+vendetta purposes.
+
+It is not necessary that I should caution the visitor against wandering
+alone, after dark, in the low streets of the city, nor warn him that it
+is risky to engage professional guides, who are not well known for
+honesty, and recommended by one of the proprietors of the better-class
+hotels. I do not wish to alarm the timid traveller. One should point
+out, however, that highway robberies do occasionally occur in the
+country districts.
+
+Two years ago, in the neighbourhood of Granada, a party of travellers
+found themselves and the guides surrounded by ruffians on a
+mountain-side, and were submitted to a complete rifling of their pockets
+before they were allowed to proceed on their way. A friend of mine, an
+English artist, was one of the party. You are frequently told in Spain
+that brigandage has been entirely suppressed. It is quite true that the
+Civil Guards have almost exterminated the organised bands of brigands
+that used to infest the lonelier roads of the country. But, here and
+there, as in Galicia, robbers sometimes work in small parties on the
+high roads, after dark. In Seville, however, one may feel as secure as
+in any other continental city. The average Andalusian is honest. Railway
+porters, cabmen, and hotel servants expect a _propina_ or 'tip'; but
+they are seldom exacting, and rarely addicted to pilfering. The
+_propina_ is a national institution; but a small gratuity is, as a rule,
+gratefully received, and I have met porters and others who have refused
+a fee for their assistance. Railway servants and hotel waiters are so
+poorly paid in Spain that they rely largely for their living upon the
+generosity of travellers. There is, however, a protest afloat against
+the _propina_, and a society has been formed in Madrid to combat the
+custom of giving 'tips.'
+
+The smart or fashionable life of Seville may be studied, after five in
+the evening in the warm months, in the narrow central thoroughfare
+called Sierpes, or in the drives of the beautiful gardens bordering the
+Guadalquivir. The Calle de Sierpes signifies in English the street of
+the serpents. It is a street for foot passengers only, with many
+_cafes_, wine bars, nick-nack stores, and superior hatters', tailors'
+and tobacconists' shops. In this quarter ladies will find a fine array
+of fans, _mantillas_ and showy Andalusian shawls. Some of these articles
+bear the label 'made in Austria.' The shawls worn by the _majas_, or
+Sevillian smart dames, and maidens of the middle and working class, are
+sometimes very beautiful. Yellow is a favourite hue, as it accords with
+the black which is universally worn by the women of southern Spain.
+
+The _majo_ costume, as 'sported' by the dandies of Sierpes, is correctly
+made up of a wide-brimmed brown or white felt hat, a shirt with a
+frilled front, and diamond or paste studs, a low waistcoat, or broad
+silk band around the middle, a short coat, resembling an Eton jacket,
+and trousers cut exceedingly tight across the hips. A _majo_ affects the
+dress and conversation of his ideal, the bull-fighter. He favours the
+tightest, thin-soled, pointed brown shoes, crops his hair, shaves his
+cheeks and chin clean, walks with a self-consciousness, and ogles and
+bandies repartee whenever he passes a _maja_. The loungers of Sierpes
+exhibit more or less amused interest in the English or American lady
+visitors. Their hats are a wonder to them; their serviceable travelling
+dresses appear severely plain, their coats masculine in fashion, and
+their shoes short, broad, and absurdly low in the heel.
+
+How different is the guise and demeanour of the Spanish _senora_! If she
+is of the upper rank of society, she may wear a Parisian hat and a dress
+in the English style; but her slow, erect and graceful walk proclaim her
+an Andalusian. She will not start and seem insulted when a man stares
+her full in the face, smiles, and exclaims: 'How lovely you are! Blessed
+be the mother who bore you!' A parting of the lips, perhaps a slight
+flush, show that she is pleased when the gallant turns to gaze at her.
+
+So much has been sung and written about the loveliness of the Sevillian
+_donas_ that I may perhaps be taken to task if I do not join in the
+rapturous chorus. The beauty of the Andalusian women does not startle
+one immediately upon setting foot in Seville. It seems to me to be a
+charm that needs comprehension. Undoubtedly you may see a proportion of
+handsome faces among the ladies in the evening parade in the park, on
+the racecourse, at the bull fights, and in the theatres. If you expect
+to find that every other woman in Seville is a belle--well, I think you
+will be disappointed.
+
+'If Shakespeare is right in saying that there is no author in the world
+"teaches such beauty as a woman's eyes," then Andalusia easily leads the
+world in personal beauty.' So writes Mr. Henry T. Finck, in his
+_Romantic Love and Personal Beauty_. Byron comments in the same strain,
+and so does Blanco White, not to mention other authors. Perhaps Mr. G.
+P. Lathrop's description of the girls of the Seville tobacco factory
+may, by reason of its dispassionateness, be accepted as a fair estimate.
+In _Spanish Vistas,_ Mr. Lathrop writes: 'Some of them had a spendthrift
+common sort of beauty, which, owing to their southern vivacity and fine
+physique, had the air of being more than it really was.... The beauty of
+these Carmens has certainly been exaggerated. It may be remarked here
+that, as an offset to occasional disappointment arising from such
+exaggerations, all Spanish women walk with astonishing gracefulness, and
+natural and elastic step, and that it is their chief advantage over
+women of other nations.'
+
+The opinion of Washington Irving on the charms of the Seville fair may
+perhaps explain my qualification that the graces do not make a sudden
+and arresting appeal, but require reflection and comprehension, like
+many interesting works of art. Washington Irving says: 'There are
+beautiful women in Seville as ... there are in all other great cities;
+but do not, my worthy and inquiring friend, expect a perfect beauty to
+be staring you in the face at every turn, or you will be awfully
+disappointed.... I am convinced the great fascination of Spanish women
+arises from their natural talent, their fire and soul, which beam
+through their dark and flashing eyes, and kindle up their whole
+countenance in the course of an interesting conversation. As I have had
+but few opportunities of judging them in this way, I can only criticise
+them with the eye of a sauntering observer. It is like judging of a
+fountain when it is not in play, or a fire when it lies dormant and
+neither flames nor sparkles.'
+
+A true appreciation of the Sevillian dame is only possible to such as
+possess the wit to understand the quality known as _sal_ or 'salt.'
+Andalusian _sal_ has a flavour of its own. It is made up of _persiflage_
+and the quality called 'smartness.' _Sal_ is more esteemed than beauty
+in a woman; it is more fascinating than physical comeliness. 'The
+Andalusian women,' writes the author of _Costumbres Andaluzas_, 'has on
+her lips all the salt of the foam of two seas.' ... The woman of
+Andalusia 'is frank, passionate, loving or hating without taking the
+trouble to dissemble her sentiments.' She is 'life, light, fire'; she
+'is beauty illumined by the torch of Paradise,' etc. Such is the strain
+of Spanish gallantry.
+
+In the old days the ardent lover was wont to beat himself beneath a
+maiden's window, until the blood trickled down his back. Nowadays, the
+amorous cavalier waits below the casement, and when he catches a glimpse
+of the object of his devotion, exclaims: 'Your beauty ravishes me! Your
+eyes burn into my soul!'
+
+The peculiarly guarded life of the young Spanish woman, which is in part
+a relic of Orientalism, and in part traceable to her religion, forces
+her to develop ingenuity in attracting an admirer, and in her means of
+communicating with him.
+
+Mr. Lathrop, in his _Spanish Vistas_, says that the beggars around
+Seville Cathedral are sometimes the bearers of love letters to the
+ladies who attend the services and go to confession. A piece of silver
+is dropped into the mendicant's dirty palm, and a little note is
+transferred to the _senorita's_ hand. And with eyes fixed modestly upon
+the ground, the maiden steps out of the portal of the sacred building,
+clutching the tender missive which she burns to read. In all countries
+stealthy courtship has its charm and romance for lovers; and in Spain
+the zest of wooing is quickened by the devices employed for clandestine
+assignations, and the secret conveying of gifts and letters from one
+lover to another. Our forthright British mode of love-making might
+appear almost barbarous to an Andalusian girl.
+
+The women of Southern Spain are short, and they incline to stoutness.
+Mr. Finck says that sexual selection 'is evolving the _petite_ brunette
+as the ideal of womanhood,' and that 'the perfected woman of the
+millennium will resemble the Andalusian brunette, not only in
+complexion, hair, eyes, gait, and tapering plumpness of figure, but also
+in stature.'
+
+Among the men of Seville one sees many slim, lissome, well-proportioned
+figures of medium height. Some of the _majos_ of Sierpes are of this
+type, and among the working class there are many good-looking,
+clean-limbed men. The masculine physiognomies impress me as being much
+more varied in contour and more expressive than those of the women.
+Faces that might be English are not uncommon among the men of Seville.
+But the true Andalusian features are distinctive, and have an Arab cast.
+The hair is dark, black or brown, and the skin olive or tawny. There is
+an unshaven look about many of the middle-class men. A _majo_ who
+dresses in the height of fashion will often go out to parade the streets
+with a three days' beard on his chin. But his hands will be
+scrupulously washed several times a day, and the finger nails will be
+carefully trimmed and polished.
+
+[Illustration: The Golden Tower]
+
+To see Sevillian society out of doors, go to the Parque Maria Luisa and
+the adjoining Paseo de las Delicias about five in the afternoon. This is
+the fashionable promenade, and here the _elite_ of the city drive in
+open carriages daily. The costumes of the _senoras_ are varied and
+stylish. Some of the ladies wear English gowns and hats, and one sees a
+few of the latest Paris fashions in dresses. But the majority have not
+discarded the _mantilla_ of black or white lace, and the fan is in every
+hand. A 'smart turn-out' is a sort of four-wheeled dogcart, drawn by
+four mules, with bells, and gay worsted ear-caps and worked bridles.
+The servants are dressed in London livery, the landaus are of French or
+English make, and many fine horses may be seen. _Caballeros_ ride upon
+prancing nags. Under the palms and orange trees there are seats filled
+with loungers, the women fanning themselves, the men smoking cigars or
+cigarettes. None but foreigners smoke a pipe in the streets of Seville.
+A _majo_ would not be guilty of such vulgarity.
+
+Beneath the odorous orange trees, where innumerable nightingales warble,
+one may watch the afternoon procession of carriages and pedestrians. A
+breeze blows from the wide Guadalquivir. It is cool by the ornamental
+water, where roses and camellias are rife. The blue uniform of an
+officer, the white duck trousers of a dandy, the sunshades of the ladies
+show amidst the greenery of the avenues. From the cavalry barracks comes
+the blare of bugles. In the Parque there are peacocks and a den of wild
+boars.
+
+In April, during the _feria_ week, there is horse-racing on the broad
+meadows beyond the Paseo de las Delicias. English horses, ridden by
+English jockeys, sometimes compete in the races. The grand stand is a
+large one, with a long enclosure. It is well filled on race days with
+the rank and fashion of Andalusia. One is struck with the gravity of the
+spectators as contrasted with the animation of a British crowd upon a
+racecourse. The people are thoroughly enjoying the spectacle; but they
+do not shout, and there is no ring of bellowing bookmakers. Backers of
+horses purchase a ticket at a little office in the enclosure. There is
+only one of these offices, and there are no betting men behind the ropes
+of the course.
+
+An element of pageant is introduced by the company of cavalry drawn up
+near the grand stand. When officers of the State arrive upon the course,
+they are saluted with a flourish of trumpets. A number of mounted men
+of the Civil Guard keep the course clear of pedestrians. The resplendent
+dresses of the ladies, the bright uniforms of the soldiers and the
+costumes of the jockeys make a brilliant scene in the dazzling southern
+sunshine.
+
+But horse-racing is not the national pastime of Spain. Bull-fighting is
+deemed the nobler sport, and Seville has been called 'the Alma Mater of
+the bull-fighter.'[G] I do not here propose to describe one of these
+combats. Such descriptions have perhaps occupied an undue space in many
+books about Spanish ways and customs. The most reliable accounts of
+bull-fighting are to be found in Mr. Williams's _The Land of the Dons_,
+and in _Wild Spain_, by A. Chapman and W. T. Buck.
+
+There is a handsome Plaza de Toros at Seville, built in 1870, with seats
+for fourteen thousand spectators. At Easter, and during the _feria_
+festivals in April, there are several fights in the arena, which are
+attended by immense crowds made up of all classes from the duke to the
+girls from the cigarette factory. The enthusiasm which bull fights evoke
+is so great that large crowds collect around the hotels, where the
+bull-fighters reside during Holy Week and fair time, in order to watch
+the heroes of the ring start for the Plaza de Toros.
+
+I was in Seville during the _feria_ of 1902, and I may now attempt to
+describe the scene on the Prado de San Sebastian. The city was thronged
+with sight-seers; every hotel and boarding-house was overcrowded, and
+hundreds of cattle and horse dealers, gipsies and itinerants slept on
+the fair ground in booths or upon the bare earth. I found the open space
+on the Prado covered with flocks of sheep and goats, droves of bullocks,
+horses, mules and donkeys, tended by picturesque herdsmen and muleteers
+in the dress of several provinces. An English carriage and pair of
+handsome horses paraded the ground, and changed hands at a high price.
+_Caballeros_ rode their steeds up and down, to show off their points,
+and gipsy 'copers' haggled and chaffered. In the long row of refreshment
+tents was one bearing the sign of _Los Boers_. I entered one of the
+booths, and ordered a _refresco_, a bitter, syrupy decoction, with a
+tang of turpentine. Men and women were sipping this beverage with much
+zest, and watching the continual procession of holiday-makers under the
+trees. Everyone was quiet, orderly and sober. I did not see one drunken
+or quarrelsome person on either of the fair days, which I think may be
+taken as a token of the sobriety of the Spaniards. The diversions of the
+_feria_ struck me as innocent, perhaps childish; but there was none of
+the coarseness and the squalor of a fair in England. There were only a
+few shows.
+
+The Gitanas had their tents, where they danced to _gorgio_ audiences,
+exacting exorbitant fees for each performance. Importunate gipsy dames
+stood at the doors of their tents, inviting the visitors to enter, and
+to taste their curious liquors, or to have their fortunes told. It was
+not easy to escape from these syrens, for they seized one's coat sleeve,
+and almost dragged one into their shows and booths. Some of the Gitana
+girls are remarkably handsome, and the gay colours of their clothing
+lend animation to this part of the _feria_.
+
+One of the most interesting streets of the fair is that of the
+_casetas_, or pavilions of the influential Sevillians, who spend the day
+in receiving guests, dancing, guitar playing and singing. The doors of
+the _casetas_ are open. You can look within at the merry company. The
+old folk sit around on chairs; someone clicks a pair of castanets, and a
+graceful girl begins to dance. Fans are fluttering everywhere; there is
+a soft tinkling of guitars. Dark eyes flash upon you, and red lips part
+in smiles as the hats of _majos_ are raised. Some of the children are
+dressed in old Andalusian costume, with black lace over yellow silk, and
+_mantillas_ upon their dark hair. They dance to the castanets, and win
+handclaps from grandfathers and grandmothers, who recall their own
+dancing days of forty or fifty years ago.
+
+There is an iron tower in the centre of the fair ground. I ascended it,
+and gained a view of the bright crowd, the flocks, the prancing horses
+and the waving bunting everywhere displayed. At night the avenues of
+booths are illuminated with thousands of fairy lights, electric lamps
+and Chinese lanterns. The fair is then thronged in every part, and
+everyone submits to a good-humoured jostling. At this festive time you
+must be prepared for disturbed nights. The streets are never quiet by
+day or night, and there is a constant tramping up and down the stairs of
+the hotels. Long after midnight one hears the revellers in the _plazas_,
+singing and dancing to the clapping of hands or the strumming of
+guitars.
+
+This 'fantastic pandemonium,' as it is called by a Sevillian rhymer,
+lasts for about eight to ten days. During the three days of the _feria_,
+the hotel charges are doubled, and in some cases trebled. The city
+profits considerably through the influx of visitors at this time, and
+also during _Semana Santa_, or Holy Week, when Seville is very crowded.
+
+Nothing can prove so instructive concerning the Spanish devotion to
+ritual and religious pageant as a visit to Seville at Easter. The
+processions and celebrations of _Semana Santa_ are exceedingly
+interesting from the artistic and the antiquarian point of view. All the
+costly vestments, the rare ecclesiastic treasures of the Cathedral, the
+works of artists and sculptors, and the sacred images of Christ and the
+Virgin are then displayed, in the midst of high pomp, to the adoring
+eyes of the vast crowds lining the streets and filling the windows. It
+is during these ceremonies that one may catch the spirit of mediaevalism
+still surviving in Spain. Even the religious dances of antiquity are
+performed in the Cathedral before the high altar on Corpus Christi day.
+The dancers are boys, sixteen in number, and they are called the
+_Seises_. They dress in the costume of the reign of Felipe III.
+
+The _pasos_ or processions of _Semana Santa_ pass through Sierpes to the
+Plaza de la Constitucion, where the mayor of the city is seated on a
+dais before the Ayuntamiento. Here there are stands for spectators. The
+processions are headed by men of the Guardia Civil; mummers dressed as
+Romans follow, then come masked monks, girls in white raiment, bands of
+music, and city officials. On Palm Sunday there is a blessing of the
+palms in the Cathedral by the Cardinal Archbishop, who is clothed in
+purple canonicals. The procession leaves the edifice by the Puerta San
+Miguel. At Vespers the sacred banner is elevated, and at six in the
+evening four _pasos_ parade the streets, in honour of San Jacinto,
+Santisimo Cristo, San Juan Bautista and San Gregorio.
+
+Figures by Montanez, the celebrated ecclesiastical sculptor, are borne
+in these processions. One of the most imposing objects of veneration is
+the immense crucifix, carried on a stand by thirty concealed bearers. It
+is followed by musicians playing the solemn funeral music of Eslava.
+
+Miguel Hilarion Eslava, the composer, was born in 1807, near Pampeluna,
+in the north of Spain. He sang in the cathedral choir of that city, and
+afterwards played the violin in services. First a priest, he became
+chapel-master at Seville, in 1832, where he composed a great number of
+pieces of church music and masses. His chief work is _Lira Sacro
+Hispana_, a collection of sacred music from the sixteenth to the
+nineteenth century, with brief biographies of the composers. This
+_magnum opus_ is in ten volumes.
+
+Eslava also wrote secular music, and his operas of _Il Solitario_, _La
+Tregura di Ptolemaide_ and _Pedro el Cruel_ were first produced at
+Cadiz. The eighth volume of the _Lira_ contains only Eslava's music, and
+the _Museo Organico Espanol_ embodies some of his own organ
+compositions. This famous composer spent many years of his life in
+Seville. He lived in a house in the Calle del Gran Capitan, now used as
+the Colegio de San Miguel, a school for boys. Over the gateway is an
+inscription announcing that Eslava lived in this house. The courtyard is
+extremely quaint, and should be seen.
+
+The solemn strains of Eslava's _Miserere_ may be heard in the Capilla
+Mayor of the Cathedral during Holy Week, upon the day of 'rending the
+Veil of the Temple.' This ceremony is accompanied by peals of artificial
+thunder. On the Saturday after Good Friday, the _Velo Negro_ (black
+curtain) is torn amidst the clanging of bells and claps of thunder. On
+the same day a candle, twenty-five feet in height, is consecrated.
+
+There is a similarity in the processions of Semana Santa, and they are
+less sumptuous than in bygone times. But they are still popular, and the
+visitor should endeavour to obtain a favourable point of view for
+watching the ceremonials in the streets and in the Cathedral. The figure
+of the Virgin is always the same in Spain; an image clad in black
+velvet, trimmed with lace, and adorned with diamonds, while the
+_tableaux_ of the Saviour upon the Cross are often very realistic and
+ghastly. On Good Friday the large image of the Virgin is carried by
+thirty-five men, and there is a representation of Christ in the throes
+of death upon a splendid cross of tortoiseshell and silver.
+
+An interesting rite is performed on Thursday afternoon, when the
+Cardinal Archbishop washes the feet of twelve poor persons, who are
+given new clothes and a substantial meal. In the evening the _Miserere_
+of Eslava is again sung in the Cathedral by a chorus of one hundred and
+fifty voices, accompanied by ninety instrumentalists.
+
+During Holy Week a lamb fair is held in the Feria del Rastro. The lambs
+are bought and given to children, who lead them about the streets.
+
+The Corpus Christi festivals, or _La Fiesta del Santisimo Corpus_, are
+less gorgeous than those of _Semana Santa_, but they are not without
+interest to the student of religious custom. The dancing of the _Seises_
+in the Cathedral is certainly a curious spectacle. Blanco White says
+that among the treasures carried in the Corpus Christi procession of his
+day were the tooth of St. Christopher, the arm of St. Bartholomew, the
+head of one of the eleven thousand virgins, a part of the body of St.
+Peter, a thorn from the crown of the Saviour, and a fragment of the True
+Cross.
+
+Special services and pageants are also celebrated on All Saints' Day and
+at Christmas (_La Natividad_). The pilgrimages are another Andalusian
+custom dating from early Christian times. These _romerias_ are of a
+festal character. The people resort to Rocio in Almonte on Whit Sunday,
+dressed in holiday garb, and riding in carriages decked with banners.
+Dancing, singing and feasting are the chief attractions of these
+semi-religious _fetes_. _La Consolacion de Utrera_ is celebrated on
+September 8, when excursion trains are run from Seville to Utrera. In
+October there are _romerias_ on each Sunday at Salteras, eight miles
+from the city. The festivities usually end with a display of fireworks.
+
+Passion plays are still represented in Seville. At Easter the drama of
+the 'Passion and Death of our Lord Jesus Christ, with the Glorious
+Resurrection' is acted at the Teatro Cervantes. The Teatro de San
+Fernando is the home of opera and spectacle, and there is a summer
+theatre, the Eslava, in the Paseo de la Puerta de Jerez.
+
+Who has not heard of the charm of Andalusian dancing? Seville is the
+home of the _bailarin_, the artist of the _bolero_, _ole_, _Sevilliana_,
+and other dances. On every evening in summer, the inhabitants dance in
+their _patios_ to the guitar and castanets, while the street lads
+perform their Oriental antics in the _plazas_ and bye-streets. The
+cleverest professional dancing is to be seen at the _Cafe de Novedades_,
+at the end of the Calle de las Sierpes, where it is joined by the Calle
+de Campana. There are other _cafes_ in Sierpes where national and gipsy
+dancing may be witnessed, but perhaps the most characteristic
+performances are those of the Novedades. You may obtain a seat, just in
+front of the stage, for half a peseta. The entertainment usually opens
+with a representation of gipsy or _flamenco_ dancing, which is a strange
+exercise and difficult to describe. A number of women sit in a
+semi-circle on the stage, and in the centre of the dancers is a male
+guitar player. Nothing happens for some time, but the spectators evince
+no impatience. They sip coffee, smoke, and chat contentedly.
+
+Presently one of the _flamenco_ women quits her chair, and begins to
+strike extraordinary postures. At one moment she might be trying to
+impersonate Ajax defying the lightning; in the next she is apparently
+fleeing from a satyr. Her hands are held high above her head, and there
+is a continual movement of the fingers. She writhes and wriggles rather
+than dances, and the feet play no part, except that the heels now and
+then thump the stage. Meanwhile her seated companions drown the sound of
+the guitar with the clapping of their hands and cries of _anda!_
+
+One after another the women go through these curious contortions to the
+delight of the audience. I believe that there are subtle fascinations in
+these dances when one understands the drama which they represent; but to
+the casual spectator they are somewhat tedious, and they do not make
+much appeal to the imagination or to one's sense of the graceful in
+movement. Most visitors will prefer the Andalusian dancing. The dancers
+of the Novedades are extremely nimble in the _bolero_, one of the
+prettiest and most joyous of dances. Their shapely, lissome feet skim
+and bound in bewildering and intricate steps, to the clicking of
+ribbon-decked castanets. They spring into the air, hover, and bound
+again; they move rapidly on their toes, float, glide, and almost fly. It
+is a wonderful sight. One is sorry when the troop leave the stage. There
+is an intoxication in watching such grace, lightness and agility.
+
+The singing of _coplas_ (couplets) is one of the attractions at this
+_cafe_. This form of vocalisation is very Andalusian. I can only
+describe it as a prolonged _tremolo_; the singer appears to sing a verse
+without drawing breath, and the effort often seems painful. A 'star' in
+this art is exceedingly popular, and his singing is sure to be followed
+by loud plaudits.
+
+Gitana dancing of a more pronounced sort may be studied in the suburb of
+Triana, where there is a colony of gipsies. Those who have read George
+Borrow's _The Zincali: An Account of the Gypsies of Spain_, will
+discover an increased interest in their visit to the Gitana quarter.
+Some of the Triana gipsies are the swarthiest and weirdest of their
+race. A hag, who might be a hundred, clutches your arm, and looks into
+your face with her cunning black eyes as she begs for alms. She has the
+features of an Egyptian, coal black hair, and a skin like the
+calf-binding of an old book. A nude brown boy rolls in the road, a Cupid
+in sepia.
+
+Here is a lovely girl of fourteen, with a lithe figure, feline
+movements, huge dark eyes, jet locks, and a rich olive tinting of the
+skin. She is conscious of her beauty, and will not cease to insist upon
+receiving a coin for the pleasure that her charms afford the admiring
+Gentiles. Whatever you give her, she will ask for more. But she is very
+beautiful, and most beauties are exacting. Some of these Romany people
+are almost as swarthy as negroes. There is hardly one who would not make
+a splendid model for an artist. Their graceful unstudied pose is most
+alluring to the painter, while the mystery of their glowing eyes, their
+strange lore, and secret speech invest them with romance and poetry that
+appeal to Mr. Leland and Mr. Watts-Dunton.
+
+George Eliot must have experienced the spell of these tawny folk during
+her visit to Spain. Her 'Spanish Gypsy,' is a 'creation' but it was to
+the Gitanas of the highways that the poet owed her inspiration. 'Gypsy
+Borrow' found the race irresistible; the tongue, the customs, the
+esoterics of the Zincali of Spain were to him a subject of fascinating
+study.
+
+In the old days the Romany fared ill in the Peninsula. He was a pariah,
+a suspect, an object of persecution. But to-day Sevillian gentle-folk
+are inclined to pet the Gitanas, and it is quite 'good form' to use
+Romany phrases, and to appear a little gipsyish. The sons of wealthy
+families are the patrons of the _flamenco_ dances; they are enthralled
+by the loveliness of the lithe nut-brown maids, with piercing eyes,
+carmine lips, and pearly teeth. But it all ends in admiration. No bribe
+will tempt the Gitana lass to swerve from the strict code of chastity
+laid down by the tradition of her class.
+
+To see the Gitanas at their best, or living under primitive conditions,
+take a trip down to Coria on the Guadalquivir. A steamboat starts daily
+from the Triana Bridge at about half-past seven in the morning. The
+voyage is interesting, and you can return in time for evening dinner.
+You pass two or three villages with landing-stages, and gain views of
+the distant marshes towards the mouth of the river, while on the right
+bank are slopes clothed with olives and vines. Pottery is made from the
+red clay of the foothills, and a number of gipsies work at this
+industry.
+
+At Coria you will be an object of curiosity, for very few strangers
+visit the little village. The Gitanas inhabit 'dug-outs,' or caves, in
+the hillside. These dens are only lit by the doorway, but they are not
+so dark within as one might expect. Nor are they unwholesome, for the
+gipsies appear to take pride in keeping their habitations clean. Most of
+the cooking is done outside the burrow. There is quite a warren in the
+hill, which is honeycombed with dwellings of this savage kind.
+
+Strange to say, not a single Gitana begged from me when I visited the
+colony. But the Gentile population of Coria were somewhat importunate
+when our party embarked for the return journey to Seville, and most of
+the lads of the village congregated on the landing-stage to beg for
+_centimos_.
+
+Macarena and Juderia, the poor _barrios_ or suburbs of Seville, are not
+like our English slums. There is no sign of abject want, though the
+people have a keen struggle for subsistence. The houses are all
+white-washed without, and the little courts have their climbing roses
+or a grape vine trained to pillars. There are malodours here and there,
+owing to the insanitary practices of the people; but the inhabitants of
+these quarters are seldom ragged, and they do not appear dejected, dirty
+and degraded.
+
+Now and then, a mischievous boy will throw a stone at the foreigner, or
+a group of idlers will break into derisive laughter when you pass by. On
+the other hand, ask a question civilly of these people, and they will
+put themselves to trouble to assist you in finding the church or the
+monument of which you are in quest. Beware, however, of the
+soft-tongued, amiable loafer who persists in dogging your heels and
+offering his services as a guide.
+
+Begging, which is such an intolerable nuisance in some of the Spanish
+towns, has been almost suppressed in Seville by the rigorous municipal
+laws. The mendicant is not extinct; some of the order are sure to be
+encountered in the neighbourhood of the Cathedral, but they do not
+pester the visitor incessantly as in Toledo and Granada. A number of the
+idle and vicious inhabitants of Seville appear to be homeless. In this
+balmy Southern climate, the _al fresco_ life of the tramp is not
+unendurable; still I am told that beggars sometimes die in Spain by the
+roadside from sheer want.
+
+The Plaza Nueva is a favourite nocturnal resort of the _gamins_ and
+vagabonds of the city, and at one in the morning the space presents a
+scene resembling that of Trafalgar Square in the days when unfortunate
+'out-of-works' camped there nightly.
+
+In the Macarena quarter is the market street of the Feria. This
+thoroughfare should be seen. It is the home of metal-workers, whose
+beaten brass, iron and copper ware is interesting and artistic in
+workmanship. Peripatetics here display a jumble of second-hand articles
+upon the ground, such as books, old pictures, brass candlesticks, tools,
+buttons, pistols, rusty swords, harness, and mule bells. There are
+stalls of fruit, coloured kerchiefs, hats and caps, shoes, and common
+china ware. The scene is bustling and bright.
+
+Here the young and unknown artists of Seville were wont to sell their
+pictures in former times. Murillo and many another painter of renown
+stood here anxiously awaiting chance purchasers for their works. These
+'fair pictures' were often daubs; but sometimes, no doubt, a buyer
+secured the work of a young genius for a trifling sum. If a purchaser
+wished a picture altered to his taste, the artist would retouch it upon
+the spot.
+
+These were hard days for young painters. But many who hawked their
+religious pictures and portraits of the Virgin and the saints for
+pesetas rose to fame, and gained wealth in their later days. A _pintura
+de la Feria_ became a term in Spain for a meretricious picture. Some of
+the Feria paintings were still-life subjects, and others were _sargas_,
+large screens or banners used in sacred processions.
+
+One of the sights of modern Seville is the Fabrica de Tabacos, a factory
+where a large number of women and girls are employed. The building is a
+handsome one, in the baroque style, in the Calle de San Fernando. The
+_cigarreras_ work in overcrowded rooms. On public holidays they don
+their smartest dress, and are to be seen at the _romerias_ and dances.
+
+A survival of the ancient potter's art in Seville is the factory of La
+Cartuja, in Triana, owned by the English firm of Prickman and Sons. The
+works supply almost the whole country with china, and examples of
+antique Spanish majolica may be seen here. La Cartuja was once a
+convent. The church should be seen; it has a fine door in the _Mudejar_
+style.
+
+Campana's paintings in the Church of Santa Ana, in Triana, may be
+inspected after a visit to La Cartuja. Near this church are the streets
+inhabited by the Gitanas. The SS. Justa and Rufina, mentioned elsewhere
+in these pages, made pottery in this quarter in the Roman days.
+
+The custom of selling drinking water in the streets is common almost
+everywhere in Spain. Velazquez painted the familiar figure of the
+water-seller, who is to be seen to-day in the _calles_ of Seville,
+crying _agua fresca_. The water is carried on the men's shoulders, in
+graceful Oriental jugs of earthenware.
+
+Sometimes one hears the sound of the drum and the _dulcinea_, a pipe
+played with one hand, and used to provide music for village dances in
+many parts of Spain. The music proceeds from a man, who is accompanied
+by a led bullock, and it announces that tickets may be bought for a
+lottery in which the prize is a horse. Piano organs enliven the streets,
+playing popular dance music, and these seem to have superseded the
+performances of guitarists.
+
+Time can scarcely hang heavily upon the visitor to 'the diadem in
+Andalusia's crown.' Days may be spent in the noble Cathedral, dreamy
+hours passed in the scented garden of the Alcazar, or by the
+Guadalquivir, where the bulbul still sings as in the Moorish days. Each
+time one climbs to the summit of the Giralda, a fresh beauty in the
+prospect of the sunny, white city and the glowing plain fascinates the
+vision. The picture gallery should be visited more than once; and there
+are so many works of art in the churches, monasteries and public
+buildings that one is never at a loss for pleasant recreation or serious
+study.
+
+Delightful, too, are the cool evenings in the _plazas_, or the gardens,
+when the sinking sun sheds its beams on the stately Cathedral and the
+proud Giralda. The storks sail homewards far overhead in the glow of
+the rising moon; a chorus of birds dies away in the tangled banks of the
+Guadalquivir. Brief night succeeds the twilight; day dawn soon appears,
+and the hawks flash from their eyries in the Giralda, and the mule bells
+begin to jingle in the sunlit streets.
+
+[Illustration: A Roof Garden]
+
+The quay, which stretches from the Triana Bridge to the Delicias, forms
+a pleasant promenade. By the Golden Tower there are seats under the
+trees, and the kiosks of the _refresco_ sellers, who dispense
+orange-water, lemonade and sarsaparilla to the sailors and the girls
+from the tobacco factory. Adjoining that part of the quay where English
+vessels are loaded with iron brought upon a tramway, there is a little
+booth for the sale of refreshments. It is kept by a young Spaniard and
+his wife, named Jose. The boothkeeper has made several trips to England
+in trading vessels, and he speaks English very fairly. Jose has a
+'connection' among the British sailors, who come to his pavilion for
+rum, whisky and other drinks beloved of English tars. He possesses a
+great regard for England and the English, and among his customers Jose
+is often addressed as Johnson.
+
+Near the Golden Tower there is another house of call used by seamen. In
+the window you will see advertisements of British beverages, and
+announcements in several European languages. Ships from Liverpool,
+Glasgow and Cardiff are often anchored in this part of the Guadalquivir,
+and now and then there is an English yacht in the port.
+
+The fishermen of Seville have a curious method of taking shad. They work
+a cross-line under water from two boats on opposite sides of the river.
+The line is armed with hooks, baited with pieces of meat. Now and then,
+the fishermen haul up a fish. But the Guadalquivir is heavily netted and
+fished, and the shad are not very plentiful in this reach. There are
+some very big eels in the river, which can be caught with a rod and line
+from the banks.
+
+As the _pescadores_ slowly scull their boats down the river, they sing
+strange Andalusian melodies, with a kind of _yoedel_. Their voices reach
+far along the stream on still days. The men are hard-working, and their
+catches scarcely repay them for their patience and labour in the burning
+sun.
+
+Along the quay, and at every point of entrance to Seville, there are
+customs' officers in uniform, with swords at their sides. The _consumo_
+is not a popular character in Spain. Peasants and small traders resent
+the tax upon the produce which they bring into the markets, and many
+attempts are made to evade paying the duty. At Cordova I heard a violent
+altercation between a peasant and a _consumo_, who demanded duty upon a
+live pigeon.
+
+Spain is the land of officials in uniform. Down the Guadalquivir you
+will see armed men who protect the wooden breakwaters. Then there are
+four grades of police, the _consumos_, and the watchmen, all of them
+provided with weapons.
+
+The quaint, irregular thoroughfares of Seville, its palm trees and olive
+gardens, its Morisco remains, its _hidalgos_ and _donas_, its brightness
+and gaiety, and its blue skies will not soon be forgotten by those who
+pass a short time within its ancient walls. Lord Byron praises the city
+as the most beautiful in Spain. It is certainly charming, but there are
+towns in the Peninsula more antiquated in aspect, and more picturesque
+in their surroundings. Still, the Andalusian capital possesses a strong
+fascination, and few persons will dispute, in the main, the truth of
+Byron's lines in the first canto of _Don Juan_:--
+
+    'In Seville was he born, a pleasant city,
+     Famous for oranges and women--he
+     Who has not seen it will be much to pity,
+     So says the proverb--and I quite agree;
+     Of all the Spanish towns is none more pretty,
+     Cadiz, perhaps--but that you soon may see;--
+     Don Juan's parents lived beside the river.
+     A noble stream, and call'd the Guadalquivir.'
+
+Since the days of Cervantes, the aspect of the city and the manners and
+customs of its inhabitants have not undergone any profound change. The
+monumental buildings remain, and the cry of the watchman and the notes
+of the guitar are still heard by night in the tortuous alleys, and under
+the palm trees of the _plazas_. The careless, merry Sevillanos continue
+to love the dance, the song, the bull fight and the theatre more than
+science and literature. We may see the types sketched by the great
+satirist in _The Jealous Estremaduran_, if we will but enter one of the
+fashionable _cafes_ during the evening. It would be unfair to say that
+Sevillian society is composed entirely of adventurers, but they are a
+distinctive class in the pleasure-loving capital. 'In the city of
+Seville,' writes Cervantes, 'is a class of idling, lazy people who
+locally go by the common name of "the children of the ward"; they are
+considered as foragers on the public; they are the sons of rich parents,
+not of the nobility; always well-dressed, fond of pleasure, extravagant
+and expensive, plunging themselves and their parents in debt; always
+feasting and revelling; every way bringing discredit on society,
+defrauding and injuring their creditors.'
+
+The stranger will not be in the city many hours before he notices a
+curious device on public buildings, official uniforms and elsewhere.
+This is the node, or knot (_el nodo_), which forms a part of the
+coat-of-arms of Seville. The knot is in the centre of an ornamental
+circle, and on one side of it are the letters NO and on the other DO.
+This legend in full is _No madeja do_, or, _No me ha dejado_, which
+means: 'It has not deserted me.' The symbol of the _nodo_ was adopted
+after the fealty of the _muy leal_ city to Alfonzo X.
+
+[Illustration: Arms of Seville]
+
+
+
+
+CHAPTER XIV
+
+_The Alma Mater of Bull-fighters_
+
+     'The Arabs were much given to bull-fighting, and highly skilled in
+     the _lidia_, whether mounted or on foot.'--SANCHEZ DE NIEVA, _El
+     Toreo_.
+
+
+Seville is so renowned in the annals of the great Spanish sport of
+bull-fighting, that I propose to devote a chapter to a brief history and
+description of the 'science of tauromachia,' or the recreation of the
+_lidia_. Mr. Leonard Williams, in _The Land of the Dons_, is somewhat
+apologetic to his readers for introducing three chapters upon the
+bullfight and its history; but such is the enthusiasm exhibited for the
+pastime, that Mr. Williams states that thirty chapters, instead of
+three, would scarcely be disproportionate to the importance in which the
+_corrida_ is esteemed by the Spanish nation. While making personal
+confession that I am not an _aficionado_, or enthusiast, of the art of
+bull-fighting, I will endeavour to convey to the reader a conception of
+the influence of the sport upon the Andalusian public, from which the
+moralist and sociologist may draw their conclusions.
+
+There is an odour of Pharisaism in the British fox-hunter's denunciation
+of the bull fight on the score of cruelty to animals. But in defence of
+the hunter, it may be pointed out that he rarely sacrifices the life of
+his steed in order to be in at the death of a fox, and that he would
+certainly scorn to torture a worn-out and decrepit horse by riding it
+till it dropped with a ruptured heart. In bull-fighting there is no
+pity shown for horses. The emaciated beasts, upon which the _picadores_,
+or spearmen, are mounted, are urged at the bull, and serve as a target
+for its terrible horns until they are no longer able to stand upon their
+legs. Even when ripped open, or otherwise wounded, the bleeding,
+terrified creatures are sewn up, or have their wounds plugged with tow,
+and are again lashed and spurred to the attack.
+
+Surely it is impossible to defend this element of the _corrida_. The
+Spaniard does not attempt to do so; he cannot easily understand the
+point of view that calls for such defence. All over Spain domestic
+animals used in the service of man are treated mostly with callous
+insensibility to their sufferings, and often with cruelty that appals
+and disgusts the stranger. What does it matter whether an old, used-up
+horse goes to the knacker or into the bull ring to end its days? In
+Spain there is no sentimental bond between the aged, faithful,
+hard-working horse and its owner. The horse or mule is a mere beast of
+burden and of draught, to be worked as hard as possible, half-fed,
+cursed, abused, and at all times beaten, goaded and kicked.
+
+It would seem that a long training in warfare, the effect of harsh rule,
+and the terrible example of the Inquisition form a trinity of evil that
+has made the mass of the Spanish people indifferent to the spectacle of
+certain kinds of pain. That this apathy to the sufferings of human
+beings and brutes is compatible with strong physical courage is a fact
+well supported by examples in the histories of nations and individuals.
+It is also true that the humane man can be exceedingly courageous.
+Cruelty in sport has, however, characterised other European countries
+than Spain, which in this matter may be said to stand where we stood,
+ethically speaking, in the days of bull-baiting, cock-fighting and
+badger-drawing. The English crowd that went to see an unhappy victim of
+nervous irritability ducked in a dirty pond, for the offence of nagging
+at the goodman, was on the same level of civilisation as the mob in
+Spain that enjoyed the sport of arming blind men with swords, turning
+pigs loose among them, and urging the sightless to hack at the pigs,
+with the result that the men frequently injured one another instead of
+the porkers.
+
+So far, then, as bulls and horses are concerned, we can only expect to
+find blunted feeling in Spain. And I am not sure that we need expend
+much sympathy upon the bull of the arena. In the ordinary fate he has to
+die, and it is probable that he would prefer to live the life of a
+fighting bull than bear the yoke and drag the cumbrous cart along dusty,
+scorching high roads. At all events, the bull reared for fighting has a
+placid existence until he is 'warrantable'; and in the excitement of his
+short contest with men he may suffer much less pain than we imagine. And
+as for the _matadores_, the heroes of the populace, the favourites of
+the aristocracy,--well, it is their affair if they and their attendants
+choose to risk their lives to make a Seville holiday. The human
+performers in the drama are not forced to fight. If one falls, he is not
+flogged till he rises to face the bull again, and when injured he is
+tended at once by skilful surgeons.
+
+This is really all that one can say in reply to the charge of cruelty,
+and it is little enough. Bull-fighting is specifically a Spanish sport,
+and efforts to introduce it into other countries have failed. British
+and American visitors to Seville are frequently to be seen at the Plaza
+de Toros; and at Algeciras and La Linea, the soldiers of the British
+garrison, and the people of Gibraltar, are the principal supporters of
+the bull rings. Throughout Spain the word _toro_ creates keen interest
+in all classes of society. The State, the Church and the aristocracy
+support the recreation of the _corrida_. Most of the bull rings have
+their chapels attached, where the performers receive the sacrament and a
+priestly blessing before entering the perilous arena. Ladies of the
+highest birth are among the breeders of fighting bulls; even some of the
+clerics rear beasts for the pastime, and attend the exhibitions of
+tauromachia. The passion for the sport is deep and apparently
+ineradicable in the people of Spain. Isabel the Catholic, after
+witnessing a sanguinary display in the ring, endeavoured to suppress
+bull-fighting. But not even the popular Queen could divert her subjects'
+interest from the absorbing sport. Moral suasion and attempted
+legislative methods are alike futile. The people demand the bull fight.
+In the very midst of war's alarms, and during civil trouble, the _plazas
+de toros_ were thronged with enthusiastic spectators. Jovellanos,
+Charles III., Senor Castelar, and Senor Ferreras, the editor of _El
+Correo_, are among those who have protested against bull-fighting.
+'Spain pays no heed to any of these agitators,' writes Mr. Leonard
+Williams, 'but continues unmoved the proud traditions of the arena. The
+superb bull ring inaugurated not long ago at Barcelona was consecrated
+by the clergy in procession, on the very day on which a novel of the
+naughty Tolstoi was thrust upon the list _librorum expurgatorum_.' In
+Spain the schoolmaster is a bankrupt, while the famous bull-fighter
+receives five thousand pesetas for killing two or three bulls. There are
+sociological inferences to be drawn from this fact.
+
+
+BULL-FIGHTING OF THE PAST.
+
+There is no doubt that encounters between men and bulls are of ancient
+origin in the Peninsula. The Moors are said to have brought
+bull-fighting into Spain, and there is historical proof that exhibitions
+of daring in worrying and attacking bulls were one of the chief
+recreations of the Moorish feast days. During times of truce between
+Moslems and Christians, displays of tauromachia were arranged by the
+rival leaders, and knights of both sides took part in the ring. The
+great Cid distinguished himself in fights with fierce bulls, and his
+horsemanship in the arena was widely admired. In these early days of the
+sport, the tournament, or _lidia_, was celebrated in the largest _plaza_
+of the towns. Raised seats were erected for the cavaliers and ladies,
+and the _fetes_ were attended almost entirely by the higher classes of
+Andalusian and Castilian society. The combatant of the bull was mounted
+on a plucky Arabian horse, and armed with a lance, called the _rejon_, a
+weapon about five feet in length. At a signal the bull was let loose.
+The knight charged the beast, and endeavoured to thrust his spear-head
+into the neck. An expert performer sometimes killed his bull at the
+first thrust. When hurled from his steed by a charge of the bull, the
+knight was bound by the rules of the ring to face the brute on foot,
+with a sword. Vassals assisted their master by essaying to draw the
+attention of the bull, and at the right moment the knight plunged his
+steel into the animal's neck.
+
+Such combats appear to have been held in Andalusia as early as the
+eleventh century. In one of Goya's bull-fighting sketches, we may see a
+Moor, with a cloak on the left arm, and a dart in the right hand,
+practising the _suerte de banderilla_. In the fifteenth century
+bull-fighting was recognised as the chief national sport. In 1567 Pius
+V. issued a threat of excommunication for all rulers who permitted
+bull-fighting within their realms, and for all priests who witnessed the
+shows. Fighters who fell in the ring were denied burial with Christian
+rites. The Bull of the Pope was utterly disregarded. Nobles continued to
+erect bull rings and to arrange _corridas_. The Church then exercised
+wonted discretion. A decree came from Salamanca that priests of a
+certain order might be present at bull fights, and the institution of
+the _lidia_ was made semi-sacred and wholly respectable.
+
+At Valladolid, Charles I. engaged and killed a bull in the public arena.
+Succeeding kings and the flower of the nobility yearned to graduate in
+the art of bull-fighting. The sons of _hidalgos_ resorted to the
+slaughter-houses of the towns to practise with cloak and sword the
+feints and passes of the _matador_. A valorous bull-fighter won his way
+to women's hearts and to the favour of princes. In 1617 the Pope issued
+a Bull announcing that the Virgin was conceived immaculately and was as
+pure as her divine offspring. The announcement threw Seville into a
+frenzy of delight. Archbishop de Castro gave a splendid service in the
+beautiful Cathedral. Guns boomed from the ramparts of the city, and all
+the church bells clanged and pealed. In the bull ring, Don Melchor de
+Alcazar, a friend of Velazquez, arranged a special display. The Don,
+with his dwarf and four immense negroes, gave a remarkable show of their
+daring to a host of spectators.
+
+Upon the day that Fernando VII. abolished the University of Seville, he
+established an academy of bull-fighting in the city. The building was
+constructed with a small ring for the practice of students in the art of
+tauromachia, and contained stables, bedrooms, and other apartments. From
+that time Seville was regarded as the classic home of bull-fighting, and
+many of the most valiant fighters were trained in that city. Then arose
+the professional _matador_, or _espada_, the swordsman who faces the
+bull single-handed, when it has been worried and incensed by the
+_picadores_ and the _banderilleros_.
+
+Two of the first paid _matadores_ were the brothers Juan and Pedro
+Palomo. They were succeeded by Martinez Billon, Francisco Romero and his
+son Juan, and Jose Delgado Candido, who was killed on the 24th of June
+1771. The original Plaza de Toros of Seville was constructed in 1763,
+and from that date until the end of the century several bull rings were
+built in Andalusia and Castile.
+
+'Andalusia,' write the authors of _Wild Spain_ 'has always been, and
+still remains, the province where the love of the bull and all that
+pertains to him is most keenly cherished, and where the modern bull
+fight may to-day be seen in its highest perfection and development. It
+provides the best bull-fighters and the most valued strains of the
+fighting bull. It may be added that the Andalusian nobility were the
+last of their order to discontinue their historic pursuit; and when,
+during the darker days of this sport, the Royal order of the Maestranza
+de Sevilla was created by Philip V., it was conceded in the statutes
+that members of the order could hold two _corridas_ with the long lance
+annually outside the city walls. Three gentlemen subsequently received
+titles of exalted nobility of this order in respect of brilliant
+performances with the lance.' Jose Candido, usually known as Pepe Hillo,
+brought about a great revival of the _corrida_ after the Bourbons had
+sought to discountenance the sport of the nobility. _Pepe Hillo_ is the
+title of a drama concerned with the valiant exploits of the celebrated
+master among _matadores_. Hillo, though he was said to be illiterate,
+drew up the rules of the sport, and even to-day he is regarded as one of
+the highest authorities upon the art of the bull fight.
+
+According to Mr. Leonard Williams, Francisco Romero, of Ronda, in
+Andalusia, was 'the first great exponent of the modern _toreo_.' Romero
+was put to shoemaking, but he abandoned that homely trade for the
+profession of bull-fighter, acting first as a page to the knights who
+encountered the bulls. It was Romero who introduced the pass of
+fluttering the cloak, or red cloth, in the face of the bull, and then,
+at the fitting opportunity, thrusting the sword into the creature's
+neck. Most of the reputed _matadores_ are of Sevillian birth. In the
+days of Romero and his son, Juan, who died at the age of one hundred and
+two, there lived the famous Sevillian _toreros_, the brothers Palomo,
+Manuel Bellon, Lorenzo Manuel, Joaquin Rodriguez, and Pepe Hillo, or
+Illo.
+
+Among the Andalusian schools of bull-fighting Ronda was renowned for
+daring, and Seville for coolness. The intrepidity of the Sevillian
+bull-fighters was remarkable. The _salto del trascuerno_, or jump across
+the head of the bull, was one of their favourite feats. Mr. Williams
+tells us that the most redoubtable of all the _toreros_ of Seville was
+one Martin Barcaiztegui, called Martincho, a cowherd of Guipuzcoa.
+Martincho was a pupil of the famous Jose Leguregui, and his bravery
+excelled that of his trainer. 'His favourite accomplishment was to mount
+upon a table, when his legs were closely fettered with massive irons.
+The whole was then set opposite the _toril_. The bull, emerging, sighted
+the table, covered with a crimson cloth, and charged it, when Martincho
+would leap along his back from head to tail, and alight in perfect
+safety. The table, one presumes, went flying into splinters. On a
+certain occasion, at Zaragoza, Martincho, seated in a chair, killed a
+bull by a single thrust, using his hat as a _muleta_.'
+
+Martincho died in 1800, having survived the dangers of the arena. He
+lived for a time with the artist Goya, who has drawn his friend in
+several of his bull-fighting pictures. Costillares and Pepe Hillo were
+also celebrated for their reckless daring in the bull-fighting
+exhibitions of Seville. These heroes retired from the ring before Godoy
+influenced Maria Luisa to suppress the _corrida_. For three years there
+was no bull-fighting in Spain. Upon the revival of the sport under
+Joseph Bonaparte, Pedro Romero was appointed chief instructor of
+Ferdinand's academy of tauromachia at Seville. This _matador_ died at
+Ronda in 1839. During his public career, he killed no less than 5,600
+bulls.
+
+
+BULL-FIGHTING OF THE PRESENT.
+
+Montes now comes into prominence among the famous _toreros_ of
+Andalusia. Francisco Montes fought for the first time at Madrid in 1832.
+He attracted the notice of Candido, of the academy of bull-fighters at
+Seville, and he was accepted as a pupil and granted a pension of six
+_reales_ per day. Montes introduced the modern style in the art of the
+_torero_. He wrote a treatise on bull-fighting, entitled: _El arte de
+torear a pie y a caballo_. 'Considered to be the _torero's_ very bible
+for the infallible wisdom of its precepts.'
+
+The _matador_ of to-day is the idol of the populace; but he is not so
+honoured by persons of noble birth as in the earlier times of
+bull-fighting. Luis Mazzantini is perhaps the greatest living _torero_.
+Guerrita has retired. Antonio Fuentes and Reverte are accomplished
+bull-fighters. Montes died of injuries received in the ring, in the year
+1850, at the age of forty-six.
+
+To show the favour formerly extended to the _torero_, we may quote the
+story of Lavi and Queen Isabel II. Lavi was a Romany by birth, and a
+bold _matador_ of his day. During a royal _corrida_, the gipsy pluckily
+tore out the _mona_, or bunch of ribbons in the bull's neck, and
+advanced towards the Queen. 'Here,' he cried, 'this is the first _mona_
+your majesty has had the honour of receiving at my hands!'
+
+The retinue of the _matador_ consists of the _picadores_, or mounted
+spearmen, the _banderilleros_, or dart throwers, and the _monos sabios_,
+who repair the damages to the wretched horses and thrash them to their
+feet. The _matador_ is clad in silk and gold, with a spangled cloak,
+which he wears in the parade of the fighters previous to the display. It
+is stated by one writer that a bull fight in Seville cost from L1100 to
+L1200. The value of each bull killed is about L70. The _matador's_ fee
+is from L120 to L200; but this includes the fees paid by him to his
+_cuadrilla_, or troupe. The horses are valued at from L120 to L200,
+according to the number killed by the bull. The cost of the seats is
+from a _peseta_ to three _duros_. Guerrita could 'command all over Spain
+and in the South of France almost any remuneration.' The _banderilleros_
+receive about fifty dollars, and the _picadores_ something less than
+that for their share in the performance.
+
+The glory that surrounds the _matador_ induces a large number of Spanish
+youths to adopt the profession of bull-fighting. In consequence, there
+is a surplus of indifferent _toreros_ and novices, who are awaiting
+their chance for promotion and for an appearance in the arena.
+
+These hangers-on of the sport are to be seen in the Puerta del Sol of
+Madrid, and in the _paseos_ and streets of Seville. They have a 'horsey'
+air, and are proficient at lounging, and chaffing the women who pass by.
+A little pigtail hangs from the brims of their hats, and they are fond
+of frilled shirts, in which they display paste studs. Every city and
+provincial town of Spain has its _aficionados_ of bull-fighting. These
+amateurs talk learnedly upon _encierros_, _suertes_, and _pases por
+alto_. They are vain of their acquaintance with popular _toreros_, and
+they read all the literature of the beloved sport. The _Historia del
+Toreo_ is better known among these 'sports' than the poems of 'Herrera
+the divine.' At the _cafes_ they pore over the bull-fighting journals,
+_El Toreo_, _El Enano_, and _La Lidia_.
+
+Mr. H. T. Finck describes the bull fight as 'the most unsportsmanlike
+and cowardly spectacle I have ever seen.' This author does not believe
+that bull-fighting is highly dangerous. 'No man,' he writes, 'who has a
+sense of true sport would engage with a dozen other men against a brute
+that is so stupid as to expend its fury a hundred times in succession on
+a piece of red cloth, ignoring the man who holds it.'
+
+The bull fight not dangerous! I can imagine the indignation of the
+devotees of the sport at such a suggestion. Personally, I am not in a
+position to affirm how great or how small is the peril to the man who
+finds himself alone in a ring, face to face with a savage Andalusian
+bull. I have, however, been told by a Spaniard, living in Madrid, that
+the fluttering of the red cloth certainly distracts the bull's attention
+from its combatant, and that the animal invariably closes its eyes when
+the _muleta_ is whisked in its face. This 'fact,' given on the authority
+of my Spanish friend, may throw a side-light on the art of the
+_matador_. But I am certainly not prepared to say that bull-fighting is
+without danger to the human performers in the tournament. Many lives
+have been lost in the arena, and injuries are of comparatively common
+occurrence. On October 7, 1900, Dominguin was killed at Barcelona; two
+novices were wounded at Carabanchel; Parrao was injured at Granada,
+Telilas had his collar-bone broken at Madrid, and Bombita was wounded at
+the same place. Such was one day's list of mishaps in the amphitheatres
+of Spain.
+
+Until infuriated by the lances and darts, many of the bulls are far from
+savage. There is the story of a bull in the arena, that recognised the
+voice of a lad, who had tended it on the plains, and came towards its
+friend with apparent pleasure at the re-meeting. On the other hand,
+there is the account of the bull of Muruve, who fought at Seville, in
+1898, and carried a horse and a _picador_ upon its horns from the
+barrier to the centre of the ring. A strong bull will sometimes toss a
+_picador's_ saddle high in the air; yet Mr. Williams tells us that two
+men are required to carry the saddle. Bulls frequently leap the
+_barrera_ of the arena, although the height is over five feet. 'At
+Malaga, some six years ago, a bull leaped over the barrier at precisely
+the same spot _fourteen_ times in swift succession. At Madrid, in 1898,
+another cleared _both_ barriers,' writes Mr. Williams, 'landing with his
+head among the spectators, but falling back into the _callejon_. On
+April 30, 1896, at Madrid, Ermitano, the second bull of the _corrida_,
+cleared the barrier four times, jamming a carpenter between a pair of
+doors and severely injuring him. All the above I have myself witnessed;
+but other feats, perfectly authenticated, are even more remarkable.'
+
+The Plaza de Toros at Seville is a handsome building. It was constructed
+to seat fourteen thousand spectators. The chief fights take place on
+Domingo de Resurreccion, and during the week of the _feria_, in April.
+The seats are arranged in boxes (_palcos_), the _asientos de barrera_
+(barrier seats) and the _asientos de grada_. A higher price is charged
+for seats in the _sombra_, or shade; while the cheaper positions,
+occupied by the poorer classes, are in the _sol_, or sunshine.
+
+It is fashionable to drive to the _corrida_ behind four or six horses or
+mules, with gay trappings and jangling bells. Hawkers, thieves,
+programme vendors and beggars throng around the _plaza_. The half-hour
+of waiting, preliminary to the first combat, is enlivened by the arrival
+of smart people and notabilities of the city, while the orchestra plays
+a selection of pieces.
+
+Reverte or Fuentes arrives, and is acclaimed by his admirers. The
+knowing _aficionados_, who have seen the doomed bulls in their
+enclosure, promise an excellent show. The seats gradually fill; there is
+a loud hum of conversation and a waving of fans by the _senoras_ in the
+_palcos_. At a signal from the President of the _corridas_, the ring is
+cleared of the groups of _toreros_ and their friends. Then the band
+strikes up, and the bull-fighters march out, with the _matadores_ in
+front of their attendants. They salute the President. The key of the
+bull enclosure is thrown down, an official unlocks the door, and into
+the arena canters the first bull, to encounter a charge from the
+_picador_. Sometimes the bull refuses to fight. The beast is lazy,
+good-tempered, or dazed. Not even the darts will enrage the creature. It
+gazes upon its tormentors with benign amazement. This poor sport; _toro_
+must be worried into a passion. An explosive dart is thrown at the bull.
+The fire burns into its nerves. It is more than the most placid bull
+nature can endure with patience. _Toro_ lowers its horns and rushes upon
+its assailants.
+
+The spectators, men, women and children, closely watch every move and
+double of the fighters. A _picador_ is thrown. The horse, with a ghastly
+dripping wound in its flank, rushes around the ring. It is met by the
+bull, gored, and tossed in the air. The wounded nag cannot regain its
+feet. Again and again the infuriated _toro_ vents its rage on the
+struggling horse. Presently, the bull's attention is drawn from the
+steed, and it turns to face the gaudy _matador_. A thrust of a dagger
+ends the convulsive kicking of the dying horse.
+
+With scientific precision, the swordsman flutters his _muleta_ in the
+bull's face. At each charge the _matador_ bounds aside, and the beast
+worries the red rag. At length, _toro_ stands snorting and pawing the
+ground. The magnificent brute surveys his enemy with hatred, and makes
+another rush. Again it is thwarted. Finally, the sword is plunged deftly
+into the creature's viscera. _Toro_ trembles, falls, and lies prone. The
+_coup de grace_ is administered with a big knife. There is deafening
+applause, the strains of the band, and the dead bull is dragged from the
+ring by a team of mules.
+
+'When I see children at the _corrida_, I sigh and think of the future of
+Spain,' said my Spanish friend. Such expression of opinion is almost
+treasonable. Long live the bull fight! Humanitarian cant is not to be
+taken seriously. It is not only the Spanish people who love the sport.
+'There are no more enthusiastic patrons of the bull ring in Madrid,'
+writes Mr. H. C. Chatfield Taylor, author of _The Land of the Castanet_,
+'than many of the foreign diplomats, and one remembers clearly the
+Secretary of the United States Legation, stationed in Madrid at the time
+of a former visit, saying that he was an annual subscriber, and had not
+missed a _corrida_ during his entire term of office.'
+
+
+THE LIFE OF THE FIGHTING BULL.
+
+In Great Britain our nobility and gentle-folk breed racehorses. In Spain
+the aristocracy and grandees rear bulls for the ring. The breeders of
+bulls are termed _ganaderos_. Around Seville, Jerez, Huelva and
+Valladolid are born the _toros bravos_. At the age of one year the bulls
+selected for the arena are branded, and sent on to the plains to graze,
+in charge of a _conocedor_, who is assisted by an _ayudante_. When the
+bulls are two years of age, they are tried for the first time to prove
+their pluck and pugnacity. At four years old they are put into huge
+enclosures of good pasturage, and in time of scarcity they are fed upon
+vetches, maize and wheat. From five to seven _toro_ is warrantable for
+the _lidia_. At his trial, at the age of two years, the owner of the
+herd invites a number of friends to the ranche. Young and clever
+horsemen attend these trials, and vie with one another in courage. The
+_caballeros_ are armed with the _garrochas_, lances about twelve feet in
+length, with short steel points. Visitors to Seville may often see
+parties of mounted sportsmen returning from these _tentadores_, or
+trials.
+
+A bull is separated from its companions. The horseman, carrying the
+_garrocha_, pursues the brute, and attempts to overturn it by a powerful
+thrust on the flank, delivered at full gallop. The horseman must be a
+bold rider, possessed of coolness and strong in the arm. If the charge
+is successful, _toro_ tumbles with its feet in the air. Another rider
+now takes up the attack. He has a sharper spear, and is called _el
+tentador_. Should the young bull refuse to charge, it is discarded as a
+_toro bravo_, and the slaughter-house or the life of labour awaits it.
+The chosen bulls are then christened, and entered upon the breeder's
+list of warrantable animals. In due time their names appear on the
+brilliant placards advertising the _corridas_ of Seville or Cadiz.
+
+'The _tentadero_ at the present day,' writes the authors of _Wild
+Spain_, 'affords opportunity for aristocratic gatherings, that recall
+the tauromachian tournaments of old. Even the Infantas of Spain enter
+into the spirit of the sport, and have been known themselves to wield
+the _garrocha_ with good effect, as was, a few months ago, the case at a
+brilliant _fete champetre_ on the Sevillian _vegas_, when the Condesa de
+Paris and her daughter, Princess Elena, each overthrew a sturdy
+two-year-old; the Infanta Eulalia riding _a ancas_, or pillion-fashion,
+with an Andalucian nobleman, among the merriest of a merry party.'
+
+Travelling by rail across the wide and lonely plains of Southern and
+Central Spain, the stranger often sees large herds of bulls, quietly
+grazing in charge of an attendant, who leans upon a long wooden staff,
+and wears a plaid upon his shoulder. The Spanish travellers crowd to the
+window at the magical words _los toros_, and in an animated manner the
+points of the herd are discussed. This pleasant pastoral life lasts for
+five years of the bull's life, though during that time it has to endure
+the trial with the _garrocha_. The bulls are divided into three classes
+after the _tientas_, or trials, _i.e._, those of the first rank, the
+'brave bulls'; those of the second order, the _novillos_, which are used
+by second-rate _matadores_ and beginners, and those sentenced to death,
+or a life of toil. Amongst the most eminent strains of Andalusian bulls
+used for the ring are those of Camara, Miura, Muruve, Perez de la
+Concha, Conradi, Adalid, Ibarra, Saltillo, and Anastasio Martin.
+
+The animals are sold from four to eight at a time, according to the
+status of the _corrida_ for which they are purchased. If the distance to
+the ring is short, the bulls are driven by night through the country,
+and pastured in the daytime. They are led by peaceable cattle with bells
+hung from their necks. 'These intelligent beasts keep the wild ones
+together and out of mischief,' says Mr. Leonard Williams, 'with the
+same unerring watchfulness as a collie controlling a flock of sheep, and
+lightening to an incalculable extent the labours of the accompanying
+horsemen.' At night the bulls are driven into the town, the sides of the
+streets being barricaded. When the beasts are consigned to buyers at a
+long distance from the ranche, they are conveyed by rail in strong
+boxes.
+
+Just before the encounter in the ring, the _toros_ are confined in the
+_chiqueros_, dark dens with strong doors that are opened and closed by
+ropes pulled from above. Difficulty is often experienced in coaxing
+refractory animals into these cells. The operation is witnessed by
+_aficionados_, who pay a fee for the privilege.
+
+Among the best-known _garrochistas_ of modern times are the Senores Don
+Antonio Miura, Don Faustino Morube, Don Miguel Garcia, Don Guillermo
+Ochoteco, Don Jose Silva, Don Fernando Concha, Don Agusto Adalid, Don
+Angel Zaldos, Don Manuel Sanchez-Mira, Marques de Bogaraya, Marques de
+Guadalest, Don Frederico Huesca, and the Marques de Castellones. Two of
+the finest exponents of the art of wielding the _rejon_, or short
+lance--a weapon surviving from the early times of the _lidia_--are the
+Senores Heredia, Ledesma, and Grane. Mr. Williams says that there are
+not a dozen horsemen in Spain and Portugal who can successfully perform
+the feat of killing the bull with the _rejon_.
+
+'An animated spectacle it is on the even of the _corrida_,' write the
+authors of _Wild Spain_, 'when amidst clouds of dust and clang of bells,
+the tame oxen and wild bulls are driven forward by galloping horsemen
+and levelled _garrochas_. The excited populace, already intoxicated with
+bull-fever and the anticipation of the coming _corridas_, lining the way
+to the Plaza, careless if in the enthusiasm for the morrow they risk
+some awkward rips to-day.
+
+'Once inside the lofty walls of the _toril_, it is easy to withdraw the
+treacherous _cabestros_, and one by one to tempt the bulls each into a
+small separate cell, the _chiquero_, the door of which will to-morrow
+fall before his eyes. Then, rushing upon the arena, he finds himself
+confronted and encircled by surging tiers of yelling humanity, while the
+crash of trumpets and glare of moving colours madden his brain. Then the
+gaudy horsemen, with menacing lances, recall his day of trial on the
+distant plain, horsemen now doubly hateful in their brilliant glittering
+tinsel. No wonder the noble brute rushes with magnificent fury to the
+charge.'
+
+The bull fight of Spain and Portugal is the modern form of the
+gladiatorial shows of ancient Rome. At Urbs Italica, the Roman city of
+old, is the ring wherein many victims of Pagan persecution were forced
+to combat with fierce beasts. It is but a step upwards from this
+sanguinary sport to the tournament with bulls, introduced into Andalusia
+by the Moors. The fascination of the horrible is the motive that impels
+men to witness exhibitions involving risk of human life and cruelty
+towards animals. Our bull-baiting with dogs was certainly not more
+sportsmanlike than the Spanish duels between knights, armed only with
+the lance or sword, and a fierce bull of the plains. Yet bull-baiting
+was a favourite diversion of the British nation from the time of King
+John until about a hundred years ago. In the reign of Elizabeth
+bear-baiting was a fashionable recreation in London, and there were
+'Easter fierce hunts, when foaming boars fought for their heads, and
+lusty bulls and huge bears were baited with dogs' (_Sports of England_).
+
+When public opinion began to recoil from such barbarous amusements,
+Windham, in the House of Commons, made a brilliant speech in defence of
+the sport of bull-baiting, and the Bill for its abolition was rejected.
+That was in 1802. Yet, no doubt, a number of our countrymen of that
+period were accustomed to denounce the atrocious cruelty of the Spanish
+bull-fighters.
+
+Statute 5 and 6, William IV., in 1835, made bull-baiting and
+cock-fighting illegal. The Act enjoined 'that any person keeping or
+using any house, pit, or other place, for baiting or fighting any bull,
+bear, dog, or other animal (whether of a domestic or wild kind), or for
+cock-fighting, shall be liable to a penalty of L5 for every day he shall
+so keep and use the same.' In 1837 the provisions of this Act were
+extended to Ireland.
+
+We must remember, therefore, that a high stage of culture and refinement
+must be attained before nations will consent to abandon cruel and
+dangerous contests between men and brutes, or between beasts. Even in
+Spain there is a growing revolt from the exhibitions of combats between
+bulls and other animals, which are sometimes given in the big towns. In
+these fights--which take place in a cage in the centre of an arena--a
+wretched, half-fed lion or elephant is pitted against a bull.
+Cock-fighting still flourishes in the Peninsula. It is popular in
+Seville, and like bull-fighting, the sport has its _aficionados_ in
+every town and hamlet. Sunday, after Mass, is the favourite day for a
+display of cock-fighting. These _funciones gallisticas_ have been
+described by one or two writers upon Spain, who agree that the diversion
+is of a degrading character.
+
+Those among my readers who are interested in bull-fighting, its history
+and its anecdotes, will find a chapter on 'Tauromachia' in that
+fascinating work _Wild Spain_, by Mr. Abel Chapman and Mr. Walter J.
+Buck. A full account of the sport, and the most modern of all the
+numerous contributions to the literature of the bull ring, is that in
+the three special chapters of Mr. Leonard Williams's _The Land of the
+Dons_, published in 1902.
+
+
+
+
+CHAPTER XV
+
+_Information for the Visitor_
+
+
+Most English visitors to Seville travel by way of Paris, Irun, the
+Spanish frontier town, and Madrid. By this route the interesting towns
+of Vittoria, Burgos, Valladolid and Segovia may be visited should the
+tourist's time permit. Many travellers break their journey at Madrid,
+spend a day or two in that city, and proceed by the night-express to
+Seville. For comfort, it is advisable to take the south express _train
+de luxe_ from the Quai D'Orsay, Paris. This train is made up of
+first-class carriages only, and provided with sleeping berths, for which
+there is an extra charge. By the ordinary express trains the journey is
+slower, and the traveller has to provide his sleeping accommodation in
+the shape of rugs and pillows. A pillow may be hired at most of the
+large Spanish railway stations for one peseta, _i.e._, sevenpence
+half-penny in British money.
+
+Railway travelling in Spain is not luxurious. The first-class
+compartments are usually stuffy, and at night they are ill-lighted,
+while the second-class carriages will not compare with the English
+third-class. Compartments of the _tercera clase_ (third-class) are
+uncomfortable and cushionless. They may be used for short day journeys
+in Spain by the stranger who wishes to come into touch with the people.
+As a rule, the third-class passengers are quite orderly in behaviour,
+and the foreigner need not fear to travel with them. Still, from the
+point of view of comfort, the Spanish third-class cannot be recommended,
+especially to ladies.
+
+The journey by rail from Madrid is across the monotonous plains of La
+Mancha, made world-famous by the exploits of Don Quixote, through
+interminable olive gardens, wide grass meadows, and by groups of bare
+and fantastic rocks, to ancient Cordova. Thence we reach the fertile
+land of Andalusia, follow the windings of the clay-stained Guadalquivir,
+and come into the district of the cactus and almond tree, and a
+semi-tropical climate.
+
+Before leaving the railway station square, the stranger must submit to
+the inspection of his luggage by the customs' officers (_consumos_), who
+are on the watch for taxed articles. Usually the search is a mere
+formality, as English visitors are rarely regarded as 'suspects.' Assure
+the officer that you have nothing to sell, and he will in most instances
+refrain from overhauling your baggage.
+
+Hotel omnibuses, cabs and outside porters await the arrival of every
+train at the Estacion de Cordoba. The fare for a one-horse carriage to
+any part of Seville, with one or two passengers, is a peseta, and for
+each piece of luggage the charge is from half-a-peseta to a peseta. The
+driver expects a _propina_ ('tip') of at least half-a-peseta. Avoid
+hotel touts and loafers who crowd outside the railway station.
+
+_Hotels._--The majority of English and American visitors stay at the
+Hotel de Madrid, at the corner of the Plaza del Pacifico. It is a large
+house, with a court in the Moorish style, adorned with palms. The
+position is central. The boarding terms are from about twelve pesetas
+per day, but the charge is from about fifteen pesetas in the spring
+season. The Hotel de Paris is also in the Plaza del Pacifico. Here the
+tariff is about ten pesetas per diem, and the cuisine is of the
+first-class Spanish order.
+
+Smaller, but comfortable, hostelries are Hotel de Roma and the Hotel
+Europa, with a pension tariff of ten pesetas. If the visitor desires to
+see something of the life of Spanish people of the middle-class, he will
+prefer to take up his quarters in one of the minor hotels. Such a house
+is that of Juan Zamanillo, Hotel de la Victoria, in the Plaza Nueva. The
+charge here is from five pesetas a day, which includes a comfortable
+bedroom, with clean linen and mosquito curtains to the bed, luncheon
+(_almuerzo_), and dinner (_comida_). The Victoria is frequented by
+English artists, and the proprietor is accustomed to English guests. The
+head waiter is an intelligent man. In hotels of this order the sanitary
+arrangements are Spanish. Even in the first-class houses of Spain these
+arrangements need improvement. On the other hand, the rooms are
+scrupulously clean, the cuisine very fair, and the bedrooms comfortable.
+
+At most of the hotels there is an extra charge for the early breakfast
+(_desayuno_), which consists of a cup of chocolate, flavoured with
+cinnamon, or of _cafe con leche_ (coffee with milk), and a small roll
+without butter. Many Spaniards take a cup of coffee in their bedrooms
+about half-past eight in the morning, and do not eat until luncheon,
+which is usually served in Seville from eleven till one. Visitors who
+are accustomed to a substantial breakfast often find themselves somewhat
+faint by the hour of _almuerzo_. The two meals are much alike in their
+courses. Soup, fish, meat or poultry, salad, cream cheese of Burgos,
+fried potatoes, various kinds of cakes and fruit are served at luncheon
+and dinner. The table wine is provided free of charge, but it is often
+of a very inferior quality, and should be used sparingly, especially in
+hot weather. A cheap, palatable wine is the Rioja. Mineral waters can
+be had at all the hotels and _cafes_.
+
+At the Spanish houses, as distinguished from the hotels mostly
+frequented by foreigners, Andalusian dishes form the chief part of the
+_menu_. Shad, sea-bream and codfish, garnished with onions, are served
+cold. _Pollo con arroz_ (fowl with rice), and curried rice, with cockles
+and sausages, are favourite dishes. One course is usually composed of
+stewed mutton, or beefsteaks grilled. The meal begins with eggs, boiled,
+poached, or made into savoury omelettes. Those visitors who do not enjoy
+the flavour of garlic should say to the waiter, "_No ajo, sirvase_,"
+_i.e._, "No garlic, if you please," before ordering an omelette. In the
+larger hotels the cookery is usually French, with an occasional dish of
+the country.
+
+_Cafes._--Spaniards spend a good share of their leisure time in the
+_cafes_. In Seville the chief resorts of this kind are in the Calle de
+las Sierpes, the Calle Tetuan, and the Plaza Nueva. It is the custom in
+Spain to make business appointments and to arrange friendly meetings in
+the _cafes_. The drinks are coffee, chocolate, tea, wines, liqueurs, and
+mineral waters. Coffee is usually taken black, with cognac. The spirits
+are _cana_, _agua ardiente_, and cognac. A favourite liqueur is
+anisette. At some of these houses Bass's ale and Scotch whisky can be
+obtained. The Spanish bottled cider (_sidra_) is a refreshing drink,
+mixed with lemonade, in hot weather.
+
+An English medical practitioner, Dr. Dalebrook, resides in the Calle
+Albareda, leading out of the Calle Tetuan. A guide, whom I can recommend
+as well-informed, is Senor Carlos Rude, 22 Otumba. Senor Rude is known
+as "Charles" by the English visitors. He speaks English well, and can
+obtain entrance to private collections of paintings in the city.
+
+A large stock of interesting photographs of Seville, pictures and
+characters is kept by Senor Julio Beauchy, 24 Calle de Rioja.
+
+       *       *       *       *       *
+
+A LIST OF BOOKS UPON SEVILLE, OR CONTAINING REFERENCES TO THE CITY.
+
+_History._
+
+     'Sevilla' (A volume in the series '_Espana_')--Don Pedro de
+     Madrazo.
+
+     'Annales de Sevilla'--Don Ortiz de Zuniga.
+
+     'Sevilla Historica,' etc.--By 'A Son of Seville.'
+
+     'Histoire des Arabes d'Espagne' (3 vols.)--De Circourt.
+
+     'Memoirs of the Kings of Spain' (5 vols.)--W. Coxe.
+
+     'History of Spain and Portugal'--Dunham.
+
+     'Ferdinand and Isabella'--Prescott.
+
+     'History of the Reformation in Spain'--T. M'Crie.
+
+     'The Ottoman and the Spanish Empires'--L. Ranke.
+
+     'History of the Reign of Philip II.'--R. Watson.
+
+     'Philip II.'--Prescott.
+
+     'Charles V.'--Armstrong.
+
+     'Recherches sur l'histoire et la litterature de l'Espagne'--Dozy.
+
+     'Spain'--H. E. Watts.
+
+     'The Moors in Spain'--S. Lane-Poole.
+
+     'The Inquisition'--Llorente.
+
+     'The Story of Spain'--E. E. and S. Hale.
+
+     'Historia de la Ciudad de Sevilla'--Joaquin Guichot.
+
+     'Historia de Sevilla'--Alonso Morgado.
+
+     'Antigueedades Prehistoricas de Andalucia'--Miguel de Gongora.
+
+_Art._
+
+     'Descripcion Artistica de la Catedral de Sevilla'--Cean Bermudez.
+
+     'Seville Mosque Cathedral' (Paper Architect. Society)--R. H.
+     Carpenter.
+
+     'An Architect's Note Book in Spain'--D. Wyatt.
+
+     'Annals of the Artists of Spain'--Sir W. Stirling-Maxwell.
+
+     'Spanish and French Painters'--G. W. Smith.
+
+     'Velazquez'--G. C. Williamson.
+
+     'The Industrial Arts of Spain'--J. F. Riano.
+
+     'La Giralda'--A. Alvarez Benavides.
+
+     'Alcazar de Sevilla'--J. Gestoso y Perez.
+
+     'La Imprenta en Sevilla.'
+
+     'Velazquez: Life and Work'--G. H. Stokes.
+
+     'Renaissance Architecture and Ornament in Spain'--A. N. Prentice.
+
+     'Seville Cathedral' (article in 'Macmillan's Magazine,' May
+     1903)--Havelock Ellis.
+
+_Literature._
+
+     'History of Spanish and Portuguese Literature' (2
+     vols.)--Bouterwek.
+
+     'History of Spanish Literature'--Ticknor.
+
+     'The Spanish Drama'--G. H. Lewes.
+
+     'Vida de Cervantes'--M. F. Navarette.
+
+     'Tipografia Espanola'--Mendez.
+
+     'Spanish Literature'--H. Butler Clarke.
+
+     'Life of Cervantes '--J. Fitz-Maurice-Kelly.
+
+     'Cervantes'--H. E. Watts.
+
+_Social and General._
+
+     'Letters from Spain'--Doblado (Blanco White).
+
+     'Handbook for Spain'--R. Ford.
+
+     'Old Court Life in Spain'--F. M. Elliott.
+
+     'The Bible in Spain'--Geo. Borrow.
+
+     'Spanish Vistas'--G. P. Lathrop.
+
+     'Voyage en Espagne'--T. Gautier.
+
+     'Spain and Portugal' (Handbook)--Karl Baedeker.
+
+     'The Zincali'--Geo. Borrow.
+
+     'A Summer in Andalusia' (2 vols.)--R. Bentley.
+
+     'Seville' (article in 'Harper's Magazine,' March 1901)--Arthur
+     Symons.
+
+     'Spanish Cities'--C. A. Stoddard.
+
+     'The Land of the Castanet'--H. Chatfield-Taylor.
+
+
+
+
+INDEX
+
+
+A
+
+Abdelasis, 19, 20.
+
+Abdelgafar, 22.
+
+Abdelmelic, 21, 22.
+
+Abdelola, 19.
+
+Abderahman I., 21.
+
+Abu Abdallah, 24.
+
+Abu el Kasim, 26.
+
+Abu Said, Red King, 37.
+
+Alcazar, 6, 23, 30, 35, 39, 61, 63, 65, 88, 110-128, 237.
+
+Aleman, author, 139.
+
+Alesio, painter, 101.
+
+Alfonso, the Wise, 6, 34-36.
+
+Almohades, 28, 30, 31, 32, 73, 110, 213.
+
+Almoravides sect, 26-29.
+
+Amalaric, 13.
+
+Aqueduct, 11.
+
+Archbishop's Palace, 205.
+
+Arfian, artist, 153.
+
+Arms of city, 241.
+
+Augustus, 11.
+
+Averroes, 25.
+
+Avila, 5.
+
+Ayub, 20.
+
+Ayuntamiento, 63, 211.
+
+
+B
+
+Barca, Hamilcar, 8.
+
+Bartolome, San, church, 193.
+
+Bazan, author, 144.
+
+Berbers, 17, 18, 27.
+
+Bermudez, 149, 179.
+
+Bernardo, San, church, 194.
+
+Bizet's _Carmen_, 141.
+
+Black Prince, 42.
+
+Blanco White, 59, 69.
+
+Bonifaz, Admiral, 31-32.
+
+Books relating to Seville, 266-268.
+
+Borrow, George, 5, 140-141, 232.
+
+Buckle, 26, 188.
+
+Bull-fights, 225, 242-261.
+
+Byron, 5, 139, 240.
+
+
+C
+
+Caballero, Fernan, author, 139.
+
+_Cafes_, 265.
+
+Campana, painter, 107, 151-152, 163, 177, 237.
+
+Cano, A., artist, 95-96, 160, 177.
+
+Caridad Hospital, 161, 205-208.
+
+Carlos V., 63, 123, 127, 128, 176, 187.
+
+Caro, historian, 131.
+
+Cartagena, 8.
+
+Cartuja, 236.
+
+Casa Abades, 202.
+
+Casa Pilatos, 39, 62, 124, 132-134.
+
+Casa Taveras, 201.
+
+Casanova, sculptor, 91.
+
+Catalina, Santa, church, 191.
+
+Cathedral, 67, 73, 85-109.
+
+Cato, 6.
+
+Cepero, Don, 168, 209, 210.
+
+Cervantes, 6, 67, 135-139, 212, 241.
+
+Cespedes, artist, 103.
+
+Cid, 28-30.
+
+Columbus, Christopher, 6, 25, 43-46.
+
+Columbus, Fernando, 106.
+
+Columbus Library, 211.
+
+Conde, historian, 24.
+
+Cordova, 2, 20, 21, 41, 73, 81, 127, 263.
+
+Corpus Christi, 230.
+
+Court of Oranges, 73, 95.
+
+Custodia, 102.
+
+
+D
+
+Dancart, artist, 105.
+
+Dancing, 25, 231-232;
+  in cathedral, 228.
+
+Delicias, 81.
+
+Dello, painter, 147.
+
+Don Quixote, 138.
+
+Dunham, historian, 92.
+
+
+E
+
+Edward VII. at Seville, 71.
+
+Egidius, Protestant preacher, 54.
+
+El Begi, the Sage, 24.
+
+El Greco, 107, 183.
+
+Englishmen and Inquisition, 58-59.
+
+English sailors, 239.
+
+Ermenigild, 13-15.
+
+Eslava, composer, 228-229.
+
+Eyck, J. Van, 147.
+
+
+F
+
+Fabrica de Tabacos, 211, 236
+
+Feria of Seville, 225-226;
+  street of, 235-236.
+
+Fernandez, painter, 149, 205.
+
+Fernando I., 27.
+
+Fernando III., San, 31-34, 104, 113.
+
+Finck, H. T., 220, 222, 252.
+
+Fishermen of Seville, 239.
+
+Floods in Seville, 2.
+
+Frutet, F., painter, 183.
+
+
+G
+
+Gautier, 5, 86.
+
+Gever, architect, 73.
+
+Gil, San, church, 191.
+
+Giordano, painter, 99.
+
+Gipsies, 226, 232-234.
+
+Giralda Tower, 23, 24, 70, 73, 77-82, 86, 95, 110, 237.
+
+Golden Tower, 113.
+
+Gongora, 135, 142.
+
+Goya, 102, 107, 178, 197, 246.
+
+Granada, 23
+
+Guadalquivir, 1, 2, 5, 11, 21, 22, 69, 113, 224, 238, 243.
+
+Guide to Seville, 265.
+
+
+H
+
+Hamilcar Barca, 8.
+
+Hasdrubal, 8.
+
+Hernandez, painter, 100.
+
+Herrera, 96, 131, 137, 156, 163, 164, 179.
+
+Herrera El Mozo, 155.
+
+Horse racing, 224, 225.
+
+Hospital Civil, 210.
+
+Hotels, 263-265.
+
+
+I
+
+Ingunda, 14.
+
+Inquisition, 49-60.
+
+Isabella the Catholic, 42, 44, 48-51, 60, 61, 122.
+
+Isidoro, San, 6, 13, 15-16, 193.
+
+Italica, 8, 11, 12, 81, 176, 259.
+
+
+J
+
+James, Henry, 192.
+
+Juan I., 121.
+
+Julian, San, church, 194.
+
+Justa and Rufina, 194-198.
+
+Justi, Professor, 147, 172.
+
+
+K
+
+Keys of Seville, 33.
+
+King of the Suevi, 14.
+
+
+L
+
+Lathrop, G. P., 220, 221.
+
+Leal, Valdes, artist, 96, 99, 100, 160-161, 180, 209.
+
+Leandro, San, 6, 13.
+
+Lebrixa, scholar, 143, 144.
+
+Leighton, Lord, 146, 149.
+
+Leovigild, 13.
+
+Library of Cathedral, 129.
+
+Llorente, historian of Inquisition, 57-58, 60.
+
+Lonja, 74, 205.
+
+Losada, Doctor, 58.
+
+Lucia, Santa, church, 193.
+
+
+M
+
+Macarena, suburb, 234, 235.
+
+M'Crie, historian of Inquisition, 50, 54.
+
+Magellan, 46, 47.
+
+Majos of Seville, 219, 241.
+
+Marcos, San, church, 190.
+
+Maria de Padilla, 37, 41, 114.
+
+Marmolejo, painter, 100, 153.
+
+Maxwell-Stirling, 148, 157, 172, 183, 208.
+
+Michelangelo, 105.
+
+Miguel of Florence, 74.
+
+Mir, 14.
+
+Montanez, 67, 100, 108, 185, 186, 210, 228.
+
+Moors, 22, 28, 30, 31, 62, 65, 66, 67, 69, 73, 77, 88, 109, 110,
+       113-114, 123, 124, 129, 132, 190, 202.
+
+Morel, sculptor, 106.
+
+Mosque of Seville, 20, 23, 73-82.
+
+Motamid II., 28.
+
+Mozart, 141.
+
+Munebrega, inquisitor, 57.
+
+Murillo, 99, 101, 102, 103, 104, 168-175, 177-179, 209;
+  statue to, 212.
+
+Musa, 17, 19.
+
+
+N
+
+New World, discovery of, 25, 68.
+
+Niculoso, designer, 117.
+
+Novels of Cervantes, 135-139.
+
+Nunez, painter, 149.
+
+
+O
+
+Olmedus, 54.
+
+Omnium Sanctorum, church, 191.
+
+
+P
+
+Pacheco, 67, 106, 108, 131-132, 154-155, 167.
+
+Palomino, painter, 157.
+
+Passion Plays, 231.
+
+Paula, San, church, 191.
+
+Pedro, the Cruel, 6, 36-42, 115, 120.
+
+Pedro de Pampeluna, 146, 211.
+
+Peninsular War, 71.
+
+Philip II., 64, 115.
+
+Philip III., 67.
+
+Philip V., 67.
+
+Phoenicians, 7-8.
+
+Pizarro Hernando, 6, 47, 48.
+
+Plague, 70, 71.
+
+Plaza de Toros, 225, 253.
+
+Ponce de Leon, 57.
+
+Prado de San Sebastian, 51.
+
+Prescott, 138.
+
+Printing in Seville, 43.
+
+Prosperity, 48, 49.
+
+Puerto del Perdon, 74.
+
+Puigblanch, 51.
+
+
+R
+
+Recared, King, 16.
+
+Riano, architect, 101, 103, 211.
+
+Ribera, painter, 170.
+
+Roderic, the Goth, 17, 18.
+
+Roelas, artist, 99, 177, 179.
+
+Roldan, artist, 108.
+
+Romans, 8-12.
+
+Romerias, 230.
+
+Rossini's _Barber_, 141.
+
+Roque, San, church, 193.
+
+Rueda, dramatist, 130.
+
+
+S
+
+Sagrario, 77, 108.
+
+Saints of Seville, 82, 194-198.
+
+Salvador, San, church, 193.
+
+Sanchez, artist, 148.
+
+Schlegel, 13, 62.
+
+_Semana Santa_, 228-230.
+
+Siege of Seville, 32-34.
+
+Sierpes, Calle de, 218, 219.
+
+Silver Tower, 30.
+
+Singing in _cafes_, 232.
+
+Sturmio, artist, 95, 153, 163.
+
+
+T
+
+Tablas Alfonsinas, 103.
+
+Tarik, 20.
+
+Theudisel, 13.
+
+Toledo, 199.
+
+Torquemada, 57, 61.
+
+Torriggiano, sculptor, 185.
+
+Trajan, 12, 32.
+
+Triana, 32, 24, 57, 232.
+
+Trinidad, church, 194.
+
+
+U
+
+University of Seville, 62, 70, 210.
+
+
+V
+
+Valdes, Juan, painter, 207.
+
+Valer, the Protestant, 52-54.
+
+Vandals, 12.
+
+Varela, artist, 194.
+
+Vargas, fresco painter, 82, 101, 102, 107, 150, 151, 197.
+
+Vasquez, painter, 153.
+
+Velazquez, 165-168, 170, 212.
+
+Visigoths, 17, 129.
+
+Vos, painter, 183-184.
+
+
+W
+
+Walls of Seville, 11.
+
+Watts, H. E., 17, 137.
+
+Wilkie, David, 174.
+
+Williams, Leonard, 225, 242, 245, 249, 253.
+
+Wiseman, Cardinal, 141.
+
+Witiza, 18.
+
+Women of Seville, 219-222.
+
+Wyatt, Digby, 134, 202, 205.
+
+
+X
+
+Xeres, 17.
+
+
+Y
+
+Yusuf, 21, 27, 28.
+
+
+Z
+
+Zuniga, Ortiz de, 205, 266.
+
+Zurbaran, 104, 156-159, 165, 169, 170, 177, 180-182, 211.
+
+THE END
+
+_Colston & Coy. Limited, Printers, Edinburgh._
+
+
+A List of the Volumes in
+
+The Mediaeval Town Series
+
+"_That most charming series of books._"--NOTES & QUERIES
+
+"_There was ample room for a series which should put into the
+traveller's hand a compact_ resume _of what the research of local
+historians had discovered and arranged. This series has gone far to
+provide for this want. Such volumes as "Assisi" and "Florence" are
+indispensable companion-volumes to Baedeker._"--TIMES
+
+"_The series is one of the first-rate things in the bookmarket._"--DAILY
+NEWS
+
+"_An extremely pleasing series.... The volumes are fully illustrated,
+and the letterpress, charmingly written, is a perfect mine of
+information._"--GRAPHIC
+
+"_The intelligent traveller has not been long in recognising their
+worth._"--GUARDIAN
+
+"_Brought out with the dainty care for both artist and reader that we
+have a right to expect from Aldine House._"--SATURDAY REVIEW
+
+"_For the library they are perfection, a pleasure to handle, as they are
+also a pleasure to read._"--DAILY TELEGRAPH
+
+"_They are guide-books, books for study, and books for reference, and at
+the same time little galleries of art._"--ILLUSTRATED LONDON NEWS
+
+_London: J. M. Dent & Co._
+
+_Aldine House, Bedford Street, W.C._
+
+1903
+
+_List of Volumes_
+
+_With numerous Topographical Drawings, Reproductions from Paintings and
+Sculptures, Maps, and Plans. Fcap. 8vo (pocketable). In grey cloth and
+limp green paste grain roan bindings._
+
+     ASSISI. By LINA DUFF GORDON. Illustrated by HELEN M. JAMES and
+     NELLY ERICHSEN.{*}
+
+[_Second Edition._
+
+"Miss Duff Gordon has told the story of Assisi exceedingly well and
+produced one of the very best volumes that have yet appeared in the
+series."--_Times._
+
+     BRUGES. By ERNEST GILLIAT-SMITH. Illustrated by HERBERT RAILTON and
+     EDITH CALVERT.{**}
+
+"The wonder is how Mr. Gilliat-Smith has so cleverly managed to outline
+all this material, and to describe all to be seen within such narrow
+limits."--_World._
+
+     CAIRO. By STANLEY LANE-POOLE, Litt.D., M.A. Illustrated by J. A.
+     SYMINGTON and OTHERS.{**}
+
+"A really good guide-book to Cairo. As a work of condensation, which
+nevertheless remains both attractive and instructive, the book is much
+to be recommended."--_Spectator._
+
+     CHARTRES. By CECIL HEADLAM. Illustrated by HERBERT RAILTON.{**}
+
+"There is no exaggeration in saying that it is the best book in the
+language on the town and church of which it deals. Everything is
+here."--_Speaker._
+
+     CONSTANTINOPLE. By WILLIAM HOLDEN HUTTON. Illustrated by SYDNEY
+     COOPER.{*}
+
+"A delightful book which we cordially recommend to travellers visiting
+the Stambul."--_Athenaeum._
+
+     FLORENCE. By EDMUND G. GARDNER. Illustrated by NELLY ERICHSEN.{**}
+
+[_Third Edition._
+
+"We recall few, it any, works of a similar kind which contrive to
+display so complete a picture of a historic city.... A guide which every
+tourist should take with him to Florence."--_Spectator._
+
+     MOSCOW. By WIRT GERRARE. Illustrated by HELEN M. JAMES.{*}
+
+"A very pretty and handy guide to the city, which can easily be slipped
+into the pocket of the tourist and certainly ought to find its way
+there."--_Speaker._
+
+     NUREMBERG. By CECIL HEADLAM. Illustrated by HELEN M. JAMES, and
+     with Wood-cuts from Photographs.{*}
+
+[_Third Edition._
+
+"The general history is remarkably well done, and the descriptive and
+biographical part is as cleverly done as the historical
+outline."--_Morning Post._
+
+     PERUGIA. By MARGARET SYMONDS and LINA DUFF GORDON. Illustrated by
+     H. M. JAMES.{*}
+
+[_Fourth Edition._
+
+"Possesses charm as well as information, style as well as learning Work
+more sympathetically rendered we have rarely seen"--_Outlook._
+
+     PRAGUE. By COUNT LUeTZOW. Illustrated by NELLY ERICHSEN.{*}
+
+"It is reasonable to prognosticate a great success for this charming
+little book.... Let us hope that our countrymen will rise refreshed and
+instructed."--_Athenaeum._
+
+     ROME. By NORWOOD YOUNG. Illustrated by NELLY ERICHSEN.{**}
+
+[_Second Edition._
+
+"All that distinguishes travel from sight-seeing. A complete series of
+the events, buildings, personalities and ideas which will most interest
+the better kind of traveller."--_Monthly Review._
+
+     ROUEN. By THEODORE ANDREA COOK. Illustrated by HELEN M. JAMES and
+     JANE E. COOK.{**}
+
+[_Second Edition._
+
+"This is your true COOK to conduct you on your next visit to Normandy.
+Erudition, charming vivacity of style, and most excellent
+illustrations."--_Punch._
+
+     TOLEDO. By HANNAH LYNCH. Illustrated by HELEN M. JAMES.{*}
+
+"No intelligent reader of the brilliant little monograph is likely to
+forget easily the pleasure which will have been derived from a perusal
+of its pages."--_Speaker._
+
+     VERONA. By ALETHEA WIEL. Illustrated by NELLY ERICHSEN and HELEN M.
+     JAMES.{**}
+
+"Verona's story faithfully told by one who knows, who loves, and
+understands it."--_Times._
+
+_In Preparation_:
+
+     EDINBURGH. By OLIPHANT SMEATON, M.A.
+
+     OXFORD. By CECIL HEADLAM
+
+     CAMBRIDGE. By the Very Rev. C. W. STUBBS, D.D., Dean of Ely
+
+     AVIGNON. By ELLEN MARRIAGE
+
+     SIENA. By EDMUND G. GARDNER
+
+     CANTERBURY. By Dr SEBASTIAN EVANS and FRANK B. GOLDNEY, F.A.S.
+
+     LONDON. By H. B. WHEATLEY
+
+     FERRARA. By ELLA NOYES
+
+     RAVENNA. By EDMUND G. GARDNER
+
+     VENICE. By THOMAS OKEY
+
+_Price per Volume_:--
+
+{*} _Cloth 3/6 net; Roan 4/6 net._
+
+{**} _Cloth 4/6 net; Roan 5/6 net._
+
+
+_Mediaeval Towns_
+
+The enjoyment of foreign travel is so largely dependent upon the
+sympathetic appreciation of the charms and treasures of the place
+visited that a tour may be wholly marred by an indifferent or ignorant
+guide; and so rarely is that charming companion to be found whose local
+knowledge is co-extensive with his artistic instincts, that one has
+perforce often to pursue one's journeys in search of the picturesque
+unattended. In such circumstances the MEDIAEVAL TOWN SERIES fills the
+breach, furnishing a guide whose knowledge is that of an authority,
+whose descriptions do not weary us with their garrulity, and whose
+opinions we may treasure in the safety of our coat pocket; to which,
+also, we may always refer with pleasure when we wish to revive faded
+recollections.
+
+[Illustration: _Specimen Text Illustration_]
+
+Artist and author have both made the objects and scenes described the
+subject of careful personal observation, and are consequently able to
+impart to their work that charm of local colour which lends vitality to
+their pictures; every old-time thoroughfare and weather-beaten fabric
+supplies some legend of saint or hero, and as the story of these
+mediaeval towns progresses, the reader's imagination is kindled until the
+very spirit of the past pervades the page.
+
+     * * * _This page is set in the type of the series._
+
+       *       *       *       *       *
+
+
+Alterations in the text made by the etext transcriber:
+
+
+Abdelgfar=>Abdelgafar
+
+Abdelgafr=>Abdelgafar {2}
+
+Granada=>Granada
+
+then it its pristine splendour=>then in its pristine splendour
+
+Francico=>Francisco {2}
+
+Alfonzo=>Aflonso {2}
+
+she had seem a fight=>she had seen a fight
+
+peceptions=>perceptions
+
+The ascetic artist was born in Seville, in 1502, and died there about
+the year 1658=>The ascetic artist was born in Seville, in 1502, and died
+there about the year 1568
+
+Capella de San Hermenegildo=>The Capilla de San Hermenegildo
+
+Hermenigildo=>Hermenegildo {2}
+
+Francisan Convent=>Franciscan Convent
+
+Alcazar=>Alcazar {3}
+
+Franciso Pacheco=>Francisco Pacheco
+
+Emilio Pardo Bazan=>Emilia Pardo Bazan
+
+mannnerists=>mannerists
+
+Chasuble on San Ildefenso=>Chasuble on San Ildefonso
+
+San Ildefenso=>San Ildefonso
+
+Sacristia=>Sacristia {numerous}
+
+Calices=>Calices {3}
+
+La Anunciacion de Neustra Senora=>La Anunciacion de Nuestra Senora
+
+Neustra Senora de la Concepcion=>Nuestra Senora de la Concepcion
+
+Sacristia=>Sacristia {6}
+
+Sacristia de los Calices=>Sacristia de los Calices {2}
+
+La Anunciacion de Neustra Senora=>La Anunciacion de Nuestra Senora
+
+Martinez Montanes=>Martinez Montanes
+
+Mahommedan=>Mohommedan
+
+nine fountain=>nine fountains
+
+cannnot=>cannot
+
+Spaniard are conservative=>Spaniards are conservative
+
+A suvival=>A survival
+
+it Morisco remains=>its Morisco remains
+
+Sevillanos=>Sevillanos
+
+smart poople=>smart people
+
+A bull is separted=>A bull is separated
+
+'Sevilla Historica,'=>'Sevilla Historica,'
+
+'Antigueedades Prehistoricas de Andalucia'=>'Antigueedades Prehistoricas
+de Andalucia'
+
+'Descripcion Artistica de la Catedral de Sevilla'=>'Descripcion
+Artistica de la Catedral de Sevilla'
+
+'Tipografia Espanola'=>'Tipografia Espanola'
+
+Dukes of Alcala=>Dukes of Alcala
+
+Fabrica de Tabacos=>Fabrica de Tabacos
+
+Domenico Theotocopuli & Dominico Theotocopuli=>Domenico Theotocopuli
+
+Virgen de la Rosa=>Virgen de la Rosa
+
+Erminigild=>Ermenigild
+
+Cap de los Evangelestas=>Cap de los Evangelistas
+
+Sevilla Historica=>Sevilla Historica
+
+Pedro Villegas Marmolego, 1520-1597=>Should be: Pedro Villegas
+Marmolejo, 1519-1596.
+
+Patio de los Naranjas=>Should be: Patio de los Naranjos
+
+
+
+
+FOOTNOTES:
+
+[A] This and other interesting pictures may be seen by applying to the
+owner of the collection.
+
+[B] In _Sevilla Historica_ the names of Juan Norman, Alonso Rodriguez
+and Gonzalo Rojas are mentioned as architects employed before 1507.
+
+[C] _See_ chapters on 'the Churches' and upon the 'Artists of Seville.'
+
+[D] There is an excellent Catalogue, with a short historical memoir of
+each artist, which can be purchased at the entrance of the Museo, for
+the trifling sum of one _peseta_. It is, of course, in Spanish.
+
+[E] The titles of the pictures are given in Spanish in order to
+facilitate their identification in the Catalogue.
+
+[F] The picture has been recently presented to the Museo, by the Infanta
+Da Maria Luisa Fernanda, and is only mentioned in the Catalogue, in a
+short notice at the end of the book.
+
+[G] See separate chapter.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Story of Seville, by Walter M. Gallichan
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE STORY OF SEVILLE ***
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