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+The Project Gutenberg eBook, Things seen in Spain, by C. Gasquoine Hartley
+
+
+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: Things seen in Spain
+
+
+Author: C. Gasquoine Hartley
+
+
+
+Release Date: July 10, 2012  [eBook #40201]
+
+Language: English
+
+Character set encoding: UTF-8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THINGS SEEN IN SPAIN***
+
+
+This ebook was transcribed by Les Bowler.
+
+  [Picture: Women at the Al-Mida Fountain in the Patio De Los Naranjos,
+                                 Cordova]
+
+
+
+
+
+                              THINGS SEEN IN
+                                  SPAIN
+
+
+                                * * * * *
+
+                                    BY
+                           C. GASQUOINE HARTLEY
+
+                                AUTHOR OF
+              “RECORD OF SPANISH PAINTING,” “MOORISH CITIES
+                             IN SPAIN,” ETC.
+
+                                * * * * *
+
+                         WITH FIFTY ILLUSTRATIONS
+
+                                * * * * *
+
+                                  LONDON
+                      SEELEY, SERVICE & CO. LIMITED
+                         38 GREAT RUSSELL STREET
+                                   1912
+
+                                * * * * *
+
+
+
+
+UNIFORM WITH THIS VOLUME
+
+
+Cloth, 2s. net; leather, 3s. net; velvet leather, in a box, 5s. net
+
+                          THINGS SEEN IN VENICE
+                  By CANON LONSDALE RAGG & LAURA M. RAGG
+                         _With 50 Illustrations_
+
+                      THINGS SEEN IN NORTHERN INDIA
+          BY T. L. PENNELL, M.D., B.Sc.  _With 50 Illustrations_
+
+                           THINGS SEEN IN SPAIN
+            BY C. GASQUOINE HARTLEY.  _With 50 Illustrations_
+
+    “A successful series by capable writers.”—_Times_.
+
+                          THINGS SEEN IN HOLLAND
+                 BY C. E. ROCHE.  _With 50 Illustrations_
+
+    “A charming addition to the series . . . eminently readable.”—_The
+    Morning Post_.
+
+                           THINGS SEEN IN EGYPT
+                BY E. L. BUTCHER.  _With 50 Illustrations_
+
+    “Mrs. Butcher is thoroughly conversant with her subject . . .
+    excellently written.”—_The Globe_.
+
+                           THINGS SEEN IN CHINA
+                BY J. R. CHITTY.  _With 50 Illustrations_
+
+    “By a writer who adds grace and style to entire familiarity with the
+    country and people.”—_The Birmingham Post_.
+
+    “A racy description of the social life of the Chinese.”—_The
+    Scotsman_
+
+                           THINGS SEEN IN JAPAN
+                BY CLIVE HOLLAND.  _With 50 Illustrations_
+
+    “A delightful little book.”—_The Church Times_.
+
+    “An attractive volume; the photographs with which it is illustrated
+    are admirable.  The subjects give a very fair idea of the beauty and
+    charm of a fascinating country.”—_The Manchester Guardian_.
+
+                      SEELEY, SERVICE & CO. LIMITED
+
+
+
+
+CONTENTS {0}
+
+
+
+
+                                                                 PAGES
+                              CHAPTER I
+                       THE FASCINATION OF SPAIN
+Spain the Home of Romance—The Conservatism of the                13–57
+People—Spain the most Democratic of Countries—The
+Tradition of Chivalry—The Cid—Spain the Connecting Link
+between Europe and Africa—The Place of the Moor in the
+Country To-day—The Gardens of Granada—The Bull-fight: its
+National Importance—Spanish Dancing
+                              CHAPTER II
+                          THE SPANISH PEOPLE
+The Character of the People—Their Quietness and                  58–92
+Sobriety—Their Cruelty—This the Result of their Stoicism
+and Indifference to Pain—These the Qualities of a Strong
+and Primitive People—The _Feria_, the Holiday of the
+Sevillians—Religion: its Place in the National Life—The
+Dance of the _Seises_—Holy Week in Seville—Religious
+Processions—The _Paseos_
+                             CHAPTER III
+                          TOWN LIFE IN SPAIN
+Toledo, the Type of the Spanish City—Its Architectural          93–129
+Monuments—The Intermingling of Arab and Christian
+Art—Granada—The Alhambra—Cordova—The Great
+Mosque—Seville, the City of Pleasure—The Special
+Character of the Streets—The _Café’s_ and Shops—The
+Typical Andalusian—The Parks—The _Sevillanas_—Spanish
+Courtship—The Houses of Seville—The _Patios_—The
+Home-life of the Sevillians—Spanish Hospitality
+                              CHAPTER IV
+                   TOWN LIFE IN SPAIN (_continued_)
+Madrid: its Situation—The Old Town—The Rastro—The New          130–152
+Town—The Puerta del Sol—_Cafés_—The _Aguadores_—The Prado
+Park—The Theatre—Spanish Children—The Museums—The
+Picture-galleries
+                              CHAPTER V
+                        COUNTRY LIFE IN SPAIN
+Life in a Spanish _Posada_—Spanish Peasants—The Toilers        153–203
+of the Field and other Workers—The _Cigarreras_ of
+Seville—The _Kermesse_ in the Esclava Gardens—The Love of
+Festivals—Easter Day in a Spanish Village—Third-class
+Travelling—Wild Life in Spain—Fishing in the Country
+Districts
+                              CHAPTER VI
+                             SPANISH ART
+Spanish Art the Reflection of the Spanish Temperament—The      204–231
+Great Buildings of Spain—Spanish Gothic—Its Realistic
+Naturalness, its Massiveness and Extravagance—The
+Churches, the Real Museums of Art Treasures—Polychrome
+Sculpture—Spanish Painting—Its Late Development—Its
+Special Character—Its Strength, its Dramatic and
+Religious Character
+                             CHAPTER VII
+                          ABOUT MANY THINGS
+The Real Spirit of Spain—The Spiritual Instinct of the         232–252
+Race—The Escorial—Spanish Beggars—The Spaniard belongs to
+the Past, but also to the Future
+INDEX                                                          253–254
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+
+
+                                                                  PAGE
+Women at the Al-Mida Fountain in the Patio de los       _Frontispiece_
+Naranjos, Cordova
+A Peasant of Andalusia                                              12
+A Busy Street leading to the Market, Valencia                       14
+The Puerta Visagra Antigua, Toledo                                  20
+Pastimes of the Gitanos in the Camino del Sacre                     26
+Monte, Granada
+Walls and Towers of the Alhambra on the Bank of                     33
+the Darro, Granada
+A Glimpse of Granada from the Walls of the                          36
+Generalife, the Summer Palace of the Moors
+A Group of Dancers at the _Feria_, Seville                          43
+The Old Town of Ronda                                               46
+The Falls of the Guadalevin, the Great Gorge, and                   50
+the New Bridge, Ronda
+Spanish Dancers, Seville                                            54
+The Cave of the Doves                                               60
+The Limestone Quarries, Almeria                                     64
+A Gipsy House at Coria                                              68
+Interior of the Same House                                          74
+A Village _Pasos_                                                   80
+A Rope and Matting Factory, Seville                                 84
+Sacristy of the Convent of the Cartuja, Granada                     88
+Bridge of Alcantara and the Alcázar, Toledo                         94
+A Street in Cordova                                                100
+Puerta del Perdon                                                  107
+The Queen’s Chamber, Alhambra                                      110
+Court of Lions, Alhambra                                           116
+A Group of Workers in a _Patio_                                    120
+“Las Planchadoras”                                                 129
+The Throne-Room, Royal Palace, Madrid                              133
+The Rastro Market, Madrid                                          134
+Mounting Guard in the Plaza de Armas                               143
+Children at Play                                                   147
+A Bridge and Country Homes                                         154
+The Village _Posada_                                               158
+A Medieval Ox-Cart                                                 164
+Harvesting Wheat                                                   168
+An Orange-Picker                                                   172
+Pottery Vendors                                                    178
+A Basque Peasant-Girl driving an Ox-Cart                           184
+Sherry a Half-Century Old                                          191
+Ruins of an Old Aqueduct                                           194
+Beaching Fishing-Boats                                             198
+Choir-Stalls in the Mosque, Cordova                                207
+Burgos Cathedral                                                   210
+Residence of the Mexican Minister, Madrid                          214
+The Old Aqueduct of Trajan                                         218
+Main Gallery in the Museo del Prado                                222
+The Cross by the Wayside                                           226
+Town and Monastery of the Escorial                                 234
+Puerta Judiciana, or Gate of Justice                               238
+Municipal Plaza and Cathedral, Toledo                              242
+The Valley of the Guadelevin River                                 246
+Flamenco Dance of a Gitana, Seville                                249
+
+                    [Picture: A Peasant of Andalusia]
+
+
+
+
+CHAPTER I—THE FASCINATION OF SPAIN
+
+
+Spain the Home of Romance—The Conservatism of the People—Spain the most
+Democratic of Countries—The Tradition of Chivalry—The Cid—Spain the
+Connecting Link between Europe and Africa—The Place of the Moor in the
+Country To-day—The Gardens of Granada—The Bull-fight: its National
+Importance—Spanish Dancing.
+
+Coming into Spain by any of the chief portals—at Port Bou, at Algeciras,
+or at Irun—one finds oneself in a totally new country.  You cast much
+behind you as you come, for instance, from France; you will be impressed
+by a certain strangeness of aspect far different from all you have learnt
+to expect in other countries.  You will feel transplanted back into
+another world.  It is as if Spain had sat aside waiting, indifferent and
+proud, while elsewhere life has rushed onwards.
+
+The conservatism of Spain may be gathered from the old impressions we
+find in the pages of writers describing the people and the country of
+more than a century ago, which are still true in so much as they refer to
+what is essential in the national spirit, and to the survival of the
+customs of mediæval Europe.  “I regard the Spanish people,” says
+Stendhal, “as the living representatives of the Middle Ages.”
+
+         [Picture: A Busy Street Leading to the Market, Valencia]
+
+Spain is still the home of the romance which belonged to an age that has
+passed.  And although the more flourishing Spanish towns are nowadays
+full of animation—factories are springing up and signs of commercial
+activity are not wanting—this new movement of progress has not destroyed
+this romance.  The Spain which Cervantes immortalized still lives.  We
+may still take Don Quixote and Sancho Panza as typical figures, whom you
+may see any day in the towns of Castile or walking on the roads of La
+Mancha.  These are the types that have remained unchanged.
+
+And herein rests the fascination of Spain—this conservatism which has
+lasted into an age of hurrying progress.  It is a fascination that
+everyone will not feel, but for those whom it touches the glamour is more
+permanent and irresistible than that of any other country I know.
+
+Many details of life, and especially in the smaller towns still unvisited
+by the tourist, remind us of a past that other countries have left
+behind.  The _serenos_, or night watchmen, with long hooded cloaks,
+tipped staves, and lanterns, are familiar figures in every town.  In the
+country the shepherd is seen, wrapped in his coloured blanket, leaning on
+his tall staff in the midst of his flock.  The wandering palmer with his
+cockle-shell, known to the England of Chaucer, may still be met in Spain.
+
+You realize how far you are from the present when you enter a Spanish
+town.  You pass under a Moorish gateway, dark and imposing, with a
+suggestion of savage strength in its gaunt yellow masonry that carries
+memories of battles that have been fought.  Here you wait for the
+_consumos_ to examine your luggage, which, if they doubt your honesty,
+they will probe with their long steel prong.  The dull jangle from the
+bells of your straining mules gives an unaccustomed sound as you drive
+upwards, for almost every Spanish town is set upon a hill.
+
+If the town is small, the _posada_ where you seek for lodging will have a
+wineshop below.  You will see a crowd of wild-looking men, with great
+cloaks and _sombreros_ pulled low upon their foreheads, seated at a rude
+table.  They are taking wine from the _bota_, the long-spouted leather
+bottle from which only the Spaniard has the skill to drink.  Thoughts of
+brigands will crowd your mind.  But you need have no fear; these are
+simple townsmen.  Savage looks and this strange, wild appearance cover
+the simple friendliness of the child.  The excited conversation will
+cease as you enter.  Most likely you will hear the word “Francéses”
+muttered by one and another, for in Spain every foreigner is first taken
+to be French.  You answer, “No, Ingléses.”  At once an atmosphere of
+friendliness springs up, and an exchange of greetings will be made.  No
+one will take any further notice of you.  It is not the custom of the
+Spanish landlord to force his attentions upon his guests.  He is
+constitutionally incapable of the obsequious fussiness that belongs to
+commercial hospitality.  You will be accepted as one of the family, and
+the friendly trustfulness that is one characteristic of the fine Spanish
+courtesy will soon cause the foreign _caballero_ to feel at home.
+
+Spain is still the most democratic of countries.  Every Spaniard expects
+as a matter of right to be treated as an equal.  It is significant that
+the title _Señor_ is given alike to God and to a beggar.  Your host at
+the _posada_ will sit down with you to meals, and his son, who waits upon
+you, will slap you on the back with easy friendliness as he makes plans
+for your enjoyment.  These familiar and intimate relationships, which
+once were common in every country, are found to-day nowhere so
+universally practised as in Spain.  Each Spaniard that you meet gives the
+greeting which commends you to God.  And no native ever eats in company
+without first uttering the customary _gusta_, an invitation to share in
+the repast, which is a survival, most probably, of the belief of
+primitive peoples in the evil eye that poisons the food of those who eat
+alone.
+
+              [Picture: The Puerta Visagra Antigua, Toledo]
+
+The snobbery that has arisen out of modern progress is unknown to the
+Spanish man and woman.  Business is not here the highest aim of life.
+The Spaniard still feels true what Ganivet made Hernan Cortes say: “The
+grandest enterprises are those in which money has no part, and the cost
+falls entirely on the brain and heart.”  The hustling, besmirching spirit
+of commercialism is absent from the Spanish character; and for this
+reason, although Spain belongs to the past, the country, to those who
+have eyes to see, will seem to belong also to the future.
+
+El Mitayo Cid Campeador, as the old chronicles affectionately call the
+Spanish hero, with his democratic manners, his rough-and-ready justice,
+and his acts at once ideal and yet practical in achievement, is the
+supreme representative of chivalry.  Valour and virtue, the qualities
+peculiarly identified with the Spanish romantic spirit, were his.  His
+energy in warfare, his power in love, his childlike religious faith, and
+his fearlessness in facing pain and also death, are characteristics that
+belong to all the men who have made Spain great.
+
+Spain was the land of the sword, and the business of the true Spaniard
+was war.  And this love of action, strange as it may seem to those
+accustomed to think of the lazy Spaniard, is a very real trait in the
+Spanish character.  But the action must be connected with romance.  It
+has nothing at all to do with the idea of working for the gain of money
+which belongs to the “getting on” spirit of modern civilization.  The
+Spaniard works as the child works, for joy, and not for gain.
+
+Living in Spain, you come to understand that this land is really the
+connecting link between Europe and Africa.  Both in his physical traits
+and in his character, the Spaniard shows his relation to the North
+African type—“the child of a European father by an Abyssinian mother” he
+has been called.  This is true.  Lithe and vigorous, with long-shaped
+heads and rich pigmentation of skin—the type is clearly seen in the
+pictures of Murillo and Zurbaran, and with a more vivid expression in the
+portraits of El Greco—the Spaniard has more points of contact with the
+Eastern than with the Western races.  Seldom indeed is he entirely a
+European.
+
+But it is among the women that the resemblance stands out most clearly.
+There are women with dark long African faces.  You will see them among
+the _flamencas_ of Seville, or in the gipsy quarter of the Camino del
+Sacro Monte at Granada—women with slow, sinuous movements, which you
+notice best when you see them dance, and wonderful eyes that flash a slow
+fire, quite unforgettable in their strange beauty.
+
+In dress we still find the Oriental love of bright and violent colours.
+The elegant Manilla shawls and the mantilla, which give such special
+distinction to the women of Spain, are modifications of the Eastern veil.
+The elaborately dressed hair, built up with combs, with the rose or
+carnation giving a note of colour, has also a very ancient origin.  Then,
+the men in some districts still retain the fashion of loose, baggy
+trousers such as women wear in the East.
+
+We see the Moorish influence in the Oriental seclusion of the houses,
+with the barred windows and high gates, often studded with bosses,
+seeming to forbid an entrance.  The Spaniard still constructs his house
+as the Moors built their houses, around the inner court, or _patio_,
+those gardens of colour and rest, sometimes quite hidden from the
+passer-by, as at Toledo; sometimes visible through an openwork iron
+gateway, like the gay _patios_ of Seville.  Each house still has its
+_buzon_, and is fronted with a _zaguán_, or vestibule of wood.
+
+In every department of Spanish life we meet with this persistence of the
+Moorish influence.  This need not surprise us.
+
+The coming of the Moors into Spain was a civilizing expedition more than
+a conquest.  It was the Orient entering Europe.  The invaders—for the
+most part Berbers with a few Arabs—were a race of young and vigorous
+culture, of such astonishing and rapid growth that, although in Africa
+they had hardly emerged from savagery, in Spain they manifested a truly
+wonderful receptivity, and absorbed and developed the best elements they
+found in the life of the country.
+
+[Picture: Pastimes of the Gitanos in the Camino Del Sacre Monte, Granada]
+
+In two years the Moors became masters, and under their dominion, from the
+eighth to the fifteenth century, the most elevated and opulent
+civilization flourished.  All the arts, sciences, industries, inventions,
+and culture, of the old civilization budded out into fresh discoveries of
+creative energy.  Religious toleration came with them, and was lost with
+them.  The spirit of chivalry arose among the Moors, and was afterwards
+appropriated by the Christian warriors of the North.  A Moorish knight
+was in every respect like a Spanish knight.  It was religion alone that
+divided them—one called on the name of Allah, the other on that of
+Christ.
+
+We must remember that the primitive Iberians of Spain were themselves of
+Berber stock, and this affinity in racial origin explains the peaceful
+amalgamation of the conquerors with the conquered.  Afterwards by the
+constant mingling of their bloods the Moors and the old Spaniards became
+one.  The Moor gave to the Spaniard and he took from him, and they
+contributed to the same work of national civilization.
+
+Ganivet has said truly that those who deny the Moorish influence show
+themselves unable to comprehend the Spanish character.  The Moorish
+dominion ended, passing almost as swiftly as it came.  But the spirit of
+their exquisite civilization, perhaps the most exquisite that the world
+has yet seen, moulded their Christian conquerors into its likeness.  And
+penetrating the Spanish character, and the daily life and habits of the
+people, this influence remains; indeed, it is not overstating the truth
+to say that to-day the pulse of the land still beats with Moorish life.
+
+It is in the gardens of Spain that the stranger will find best the
+reflection of the Moorish spirit.  The Moors made their cities places of
+gardens and waters.  The very names that they gave to their pleasure
+places speak of joy.  “The Meadow of Murmuring Waters,” “The Garden of
+the Water-wheel”—what magic lingers in the suggestion of the words!
+
+Many of these old gardens have perished.  Cordova has lost all except its
+Orange Court and the old garden of the ruined Alcázar.  In Seville the
+parks are new.  But in Granada the gardens have triumphed over the
+devastations of the Christians; and it is one of the exquisite surprises
+of the place to come suddenly on some fragment of a delicious garden
+where the Moorish tradition lives almost undisturbed.
+
+  [Picture: Walls and Towers of the Alhambra, on the banks of the Darro,
+                                 Granada]
+
+There are few cities, even in Spain, that hold so many gardens.  There is
+the Alameda of the Alhambra, the green garden which lies around the
+Moorish citadel; the _paseos_ on the banks of the Genil, planted with
+trees and cooled by fountains, the pleasure-grounds of the people; and
+the Jardín de los Adarves, on the south terrace of the Alhambra hill, a
+trellised retreat, with climbing vines and flowers, and splendid view of
+Vega and distant snow-capped hills.  Everyone will find in these gardens
+something that makes special appeal to him.
+
+But the most exquisite haunt even among the gardens of Granada is the
+Generalife—the summer palace of the Moorish Princes, at the foot of the
+Cerro de Sol, and to the east of the Alhambra hill.  Here you have the
+charm of small and perfect gardens laid out in terraces, with great
+clipped cypresses, myrtles, and orange-trees, and the glow of flowers,
+with that of the delicate Moorish architecture, of richly coloured tiles
+and rare inscriptions.  And everywhere is the joyous sound of flowing
+water; the fountains are always playing, and water runs in channels made
+of inverted tiles placed on the top of the balustrades.  One of the
+charms of Moorish life was the love of pure water.
+
+An old legend says that the name Generalife in Arabic signifies the
+“house of love, of dancing, and of pleasure,” and, further, that it was
+built by one Omar, a passionate lover of music, that he might retire here
+and entirely give himself up to that amusement.  The story is probably
+untrue, and the name, as the chronicles state, is a corruption of the
+Arabic “Djennat-al’-Arif,” which means “the garden of Arif.”  But romance
+so often is more beautiful than fact.  One likes to think that this
+exquisite palace and gardens were designed as a place wherein a man could
+give his soul to music.
+
+“Charming place!  Thy garden is embellished with flowers which repose
+upon their stalks and exhale the sweetest perfumes; fresh air agitates
+the orange-trees and spreads abroad the sweet odour of its blossoms.  I
+hear voluptuous music joined to the rustling of the leaves of thy grove.
+Everything around is harmonious, green, and flowering.”
+
+Such is part of the inscription upon the arcades of the Garden of the
+Pond, and how perfectly the rich imagery of the words conveys the charm
+of the garden!  The Generalife has kept more than any place in Spain its
+Moorish character, combining in its palace and garden, in spite of decay
+and alterations, much of that full suggestion of all beautiful things
+that was their gift.
+
+In Spain dancing is something more than an amusement; it is a serious art
+closely connected with religious ritual, which expresses, perhaps as
+nothing else does, if we except the bull-fight, the true spirit of the
+people.  The dances are Eastern in their origin; they are dramas of love,
+and especially those of the Gitanas, who have adopted and kept living the
+ancient dances of the country.
+
+Seville, the joyous southern capital, is the city that has given its own
+spirit to the most beautiful of the Spanish dances.  Granada and Malaga
+are also centres of dancing, and sometimes good performances may be
+witnessed at Madrid.  But the best _cafés cantantes_, where the true
+Spanish dancers perform, are hidden in back streets where the foreigner
+does not readily find them.  These dances are national ceremonies and
+belong to the people, and are far different from the dances, often quite
+modern in character, that are given at the popular _cafés_.  The
+varieties are numerous, and the names are often confusing.  Many dances
+date back far into antiquity, while almost all owe their special
+character to Arabic influences.
+
+     [Picture: A Glimpse of Granada from the walls of the Generalife]
+
+The _bolero_ is the most aristocratic dance.  “What majesty, what
+decorum, what distinction!” cried Valera, speaking of the dances of Ruiz
+and his daughter Conchita.  It is danced by a man and a woman, and is a
+kind of drama between them; both use castanets.  It is a slow dance of
+deliberate grace and fascination.  The _jota_ is danced by a woman alone.
+This dance, too, is a love drama of intense passion, but always decorous,
+always beautiful.  Both these dances are native to Andalusia, the
+province of Spanish dancing.  Outside of Andalusia, the most famous dance
+is the Aragonese _jota_.  This is danced by a man and a woman, and the
+castanets are used.  But the drama is different, the movements are
+quicker and less varied, and there is great vivacity.  It seems a kind of
+combat between the two dancers; it is more a drama of battle than a drama
+of love.
+
+But the most typical of all Spanish dancing is the _flamenco_ dance of
+the Gitanas, which you will see best at Seville; it is the most primitive
+and the most African of all.  A group of performers sit in a semicircle
+upon a small stage.  The spectators all take their part by a rhythmic
+clapping of hands and stamping feet.  One of the performers—generally a
+man—plays the guitar and sings an accompanying song.  A dancer rises
+suddenly, spontaneously, as if seized by the passion of the music.  She
+wears a long dress, usually of white, and a beautiful Manilla shawl is
+folded on her shoulders.  How can one describe the dance which is so
+unlike all other dances?  It is not a dance of the feet; every part of
+the body plays its share in the performance: the swaying figure, the
+beckoning hands, the glittering smiles that come and go in the dark
+eyes—all contribute.  The dancer is alive to her fingertips, and every
+expressive movement has the Spanish simplicity of emphasis.  At first the
+movement is slow, then faster, and now increases and rises to a passion
+of intensity.  And all the time the spectators are actively
+participating, their emotion rising with the dancer’s emotion; their
+rhythmic clapping and beating of feet grows louder as the drama proceeds,
+and cries of long-drawn-out _oles_ stimulate the dancer.  The dance ends
+as unexpectedly as it began: a pause comes, and the swaying body is
+still, as if languor had followed on strong emotion.  There is silence;
+the dancer goes back to her seat.  Then the singer starts a new song, the
+clapping is taken up again, another dancer comes forward, and a new drama
+is acted.
+
+          [Picture: A group of dancers at the “Feria,” Seville]
+
+The foreigner who would understand Spain must see these dances; then he
+will come to know yet another characteristic of the people—their love of
+strong, quite elemental sensation.  It is this that so often makes them
+seem cruel to us.
+
+This delight of the Spaniard in all emotions that make sharp appeal to
+the senses explains the existence of the bull-fight, the national sport,
+which is so much a part of the life of the people that, although to-day
+there is a widespread movement to repress, or at least to mitigate, its
+cruelty, it seems unlikely that its real attraction will cease.
+
+It is impossible not to condemn the bull-fight; its cruelty cannot be
+denied.  It is brutal, as the most cultivated Spaniards themselves admit.
+And yet there are certain facts that the stranger must remember before he
+condemns.  The bull-fight, like the dance, is a solemn ritual rather than
+an amusement.  The combats take place on Sunday, while the most famous
+form part of the ceremonies of Holy Week.  Part of the proceeds are
+devoted to some religious object—a charity or other holy work.  Almost
+all the great bull-rings have a chapel where the fighters first prepare
+themselves in prayer and partake of the Holy Eucharist.  To the foreigner
+it may seem that this union of religion and bull-fighting is incongruous,
+but to most Spaniards it does not appear so.
+
+The bull-fight is the Spaniard’s strongest, most characteristic
+intoxication.  The poor man will sell his shirt to buy a ticket for the
+bull-ring.  They are a profoundly serious people, but every incident
+connected with their national sport arouses them into vivid life.  I
+remember on one occasion, when travelling in Andalusia in an open
+third-class railway carriage, the train passed a _vacada_, or
+training-place of bulls to be used in the ring.  The effect was magical.
+These quiet, sombre people sprang upon the seats, some leaned far out of
+the windows; they gesticulated, they waved their sombreros, they called
+the names of the bulls, they cheered, they shouted.  Never had I seen the
+decorous Spaniard so strongly moved.
+
+The _toreros_ are the idols of the Spanish people.  You will see them
+best at Seville, in their faultless tight _majo_ costumes and frilled
+shirts, fastened with diamond studs, and diamond rings on the fingers of
+their faultless hands, and with their pigtail fastened upon the top of
+their heads.  There is something splendidly attractive in their perfect
+bodily equipoise, with every muscle trained to faultless precision.  The
+_toreros_ have in the highest degree strength, agility, and grace.  Even
+women have been _toreros_ and Madame Dieulafoy tells of one _Doña_, Maria
+de Gaucin, who left her convent to become a _torero_; then, after gaining
+renown throughout Spain for her exploits in the bull-ring, returned to
+the practices of religion.  Only in Spain would such division of a life
+be thought perfectly natural, perfectly seemly.
+
+                     [Picture: The old town of Ronda]
+
+The bull-fight was established in Spain in the eleventh or twelfth
+century, and is of Moorish origin.  The bull would also seem to have come
+first from Africa.  But the spectacular and ceremonial character of the
+contest is certainly adapted from the Roman combats, the influence of
+which had survived among the old Spaniards.
+
+Every Spanish town has its Plaza de Toros.  Here, and especially at
+Seville during the Easter festival, you will see all the population of
+the place, a motley crowd of men and women.  Señoras in white lace
+_mantillas_ and white dresses, and their cavaliers, the gay _Sevillanos_,
+side by side with the _gente flamenca_ and the _cigarreras_ in lovely
+shawls, their hair elaborately arranged, with a white flower showing
+against its blackness; for the bull-fight is a democratic institution,
+where the greatest foregather with the people.  The patience of the vast
+crowd is perfect as they await the advent of the appointed hour.  All are
+animated with a suppressed seriousness, the prelude to violent emotion
+which is so characteristic of the Spaniard.
+
+The entire performance is carried out with an elaborate ceremony of
+detail which the stranger often finds difficult to appreciate.  The
+President enters his _palco_.  Then follows the _paseo de la cuadrilla_,
+the processional entrance of the bull-fighters, grave, handsome men, in
+their beautiful and varied costumes of yellow and violet, gold and green,
+or whatever the chosen colours may be.  The procession moves slowly
+across the ring; there is no haste.  Each one in turn gravely and with
+perfect grace salutes the President, who then throws down the key of the
+bulls’ den, the _toril_.  In a few moments the first bull rushes into the
+arena.  The combat has begun.
+
+The fight is divided into three acts.  In the _Suerte de Picar_, the
+first, the _picadores_, dressed in round felt hats, short cloaks, and
+long leggings of plaited steel, and mounted on blindfolded horses, in
+turn receive the charge of the bull, thrusting him aside with their long
+pikes.  Sometimes they come to close quarters, a _picador_ is thrown, his
+horse is wounded, or perhaps killed.  The shouts of the now excited crowd
+show that this is the critical moment.  The _picador_ rises quickly,
+another horse is brought, while the _chulos_ divert the attention of the
+bull by dexterous waving of their brightly coloured cloaks.  When the
+bull is sufficiently wearied—for this is the object of the first act in
+the drama—the President gives a signal, and the _picadores_ retire.
+
+  [Picture: The Falls of the Guadalevín, the Great Gorge and New Bridge,
+                                  Ronda]
+
+The _banderilleros_ take their place.  This is the _Suerte de
+Banderillear_, the second act, the object of which is to inflame the
+bull.  The _banderilleros_ place the barbed darts, or _banderillas_, in
+the shoulders of the bull.  Each is about 2 feet long, of curious device,
+and ornamented with long coloured streamers.  It is the most exciting
+part of the combat.  The utmost skill, agility, and daring, are needed to
+plant the darts.  There must be no bungling, no second of hesitation.  It
+is now that the excitement of the spectators is really aroused, for a
+sense of solemnity is given by the possible presence of death.  A
+_banderillero_ may be seen to seize hold of the lashing tail, swing
+himself along the beast’s side, and plant his dart between its horns.  It
+is done with surprising skill, with delight, and with passion; and the
+applause of the spectators swells to a great roar, which refuses to be
+silenced.
+
+The last act is the _Suerte de Matar_.  The chief _espada_ comes into the
+ring; to him belongs the honour of the death.  First he approaches the
+President, and solemnly dedicates to him the slaying of the bull.  He is
+armed with a short Toledan blade and the _muleta_, a small red cloth.
+Calmly he walks towards the bull.  And now a silence falls upon the
+hitherto raging crowd.  It is the moment of pause, of silent waiting for
+the most violent emotion of all.  First he plays with the now infuriated
+and wearied beast.  There is still no hurrying.  The Spaniard wishes
+always to gain the very utmost out of his sensations.  The bull is teased
+by the waving of the red cloth, and in this way is made to take the
+proper position for the death-blow.  The _espada_ watches his moment;
+then, with unerring decision, he buries the blade in the bull’s neck
+between the shoulders, and walks slowly to the President’s box, with
+absolute composure and a dignity that is almost defiant.  Deafening
+cheers greet him, rewards and costly tributes are thrown, and he is
+presented with a great bouquet of flowers.  How Spanish is this ending,
+which rewards the slayer with flowers!
+
+It is over; the ring is cleared, sand is raked over the pools of blood, a
+new bull is driven forward, again the drama begins.  Six times the scene
+is re-acted, and a seventh bull, a _toro de gracia_, is added at the
+first bull-fight of the year.
+
+                   [Picture: Spanish Dancers, Seville]
+
+In this repetition of emotions, this delight in heaping up sensations, we
+have a very real revelation of the Spanish temperament.  And this
+explains the devotion of the people to the bull-fight.  When we come to
+estimate the Spanish character, we shall find that the Spaniard has the
+qualities which belong to all primitive people.  The sentiment of
+sympathy with suffering is essentially a modern one.  The Spaniard is
+still the Moor, his ancestor.  He is cruel because he is indifferent to
+pain, his own or another’s.
+
+
+
+
+CHAPTER II—THE SPANISH PEOPLE
+
+
+The Character of the People—Their Quietness and Sobriety—Their
+Cruelty—This the Result of their Stoicism and Indifference to Pain—These
+the Qualities of a Strong and Primitive People—The _Feria_, the Holiday
+of the Sevillians—Religion: its Place in the National Life—The Dance of
+the _Seises_—Holy Week in Seville—Religious Processions—The _Pasos_.
+
+The character of the Spaniard, as one gradually learns to know it, not
+from a brief visit spent tourist fashion in hurrying from one city to
+another, but from living among the people, sharing their common life and
+entering into their spirit, is a very positive character.  And this
+character, though at first seemingly full of contradictions, is one of an
+almost curious uniformity, strongly individual, and not easy to
+comprehend.
+
+A significant quality of the Spaniard is his quietness—the grave
+enjoyment which he retains even under the influence of strong emotion,
+such as we have seen in the dances and in the national pastime of the
+bull-fight.  His countenance will keep its accustomed gravity even whilst
+his mind is inflamed.  The Spaniard has what one would like to call an
+active languor.  On the one hand we find in his character a deeply rooted
+dislike, which is almost a contempt, for useful work, with, on the other
+hand, a reserve of untiring energy and a special aptitude for violent and
+emotional action.
+
+In Spain work is not the highest aim of life.  This is the reason why
+time is of so much less value.  It explains the tendency to delay
+everything to a convenient to-morrow—that annoying _mañana_ with which
+the Spaniard cheerfully responds to every demand.
+
+One of the first lessons I learnt in Spain was the unimportance of time.
+We were staying in a country village off the beaten tracks of travel, and
+had to drive a long distance to meet the train which was to take us to
+Madrid.  When we arrived at the small wayside station, we found we had
+three hours to wait.  There was no waiting-room, no refreshments could be
+procured, and it was raining and very cold.  I felt angered at the
+discomfort and waste of time; but the Spaniards who were our companions
+accepted the delay with true philosophy.  They were genuinely distressed
+at my annoyance—the Spaniard is always courteous to the foreigner—but
+they did not at all share it.  They wrapped their great cloaks around
+them, and walked up and down the wind-driven platform for three hours,
+calmly indifferent.
+
+I understood their acceptance of life on its own terms, which is the very
+root of the Spanish character, at once its strength and its weakness, the
+cause of its beauty and of its defects.
+
+   [Picture: The Cave of the Doves, “El Chorro,” between Boladilla and
+                                 Malaga]
+
+A charge of cruelty is often made against this people.  But the cruelty
+which one meets so often, and especially in the treatment of animals, is
+almost always misunderstood by the stranger.  It arises from a certain
+hardness of fibre, which makes the Spaniard indifferent to pain.  And if
+he is cruel to others, the Spaniard is also cruel to himself.  I know of
+no people who are as little careful of personal comfort.  Stoicism may be
+said to be the religion of the true Spaniard.  Every form of asceticism
+has been practised by him, and to-day there exist brotherhoods whose
+members flagellate themselves with special instruments made of sharp
+broken glass till the blood flows, just in the same way as the
+_banderilleros_ prick the bulls in the ring.
+
+The Spaniards have always shown an interest in blood and a satisfaction
+in shedding it.  Two centuries ago it was a common custom for lovers to
+scourge themselves in the streets during Holy Week, to win admiration
+from their mistresses.  The Spaniard still gains the approval of his
+women by feats of daring, and the bull-fighter is the idol of the people.
+
+We find an expression of this insistence on pain in the Spanish pictures
+and sculpture.  Artists in no other country have depicted the sufferings
+of the Christ and the tortures of martyrs with the same delight of
+detail.  I recall the pictures of Zurbaran and Ribera, or those agonized
+images of the Christ by Juan Juni at Valladolid, in which sorrow is
+carried to a distortion that is almost caricature.  The Spaniard accepts
+these images; he clothes them with little embroidered skirts and lace
+petticoats with the _naïveté_ of a child; to him they are the most
+poignant expression of his religious emotion.
+
+                [Picture: The Limestone Quarries, Almeria]
+
+It would seem, then, that in the Spanish character there is not only an
+indifference to pain, but an actual delight in the emotion of suffering,
+which prevents an understanding of cruelty.  It is the temperament that
+makes the martyr and the fanatic.  I remember on one occasion some boys
+were torturing a young bird, which one boy held by a string tied to its
+leg.  I offered to buy the bird for a few _reales_.  At once it was given
+to me, and I set it free.  But what was the result?  In less than an hour
+some twenty birds had been caught, fastened to strings, and were brought
+to me.  No payment was asked: the birds were a gift to the foreign
+señora.  The boys had not understood at all that I disliked their
+cruelty; they thought that I had a strange fancy for captive birds.
+
+The incident is characteristic of what the stranger will meet constantly
+in Spain.  Your driver will flog his mules with the butt-end of his
+whip—yes, beat them till they fall.  If you remonstrate, he will smile,
+rarely will he be angry; but never will you make him understand.  Once
+during a long drive I gained respite for a team of mules at the cost of a
+bribe of two pesetas.  I know that driver pitied my foolishness.
+
+Yet, let there be no mistake, the Spaniard is not without the tenderer
+emotions of humanity.  And, after all one has heard of Spanish cruelty,
+it is interesting to note the signs of gentleness and kindness that meet
+one in many unexpected ways.  I have never seen any other people so
+friendly with one another.  The home life of the people, be they rich or
+poor, is charming, with a standard of kindness that compares favourably
+with that of other countries.  Domestic crimes are comparatively
+infrequent.  The Spaniard is known for his considerate love for children,
+and the relations between parents and children are universally happy.  In
+no country does less stigma fall upon a child who is born out of wedlock.
+One of the strongest impressions I gained during my stay in the Peninsula
+was the happiness of the charming children.  It is noteworthy that the
+first hospital for the insane was established in the country of the
+bull-ring.  The practice of allowing counsel to poor persons in criminal
+cases is of much older origin than in our own country.  The pest of
+beggars is another witness to this softness in their character; the
+Spaniard feels that it is inhuman to refuse alms.
+
+                    [Picture: A Gipsy house at Coria]
+
+It is when the Spaniard comes into personal relationships that his real
+native kindness appears.  For his friend he is ready to sacrifice his
+life—a quality which Strabo notes as belonging to the ancient Iberians.
+You will often meet with a curious mingling of cruelty and kindness in
+the same individual.  I recall a characteristic incident.  An artist
+friend was sketching in a small town in the province of Old Castile, and
+upon one occasion was greatly annoyed by a lad who threw sand upon the
+wet canvas, thereby showing, I suppose, his hostility to the foreigner,
+whose actions he did not understand and therefore disliked.  The artist,
+rather than contend with his rudeness, left the spot and returned home.
+By mistake a small purse-bag was left behind.  The boy found it, and
+followed with it to the hotel.  What a change!  There was no rudeness
+now; instead, a real pleasure in rendering a service.  Smiling and
+bowing, the persecutor of half an hour before returned the purse with the
+fine Spanish courtesy, refusing to receive any reward.
+
+It is these seemingly contradictory impulses that puzzle the stranger in
+estimating the Spanish character.  But the truth is, that the deep-rooted
+conservatism of the race has kept alive in the Spaniard of to-day the
+qualities that belong to primitive peoples.  Mr. Havelock Ellis, the
+English writer who has best understood the Spanish spirit, says truly:
+“The Spaniard is, and remains to-day, in the best sense of the word, a
+savage.”  The Spanish nature is elemental, and responds to all the
+emotions that touch the elemental passions: love, religion, war—these are
+the emotions that stir life into action.
+
+Much of what is characteristic of the life of the people may be studied
+in the _Feria_, the great spring festival, which is held at Seville each
+year in the middle of April.  From all parts of Spain people flock to the
+southern city, and for three days at this national picnic they make
+holiday together.  In the Prado de San Sebastian streets of wooden
+pavilions, or _casetas_, have been erected, consisting mainly of one
+room, which is furnished with chairs, a piano, and beautiful flowers.
+Here on each day the families of Seville assemble in their own _caseta_,
+and pass the joyous hours in receiving guests, dancing, guitar-playing,
+and singing.  One side of the _caseta_ is entirely open, so that all can
+see the company within.  The women and the older men sit upon the chairs;
+the _majos_, in faultless costume, stand about, each smoking his
+cigarette; the children, brilliant, fascinating little people, play in
+front.  Some of the women, and many children, are dressed in the old
+Andalusian costume, with black lace over bright yellow silk; all the
+women wear _mantillas_ upon their hair.  Fans are fluttering everywhere;
+there is a soft tinkling of guitars.  Dark eyes flash upon you, and red
+lips part in smiles as you stand and look within.  It is a family party,
+carried out with a publicity that seems strange to us, but is perfectly
+natural to the Spaniard.  At the _Feria_ everyone is accepted as a
+friend.  Someone clicks a pair of castanets, and a beautiful girl gets up
+to dance the _seguidilla_, that most graceful dance which every
+Andalusian child is taught.  The effect on the company is magical.  How
+animated they are! every face is smiling.  Their chairs are drawn in a
+circle around the dancer, whom they applaud with rhythmic clapping.  It
+is the _seguidilla_, with its gracious memories, which gives life to the
+_Feria_.
+
+In another part of the fair the Gitanas have their tents.  All the women
+from Triana and the Macarena are here, amusing themselves simply and
+quietly with a joyous decorum.  Some of the Gitana women are remarkably
+handsome; all have superb hair, and the gay colours of their dresses give
+brightness to the scene.  There is dancing here, too, the _flamenco_
+dances, with slow movements and passionate suggestion of love, and the
+noise of the constant clapping of the spectators.
+
+              [Picture: Interior of the same house at Coria]
+
+On the outskirts, in the open space of the Prado, are flocks of sheep and
+goats, and droves of bullocks, horses, mules, and donkeys, tended by
+picturesque herdsmen and muleteers in the dress of the several provinces.
+_Caballeros_ ride their horses up and down to show off their points.  The
+vendors haggle and chaffer with the buyers, for all the animals are for
+sale; but all is good-natured, there is no quarrelling.  At intervals
+there are little _ventas_, or refreshment booths, where the people buy a
+_refresco_.  Families are camping and picnicking on the grass.  Others
+are seated on chairs arranged in a circle around the couple who rise to
+dance.  At a little distance there are swings for the children.  The
+noise is great—the Spaniards delight in loud sounds—concertinas and
+barrel-organs, the sounds from the castanets of the dancers, and the loud
+clapping of hands, mingling with the cries of the _aguadores_ and the
+vendors of shell-fish and chestnuts.  Here, too, everyone is happy; but
+you will not see one drunken or quarrelsome person; among all the people
+there is a friendly, good-natured content.
+
+“Seville,” it has been said, “lights up for a _fiesta_ as a face lights
+up with a smile.”  And evening is the time at which the _Feria_ looks its
+best.  The great iron tower in the centre of the park is brilliantly
+illuminated, and the avenues of _casetas_, radiating in every direction,
+are softly lighted with thousands of fairy lights, electric lamps, and
+Chinese lanterns; in each a different scheme of colour prevails.  The
+soft warm air is fragrant with the scent of the blossoming orange-trees.
+In each _caseta_ there is a dancer, and from the open doors eager faces
+look out upon the passers-by.  The sound of castanets and guitars is
+heard in every direction.  The broad walks are filled with people, an
+unending stream, slowly walking up and down.  This is the true Spain,
+idle, joyous, brilliant, happily content, making the very most of life
+with the fine acceptance that is the gift of the Sevillians.
+
+It is this spirit which the Spaniards have brought into their
+religion—the understanding that joy is a part of worship.  And although
+Seville is not a religious city as Toledo and Valencia are, it is here
+that the splendid ceremonies of the Church are carried out with more
+detail and spectacular appeal than in any city in Spain.  The Sevillians
+have made the ritual of their religion a part of their life’s enjoyment.
+
+Nothing shows this better than the strange mediæval custom of the
+_Seises_, the sacred dances which take place in the cathedral on the
+Feast of the Immaculate Conception, and on that of Corpus Christi.  The
+sixteen _seises_, or choristers, dance in front of the high-altar, using
+castanets and singing in the most charming and graceful minuet fashion.
+It is perfectly dignified, perfectly religious, and the young dancers
+perform without a suspicion of levity.  There is something specially
+characteristic of the Spaniards’ attitude towards religion in thus making
+dancing a part of the sacred ritual of the Church.  Just as the
+bull-fight is carried out as a solemn ceremony, so dancing, the people’s
+strongest passion, finds its place in the service of the house of God.
+To the stranger it is an astonishing ceremony, a witness to the pagan
+element that lives so persistently in the Spaniard—the cause of those
+sharp contrasts that surprise us in his character.
+
+All Spain gathers in Seville to take part in the great festival, which is
+held during the _Semana Santa_, the Holy Week of Easter.  It is the
+people’s holiday as truly as is the _Feria_; both are “holy days.”
+
+                      [Picture: A Village “Pasos.”]
+
+The most characteristic of the ceremonies are the religious processions,
+which take place on each day during the week, and all day long on Good
+Friday.  At Granada and many other towns the Church processions have been
+given up; but at Seville the custom remains unchanged from the Middle
+Ages.  The whole city is given up to the _pasos_, vehicular traffic is
+stopped, all business ceases.  Everyone, from the Archbishop and the
+_Alcalde_ downwards, assembles in the public squares, where seats are
+erected, in the streets, or in the balconies and windows of the houses,
+to witness the performance.  It is an amazing sight, this multitude
+gathered to watch the procession of an image!  But the Spaniards give
+themselves up to it with simple abandonment.  Nothing seen in Spain will
+give so true an impression of the part that religion takes in the life of
+the people.  The stranger will feel himself carried back at least three
+centuries.
+
+The _pasos_, which are carried in these processions, consist of a single
+sacred figure, or a group of figures illustrating a scene from the
+Passion.  Many of the statues have real beauty; they are the work of
+Montañés, the seventeenth-century sculptor, whose polychrome carvings
+express so perfectly the Spanish religious spirit.  Borne by twenty-five
+invisible carriers, at an extremely slow pace, the sacred groups pass
+through the streets of the city.  Each _paso_ is followed by the members
+of the _cofradia_, or brotherhood, to whom the statue belongs.  They are
+dressed in the costume of their Order, the long gown, usually of white
+cloth, with the peaked cowl covering the head.  Each brother carries a
+lighted candle.  Companies of acolytes, white and scarlet robed, swing
+censers and chant anthems.  A line of gendarmes, in capes of vivid red,
+march in advance to clear the way.  Women clad in white walk beside them;
+barefooted, they are fulfilling a vow.  The sacred figures, and
+especially the Virgin, to whom the chivalrous Spaniard has always
+rendered his homage, are vested in rich gowns of silk and velvet,
+enriched with jewels of such great price that a soldier with drawn sword
+walks on guard behind.  The platforms on which the statues rest are
+thickset with lighted tapers and laden with flowers.
+
+              [Picture: A rope and matting factory, Seville]
+
+The slow procession proceeds through the densely crowded streets and
+squares to the accompaniment of solemn music, with which mingle the
+_vivas_ and _bravas_ of the spectators.  Before the doors of the City
+Hall there is a pause to greet the _Alcalde_, who rises from his velvet
+chair.  Then the procession passes onwards through the reverent,
+bare-headed crowd to the cathedral.  The women, black-robed and with
+black _mantillas_, in the balconies, where rows of lamps and candles
+burn, rise in reverence.  One and another sings an ardent petition, with
+eyes fastened on the sacred figure.  Now a young girl presses forward in
+the crowd with a gift of marigolds, which are placed at the Virgin’s
+feet.
+
+There is a completeness and simplicity in the worship, the great crowd,
+rich and poor, women and men, all moved by one strong emotion.  And the
+spell of the strange scene penetrates the spirit; one forgets its pagan,
+mediæval childishness; one begins to understand how these outward symbols
+have had power to hold the faith of the people.
+
+The cathedral is the chief centre of all the ceremonies; and the vast
+edifice—Santa Maria is the largest Gothic church in the world—which is
+not too vast for its part in the great functions, is seen best on these
+days of festival.  The gold and silver plate, all the splendid Church
+treasures—silver candelabra beyond counting, jewelled censers, chalices,
+and crosses, golden keys and diamond stars, Arfe’s rich and delicate
+monstrance—have been laid out by the side of the great altar.  Crimson
+drapings cover the walls; the priests wear their _terno celeste_,
+vestments of blue and gold.  The great doors are wide open, and all day
+long the people come and go in endless procession, as the pageants of the
+_pasos_ arrive and then depart.  The Mass, with its elaborate ritual, is
+sung to the Spanish music of Eslava; the Sacrament is borne in priestly
+procession.  Each day has its special function.  On Palm Sunday is the
+consecration of the palms and olive branches; on Maundy Thursday the
+typical Spanish ceremony of the washing of feet takes place; on Good
+Friday there is the Passion Sermon; and on Saturday the _Cirio Pascual_,
+the great candle, 25 feet high and 770–880 pounds in weight, is
+consecrated.
+
+        [Picture: Sacristy of the Convent of the Cartuja, Granada]
+
+All the days the cathedral is filled with relays upon relays of
+worshippers: some kneel upon the bare stones, one by one or in groups
+together; some stand; others sit on the chairs they have brought with
+them.  The black dresses and _mantillas_ of the women mingle with the
+bright colours of the peasants who have come from the country districts.
+There is something social, well-nigh domestic, in the scene.  In the
+intervals between their devotions the women chatter loudly together and
+use their fans; children play about as if in their own homes; even dogs
+and cats are there, quite unmolested.  The Spaniard is wholly at home in
+his church, which to him is so much a part of the world and his daily
+life that he can talk, eat, sleep, and transact business, there.
+
+As the week advances an indescribable emotion grows, which culminates on
+the Saturday, when, at ten o’clock in the morning, the Veil of the Temple
+is rent in twain.  The great purple curtain, which has hung in front of
+Roldan’s beautiful Christ upon the Cross, is sharply drawn by hidden
+cords.  The signal is given; all the bells of the city ring out joyously,
+the great organ peals forth jubilees of victory, _Gloria in Excelsis_
+soars out in choral chants.  It is the moment of supreme emotion.  The
+multitude falls upon its knees before the great symbol of the
+accomplished Passion.
+
+This is the end of the Holy Week ceremonies.  The women put off their
+black, and now appear in white lace _mantillas_ and dresses predominantly
+white.  In the afternoon the children’s festival of the lambs takes
+place.  Then on Easter Sunday the bull-fight is celebrated.
+
+
+
+
+CHAPTER III—TOWN LIFE IN SPAIN
+
+
+Toledo, the Type of the Spanish City—Its Architectural Monuments—The
+Intermingling of Arab and Christian Art—Granada—The Alhambra—Cordova—The
+Great Mosque—Seville, the City of Pleasure—The Special Character of the
+Streets—The _Cafés_ and Shops—The Typical Andalusian—The Parks—The
+_Sevillanas_—Spanish Courtship—The Houses of Seville—The _Patios_—The
+Home-life of the Sevillians—Spanish Hospitality.
+
+Toledo has kept, perhaps, more than any city in Spain its mediæval
+aspect, combining in its buildings of so many civilizations that here
+remain together; churches, convents, mosques, Gothic walls and ornaments,
+Moorish houses and steep passages—everywhere the Moorish design is
+evident—and a great Christian cathedral—much of what is most typical of
+the genuine Spanish civilization.  I know of no city that can give a more
+poignant emotion than Toledo.
+
+A great town, set on its rough and elevated rock of granite in the midst
+of the blue Sierra, closely ringed by the deep brown water of the Tajo,
+it is like no other city in the world.  The national character, strong
+and aloof, passionate and brilliant, and the nation’s history, are here
+epitomized before you.  And coming to the city, as the stranger does,
+from Madrid, blatant, noisy, and modern, you will feel transplanted back
+into an older world.
+
+Your first impression is of something extraordinarily austere.  You seem
+to have passed into silence and an almost painful absence of life.
+
+          [Picture: Bridge of Alcantara and the Alcázar, Toledo]
+
+Toledo has remained as the Moors built it, a tortuous network of cobbled
+alleys, as was most fitting in a city built upon rock, scorched by sun in
+summer, and in winter swept with icy winds.  The tall houses, rising in
+straight upward lines like an arrangement of flat walls, are almost all
+windowless on the side next to the street; where there is a window it is
+barred and closely latticed, and the high gates are studded with iron
+bosses and seem to forbid an entrance.  No sight of the tree-shaded court
+is given, as at Seville and Cordova.  No one appears to go in and out of
+these doors.  Every house has the aspect of a prison; they all look as if
+they had histories.
+
+There is the same absence of bustling modern life in the streets.  In the
+Calle del Comercio there are shops, but the wares are simple, having an
+old-world air; only specially interesting is that of Alvarez, the best
+maker of damascene.  Even in the Zocodover, the centre of the city’s
+business, all is sedate.  You will see the water-carriers driving their
+mules up the steep streets from the _vega_, a peasant whose beast is
+laden with bright-coloured fruits and vegetables, or a group of goats
+that supply the milk for the city.  Yet often the streets seem deserted.
+Only the companies of beggar children, who clamour incessantly around you
+with their strange cry, “Un caukie sou!  Un caukie sou!” remind you of
+the life hidden in the sleeping city.
+
+Romance lives in Toledo.  How many scenes and how many figures famous in
+Spain’s history are recalled to our memory here.  In no other city are
+there the same number of architectural monuments.  It is the chief centre
+of the two great elements of Spanish civilization, the Christian and the
+Arab, which makes it the place where the native art can best be studied.
+Its cathedral and churches are furnished with the most perfect examples
+of the industrial arts that have been produced in the Peninsula.  El
+Greco, who adopted Toledo as his home, expresses in his pictures, which
+are one of the great possessions of the city, the Toledan spirit, which
+is the spirit of Spain.  The churches are the museums and
+picture-galleries of the city; each one has its special appeal—its
+precious mosaics, its ironwork, its glass windows, its cloisters, its
+tombs, its beautiful carvings, or its pictures.
+
+In Toledo you understand the part that religion has taken in the history
+of the country.  You can hardly walk for five minutes in any direction
+without coming upon some church; they stand at the corner of almost every
+square, many are embedded between the brown walls of the houses.
+
+Its architecture shows a curious mingling of Arab, Gothic, and
+Renaissance work.  Christian and Moor overlap in many buildings, while in
+others the art of each emerges isolated and independent.  In the great
+cathedral, the perfection of Gothic in Spain, we see nothing of the Moor,
+while in the mosque of Bel-el-pardon, now called El Cristo de la Luz, and
+in the ancient mosque in the Calle de las Tornarias, which has never been
+converted to Christian uses, and retains its original character almost
+unimpaired, we can with difficulty trace the Christian.  But in other
+buildings—the Sinagoga del Tránsito, for instance—we find the Moorish
+traditions persisting with the Christian.  And it is this intermingling
+and absorption of the Moorish civilization with the Christian that gives
+the real character to Toledo.  Not only in the churches that once were
+mosques does the passage of that great people remain, but in the houses,
+austere without but beautiful within, in ancient palaces, in fragments of
+gardens that still are places of rest, in embattled bridge and arch, in
+exquisite harmonies of ornament that meet you everywhere, and, more than
+all, we find this gracious influence in the spirit of the city itself.
+Toledo is a living picture, a city in which each building is a voice that
+speaks the history of Spain.
+
+In Cordova, and even in Granada, you are less sharply conscious of the
+Moorish influence.
+
+        [Picture: A street in Cordova, looking towards the Mosque]
+
+Time, the tamer of proud cities, has shadowed Granada, and to visit it is
+to understand the desolation of conquest.  The big hotels, placed so
+incongruously near to the Alhambra, the clamorous guides, the beggars—all
+the disagreeable conditions of a show city that trades on its past are
+here.  The efforts of recent years, that have developed a certain amount
+of industrial activity, have not lessened this impression; for modern
+enterprise seems strangely out of place in Granada, while the attempts to
+improve the old city, such as the boulevard which has been driven through
+its centre, have been left unfinished, with a result of added desolation.
+In the air itself there seems something of decay, as the white mists from
+the snowy heights of the Sierra Nevada rest shroud-like upon the _vega_.
+Always you seem to catch an echo of that _ultimo suspiro del Moro_.
+Ruins meet you everywhere; only the gardens in Granada have kept the
+charm of their exquisite beauty.
+
+But there is one possession that conquest has left to Granada.  It is to
+see the Alhambra that everyone comes to the city, which is but a setting
+to this Moorish jewel.  And in the wooded garden, which lies around the
+citadel, where nightingales sing, and flowers embroider the grass, and
+the sound of running water is always heard, Granada, with its memories of
+ruin, seems shut off as by a veil of quiet.  The Alhambra is the supreme
+pearl of Moorish art in Spain.  It is bewildering in the appeal of its
+strange beauty.  It is like an invocation of an Eastern sorcerer, and as
+you wander in its courts and halls the Thousand and One Nights seem true.
+It is hardly conceivable that people lived here.  You seem to understand
+the brilliant dominion of the Moors in Spain.  Only people with a history
+like theirs could have reigned here; life lived here could but have been
+a romance.
+
+The first impression you gather from the almost bewildering beauty is how
+any building so seemingly fragile can be so strong.  More than five
+centuries have passed since the Alhambra was built.  The repeated
+earthquakes which did so much damage to Granada, and laid in ruin the
+Renaissance palace of Charles V., have been powerless to destroy this
+most delicate of architectural structures.  To-day the Alhambra is kept
+as a show-place, rejuvenated by the restorer.  But even this has not been
+able to dim the exquisite beauty of its courts and halls.  And all the
+jewelled weaving of ornaments, so difficult to grasp as being quite real,
+have kept much of their splendour.  It almost seems as though the common
+superstition were true, and that the charm of Fate does guard the Red
+Palace of the Moors.
+
+Cordova suffers from the memory of a past greatness which she cannot now
+support.  Gautier describes the city as _le squelette blanché et
+calciné_.  Cordova is a city in sleep; it rests in a quiet and beautiful
+dream.  Here the Eastern spirit of acceptance echoes with an unsilenced
+voice.  And this is why the sensitive stranger will find such perfect
+satisfaction in the white city’s sleeping peace.  Cordova was the town
+that I most loved in Spain.
+
+But the tourist goes to Cordova in haste to visit the mosque.  “Mezquita?
+Mezquita?”  Each Cordovese you encounter will surmise your desire and
+direct you without question.  They know that this imperishable building
+is the one interesting lion in their city; it is to visit it that the
+stranger comes to Cordova.
+
+The great mosque is a “wonder of the world,” the one perfectly satisfying
+building left in the city of the Khalif, the Cordova that was known as
+“the Bride of Andalusia.”  This Church of the Divine Wisdom is the most
+complete expression in building that the Moors have left in Spain, more
+even than the Alhambra.  It is one of the buildings that sum up the
+genius of a people, the experience of a race, and the teaching of a
+school.
+
+In the Outer Court of Oranges, where the water of the fountains and the
+leafy shade of the orange-trees give delicious coolness from the blazing
+heart of the sun, you will find the untiring charm and dreamy peace of
+Oriental repose.  You will see the women of Cordova gathered around the
+great _almîda_ fountain with their red-brown pitchers to fill.  You will
+hear them chattering, telling the news of the day.  Now and then will
+come a sound of laughter as a youth, also with a vessel to fill, joins
+them.  The women will leave their pitchers and go into the mosque, one by
+one or in groups together, for prayer is a part of the day’s work.
+Figures move slowly up and down the cloisters; they are the Canons; each
+will be smoking a cigarette.  Groups of beggars crouch on the low stone
+seats; they seem quite content in the sun.  At the hour of service a band
+of acolytes will come from the chancery and cross the court slowly to the
+mosque, making a line of scarlet.  And presently there will be a soft
+sound of music as the boys sing the _coplas_ in honour of the Virgin.
+Yes, the Court of Oranges is the most perfect spot in Cordova, to which
+the stranger will come again and again.
+
+    [Picture: Puerta Del Perdón (Gate of Pardon) the Mosque, Cordova]
+
+And when you go into the mosque itself, you will pass out of the
+colonnades of orange-trees into colonnades of stone.  Before you, around
+you, everywhere, a forest of columns; and the canopy of curves above you,
+formed by the double rows of crossed fantastic arches, will seem like the
+interlacing branches of great trees.  You will remember those enchanted
+forests you dreamed of as a child.  In truth, the architecture of the
+mosque is like a living thing.  The light, entering from above, plays
+upon the arches, causing the red stones to gleam like fire; it frets the
+thousand columns with moving patterns; it catches the glass mosaics in
+jewelled brilliance, and makes a soft shining upon the marble pavement,
+in which, as you look up and down, you see the long arcades reflected
+until the distance dies away, mysterious and apparently unending.
+
+            [Picture: The Queen’s Chamber, Alhambra, Granada]
+
+But words cannot describe this wonderful temple.  The Moorish houses of
+prayer will bring you a sense of joy: there is nothing of the mystic
+suggestion of a Gothic cathedral—that of Seville, for instance; your
+spirit is freed, not awed.  The mosque was to the Moor this world as well
+as the next.  Here is the message of a race who understood the fulness of
+living so well that they knew how to be joyously at home with their God;
+and you realize more fully this lesson that the Moors gave to Spain,
+which finds its expression to-day in the Spaniard’s happy familiarity
+with his God.
+
+The stranger will now be ready to understand the special atmosphere of
+Seville, for it is this frank acceptance of joy as the gold thread of
+life which gives the southern city its charm.  It is not shadowed with
+memory like sleeping Cordova, nor is it overburdened with heroic
+monuments like Toledo; there are no ruins such as give sadness to
+Granada; it is still a living city whose blood is pulsing with the joy of
+life lived in the sunshine.
+
+The buildings for which the city is famous all have this aspect of
+joy—the Moorish Tower of Gold; the Alcázar, with its flower-crowded
+gardens; the Giralda Tower, which is so old, and yet in its glittering
+whiteness looks so new.  There is a joyousness in these buildings that I
+have never seen in the buildings of any other city.
+
+Then, Seville is alive commercially, and from its wharves among the
+orange-trees which line the banks of its rivers vessels carry away its
+wine, its oil, and its oranges.
+
+Seville has no rival among the cities of Spain.  The old saying is still
+true: “To him whom God loves He gives a home in Seville.”
+
+In Seville you are happy without seeking to be so, and when the stranger
+has learnt this he has learnt the secret of the _Sevillanos_.
+
+Seville has the aspect of a city given up to a holiday humour; and if I
+wished to describe the special quality of her happy people, I should say
+that they understood perfectly the difficult art of loafing.  You must be
+happy to loaf successfully; that is why Northern people find it so
+difficult.  But not even the Venetians loaf as well as the _Sevillanos_.
+Go to the Calle de las Sierpes, that narrow, animated street, the centre
+of Seville’s joyous life; it is different from other streets; its gay
+shops, with the double row of irregular, close-drawn windows that make a
+sinuous line of light—certainly it is like a serpent.  All day and far
+into the night people saunter up and down its pavements or sit in one of
+the many _cafés_, which are always filled with crowds of unoccupied
+persons.  You will seem to be watching a stage play.  It is here that you
+will see best the _majos_, or dandies of Seville; in springtime there is
+sure to be a _matador_ strolling about in splendid costume, and women in
+_mantillas_ saunter to and fro with their slow, graceful walk.
+
+In the _cafés_ you will have an opportunity of studying the typical
+Andalusian.  He wears a short coat and very tight trousers of a light
+colour, and a felt hat with a broad, flat brim.  He is always
+clean-shaven, and his hair is cut very short.  These men are often
+handsome, and have a striking expression of strength; the faces,
+dignified and always humorous, often resemble a comic actor.  They are an
+affectionate and friendly company, and their conversation echoes with a
+deafening buzz.  Notice the way in which they smoke their cigarettes, and
+at intervals drink their _refrescos_ or sip from their small glasses of
+_aguardiente_.  Their enjoyment is so Spanish, so epicurean.  And women
+in the street fan themselves in the same way.  All these people are happy
+in the frank acceptance of life as it is.
+
+Inside the shops, which have doors wide open to the street, groups of
+women sit to buy fans and _mantillas_.  Making purchases is a delightful
+game, in which all Spanish women excel.  They smile, and chatter, and use
+their fans, bargaining with delicious grace, while the salesman,
+cigarette in hand, shrugs his shoulders and gesticulates.
+
+“But the _mantilla_ is dear, señor.”
+
+He throws out his hands in protest.
+
+“No, señorita; I am giving it away at ten _pesetas_.”
+
+“Is the quality good?” and she raises her eyebrows in bewitching
+incredulity.
+
+“As good as God’s blessing.”
+
+And with mutual smiles and salutations the purchase is made.
+
+               [Picture: Court of Lions, Alhambra, Granada]
+
+It is in the Paseo de las Delicias—the name will tell you of the beauty
+of this park, with its orange-groves, hedges of blue aloes, and all
+manner of tropical trees and flowers—that the ladies of Seville drive and
+promenade each afternoon.  The _majos_ cast languishing glances upon them
+as they walk to and fro, and compliments are given: “Oh, Jesus, what an
+air!”  “Happy is the mother that bore thee!”  “Your eyes are as runaway
+stars that would rather shine in your face than in the heavens!”
+
+The _Sevillanas_ smile and chatter together; this play of love is a part
+of the accustomed homage which is their due.
+
+There is a fascination about Spanish women not easy to define.  Many of
+them are not beautiful, but they are always graceful, and they all walk
+beautifully.  Then, most of them have the soft, expressive eyes which the
+East has bequeathed to Spain.  There is a quality and certain finish
+about them which is unique; each one looks as if she understood that she
+was a woman, and was very glad that this was so.  Perhaps this is why
+they are so attractive; this is the reason, too, why the old women are so
+good-humoured, smiling, and gay.  The indefinite unquietness that so
+often characterizes English and American women is entirely absent.  These
+Spanish señoras, for their happiness, have kept the pagan content.
+
+          [Picture: A group of workers in a “patio” at Seville]
+
+Much of what is characteristic of the home life of the Sevillians may be
+gathered from the arrangement of their houses.  They are all—the houses
+of the poor as well as those of the rich citizens—built around the
+_patio_, or shaded court, where palms, myrtles, pomegranates, and
+jasmines grow, and the singing of caged birds mingles with the sound of
+the playing fountains.  Into this _patio_ all the windows of the house
+open and the rooms lead.  The doors are of open ironwork—no two doors are
+alike—and often, even in the small houses, the grating is of exquisite
+workmanship.  One door, which also has an open _reja_, or grating, leads
+into the street.  It is in these _patios_ that the Sevillians spend their
+lives, and this throwing open of their homes to the gaze of all who pass
+in the streets is exactly characteristic of this simple, happy people.
+Every afternoon and evening the youth of the family laugh and sing and
+dance to the rattle of the castanets.  It is against the _rejas_ that the
+lovers stand at night and sing their serenades, and so persistent is
+their patience that they have gained the title of “iron-eaters.”  All
+Andalusians are musical; even the beggar thrums his guitar, which he will
+not part with for bread; to him music is a necessity, and bread a luxury
+with which he can dispense.
+
+The Andalusian’s leisure is a perpetual source of delight.  What
+impresses the serious foreigner, who is so fortunate as to become an
+inmate of a Sevillian home, is the mirth and courtesy of the family, who
+all seem to enjoy endless leisure.  Spanish households have a
+pleasantness quite their own.  The men are never preoccupied with
+business; smoking cigarettes, they will pass hours chattering to the
+women of the family, who spend the greater part of the day working their
+beautiful embroideries.  Few books are read, and talking is the chief
+occupation.  No people can talk like the Spaniards, and the excitement is
+so spontaneous that often the conversation is carried on far into the
+night.  The slightest incident gains a poetic vividness from their
+dramatic telling.  Cigarette-smoking and talking are the only indulgences
+which the Sevillians carry to excess.
+
+In their home life there is a love of visiting and a love of receiving
+visitors.  _Tertulias_, or parties, are frequent.  But a Spanish party
+differs materially from an English, in so far as there are no
+refreshments—if we except the glasses of pure water and plate of
+_azucarillos_ to sweeten the water, which are placed upon a side-table.
+This is an instance of the sobriety of the Sevillians.  The guests dance
+and sing and talk incessantly, and are perfectly satisfied to enjoy
+themselves without eating.
+
+The Spaniards are good hosts; the exquisite politeness which is natural
+to them, even to those of the very lowest classes, causes them to lay
+themselves out to entertain; boredom would seem to be unknown to the
+native host and hostess.  They make a pleasure of the slightest social
+intercourse.  I recall one occasion in Seville, when I asked permission
+to enter the house of a poor woman in the Macarena quarter, in order that
+my artist friend might make a drawing from her balcony of a building of
+which a satisfactory view could not be obtained in the street.
+
+“My house is yours, señoras; make whatsoever use of it you will,” was her
+answer to my request.  And during the hours that my friend was at work
+she put aside her occupations—she was a _planchadora_, and was ironing
+with her assistants on our entrance—and gave herself up solely to help
+and entertain us.  A _refresco_ was brought to us; _calientes_, the
+twisted doughnuts which are made in every Andalusian house, were fried
+for us.  Nor would she consent to receive the payment which we, with our
+foreign stupidity, offered to her on our departure.  No, the kindly,
+cheery woman did not understand payment for hospitality.
+
+But it is during the days of festival at Easter and the _Feria_ that the
+fine hospitality of the Sevillians is seen at its best.  The houses are
+filled to overflowing, and hospitality is taxed to a degree that only the
+most perfect courtesy and good-nature could endure.  Every corner is
+received with a chorus of welcome, and embraced like a brother.  Beds are
+surrendered, even sofas are given up, and as fresh strangers arrive,
+unable to gain accommodation in the crowded inns, mattresses, pillows,
+and rugs are brought out of cupboards, and beds are made upon the floor.
+All the members of the family, and even the tired servants, who are
+always joyously ready to help, sit up, because there is literally
+_nowhere_ for them to sleep.  The difficulty of obtaining provisions in
+these seasons of festivity is very great: the butcher cannot provide
+meat; even bread is hard to buy.  But the señora of the house is never
+troubled; she tells you her woes, and then goes smiling to fry
+_calientes_ and prepare other delicacies for the refreshment of her
+guests.  The constant Spanish courtesy never fails, and the foreigner who
+happily chances among this crowded joyous party can but wonder.
+
+       [Picture: “Las Planchadoras” (laundresses) at work, Seville]
+
+
+
+
+CHAPTER IV—TOWN LIFE IN SPAIN (_continued_)
+
+
+Madrid: its Situation—The Old Town—The Rastro—The New Town—The Puerta del
+Sol—_Cafés_—The _Aguadores_—The Prado Park—The Theatre—Spanish
+Children—The Museums—The Picture-galleries.
+
+The contrast is great from Seville to Madrid, which is less distinctly
+Spanish than any city in the Peninsula.  The royal capital, established
+by the decree of Philip II., has the appearance of an accidental growth
+on the harsh Castilian slopes.  The climate is the worst of any town in
+Spain.  Madrid suffers all the oppressions of the sky—baked by fierce
+summer suns, and chilled by the ice of treacherous winds.  In point of
+distance it is only some twenty leagues, in one direction, from Toledo,
+and in the other from beautiful Avila; but in its life it is separated by
+centuries from the old Spanish cities.  It is the strangest
+transformation to come from them into the eager, bustling life of the
+modern capital.  There are no antiquities here, no great memories, no
+romance, nothing but what the people and the natural brightness in the
+air give to it.
+
+             [Picture: The Throne-Room, Royal Palace, Madrid]
+
+To stay in Madrid is to undergo the most absorbing fatigue.  The
+Madrileño lives with a speed that in Spain startles.  The city never
+sleeps, never stays its chatter; its inhabitants are apparently so full
+of business that they turn day into night, yet no one seems to work.  It
+thus comes about that the lover of Spain, who has become used to the
+untroubled content of happy Seville or the sleeping peace of Cordova and
+Toledo, can with difficulty find himself at home in Madrid.
+
+Madrid is a city of contrasts.  Treasures of art abound in its museum,
+yet of all cities it is surely the least influenced by the spirit of
+beauty and design.  Its splendid bridge which gives entrance to the city
+has been ridiculed with the question, “Where is the river?”  It misses
+all charm of environment; the city has no suburbs, and the country around
+is barren and without trees and verdure.  Yet the Madrileños cannot be
+persuaded that any other city is its equal.  It is a capital in
+transition of a country in transition, and as such it must be regarded.
+
+                   [Picture: The Rastro Market, Madrid]
+
+The old part of the town, such as the Rastro and surrounding narrow
+streets, where on each Sunday is held the market, the largest rag-fair in
+the world, still bring one a sensation of living in the Middle Ages.  The
+wares are laid out in most primitive fashion in the narrow streets in
+great piles; all kinds of antiquities are sold, as well as clothes and
+wonderful peasant jewellery.  The low stalls are piled up with flowers,
+fruits, and vegetables, of all colours, in confused abundance.  Women and
+girls stand in groups of twos or threes, or sit beside their wares,
+bundled in bright-coloured shawls, and all with kerchiefed heads.  They
+talk incessantly; they do not seem to care whether their goods are sold
+or not, but they chaffer noisily over every sale.  Some of the women have
+perfectly-shaped faces with magnetic eyes that recall the East.  It was
+here once that I saw a _manola_, beautifully attired with a white
+_mantilla_, silk shoes, gaily coloured dress and jewellery.  She reminded
+me of Goya’s pictures.
+
+Fine savage old men in tattered cloaks wander on the outskirts of the
+market asking alms, and beautiful, bewitching children play their games
+unchecked.
+
+But the Rastro is not the real Madrid.  The modern town, with its aspect
+of a city still in the making, so that one thinks not so much of what it
+is as of what it may become, has grown up in the image of Paris, with
+boulevards, wide streets, tall characterless houses and modish shops.  It
+is to be feared that this new Madrid will overgrow all that is left of
+the old city.
+
+The Madrileños spend their lives in the streets and squares, almost all
+of which are wide, clean, and well paved.  The houses are ornamented with
+balconies, the first of which, supported by pillars, forms in many parts
+of the city a piazza where the inhabitants may walk under cover.  The
+Puerta del Sol, the largest and most animated _plaza_, and the centre of
+Madrid, is the rendezvous of the idlers of the city.  From eight o’clock
+in the morning, and far into the night, it is thronged with groups of men
+wrapped in their cloaks, which they wear to protect them from the
+treacherous winds that sweep the city even in summer.  Furnished with
+several dozen cigarettes and coppers for _azúcar_ and water, they pass
+the hours in endless talking.  Politics form the chief subject of
+conversation, and the progressive element in Spanish society discusses
+here.
+
+Most of the _cafés_ are in this quarter, and they are always filled.
+They are less attractive in their outside appearance than the _cafés_ of
+Seville, but the refreshments served are excellent.  The Madrileños, like
+all Spaniards, drink more water than wine.  In every street and _paseo_
+you see the picturesque _aguadore_, with his _cántaro_ of white or brown
+clay and reed basket, containing glasses, sticks of _azucarillos_, and
+oranges or limes.  He has not changed from the day when Velazquez painted
+him; he still wears a loose jacket of snuff-coloured cloth, breeches,
+leather gaiters, and a peaked hat.
+
+Perhaps it is the climate which causes the Madrileños always to suffer
+thirst.  The _bebidas heladas_, or iced drinks, flavoured with orange,
+lemon, strawberry, cherries, or almond, which are sold in every _café_,
+are far superior to any English or American beverages.  Spanish preserves
+also deserve to be mentioned, and there is one variety, known by the name
+“angel’s hair,” _cabello de angel_, which is delicious.
+
+Madrid is so much a modern city that at first the stranger hardly
+realizes how pleasantly its inhabitants live.  It is most fortunately
+rich in well-shaded parks and beautiful green promenades.
+
+The Prado is the evening gathering-place of the fashionable Madrileños,
+and the tree-shaded promenade, from seven o’clock onwards, affords the
+most animated sight.  An astonishing number of people collect here.  In
+the crossways which intersect the carriage-drive, all the families of the
+city walk to enjoy the cool of the evening.  The Madrileños are seen at
+their finest here.  The _majos_, resembling plates of fashion in their
+tight, faultless clothes, stand about in groups admiring the ladies who
+roll past in landaus, for carriages are essential to fashionable Madrid.
+Some of the men ride the splendid Andalusian horses; with manes, long
+sweeping tails, and gay trappings, like the horses that Velazquez
+painted.  The Madrileñas have adopted the costumes of Paris, and in
+fashionable attire Spanish women always look badly dressed.  The
+_mantilla_ is, however, worn by most women, and even a plain face looks
+beautiful in this fascinating head-dress.  Like all Spanish women, each
+Madrileña carries a fan, which is held open as a parasol to give shade
+from the sun.  A woman without a fan is unknown, and there is something
+truly Spanish in the use these vivid, bewitching women make of them.  The
+Madrileña collects fans as an English lady collects jewels; she will
+often own more than a hundred of various colours and patterns.
+
+  [Picture: Mounting guard in the Plaza De Armas, Royal Palace, Madrid]
+
+During summer this outdoor parade in the Prado is in gay career until
+midnight; and as the night advances the promenades are full of gay noise.
+There are open-air concerts, and dancing takes place upon the open spaces
+of grass.  Around the stalls of the _refresco_ sellers, families are
+seated talking gaily together.  The greatest animation prevails.  The
+Madrileños never seem to be tired.  The abandonment to happiness is
+contagious, and the stranger will gain a sense of the joy of life as he
+sees the ardent faces of men, women, and children, in whom mirth is never
+vulgar, but as natural as speech.
+
+In the winter season the Madrileños visit the theatre, which every
+Spaniard adores.  Gautier writes that “long before Shakespeare the
+Spaniards invented the drama.”  Spain in the sixteenth and seventeenth
+centuries produced an almost countless number of dramatic works, and a
+passion for the drama still animates the people.  Spanish women, as we
+should expect, are first-rate actresses; they mark all shades of
+character with appreciation and fine delicacy.  It is interesting to note
+that it was in Spain that women first played women’s parts, which in
+England at the same period were entrusted to boys.
+
+The Teatro Real at Madrid is devoted to Italian opera, but at the more
+popular Teatro Español, where La Guerrero, the Bernhardt of Spain holds
+sway, there is an opportunity of witnessing the native dramas of Zorilla,
+Hartzenbusch, and Tirso de Molina, or the modern society plays of
+Echegaray and Galdos.  The _sainete_, which takes the place of our
+“curtain-raiser,” is usually comic, and those that are most popular are
+adapted from the farces of Cervantes and Lope de Rueda.
+
+Even in the heat of summer the Madrileños visit the theatres, but at this
+season the performances are limited to the popular _zarzuelas_,
+operettas, four of which are given in each evening.
+
+Spanish children share the love of the theatre which belongs to their
+elders.  At the afternoon performances, which are given on every Sunday
+and _fiestas_, half the house is occupied by child ticket-holders, whose
+interest in the action of the piece is astonishing.  They applaud with
+cries of “_bonito_”; they ask questions, and the house is never still for
+a single instant.
+
+Spanish children are already grown up when quite young, but they are the
+most fascinating little people, at the same time natural and
+self-conscious, with a sort of precocious winsomeness.  Their bodies are
+so full of energy that they give an impression of more vivid life than
+the children of Northern countries.
+
+Nowhere are children happier and more loved than in Spain; the _niños_
+are the idols of their parents, and are universally treated with
+indulgence.  Yet the Spanish child is not spoilt, and the obedient spirit
+is never lacking.  Even the poorest child is taught to practise those
+courtesies of life which in Spain are never forgotten.  Ask a child his
+name, and after the answer he will always add, “at the service of God and
+yourself.”  No child forgets the “_mil gracias_” with which a benefit is
+accepted.  I recall a small boy of peasant parentage who acted as my
+guide upon one occasion, and who, when asked what gift he would like for
+his service, answered: “I shall like best, señora, what pleases you most
+to give me.”  Even in the prayer which Spanish children offer at night
+you find an expression of this quaint, delicious politeness:
+
+    “Jesus, Joseph, Mary,
+       Your little servant keep,
+    While, _with your kind permission_,
+       I lay me down to sleep.”
+
+Those who have taught Spanish children all praise their intelligence.
+During the first twelve years of life both girls and boys develop more
+rapidly than other European children.
+
+    [Picture: Children at play in the park of the Buen Retiro, Madrid]
+
+This precocious understanding is manifest in their games.  Go to the
+great park of the Buen Retiro, where during each afternoon the young
+Madrileños are busy with their plays of bull-fighting, politics, and
+flirtations.  The children are attended by their nurses, who most
+frequently are the _pasiegas_ from Santander, who wear the charming
+national costumes of a pleated red petticoat with silver-lace border,
+velvet bodice, and brightly coloured handkerchief as head-dress.
+
+_Al toro_ is the favourite game.  The _niños_, using a mask for the bull
+and the capes of red and yellow which are sold on the stalls, go through
+the whole pantomime of the bull-ring with a vivid and quite grown-up
+delight in the sharp appeal made to their sensations.  Another group play
+at soldiers, armed with sticks for swords and holding a great flag.
+Other children, a little older, pass the time in flirtations.  The boys
+pay the extravagant Spanish compliments to little girls, or in the wooded
+groves they sing the native melodies to the answering songs of the
+nightingales.
+
+I talked with one young singer, who told me he had reached his fifteenth
+year, and already was betrothed.  I asked him if he were not too young.
+“No, señora,” was his answer; “God is good, and my parents have money to
+maintain us.”  Afterwards he took up his song, that had something wild
+and Oriental in its passionate notes.
+
+Among the excellences of Madrid must be counted her Museums.  The Armeria
+with its fine collection of arms and weapons, the Museo Naval, and the
+Museo Arqueologico, furnish effective mementoes of the entire tragedy of
+Spain’s history.  Of her art galleries who can say praise enough?  It is
+only in Madrid that it is possible to realize, to the full extent of
+their gifts and limitations, the artists of Spain.  The Academia de
+Bellas Artes and the Museo de Arte Moderno are rich in pictures.  And it
+is to see the Museo del Prado that the stranger visits Madrid; no
+picture-gallery in the world contains a more wonderful collection of
+masterpieces.
+
+It is a splendid art inheritance that is enshrined in the Prado.  Spain
+in the sixteenth and seventeenth centuries was closely connected with the
+countries that were then the centres of art.  The Catholic Sovereigns had
+a fine taste for pictures, and to them we owe largely the collection of
+the great works which, after the pictures of Velazquez, are the glory of
+the Prado.
+
+The building, of pale brick and white stone, placed in a tree-shaded
+park, is well designed, and on the whole well lighted.  Externally it is
+a model of what a picture-gallery should be.  A bronze statue of
+Velazquez stands before the entrance.  This is fitting.  The Prado is in
+a very special way the home of Velazquez.  No other nation has been so
+supremely fortunate in preserving almost intact the work of her greatest
+painter.  No picture is wanting to the complete understanding of his
+exquisite art.
+
+In the Prado there are masterpieces by the world’s great painters—by
+Titian, by Rubens, by Raphael, by Albrecht Dürer, by Holbein, and how
+many others?  But even in the presence of these masters we seek
+Velazquez.  Here, too, Goya astonishes us with his vigorous and wonderful
+art; there are admirable paintings by El Greco, by Ribera, by Murillo;
+but we can see nothing but Velazquez.  And the emotion of first seeing
+these pictures is one of awe.  We are not in the presence of an Old
+Master, but of a painter who in his perfect art forestalled every modern
+movement in painting.  This is why Velazquez stands alone among artists.
+And the lover of art journeys to the Prado that he may study his
+pictures, as the pilgrim journeys to the shrine of his saint.
+
+
+
+
+CHAPTER V—COUNTRY LIFE IN SPAIN
+
+
+Life in a Spanish _Posada_—Spanish Peasants—The Toilers of the Field and
+other Workers—The _Cigarreras_ of Seville—The _Kermesse_ in the Esclava
+Gardens—The Love of Festivals—Easter Day in a Spanish Village—Third-class
+Travelling—Wild Life in Spain—Fishing in the Country Districts.
+
+To know Spain it is not enough to visit the towns.  It is when the
+stranger leaves the beaten tracks of travel, and goes to the country
+districts, where the outcome of modern progress is still unknown, that he
+sees the life of ancient Spain almost unchanged.  I know of no experience
+more necessary to the understanding of the country and its people than a
+lengthened stay in a village _posada_.  The life, indeed, will be hard in
+many ways, and it will be wise for the stranger to cultivate the stoicism
+and indifference to personal comfort that characterize the Spaniards
+themselves; but the experience is excellent, and the people you meet are
+charming in their kindness and perfect courtesy.
+
+The _posada_ is the _casa huéspedes_, or house of hospitality for the
+neighbourhood.  The title is no misnomer, but stands for what the village
+_posada_ truly is.  To stay there is to find a new meaning in the word
+“hospitality”; it is to know willing service, restrained by the fine
+Spanish courtesy from offensive attention.
+
+ [Picture: A bridge and country homes in the mountains of Northern Spain]
+
+It is more than probable that the first sight of the _posada_ may disturb
+the stranger.  It is built with a spacious vestibule.  On one side of the
+stone staircase, which gives entrance to the upstairs living-rooms, is a
+dark wineshop, where the men of the village foregather to talk and drink
+the black native wine; while the other side serves as the stable, in
+which the mules, donkeys, oxen, and other animals belonging to the house,
+have their home.  Many odours cling about the dark staircase; the scent
+of closely packed animals mingles with that of garlic, while the air
+reeks with the fumes of rancid _aceite_, or oil—the never-to-be-forgotten
+smell that belongs to every _posada_.  The noise in the vestibule is
+deafening and incessant; the men talk in loud voices which are piercingly
+vibrant and metallic.  Cackling hens, with maybe a fat black pig or
+little woolly lamb, block the way as one climbs the staircase to the
+living-room.
+
+This room is bare, but never dirty; the filth which I had been led to
+expect from my experience of some of the smaller inns in the towns does
+not exist in the village _posadas_.  The large windows open on to wooden
+balconies which look out on to the tree-shaded _plaza_.  The walls are
+freshly whitewashed, and the bare boards of the floor are scrubbed to
+snowy whiteness by their daily scouring with sand; the curtains, too,
+when there are any, are always white.  Sometimes a few highly coloured
+and amazing religious prints in black frames hang upon the walls, but,
+fortunately, more often they are bare.  The furniture is of the simplest
+description—a large table, bare of any cloth, that fills most of the
+room, wooden chairs and a Spanish press, a great cupboard which holds the
+linen of the family.  The beds are placed in small alcoves which lead out
+of the living-rooms; and these beds are always comfortable, with spotless
+linen, embroidered, lace-trimmed, and brought from the lavender-scented
+chest.  There is no fireplace in the living-room, and if, as often
+chances in winter and early spring, the weather is cold, the only heat is
+gained from the _brasero_, whose charcoal ashes give the very faintest
+glow of warmth.  The Spaniards accept cold without murmur; they wrap
+themselves in their cloaks, and wait till God sends out the sun.
+
+                [Picture: The Village Posada at Matarosa]
+
+The _posada_ is ruled by the señora.  She sways a rod of iron over her
+husband, relatives, servants, guests, and the arrangements of the house,
+being full of energy and the vigour of character that is common to
+Spanish women even in old age.  She is the characteristic type of the
+Spanish woman of the people, her face a formidable mass of wrinkles;
+_jamona_, or stout in body, but of surprising agility; she is witty,
+smiling, and contented.  From break of day until late evening she bustles
+about, shouting orders as she goes from one task to another, yet she
+seems never hurried, never overburdened.  How happy she is if her efforts
+are appreciated and her guests enjoy the fare she has provided! how her
+face saddens and clouds if any dish is sent from the table uneaten.
+“Mas, mas!” (More, more!), is her constant cry as she enters the room at
+the beginning of every course to urge her guests to eat.
+
+To have English visitors staying at her posada filled the good señora
+with pride.  Her satisfaction reached its zenith when letters arrived
+from England.  She was loath to yield them up.  “The great English people
+will know of my _posada_ now,” she said on one occasion, pointing to the
+address in triumph.  With comical humility she asked that, in my
+goodness, I would give her the envelope.  How well do I remember the joy
+with which she carried away the torn trophy!
+
+Nothing was too good for these strangers who had come from a foreign land
+to stay at her _posada_.  The best of everything the house contained was
+given up for our use, special food was cooked, and the village was
+ransacked to provide things fitting for _los Ingléses_.  On one occasion,
+when I had asked for a certain food not to be obtained in the
+neighbourhood, a messenger was sent on horseback twenty miles over the
+mountains to the nearest town to procure it.  Nor was any payment allowed
+for the service.  No, the English señora was her guest; she had asked for
+something, it was her duty to provide it.  The trouble! the expense! she
+did not understand.  In the old Spain service is not rendered for
+payment.
+
+It is in the villages that one is best able to study the peasants and the
+gipsies.  Sunday is the _dia festivo_, when the youths and maidens,
+dressed in the picturesque native costumes, dance and sing to the music
+of the village piper, who plays the _dulzaina_, a kind of clarionet.  He
+marks the time by beating on a drum which is slung around his waist.  The
+singing is the tuneless chanting heard so often in Spain, a kind of
+interminable dwelling on one piercing note, not beautiful to unaccustomed
+ears, but disturbing in its strange appeal, which so persistently recalls
+the East.  The dances are danced by boys and girls and men and women
+grouped in couples of four or six.  There is a great deal of movement;
+the hands keep time with the feet, playing castanets hung with
+bright-coloured ribbons.
+
+In all parts of Spain there are gipsies, but it is in the districts of
+the south that the stranger will see them best, for there would seem to
+be a special affinity between the Andalusian and the gipsy character.
+The Gitanas and Gitanos live in communities, often in houses carved out
+of the mountain sides.  It is among them that we find the most typical of
+the Spanish dancers.  Dancing is a universal accomplishment, a part of
+life, in which every girl and boy takes his or her share.
+
+           [Picture: A mediæval ox-cart, Province of Guipúzcoa]
+
+On one day in the week the market is held in every small town, on the
+open ground of the _plaza_, under the overspreading trees.  Let us look
+at the market-place at Ampuero, a large village in the Basque province of
+Guipúzcoa.  The whole ground space is filled with booths that are piled
+up with fruit and vegetables, with dress-stuffs, pots, water-jugs,
+furniture, and a medley of wares that give bright colour to the scene.
+Peasants from the surrounding hamlets have all come to buy and sell.
+They are dressed in the native costume—the men with the _boina_, or cap
+of dark blue wool, shaped like a Scotch tam-o’-shanter, short smock
+jackets, trousers of bright blue linen, and red or black body sashes; and
+the women with their many-coloured handkerchiefs of silk, bright skirts
+that are short and very wide, and still brighter blouses.  The Spanish
+peasants have the delight in vivid colour that belongs to all primitive
+and happy people.
+
+The sellers and buyers stand about in groups talking in the ancient and
+mysterious Basque language, which once, as place-names prove, was spoken
+over the greater part of the Peninsula.  All business is carried out in
+the vivid, primitive Spanish manner.  And what impresses the stranger
+most is the courtesy and happy good-nature, which makes the universal
+bargaining a game enjoyed alike by buyer and seller.
+
+In one corner of the _plaza_, under an archway, is a stone image, beneath
+which burns a sacred lamp, and always, as they pass, the men and women
+pause, cross themselves, and make a genuflection; religion is part of
+business.  The mules and ox-carts stand at the outskirts of the plaza.
+The mules are shaved on the upper part of their bodies and their tails
+and ears, and have a curious appearance; they are thin and badly cared
+for, but this is hidden by their gay trappings.  The ox-waggons are
+exceedingly primitive, and as each one arrives a hoarse and deafening
+noise pierces the air.  The peasants leave the wheels of the cart
+unoiled, and delight in the frightful music, which can be heard half a
+league away; they believe that the sound drives off demons.  A peasant
+would not own a cart that did not “play.”
+
+The Basques claim to be the oldest race in Europe; and it is now
+generally acknowledged that they represent the primitive Iberians of
+Berber stock, who form the fundamental population of all Spain.  Many
+primitive customs survive among them, and one of the most interesting is
+that by which the eldest daughter in some districts takes precedence over
+the sons in inheritance.  They are a people of the mountains, and to know
+the Basques you must live in their villages; even their one town, Bilbao,
+in spite of its industrial and commercial prosperity, is really an
+overgrown village more than a city.  It offers a striking contrast to
+Barcelona, the other great Spanish seaport, and the most perfect example
+of a commercial city.
+
+     [Picture: Harvesting wheat in the Basque Province of Guipúzcoa]
+
+To see the Basques at their finest you must watch them in the fields,
+where the women work side by side with the men, and appear to have equal
+strength with them.  They use a large and primitively-shaped fork on
+which both feet are placed to force the implement into the ground, and
+the work is carried out with surprising rapidity.
+
+Great flocks of sheep are reared in Spain, especially in Estremadura;
+each flock belonging to one proprietor is called a _cabaña_, and many
+contain 50,000 sheep.  The shepherd who guards the _cabaña_ is one of the
+most constant figures in the country districts.  A million arrobes of
+wool—an arrobe is about 25 pounds—are said to be obtained in each year,
+and the wool is famed throughout Europe.  Although manufactures are not
+extensively developed, I have seen cloth made at Guadalajara that for
+beauty of colour and quality would compare favourably with the
+manufactures of England or France.  It is worth noting that in some
+manufactories it is the custom to set aside a portion of the wool to be
+sold for the benefit of souls in purgatory—an instance of how in Spain
+religion is connected with everything.
+
+The most important industries of Spain are wine-making and fruit-growing.
+The country makes all the common wines for her own consumption, and the
+brandies, rich wines, and fruits exported form a considerable source of
+wealth.  Many thousands of men, women, and children, are employed in
+these industries.  At Seville and other towns in the south, the women
+pick the oranges ready to be taken to the ships.  Great heaps of golden
+fruit line the groves, which are afterwards sorted, the better fruit
+being wrapped in paper before it is packed.
+
+One of the oldest industries is pottery.  The _jarro_, or earthen pots
+used for water, are made of white or red clay, unglazed, and very
+beautiful in shape.  The _jarro_ are sold by women in the markets of the
+towns for a few reales—that is to say, about five or six English pence.
+
+                   [Picture: An orange-picker, Seville]
+
+Spanish workers are universally poor, receiving wages so low that it is
+surprising how they live.  But they are thrifty and sober, while their
+needs are simple, and their hardships are mitigated in some measure by
+the fact that almost all industries are carried on out of doors.  In the
+streets of the towns you see men and women at work at the edge of
+pavements, making and mending boots, working sewing-machines, preparing
+leather goods, ironware, and other commodities.  The shops and small
+manufactories are open to the street; you can see the occupants within
+making ropes and baskets, saddlebags, brushes, and a variety of wares.
+What impressed me was that these workers always looked happy.
+
+Women play an important part in the life of workaday Spain, and the
+splendid types of these women workers make the foreigner think deeply.
+They are full of energy and vigour even in old age.  They work as well as
+the men in the fields, turning the soil with forks, training the vines,
+and garnering the grapes and chestnuts.  I have seen women carrying
+immense burdens, unloading boats, acting as porters, removing household
+furniture.  I saw one woman with a chest of drawers easily poised upon
+her head; another, who was quite old, carried a bedstead.  A beautiful
+woman porter in one village carried our heavy luggage, running with it on
+bare feet, without sign of effort.  For what surprised me most was that,
+in spite of hard physical labour, these women are beautiful.  They are
+always happy and contented; in their faces, and especially in their eyes,
+is that indescribable expression, the wonderful smile of Spanish women.
+
+A visit to the _fábrica de tabacos_ at Seville will show the stranger a
+charming scene of labour.  The rooms of the factory are large, and,
+although low, are airy.  They open into outer courts, and the great
+chambers, supported by pillars, resemble a church.  Each room has its
+altar, which is decorated with flowers and offerings.  As the workers
+pass they cross themselves, and never fail to make the customary
+genuflection.  Yet, with the easy familiarity which is the special
+feature of the Spaniard’s religion, they will often place their outer
+garments upon the altar.  The _cigarreras_ are deeply religious, and at a
+recent Easter festival one of the _pasos_ of the Virgin was presented
+with a splendid new mantle at a cost of 9,000 dollars, for the purchase
+of which the 7,000 workers had each contributed two _centimos_ a week
+during the preceding year.
+
+The _cigarreras_, in brightly coloured costumes, sit at work making
+_polvo de Sevilla_ and _tabaco de fraile_.  A skilful worker can easily
+accomplish ten _atados_, or bundles of fifty cigars, daily.  The murmur
+of conversation never ceases; talking seems to aid the Spaniards in work.
+Many of the women have their babies with them, whom they tend in the
+intervals of work; children a little older play happily together in
+groups.  It is enough to have seen these smiling, contented, industrious
+women to know that life is happy to most women in Spain.
+
+The _Kermesse_, which is held each year in the Esclava Gardens, is the
+festival of the _cigarreras_; it is a kind of fair.  The stalls and
+booths, where every variety of wares are sold, are presided over by the
+_cigarreras_, dressed in the beautiful Andalusian attire.  They chaffer
+over every sale, but they do not seek customers, and appear to be more
+occupied in talking than in selling their goods.  All day long the
+gardens are full of gay noise.  The women pass to and fro; some sit on
+seats, some rest upon the grass under the trees.  In the centre of the
+gardens a platform is erected, where in turn the women dance the
+_sevillanas_ and other dances with charming spontaneous enjoyment.  The
+sound of castanets and clapping of hands never ceases; the talking is
+deafening.  Sometimes there is a quarrel, but this is rare.  There is a
+natural refinement in these women, and because they are really happy they
+have no need of riot to convince themselves that life is pleasant.
+
+              [Picture: Pottery vendors in a Spanish Market]
+
+Their love of festivals is shared by all Spaniards, and everywhere
+holiday-making is a part of life.  In the country districts, as in the
+towns, the _Pascua de Resurrección_ of Easter is the most popular
+festival, when the days are spent in a curious combination of religious
+ceremonial and holiday-making.
+
+It was my good fortune to spend one Easter in a mountain village, where I
+had an opportunity of seeing the customs of the people of old Spain.  On
+Palm Sunday the village was filled to overflowing with peasants, many of
+whom had travelled long distances, riding on mules or driving in the
+wooden ox-carts, from the hamlets among the mountains.  They were dressed
+in the native costumes.  The men wore velvet breeches adorned with silver
+buttons, and leather gaiters, open to show the calves; bright sashes of
+red or yellow silk; jackets of brown cloth, with embroidered cuffs and
+collars; blue or maroon cloaks, brightly lined; and pointed hats, adorned
+with silver tassels.  The fantastic dress gave the scene an aspect more
+African than European.  The women were not so gay, and were almost
+universally attired in black; but the _mantilla_ with the white flower,
+which all wore, gave them an incomparable grace.  All day the streets
+were filled with bustle and life.  Vendors of palms were stationed in
+every corner selling their wares, while boys ran to and fro among the
+crowds with arms full of olive branches.
+
+The great function was the procession, when the _pasos_ were carried
+through the streets after the celebration of Mass.  In the _plaza_ a
+stand had been erected, and every seat was filled; people crowded the
+pavements, and in the balconies of every house men and women were closely
+packed.  The gendarmes of the little town walked first, marching gravely,
+the representatives of law and order; then followed the children, clad in
+white, and bearing the consecrated palms and olive branches; while after
+them came the priests, dressed in robes richly embroidered and trimmed
+with lace.  Upon the shoulders of hidden bearers was carried the litter,
+illuminated with hundreds of candles, upon which rested the figure of the
+Virgin, the patron saint of the village.  The image was hideous, quite
+without beauty, and decked out in cheap tawdry finery, strangely
+incongruous.  But to the peasants she was the Mother of God.  I saw no
+sign of levity; the attitude of the men as well as of the women was
+perfectly dignified, perfectly religious.  All eyes were riveted upon the
+sacred figure, heads were bared, and each man and woman bowed and made
+the sign of the cross as the lighted litter passed.  Prayers were
+murmured and blessings invoked.  “Holy Mother, cause the crops to ripen,”
+“the sick child to be healed,” “the lover’s heart to soften”—such were
+the cries of the women.  Children pressed forward, dodging unchecked
+among the gendarmes and priests, clamouring for a blessing.  One small
+_niña_ knelt upon the pavement in front of the _pasos_, holding up a
+white carnation in offering.  A priest stepped forward, took the flower,
+and placed it upon the litter.
+
+To the children of the village the Easter days brought special enjoyment.
+The part they played in the festival was a strange one, giving an example
+of the old-world customs that live so persistently in Spain.  On the
+_Viernes Santo_, or Good Friday, each boy and girl went to church armed
+with a horn and large wooden clapper, upon which strange instruments they
+played to frighten the spirit of the traitor Judas Iscariot, who betrayed
+Señor Dios, the name by which they quaintly designate the Saviour.  They
+blew and rattled with a will, and the hideous, deafening noise mingled
+strangely with the music of the Mass, for the evil spirit must not
+escape.  Incomprehensible survival of an old superstition, blending the
+grotesque with the most sacred service of the Church—how often the
+stranger is surprised in Spain!
+
+           [Picture: A Basque peasant-girl driving an ox-cart]
+
+The Spaniards are more friendly with one another than any people that I
+know.  The stranger will realize this travelling in the third-class
+trains, as he must in the country districts, where the expresses do not
+stop.  These trains are known as _mixto_, and convey luggage as well as
+passengers.  The carriages are uncomfortable, and not always clean, and
+the speed is very slow.  Patience is a quality that the visitor to Spain
+must cultivate.  The train may start before the advertised time; it may
+be an hour late.  No Spaniard is disturbed by such trifles.  At the
+stations there is always a crowd of people waiting.  There is a kind of
+fatalistic patience in their appearance; they seem not so much to be
+waiting for a particular train, as hoping that presently a train will
+come that will take them to their destination.  Even when the train
+arrives there is no hurrying; a start will not be made until everyone is
+ready, for punctuality is a small virtue compared with politeness.  The
+long-drawn cry of _A-a-gua fresco_! is always heard.  Much time is
+occupied, as everyone in the train seems to want to drink.
+
+In the carriages the company talk together with excessive volubility, and
+have the appearance of being members of one family.  As soon as you enter
+questions will be asked.  “Where are you going to?”  “Are you Francéses
+or Ingléses?”  “Why have you come to visit their country?”  “Are you
+married, and is the señor who is with you your husband?”  “How many
+children have you?”  “How old are you?”  “Why do you wear a hat, and not
+a _mantilla_?”  “And how is it you have no earrings and no fan?”  You
+will soon become accustomed to this interrogation, which is made with no
+hint of familiarity, and is the outcome of a friendliness that wishes to
+make the stranger at home.
+
+The natives seem to be without a thought of themselves, and incapable of
+considering personal comfort.  They will crowd upon one seat of the
+carriage to give the English strangers more room.  If the weather is
+cold, they will insist upon giving you their cloaks.  They talk to you
+incessantly, explaining to you the scenery and various places through
+which the train passes, with delightful childish enthusiasm.  They will
+offer you everything in their possession that you chance to admire.
+
+               [Picture: Sherry a half-century old, Jerez]
+
+I remember saying to a little Spanish maid, “What a beautiful carnation
+in your hair!”  Off came the flower.  “It is at your disposal, señora.”
+I protested with the fitting answer: “A thousand thanks, but, no, I could
+not accept.”  But the offer was quite sincere, and, in spite of protest,
+the flower was fastened into my hair, amidst the compliments and
+congratulations of every occupant of the carriage.  On another journey a
+fan and a beautiful peasant brooch, which I rashly admired, were pressed
+upon me with the same delightful politeness.
+
+When meal-time arrives, each peasant brings out the _alforja_, or
+embroidered wallet, which Sancho Panza kept so well filled.  A huge
+Spanish loaf is produced, and some of the long thin garlic sausages.
+Slices of the bread are cut to serve as plates.  But before the meal is
+begun a hearty _gusta_ invites all the other occupants to share in the
+feast.  It is customary at this stage to refuse, and “Muchas gracias” is
+politely murmured.  Soon the black-leather wine-bottle is brought out of
+the wallet and a packet of some kind of sweetmeat.  Now is the time for
+acceptance; the bottle is handed round for everyone to drink, and small
+pieces of the sweetmeat are divided.  It is a charming experience,
+provided that you have acquired the skill to drink from that curious
+long-spouted bottle of leather.  And if you fail, the Spaniards will
+enjoy the task of teaching you the art.
+
+But, indeed, there is no limit to the helpful friendliness of these
+simple happy people.  On one occasion a workman abandoned his own
+journey, and, in spite of our protests, came with us.  When we arrived at
+our destination, he spent several hours in assisting us to find suitable
+lodgings in the village in which we had planned to stay, where there was
+no regular house of hospitality.  He introduced us to the inhabitants of
+the place as his friends, and expended much energy to insure our comfort.
+It is only when work is profitable that the Spaniard is ever lazy.  He
+delights to expend an immense amount of effort, which may not be
+considered useful, so long as the work makes appeal to his Spanish love
+of romantic effects.  It is because this trait is so often overlooked by
+the stranger, who too quickly condemns “the lazy Spaniards,” that I
+recount this characteristic incident.  Our friend was genuinely surprised
+when we offered payment for his services; there was a note of dignified
+sorrow in the “Muchas gracias” of his refusal.  It had been a privilege
+to assist _los Ingléses_, whom he admired.  Had he not once visited our
+country?  We were a great people.  He desired that we should think well
+of his country.  All he would accept was to share our meal, after which
+he left us—I suppose, to continue his own journey.
+
+Among the mountains and in many country districts there are still no
+railways.  The stranger who travels here has to use the diligences, which
+on certain days in the week run from the nearest town to the outlying
+hamlets.  The diligence is a kind of coach without springs.  I know of no
+other conveyance so uncomfortable, except the long car of Ireland.  It is
+drawn by a team of gaunt mules, usually six in number, with gay harness,
+and each animal has jangling bells around its neck.  The driver wears a
+picturesque dress: a brown jacket with coloured collar, a red sash and
+knee-breeches, and a peaked hat adorned with tassels.  He drives with a
+tremendous amount of noise, stamping his feet, shouting, and brandishing
+his whip.  He beats incessantly the wretched mules.  The coach is kept at
+full gallop, and ascends and descends the steep hills with a rapidity
+which is often alarming; but accidents are rare, owing to the
+sure-footedness of the mules.
+
+  [Picture: Ruins of the Old Aqueduct, which supplied the Alhambra with
+                             water, Granada]
+
+It was when travelling in these mountainous districts that we gained some
+knowledge of the wild animals of Spain.  We were often near to the haunts
+of boars, wolves, and deer.  Bears are common in many hilly districts,
+and that fine wild creature, the ibex, ranges the peaks of the higher
+mountains.  Foxes are plentiful everywhere, and the wild-cat is far from
+scarce.  The marten is often found, and otters live in most of the
+rivers.
+
+The swamps and ponds are filled with big green frogs, and lizards of the
+same colour are common.  The frogs are much larger than the English frog,
+and their peculiar cry, a sort of monotonous rumbling, is so loud that it
+can be heard a mile away.  The legs of these green frogs are a table
+delicacy much esteemed in many districts.
+
+In the country hamlets the stranger must be prepared to meet discomfort.
+One of the trials will be hunger.  In the _fondas_ of the Basque
+provinces and in the smaller towns the fare is ample, and as a rule well
+cooked.  But the peasants of Central and Southern Spain are the most
+frugal people, who subsist on a diet that would be refused by the poorest
+workers in England.  For the stranger the peasants do their utmost, but
+the diet is limited to eggs, leathery, quite tasteless beef, hard stale
+bread, and thin wine.  The cooking is always indifferent.  The first meal
+of the day consists of a cup of chocolate or coffee, often without milk,
+and a lump of dry bread.  There is no butter, and no milk except goat’s
+milk, and, strange as it seems in this fertile land, vegetables and fruit
+are always scarce in the country villages.  The universal dish is
+_garbanzos_, a large dried pea, which is cooked with garlic as a flavour.
+
+We spent several months fishing in these districts, and, although
+sometimes we fared tolerably well, more often we had to be content with
+indifferent and inadequate meals.  But for the sake of experience the
+stranger can endure discomfort with fortitude.
+
+        [Picture: Beaching fishing-boats: the Blue Mediterranean]
+
+There are numerous sport-giving rivers in all parts of Spain, which
+possess all the qualities for the production of fish-life.  Such rivers
+as the Sil and Minho contain trout as big as any in Europe.  The fishing
+is free, except for a licence costing about three shillings.  There can
+be no doubt that with proper cultivation these rivers might become a
+fisherman’s paradise in the course of a few years.  But a complete
+revision of the _ley de pesca_—fishing law—is necessary.  Rivers are not
+stocked, and trout hatcheries are almost unknown.  The poacher is
+everywhere, using snares, spears, and the deadly dynamite.  Thousands of
+small fish are scooped out of the small pools of the tributaries with
+pole-nets during dry seasons.  But, on the other hand, Spain is, happily,
+almost free, except in the mining districts of the north, from poisoned
+and contaminated waters.  There are thousands of miles of beautiful
+rivers with no factories, works, or big cities within many leagues of
+their lengths.  Then, the fish in the Spanish rivers are splendidly
+prolific.  Trout teem in many rivers, where the deep pools baffle the
+poachers, who devote their attention to the shallows and tributaries.
+Salmon are found in many rivers; shad or sábalos, escalos—a kind of cross
+between a chub and a dace—barbel, bogas, and other coarse fish, and eels,
+are plentiful.  The barbel is different from the barbel of England, being
+a handsomer fish and not so coarse; it is more golden in colour, and the
+scales are less thick.  The beautiful silvery sábalos are caught in sunk
+nets, whose opening is concealed by a green bough which looks like
+water-weed, and so deceives the travelling fish.  The sábalos will not
+rise to any bait.  They vary from 4 pounds to 12 pounds in weight, and
+are an excellent fish to eat, resembling the salmon.
+
+In all parts of Spain there are native anglers.  The tackle they use is
+of the rudest description—a rod made of maize stalks, with a hazel switch
+for the top, coarse casts, and flies clumsy and big.  But they are all
+keen, and many of them are clever fishermen.  At Materosa, a small hamlet
+on the wild Sil, some leagues from the town of Ponferrada, the peasants
+gain their living by fishing with the rod for trout, which they send to
+the market at Madrid.
+
+I recall Estanislao, a _chico_ who fished with a great bamboo rod, which
+he looked too small to handle.
+
+We talked to him.
+
+“You are also a fisherman?”
+
+“Yes, señora; I have fished all my life, and my father before me.”
+
+This _chico_ was a good angler.  Standing on a great boulder, he cast
+with a loud swishing noise across the river, letting his dozen flies swim
+on the rough water.  At each cast the weight of his great rod nearly
+threw him into the whirling current.  But he caught more fish than we
+did.
+
+We offered him a present of some of our flies.  He looked at them and
+smiled.
+
+“Muchas gracias, they are very pretty.  But how can I catch big trout
+with these little hooks?”
+
+He laughed till the tears ran down his face.  But in a minute he
+remembered the good manners in which every Spanish child is trained.  He
+added:
+
+“Mil gracias, señora!  Es favor que usted me hace (A thousand thanks,
+señora!  It is a favour you make me).  _I will keep them as toys_!”
+
+
+
+
+CHAPTER VI—SPANISH ART
+
+
+Spanish Art the Reflection of the Spanish Temperament—The Great Buildings
+of Spain—Spanish Gothic—Its Realistic Naturalness, its Massiveness and
+Extravagance—The Churches, the Real Museums of Art Treasures—Polychrome
+Sculpture—Spanish Painting—Its Late Development—Its Special Character—Its
+Strength, its Dramatic and Religious Character.
+
+To understand Spain you must know her architecture, her sculpture, and
+her pictures.  For in Spain, perhaps to a greater extent than in any
+country, art is the reflection of the life and temper of the people.  And
+this is true although the essential ideas of her art in building, in
+carving, and in painting, have all been borrowed from other nations.  It
+is the distinctive Spanish gift to stamp with the seal of her own
+character all that she learns from without.
+
+The first, as it has remained the strongest, expression in art of this
+people was in building and in sculpture, which gave opportunity for
+emphasis to their special dramatic temperament.  We must go back to Rome
+for another country that has spoken in its buildings with the same
+overwhelming force.
+
+The cathedrals which arose in the period of the nation’s greatest
+prosperity were the chief point of attraction—the theatre, the centre, of
+all life.  They were built for the honour of God, but also for the
+enjoyment of the people themselves; religion was joyful,
+popular—democratic, one might say.  All the exuberant life garnered by
+Hispano-Arab culture lives in the Spanish buildings.  Here Roman,
+Byzantine, and Arab art have passed, and also the Mudejar, the Gothic,
+and the Renaissance—in fact, all the styles of Europe.  For this reason
+there is no native school of architecture.  Spain possesses few pure
+Gothic, Romanesque, or Renaissance buildings.
+
+But it is just this complexity which gives to the Spanish buildings their
+special character.  The Spanish artists, though they lacked creative
+genius, were no base imitators; they sought to combine, and they gave to
+the temples they had to construct that massive, strong, and exuberant
+spirit that was in harmony with their own temperament.  In such a
+cathedral, for instance, as that of Burgos we find vigour and joyous
+exuberance rather than reserve and beauty—a confused richness that has a
+flavour of brutality almost.  The sombre Gothic can be traced in the
+older portions of the building, but everywhere it has been seized upon by
+the restless fancy of later workers.  Spanish architecture is like the
+Spanish manners.  The Spaniard can use a floridity of expression that
+would be ridiculous in England.
+
+              [Picture: Choir stalls in the Mosque, Cordova]
+
+The carving and moulding of wood and stone and iron in the fifteenth
+century had reached a high level of accomplishment.  And although none of
+the world’s famous sculptors have been Spaniards, the amount of strong
+and beautiful carvings to be found in every part of the Peninsula is
+amazing; in no country can they be surpassed.  Every great church and
+cloister contains carvings in wood—a material chosen by the Spaniards for
+the freedom and facility it gave for expression—which are treasures of
+delight.  The immense and amazing retablos and the carved walnut-wood
+choir-stalls which every great church contains cannot be matched
+elsewhere.  It is a pity that these characteristic works are hardly
+known; they are the basis of all Spanish art.  In no country in Europe
+can be seen more wonderful carvings than on the monumental tombs of such
+cathedrals as Toledo, Zamora, and Leon.  Again, the ironwork church
+screens, notably those of the cathedrals of Seville, Granada, and Toledo,
+cannot be surpassed.  In these works, with their dramatic conceptions,
+finding expression in a wealth of interesting details, never without the
+tendency to over-emphasis of statement which marks the art of this
+people, the Spanish character speaks.  Æsthetic sensibility is almost
+always absent; the art here is vigorous and romantic, frankly expressive,
+with a kind of childlike, almost grotesque, naturalism that shows a
+realistic grasp of all things, even of spiritual things.  I recall the
+polychrome sculpture of this people; the images of the anguished Virgin,
+in which sorrow is carried to its utmost limit of expression; the
+bleeding heads of martyred saints, such, for instance, as those terrible
+yet moving heads of the Baptist by Alonso Cano at Granada, or the
+poignantly lifelike polychrome carvings of the Crucified Christ by
+Montañes, Gregorio Hernandez, Juni Juanes, and other sculptors, which are
+seen in many churches, and which are carried in procession in the Easter
+_pasos_ at Seville and elsewhere, images in which all the details of the
+Passion are emphasized with an emotional delight in the presentment of
+pain.  And when I think of these images I understand the bull-fight.
+
+                       [Picture: Burgos Cathedral]
+
+Until the fifteenth century painting found no home in Spain.  Placed as
+she is almost midway between the art centres of Flanders in the North and
+of Italy in the South, Spain has geographically a position of equipoise
+between these conflicting art influences.  But this balance of influence
+was modified by the bent of the Spanish character, and the true affinity
+of Spain in art has always been with the Flemings.  No one can doubt this
+who has a knowledge of the Spanish Primitives.  The art of Spain is
+Northern in its literalness, in its dramatic force, and deep and singular
+gravity.
+
+Jan van Eyck in 1428 visited Portugal and Spain, and, incited by the
+brilliant reception accorded to the great Flemish master, other
+enterprising Netherland painters flocked to the Peninsula.  From this
+time the native artists gave their attention to painting, and on this
+Flemish foundation arose a really capable group of painters.  The
+essential ideas in the pictures of these early masters are all borrowed;
+but, though Flemish in their inspiration, they yet retain an attractive
+Spanish personality of their own.  The Spanish painters, more perhaps
+than the painters of any other school, have imitated and absorbed the art
+of other nations without degenerating into copyists.
+
+           [Picture: Residence of the Mexican Minister, Madrid]
+
+But this development of a national art on the basis of Flemish influence
+was not of long duration, and before the fifteenth century closed the
+newly-born Spanish school was rudely disturbed by the introduction into
+Spain of the Italian influences of the Renaissance.  The building of the
+Escorial brought a crowd of artists from Italy—not the great masters, for
+they were no longer alive, but pupils more or less mannered and decadent.
+Spain was overrun with third-rate imitators of the Italian grand styles,
+of Michael Angelo, of Raphael, and their followers.  This is not the
+place to speak of the blight which fell upon the native painters.  The
+distinctive Italian schools were an influence for evil, fatal to the
+expression of the true genius of the people; for the deep-feeling,
+individualistic temper of the Spaniards could not be reconciled with the
+spirit of Italy.
+
+But the Spanish temper is strong.  The native painters used Renaissance
+forms, but they never worked in the Renaissance spirit.  And it was not
+long before Spanish artists were turning to Venice, where they found a
+new inspiration in an art suited to their temperament in its methods, and
+in its spirit.  El Greco, who had received his first inspiration from
+Tintoretto, the mighty master of the counter-Reformation, came as a
+liberating force to Spain.  The torch he had lighted at Tintoretto’s fire
+burnt in Toledo with splendid power.  El Greco is the first great Spanish
+painter.
+
+And the seventeenth century witnessed in the art of the Spanish school
+one of those surprising outbursts of successful life that meet us now and
+again, in every department of enterprise, in this land of fascinating
+contradictions, which give so strange a denial to the usual limit of her
+attainment.  It was the century of Velazquez and Murillo, of Ribera and
+Zurbaran.  In Velazquez, Spanish painting gained its crown of
+achievement.
+
+In the period after his great inspiration, imitation seemed inevitable to
+his successors.  Spanish painting apparently was dead.  Yet it was just
+in this time of degradation that the Spanish school was surprised
+suddenly by the remarkable art of Goya.  Again a great personality filled
+the Spanish art stage, forcing a reversal of judgment.  We forget the
+usual level of the period’s achievement; we remember only Goya.  With
+him, once more, we are face to face with a new force in art.  Spain
+challenges the world again; and she gives it its most personal, its most
+daring genius.
+
+Such, in briefest outlines, is the history of Spanish painting.
+
+  [Picture: The Old Aqueduct, known as “El Pueute,” of Trajan, Segovia]
+
+It will be seen that Spain is not an art-lover’s paradise.  There has
+never been a time when the accomplishment of the Spanish school is really
+comparable to what the Italian and Flemish schools have achieved.  Spain
+is not a land of great painters.  Murillo has sunk to the rank of a
+second-rate master; Ribera and Zurbaran are yet hardly known outside
+Spain.  El Greco, Velazquez, Goya—these are the only really great names;
+and Velazquez towers as much above his fellow-artists as Cervantes above
+his fellow-novelists.  Spain’s claim to the world’s attention in the
+arts, as also in literature, rests upon the accomplishment of individuals
+more than upon the general average of her work.  It is the result of that
+personal quality—the predominance of character—which rules every
+department of Spanish achievement.  It still lives in the vigorous and
+characteristic Spanish painters of to-day—such, for instance, as Zuloaga,
+Anglada-Camarasa, and Sorolla, artists who take high rank among European
+painters.
+
+It is often contended that Spanish paintings, if we except the works of
+the masters El Greco, Velazquez, and Goya, are wanting in dignity,
+wanting in beauty.  But are we not too apt to confine beauty to certain
+forms of accepted expression?  Surely, any art that interprets life has
+beauty; and no one can doubt, who knows the Spanish pictures, that life
+was the inspiration of these painters.
+
+        [Picture: The main gallery in the Museo Del Prado, Madrid]
+
+The Spanish character speaks in every Spanish picture.  There is one
+quality, which at a first knowledge will impress the careful observer, in
+all these pictures, which, though different, all have one aim—it is their
+dramatic seriousness.  Rarely do you meet with a picture in which the
+idea of beauty, whether it be the beauty of colour or the beauty of form,
+has stood first in the painter’s mind.  Almost in vain will you search
+for any love of landscape, for any passage of beauty introduced for its
+own sake.  Pictures of Passion scenes, of Assumptions, of martyrdoms and
+saintly legends, were painted with a vivid belief in the reality of these
+things, by men who felt the presence of the Divine life as a part of
+human life.  To see these pictures in which homely details are introduced
+into the most sacred themes is to understand the Spaniard’s easy
+familiarity with his religion.
+
+This is the reason why the Spanish painters always treat a vision as a
+real scene, and why, too, they present religious and saintly characters
+by Spanish models.  There is a Spanish picture by Zurbaran in the
+National Gallery of London; it is entitled “St. Margaret.”  You look at
+the picture; you see a Spanish lady, her face powdered, as was the
+fashion; an embroidered saddle-bag hangs on one arm, in the other hand
+she holds a rosary.  She is dressed in the picturesque Andalusian
+costume.  I always smile when I look at this picture, it is so truly
+Spanish.  The incongruity of clothing saintship in the garb of fashion
+would not be evident to Spanish Zurbaran; he could not see a saint,
+therefore he painted a woman, but in accordance with the custom of the
+day he called her a “saint.”
+
+All the Spanish pictures tell stories.  The successes of her painters are
+due to this aim; their failures, to the sacrifice of beauty of ideal to
+this—a danger from which, perhaps, no painter except Velazquez quite
+escaped.  He alone, faultless in the balance of his exquisite vision, was
+saved quite from this danger of overstatement.  It is the special gift of
+the whole school, from the time of the early painters of Andalusia to the
+time of Goya, to present a scene just as the painter supposed it might
+have happened.  Was not their aim to translate life—the life of earth and
+the truer life of heaven?  And to the Spaniard, we must remember, life
+was always dramatic.
+
+               [Picture: The Cross by the Wayside, Granada]
+
+We find a sort of wild delight in martyrdom, as, for instance, in the
+pictures of Ribera—a joy that is perfectly sincere in pain and in the
+scourging of the body.  There are pictures horrible with the sense of
+death and human corruption.  Again and again is enforced the Catholic
+lesson of humility, expressing itself in acts of charity to the poor,
+such as exists to-day in the custom of the washing of feet at the Easter
+celebrations in Seville.  There is a childlike sincerity in these
+pictures which compels us to accept and realize what the painter himself
+believed in.
+
+I recall the pictures of Zurbaran in the museum of Seville, pictures
+which carry you into a world of realism, a world in which visions are
+translated into the facts of life, set forth with a childlike simplicity
+of statement.  Each picture is a scene from the life of old Spain.  What
+honesty is here, what singular striving to record the truth!  (The word
+“truth” is used in a restricted sense.  Zurbaran understood nothing of
+the inner suggestiveness of art; to him art meant facts, not vision.)
+The peasants in his religious scenes are almost startling in their
+outward resemblance to life.  How simple is his rendering of the
+Scriptural scenes, his conceptions of the Christ!  With what poignant
+reality he depicts the Crucifixion, a subject exactly suited to his art!
+His saints are all portraits, faces caught in a mirror, the types of old
+Spain.  No one has painted saints as Zurbaran has done.  Before his
+saints gained their sanctity they must have struggled as men; and as we
+look at the cold, strong faces we come to know the spiritual instinct
+that belongs to every true Spaniard.
+
+Among the Spanish priests to-day, and especially in those living in the
+country districts of Castile, the observant stranger will see the types
+represented in Zurbaran’s pictures.  In the faces of these men, as,
+indeed, in their whole appearance, there is a profound asceticism, a sort
+of energy concentrated in a white heat of devotion.  I have never seen
+the same type in Italy, or among the priests of any country.  But often
+when watching a Spanish priest, in the services of the Church or walking
+alone on the roads, I have felt that I understood the meaning of the
+phrase, “This man has embraced religion.”
+
+To all the Spanish painters art was serious—a matter of heaven, not of
+earth.  Each painter was conscious of the presence of the Divine life,
+giving seriousness as well as joy to earthly life.  It is this which
+gives Spanish painting a special interest to the student of Spain.  In
+their ever-present religious sense, in their adherence, almost brutal at
+times, to facts, as well as in those interludes of sensuous sweetness
+which now and again, as, for instance, in the facile and pleasing art of
+Murillo, burst out so strangely like an exotic bloom, the Spanish
+pictures reflect the temper of Spain.
+
+No one can understand Spanish painting who does not know the Spanish
+character.  I think, too, that nothing reveals to the stranger more truly
+the Spanish character, which is at once so simple and yet so difficult,
+in its apparent contradictions, to comprehend, as a knowledge of the art
+of her painters.
+
+
+
+
+CHAPTER VII—ABOUT MANY THINGS
+
+
+The Real Spirit of Spain—The Spiritual Instinct of the Race—The
+Escorial—Spanish Beggars—The Spaniard belongs to the Past, but also to
+the Future.
+
+What is the real spirit of Spain?  We are now in a better position to
+attempt an answer.  The word which I should use to represent the main
+impression made upon me by the character of the average Spaniard, the
+soldier, the bull-fighter, the priest, the gentleman, the peasant, is
+individualism; and it seems to me that this attitude explains Spain’s
+greatness in the past, and also her position to-day.  A love of
+independence, a kind of passionate egotism, and a clannish preference for
+small social groups, has always distinguished this race.  To his friends,
+even when they have injured him, the Spaniard is invariably indulgent;
+but those who are outside his circle he regards with indifference, which
+quickly rises to enmity.
+
+Spain has always been the country of great personalities.  Her brilliant
+achievements in every department of life—in warfare, in travel, in
+politics, in literature, and in the arts—have ever been the result of
+individual, and not of collective, genius.  Velazquez is the world’s
+greatest painter; Cervantes, the world’s greatest story-teller.  The
+Spanish spirit, with its wide-ranging energy for dramatic enterprise and
+its passion for personal freedom, has filled Spain in the past with
+martyrs and heroes.
+
+The Spaniard has two devotions: his observance of the traditions of his
+race, and his religion.  The ceremonies of life, which he never forgets
+to practise, are so real in his hands that they become quite simple and
+natural.  He may commit a crime sooner than forget to behave gracefully.
+Every Spaniard, be he beggar, peasant, or prince, acts in the tradition
+of his race, by which every man is equal and a gentleman.
+
+There is an inscription on the staircase of the Ayuntamiento (Town Hall)
+of Toledo which is worth quoting as an instance of the Spanish attitude
+to duty: “Noble and judicious men who govern Toledo, leave your passions
+on this staircase—leave there love, fear, and desire of gain.  For the
+public benefit forget every private interest, and serve God; He has made
+you the pillars of this august place, be firm and upright.”
+
+              [Picture: Town and Monastery of the Escorial]
+
+Religion is the great devotion of the Spaniard: it is much more than an
+attendance upon forms; it is a profound sentiment, which in him is the
+spirit of acceptance.  In the sphere of devotion this people know no
+limit to self-sacrifice.  It is not without significance that Ferrer, the
+greatest of later-day martyrs, was a Spaniard.  The spiritual instinct is
+the deepest instinct of the race.  In the faces of many peasants, and in
+some of the dwellers in the towns, I have seen often the making of
+martyrs and fanatics.  The gloom, so helpful to the emotion of worship,
+which pervades all Spanish churches is one instance of how truly they
+comprehend the needs of the devotional spirit.  The ecstatic attitudes
+which may be noted almost everywhere in the worshippers in the churches
+is quite unlike anything that will be seen in other countries—in Italy,
+for example, or in France.  And religion is so real a thing, so truly a
+part of life, that immediately after this absorbed prayer they will talk
+and laugh together.
+
+But if you would understand the spiritual instinct which so remarkably
+unites the life of this world with the after-life—the instinct which is
+really at the root of the true nature of the Spaniard—there is one
+building that the stranger must not fail to visit: it is the Escorial,
+the Royal Temple to Death.  The spirit of the Escorial is in one aspect
+the spirit of Spain.  There is nothing in the country more impressive
+than this mighty Palace of the Dead.  It was built, as all the world
+knows, by Philip II., the richest and most powerful of Kings, in
+fulfilment of a vow made on the day of the Battle of St. Quentin.  We see
+the suite of small dark rooms which he prepared for himself, wherein he
+might make ready for death.  And how Spanish are these barely furnished
+rooms set in the midst of a palace—this withdrawal from all the things of
+this world to prepare for the life of the next world!
+
+             [Picture: Puerta Judiciana, or Gate of Justice]
+
+It is in the Pantheon of the Escorial that the Spanish Kings are buried.
+The great outer doors of the palace are never opened except when the
+Sovereigns come for the first time to the Escorial, and when their bodies
+are brought there to the vault which awaits them.  The Pantheon is a
+small octagon; it is lined with polished marbles, which are crumbling
+away with a strange decomposition.  The sarcophagi, all exactly alike,
+are placed in niches that cover all the wall space; almost every niche is
+occupied, but a few empty ones await the living.  An altar with a
+crucifix of black marble upon a pedestal of porphyry stands opposite the
+doorway.  The chamber is very cold, and is penetrated only by a few rays
+of half-extinguished light.
+
+To-day tourists flock to the Escorial: English, American, French—a
+strange procession!  They seem curiously out of place; their expressions
+of admiration are grotesque in their incongruity.  There is a deathly
+solemnity about this mighty palace that has something ferocious, almost,
+in its suggestion. Yes, to see this immense building, with its simple
+structure which corresponds so perfectly with the emotion of the place,
+set in such splendid isolation amidst the grey and sombre mountains of
+Old Castile, where it seems but a part of the desolate landscape, is to
+realize that insistence on death and acceptance of pain which is so real
+a part of the Spanish spirit—the shadow which, in spite of all her joyous
+life, haunts this romantic and fascinating land.  And the sensitive
+stranger will feel again that he understands the cruelty that has
+surprised him sometimes in the character of her people.
+
+It was from the Moors that the Spaniards inherited their readiness to
+sacrifice themselves for a cause, and this genius for sacrifice has made
+them heroes, martyrs, and conspirators; it has given them their strength,
+and also their weakness.  This people can resign themselves to anything,
+and resignation can just as easily be heroism or mere apathy.  The heroic
+side of this power gave Spain the greatness of her past history; the
+other side, the resignation that is apathy, may be seen everywhere in
+Spain to-day.  One instance is the beggars who follow you in the streets
+of every town, with their incessant cry for alms.  There is terrible
+poverty in Spain, of which these hordes of beggars are but a too genuine
+sign.
+
+       [Picture: Municipal plaza and south façade of the famous old
+             cathedral-seat of the Primate of Spain, Toledo]
+
+Begging is a profession of which no one is ashamed.  And what impressed
+me most was that only rarely did the beggar appear unhappy.  They all
+seemed to find their own enjoyment in that open-air life in the sun which
+is the happiness of Spain.  I recall one beggar who always sat at the
+door of the Cathedral of Leon.  He was very old.  The cloak in which he
+was wrapped was so worn and threadbare that one wondered how the rags
+held together.  He never appeared to move; through each day he kept the
+same position.  His face was a mass of wrinkles which showed strongly
+from the ingrained dirt.  There was a patient humour in his eyes, which
+were still bright.  His face reminded me of Velazquez’ picture.  He
+seemed quite content when I refused his cry for alms, so that I gave the
+answer that Spanish courtesy demands, “Perdone usted, por el amor de
+Dios!” (Excuse me, brother, for the love of God!).  He hardly troubled to
+hold out his hand.  It was warm where he sat in the sunshine; a shadow
+from the sculptured figures of saints and angels, which ornamented the
+portal, fell on him pleasantly.  Someone will give to him some day; he
+was quite content.  He was a man of Spain.
+
+Spain has something from of old, which the younger countries of the
+world, with all their headlong progress, have as yet only begun to gain.
+That something is tradition.  It is interesting to note for one’s self
+the signs of this tradition in the daily life of the people—in their fine
+understanding of the art of living, in their unfailing courtesy, in their
+kindness in all personal relationships.  I have never known a people with
+so little thought of themselves or care for personal gain.  The greatest
+gift of their inheritance is a splendid capacity for sacrifice.  And if,
+as must be acknowledged, this quality has led them often into evil,
+nevertheless it will, with awakened knowledge, gain their redemption.
+
+           [Picture: The valley of the Guadalevín River, Ronda]
+
+In England, and even more in America—the newest as Spain is one of the
+oldest of civilizations—business is the only respectable pursuit,
+including under business literature and the arts, which in these
+countries are departments of business.  In Spain this is not so; there
+are other aims and other traditions, havens of refuge from the prevalent
+commercialism.
+
+The duty of expending great labour to gain the little good of money is
+not as yet understood by the Spaniards.  They have always been, and still
+are, a people who stand definitely for art and the beauty of life—men and
+women whose spiritual instinct enables them to open windows to the stars,
+and through these windows, in passing, the stranger sometimes looks.
+
+              [Picture: Flamenco dance of a Gitana, Seville]
+
+Literature and art in Spain rest on a long tradition which has not only
+produced pictures, carvings, splendid buildings, and books, but has left
+its mark on the language, the manners, the ideas, and the habits of the
+people.  And even though in every art the technical tradition has been
+interrupted, there remains the tradition of feeling.  Spain is one of the
+few uncommercial countries where the artist and the author are still
+esteemed as worthy and profitable members of the community.  Spanish
+paper money bears the portraits of men of letters and great painters.
+Goya’s etchings are reproduced on the pictures used as stiffeners in the
+packets of cigarettes.
+
+It is this ever-present consciousness of a great tradition, which we may
+call an understanding of “good manners,” meaning by this the art of
+beautiful living, finding its expression as it does in the common life of
+the people, that makes it true that, though the Spaniard belongs to the
+Past, he belongs also to the Future.  He has the qualities which younger
+nations now are striving to gain.
+
+Side by side with the new growth of material prosperity, which has been
+so marked in the country in recent years, there is to-day a corresponding
+movement of spiritual reawakening.  When education spreads among the
+people, when the over-scrupulous submission to authority, which has given
+power to the officialism of Church and State, shall have found new
+channels of duty, we shall cease to hear dismal prophecies of Spain’s
+downfall.  By the splendid spiritual qualities of her people Spain will
+be saved.  She will be born again before many years have passed.
+
+
+
+
+INDEX
+
+_Al toro_, the game of,                            149
+Alcázar, the,                                      113
+Algeciras,                                          13
+Alhambra, the,                                     103
+Andalusian, the typical,                           115
+“Angel’s hair,”                                    139
+Architecture,                                      205
+Architecture in Toledo,                             99
+Art,                                               204
+Art galleries,                                     150
+
+_Banderilleros_, the,                               50
+Basques, the,                                      168
+Beggars,                                       68, 242
+_Boina_, the,                                      164
+_Bolero_, the,                                      36
+_Bota_, or leather bottle,                          18
+Bull-fight, the,                                    43
+Burgos Cathedral,                                  206
+Business v. Art,                                   249
+
+_Cabaña_ a,                                        170
+_Cafés cantantes_,                                  36
+Cafés in Madrid,                                   138
+_Calientes_,                                       125
+Carvings,                                          206
+_Casetas_,                                          72
+Children, Spanish,                                 145
+_Chulos_, the,                                      50
+_Cigarreras_,                                  46, 177
+Climate of Madrid, the,                            139
+Conservatism of Spain,                              14
+_Consumos_, or Customs officers,                    18
+Cordova,                                           105
+Court of Oranges at Cordova,                       106
+Cruelty in the Spanish nature,                      60
+
+Dancing,                                            35
+Democracy in Spain,                                 19
+Diligences,                                        193
+Dress,                                              25
+_Dulsaina_, the,                                   163
+
+El Greco,                                      98, 217
+Escorial, the,                                     237
+_Espada_, the,                                      53
+
+_Fábrica de Tabacos_,                              176
+Family life,                                        72
+Fans,                                              140
+_Feria_, the,                                       72
+Fishing,                                           198
+_Flamenco_ dance of the Gitanas,                    39
+Food, indifferent,                                 198
+Friendliness,                                      188
+Frogs as a delicacy,                               197
+Fruit-growing,                                     172
+
+Ganivet on Moorish influence,                       29
+Gardens,                                            30
+_Generalife_ of Granada, the                        33
+_Gente flamenca_,                                   46
+Giralda Tower, the,                                113
+Gitana women,                                       74
+Gitanas, the, or gipsies,                      36, 163
+Goya,                                              218
+Granada, the gardens of,                       33, 103
+
+Hair, elaborately dressed,                          25
+Hospitality of the Spaniards,                      125
+Households, Spanish,                               123
+Houses, construction of,                            25
+
+Indifference to pain,                               63
+Irun,                                               13
+
+Jan Van Eyck,                                      213
+_Jarro_, the,                                      172
+_Jota_, the,                                        39
+
+_Kermesse_, the,                                   178
+Kindliness of the Spanish nature                    68
+
+Madrid,                                            130
+_Majos_,                                      115, 140
+Manaña,                                             59
+Maria de Gaucin, torero,                            45
+Market, a,                                         164
+Montanés, the sculptor,                             83
+Moorish influence,                                  25
+Moors in Spain, the,                                26
+Mosque at Cordova,                                 106
+_Muleta_, the,                                      53
+Museo del Prado,                                   150
+Museums,                                           150
+
+Ox-waggons,                                        167
+
+Pain, the Spaniard’s indifference to,               64
+Painting,                                          213
+_Pascua de Resurrección_, the,                     181
+_Paseo de la Cuadrilla_, the,                       49
+_Pasos_, the,                                  80, 182
+_Patio_, the,                                  25, 120
+Peasants, Spanish,                                 164
+Physical traits,                                    24
+_Picador_, the,                                     50
+Plaza de Toros, the,                                46
+Port Bou                                            13
+_Posada_, the,                                 18, 153
+Prado, the,                                        139
+Puerta del Sol, the                                138
+
+Railway trains,                                    184
+Rastro of Madrid, the,                             134
+_Reja_, the, or grating,                           120
+Religion and dancing,                               78
+Religious processions,                              83
+Romance, Spain the home of,                         14
+
+_Sainete_, or “curtain-raiser,”                    144
+Santa Maria, Cathedral of,                          87
+Seguidilla, the,                                    73
+_Seises_, the,                                      79
+Semana Santa, the,                                  80
+_Serenos_, or night watchmen,                       17
+Seville,                                    36, 46, 80
+Spanish character, the,                             20
+Stendhal on the Spanish people,                     14
+_Suerte de Banderillear_, the,                      50
+_Suerte de Matar_,                                  53
+_Suerte de Picar_, the,                             50
+
+Teatro Real at Madrid,                             144
+_Tertulias_, or parties,                           124
+Theatre in Spain, the,                             145
+Thrift and sobriety,                               175
+Toledo,                                             93
+Toreros, the,                                       45
+_Toro de gracia_,                                   54
+Tower of Gold, the,                                113
+
+Unpunctuality,                                     187
+
+_Vacada_, the,                                      45
+Velazquez,                                         151
+_Ventas_,                                           77
+
+Wild animals,                                      194
+Wine-making,                                       172
+Women, fascination of Spanish,                     119
+Women, Spanish,                                     24
+Women workers,                                     175
+
+_Zeguán_, the,                                      26
+Zurbaran,                                          225
+
+                                * * * * *
+
+                                * * * * *
+
+               BILLING AND SONS, LTD., PRINTERS, GUILDFORD.
+
+
+
+
+Footnote
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+<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" />
+<title>Things seen in Spain, by C. Gasquoine Hartley</title>
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+
+The Project Gutenberg eBook, Things seen in Spain, by C. Gasquoine Hartley
+
+
+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: Things seen in Spain
+
+
+Author: C. Gasquoine Hartley
+
+
+
+Release Date: July 10, 2012  [eBook #40201]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THINGS SEEN IN SPAIN***
+</pre>
+<p>This ebook was transcribed by Les Bowler.</p>
+<p style="text-align: center">
+<a href="images/front.jpg">
+<img alt=
+"Women at the Al-Mida Fountain in the Patio De Los Naranjos,
+Cordova"
+title=
+"Women at the Al-Mida Fountain in the Patio De Los Naranjos,
+Cordova"
+src="images/front.jpg" />
+</a></p>
+<h1><a name="pageiii"></a><span class="pagenum">p.
+iii</span>THINGS SEEN IN<br />
+SPAIN</h1>
+<div class="gapspace">&nbsp;</div>
+<p style="text-align: center"><span class="GutSmall">BY</span><br
+/>
+C. GASQUOINE HARTLEY</p>
+<p style="text-align: center"><span class="GutSmall">AUTHOR
+OF</span><br />
+<span class="GutSmall">&ldquo;RECORD OF SPANISH PAINTING,&rdquo;
+&ldquo;MOORISH CITIES</span><br />
+<span class="GutSmall">IN SPAIN,&rdquo; ETC.</span></p>
+<div class="gapspace">&nbsp;</div>
+<p style="text-align: center">WITH FIFTY ILLUSTRATIONS</p>
+<div class="gapspace">&nbsp;</div>
+<p style="text-align: center">LONDON<br />
+SEELEY, SERVICE &amp; CO. LIMITED<br />
+38 <span class="smcap">Great Russell Street</span><br />
+1912</p>
+<div class="gapspace">&nbsp;</div>
+<h2><a name="pageiv"></a><span class="pagenum">p.
+iv</span>UNIFORM WITH THIS VOLUME</h2>
+<p>Cloth, 2s. net; leather, 3s. net; velvet leather, in a box,
+5s. net</p>
+<p style="text-align: center">THINGS SEEN IN VENICE<br />
+<span class="GutSmall">By CANON LONSDALE RAGG &amp; LAURA M.
+RAGG</span><br />
+<span class="GutSmall"><i>With 50 Illustrations</i></span></p>
+<p style="text-align: center">THINGS SEEN IN NORTHERN INDIA<br />
+<span class="GutSmall">BY T. L. PENNELL, M.D., B.Sc.&nbsp;
+</span><span class="GutSmall"><i>With 50
+Illustrations</i></span></p>
+<p style="text-align: center">THINGS SEEN IN SPAIN<br />
+<span class="GutSmall">BY C. GASQUOINE HARTLEY.&nbsp;
+</span><span class="GutSmall"><i>With 50
+Illustrations</i></span></p>
+<blockquote><p>&ldquo;A successful series by capable
+writers.&rdquo;&mdash;<i>Times</i>.</p>
+</blockquote>
+<p style="text-align: center">THINGS SEEN IN HOLLAND<br />
+<span class="GutSmall">BY C. E. ROCHE.&nbsp; </span><span
+class="GutSmall"><i>With 50 Illustrations</i></span></p>
+<blockquote><p>&ldquo;A charming addition to the series . . .
+eminently readable.&rdquo;&mdash;<i>The Morning Post</i>.</p>
+</blockquote>
+<p style="text-align: center">THINGS SEEN IN EGYPT<br />
+<span class="GutSmall">BY E. L. BUTCHER.&nbsp; </span><span
+class="GutSmall"><i>With 50 Illustrations</i></span></p>
+<blockquote><p>&ldquo;Mrs. Butcher is thoroughly conversant with
+her subject . . . excellently written.&rdquo;&mdash;<i>The
+Globe</i>.</p>
+</blockquote>
+<p style="text-align: center">THINGS SEEN IN CHINA<br />
+<span class="GutSmall">BY J. R. CHITTY.&nbsp; </span><span
+class="GutSmall"><i>With 50 Illustrations</i></span></p>
+<blockquote><p>&ldquo;By a writer who adds grace and style to
+entire familiarity with the country and
+people.&rdquo;&mdash;<i>The Birmingham Post</i>.</p>
+<p>&ldquo;A racy description of the social life of the
+Chinese.&rdquo;&mdash;<i>The Scotsman</i></p>
+</blockquote>
+<p style="text-align: center">THINGS SEEN IN JAPAN<br />
+<span class="GutSmall">BY CLIVE HOLLAND.&nbsp; </span><span
+class="GutSmall"><i>With 50 Illustrations</i></span></p>
+<blockquote><p>&ldquo;A delightful little
+book.&rdquo;&mdash;<i>The Church Times</i>.</p>
+<p>&ldquo;An attractive volume; the photographs with which it is
+illustrated are admirable.&nbsp; The subjects give a very fair
+idea of the beauty and charm of a fascinating
+country.&rdquo;&mdash;<i>The Manchester Guardian</i>.</p>
+</blockquote>
+<p style="text-align: center">SEELEY, SERVICE &amp; CO.
+LIMITED</p>
+<h2><a name="pagev"></a><span class="pagenum">p. v</span>CONTENTS
+<a name="citation0"></a><a href="#footnote0"
+class="citation">[0]</a></h2>
+<table>
+<tr>
+<td><p>&nbsp;</p>
+</td>
+<td><p style="text-align: right"><span
+class="GutSmall">PAGES</span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center">CHAPTER I<br />
+<span class="GutSmall">THE FASCINATION OF SPAIN</span></p>
+</td>
+</tr>
+<tr>
+<td><p>Spain the Home of Romance&mdash;The Conservatism of the
+People&mdash;Spain the most Democratic of Countries&mdash;The
+Tradition of Chivalry&mdash;The Cid&mdash;Spain the Connecting
+Link between Europe and Africa&mdash;The Place of the Moor in the
+Country To-day&mdash;The Gardens of Granada&mdash;The Bull-fight:
+its National Importance&mdash;Spanish Dancing</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page13">13</a></span>&ndash;57</p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center">CHAPTER II<br />
+<span class="GutSmall">THE SPANISH PEOPLE</span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Character of the People&mdash;Their Quietness and
+Sobriety&mdash;Their Cruelty&mdash;This the Result of their
+Stoicism and Indifference to Pain&mdash;These the Qualities of a
+Strong and Primitive People&mdash;The <i>Feria</i>, the Holiday
+<a name="pagevi"></a><span class="pagenum">p. vi</span>of the
+Sevillians&mdash;Religion: its Place in the National
+Life&mdash;The Dance of the <i>Seises</i>&mdash;Holy Week in
+Seville&mdash;Religious Processions&mdash;The <i>Paseos</i></p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page58">58</a></span>&ndash;92</p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center">CHAPTER III<br />
+<span class="GutSmall">TOWN LIFE IN SPAIN</span></p>
+</td>
+</tr>
+<tr>
+<td><p>Toledo, the Type of the Spanish City&mdash;Its
+Architectural Monuments&mdash;The Intermingling of Arab and
+Christian Art&mdash;Granada&mdash;The
+Alhambra&mdash;Cordova&mdash;The Great Mosque&mdash;Seville, the
+City of Pleasure&mdash;The Special Character of the
+Streets&mdash;The <i>Caf&eacute;&rsquo;s</i> and Shops&mdash;The
+Typical Andalusian&mdash;The Parks&mdash;The
+<i>Sevillanas</i>&mdash;Spanish Courtship&mdash;The Houses of
+Seville&mdash;The <i>Patios</i>&mdash;The Home-life of the
+Sevillians&mdash;Spanish Hospitality</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page93">93</a></span>&ndash;129</p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center">CHAPTER IV<br />
+<span class="GutSmall">TOWN LIFE IN SPAIN (</span><span
+class="GutSmall"><i>continued</i></span><span
+class="GutSmall">)</span></p>
+</td>
+</tr>
+<tr>
+<td><p>Madrid: its Situation&mdash;The Old Town&mdash;The
+Rastro&mdash;The New Town&mdash;The Puerta del
+Sol&mdash;<i>Caf&eacute;s</i>&mdash;The
+<i>Aguadores</i>&mdash;The <a name="pagevii"></a><span
+class="pagenum">p. vii</span>Prado Park&mdash;The
+Theatre&mdash;Spanish Children&mdash;The Museums&mdash;The
+Picture-galleries</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page130">130</a></span>&ndash;152</p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center">CHAPTER V<br />
+<span class="GutSmall">COUNTRY LIFE IN SPAIN</span></p>
+</td>
+</tr>
+<tr>
+<td><p>Life in a Spanish <i>Posada</i>&mdash;Spanish
+Peasants&mdash;The Toilers of the Field and other
+Workers&mdash;The <i>Cigarreras</i> of Seville&mdash;The
+<i>Kermesse</i> in the Esclava Gardens&mdash;The Love of
+Festivals&mdash;Easter Day in a Spanish Village&mdash;Third-class
+Travelling&mdash;Wild Life in Spain&mdash;Fishing in the Country
+Districts</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page153">153</a></span>&ndash;203</p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center">CHAPTER VI<br />
+<span class="GutSmall">SPANISH ART</span></p>
+</td>
+</tr>
+<tr>
+<td><p>Spanish Art the Reflection of the Spanish
+Temperament&mdash;The Great Buildings of Spain&mdash;Spanish
+Gothic&mdash;Its Realistic Naturalness, its Massiveness and
+Extravagance&mdash;The Churches, the Real Museums of Art
+Treasures&mdash;Polychrome Sculpture&mdash;Spanish
+Painting&mdash;Its Late Development&mdash;Its Special
+Character&mdash;Its Strength, its Dramatic and Religious
+Character</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page204">204</a></span>&ndash;231</p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: center"><a
+name="pageviii"></a><span class="pagenum">p. viii</span>CHAPTER
+VII<br />
+<span class="GutSmall">ABOUT MANY THINGS</span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Real Spirit of Spain&mdash;The Spiritual Instinct of
+the Race&mdash;The Escorial&mdash;Spanish Beggars&mdash;The
+Spaniard belongs to the Past, but also to the Future</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page232">232</a></span>&ndash;252</p>
+</td>
+</tr>
+<tr>
+<td><p><span class="smcap">Index</span></p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page253">253</a></span>&ndash;254</p>
+</td>
+</tr>
+</table>
+<h2><a name="pageix"></a><span class="pagenum">p. ix</span>LIST
+OF ILLUSTRATIONS</h2>
+<table>
+<tr>
+<td><p>&nbsp;</p>
+</td>
+<td><p style="text-align: right"><span
+class="GutSmall">PAGE</span></p>
+</td>
+</tr>
+<tr>
+<td><p>Women at the Al-Mida Fountain in the Patio de los
+Naranjos, Cordova</p>
+</td>
+<td><p style="text-align: right"><i>Frontispiece</i></p>
+</td>
+</tr>
+<tr>
+<td><p>A Peasant of Andalusia</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page12">12</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Busy Street leading to the Market, Valencia</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page14">14</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Puerta Visagra Antigua, Toledo</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page20">20</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Pastimes of the Gitanos in the Camino del Sacre Monte,
+Granada</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page26">26</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Walls and Towers of the Alhambra on the Bank of the Darro,
+Granada</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page33">33</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Glimpse of Granada from the Walls of the Generalife, the
+Summer Palace of the Moors</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page36">36</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Group of Dancers at the <i>Feria</i>, Seville</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page43">43</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Old Town of Ronda</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page46">46</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Falls of the Guadalevin, the Great Gorge, and the New
+Bridge, Ronda</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page50">50</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><a name="pagex"></a><span class="pagenum">p.
+x</span>Spanish Dancers, Seville</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page54">54</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Cave of the Doves</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page60">60</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Limestone Quarries, Almeria</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page64">64</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Gipsy House at Coria</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page68">68</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Interior of the Same House</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page74">74</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Village <i>Pasos</i></p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page80">80</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Rope and Matting Factory, Seville</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page84">84</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Sacristy of the Convent of the Cartuja, Granada</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page88">88</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Bridge of Alcantara and the Alc&aacute;zar, Toledo</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page94">94</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Street in Cordova</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page100">100</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Puerta del Perdon</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page107">107</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Queen&rsquo;s Chamber, Alhambra</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page110">110</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Court of Lions, Alhambra</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page116">116</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Group of Workers in a <i>Patio</i></p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page120">120</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>&ldquo;Las Planchadoras&rdquo;</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page129">129</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Throne-Room, Royal Palace, Madrid</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page133">133</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Rastro Market, Madrid</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page134">134</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Mounting Guard in the Plaza de Armas</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page143">143</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Children at Play</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page147">147</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Bridge and Country Homes</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page154">154</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Village <i>Posada</i></p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page158">158</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Medieval Ox-Cart</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page164">164</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Harvesting Wheat</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page168">168</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><a name="pagexi"></a><span class="pagenum">p. xi</span>An
+Orange-Picker</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page172">172</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Pottery Vendors</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page178">178</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>A Basque Peasant-Girl driving an Ox-Cart</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page184">184</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Sherry a Half-Century Old</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page191">191</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Ruins of an Old Aqueduct</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page194">194</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Beaching Fishing-Boats</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page198">198</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Choir-Stalls in the Mosque, Cordova</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page207">207</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Burgos Cathedral</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page210">210</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Residence of the Mexican Minister, Madrid</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page214">214</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Old Aqueduct of Trajan</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page218">218</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Main Gallery in the Museo del Prado</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page222">222</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Cross by the Wayside</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page226">226</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Town and Monastery of the Escorial</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page234">234</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Puerta Judiciana, or Gate of Justice</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page238">238</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Municipal Plaza and Cathedral, Toledo</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page242">242</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>The Valley of the Guadelevin River</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page246">246</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Flamenco Dance of a Gitana, Seville</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page249">249</a></span></p>
+</td>
+</tr>
+</table>
+<p style="text-align: center"><a name="page12"></a><span
+class="pagenum">p. 12</span>
+<a href="images/p12.jpg">
+<img alt=
+"A Peasant of Andalusia"
+title=
+"A Peasant of Andalusia"
+src="images/p12.jpg" />
+</a></p>
+<h2><a name="page13"></a><span class="pagenum">p.
+13</span>CHAPTER I&mdash;THE FASCINATION OF SPAIN</h2>
+<p class="gutsumm">Spain the Home of Romance&mdash;The
+Conservatism of the People&mdash;Spain the most Democratic of
+Countries&mdash;The Tradition of Chivalry&mdash;The
+Cid&mdash;Spain the Connecting Link between Europe and
+Africa&mdash;The Place of the Moor in the Country
+To-day&mdash;The Gardens of Granada&mdash;The Bull-fight: its
+National Importance&mdash;Spanish Dancing.</p>
+<p>Coming into Spain by any of the chief portals&mdash;at Port
+Bou, at Algeciras, or at Irun&mdash;one finds oneself in a
+totally new country.&nbsp; You cast much behind you as you come,
+for instance, from France; you will be impressed by a certain
+strangeness of aspect far different from all you have learnt to
+expect <a name="page14"></a><span class="pagenum">p. 14</span>in
+other countries.&nbsp; You will feel transplanted back into
+another world.&nbsp; It is as if Spain had sat aside waiting,
+indifferent and proud, while elsewhere life has rushed
+onwards.</p>
+<p>The conservatism of Spain may be gathered from the old
+impressions we find in the pages of writers describing the people
+and the country of more than a century ago, which are still true
+in so much as they refer to what is essential in the national
+spirit, and to the survival of the customs of medi&aelig;val
+Europe.&nbsp; &ldquo;I regard the Spanish people,&rdquo; says
+Stendhal, &ldquo;as the living representatives of the Middle
+Ages.&rdquo;</p>
+<p style="text-align: center">
+<a href="images/p15.jpg">
+<img alt=
+"A Busy Street Leading to the Market, Valencia"
+title=
+"A Busy Street Leading to the Market, Valencia"
+src="images/p15.jpg" />
+</a></p>
+<p>Spain is still the home of the romance which belonged to an
+age that has passed.&nbsp; And although the more flourishing
+Spanish towns are nowadays full of animation&mdash;factories are
+springing up and signs of commercial activity are not
+wanting&mdash;this new movement of progress has not destroyed
+this romance.&nbsp; The Spain which Cervantes immortalized still
+lives.&nbsp; We may still take Don Quixote and Sancho Panza as
+typical <a name="page17"></a><span class="pagenum">p.
+17</span>figures, whom you may see any day in the towns of
+Castile or walking on the roads of La Mancha.&nbsp; These are the
+types that have remained unchanged.</p>
+<p>And herein rests the fascination of Spain&mdash;this
+conservatism which has lasted into an age of hurrying
+progress.&nbsp; It is a fascination that everyone will not feel,
+but for those whom it touches the glamour is more permanent and
+irresistible than that of any other country I know.</p>
+<p>Many details of life, and especially in the smaller towns
+still unvisited by the tourist, remind us of a past that other
+countries have left behind.&nbsp; The <i>serenos</i>, or night
+watchmen, with long hooded cloaks, tipped staves, and lanterns,
+are familiar figures in every town.&nbsp; In the country the
+shepherd is seen, wrapped in his coloured blanket, leaning on his
+tall staff in the midst of his flock.&nbsp; The wandering palmer
+with his cockle-shell, known to the England of Chaucer, may still
+be met in Spain.</p>
+<p>You realize how far you are from the <a
+name="page18"></a><span class="pagenum">p. 18</span>present when
+you enter a Spanish town.&nbsp; You pass under a Moorish gateway,
+dark and imposing, with a suggestion of savage strength in its
+gaunt yellow masonry that carries memories of battles that have
+been fought.&nbsp; Here you wait for the <i>consumos</i> to
+examine your luggage, which, if they doubt your honesty, they
+will probe with their long steel prong.&nbsp; The dull jangle
+from the bells of your straining mules gives an unaccustomed
+sound as you drive upwards, for almost every Spanish town is set
+upon a hill.</p>
+<p>If the town is small, the <i>posada</i> where you seek for
+lodging will have a wineshop below.&nbsp; You will see a crowd of
+wild-looking men, with great cloaks and <i>sombreros</i> pulled
+low upon their foreheads, seated at a rude table.&nbsp; They are
+taking wine from the <i>bota</i>, the long-spouted leather bottle
+from which only the Spaniard has the skill to drink.&nbsp;
+Thoughts of brigands will crowd your mind.&nbsp; But you need
+have no fear; these are simple townsmen.&nbsp; Savage looks and
+this strange, wild appearance cover the simple friendliness of
+the child.&nbsp; The <a name="page19"></a><span
+class="pagenum">p. 19</span>excited conversation will cease as
+you enter.&nbsp; Most likely you will hear the word
+&ldquo;Franc&eacute;ses&rdquo; muttered by one and another, for
+in Spain every foreigner is first taken to be French.&nbsp; You
+answer, &ldquo;No, Ingl&eacute;ses.&rdquo;&nbsp; At once an
+atmosphere of friendliness springs up, and an exchange of
+greetings will be made.&nbsp; No one will take any further notice
+of you.&nbsp; It is not the custom of the Spanish landlord to
+force his attentions upon his guests.&nbsp; He is
+constitutionally incapable of the obsequious fussiness that
+belongs to commercial hospitality.&nbsp; You will be accepted as
+one of the family, and the friendly trustfulness that is one
+characteristic of the fine Spanish courtesy will soon cause the
+foreign <i>caballero</i> to feel at home.</p>
+<p>Spain is still the most democratic of countries.&nbsp; Every
+Spaniard expects as a matter of right to be treated as an
+equal.&nbsp; It is significant that the title <i>Se&ntilde;or</i>
+is given alike to God and to a beggar.&nbsp; Your host at the
+<i>posada</i> will sit down with you to meals, and his son, who
+waits upon you, will slap you <a name="page20"></a><span
+class="pagenum">p. 20</span>on the back with easy friendliness as
+he makes plans for your enjoyment.&nbsp; These familiar and
+intimate relationships, which once were common in every country,
+are found to-day nowhere so universally practised as in
+Spain.&nbsp; Each Spaniard that you meet gives the greeting which
+commends you to God.&nbsp; And no native ever eats in company
+without first uttering the customary <i>gusta</i>, an invitation
+to share in the repast, which is a survival, most probably, of
+the belief of primitive peoples in the evil eye that poisons the
+food of those who eat alone.</p>
+<p style="text-align: center">
+<a href="images/p21.jpg">
+<img alt=
+"The Puerta Visagra Antigua, Toledo"
+title=
+"The Puerta Visagra Antigua, Toledo"
+src="images/p21.jpg" />
+</a></p>
+<p>The snobbery that has arisen out of modern progress is unknown
+to the Spanish man and woman.&nbsp; Business is not here the
+highest aim of life.&nbsp; The Spaniard still feels true what
+Ganivet made Hernan Cortes say: &ldquo;The grandest enterprises
+are those in which money has no part, and the cost falls entirely
+on the brain and heart.&rdquo;&nbsp; The hustling, besmirching
+spirit of commercialism is absent from the Spanish character; and
+for this reason, although Spain belongs to the past, <a
+name="page23"></a><span class="pagenum">p. 23</span>the country,
+to those who have eyes to see, will seem to belong also to the
+future.</p>
+<p>El Mitayo Cid Campeador, as the old chronicles affectionately
+call the Spanish hero, with his democratic manners, his
+rough-and-ready justice, and his acts at once ideal and yet
+practical in achievement, is the supreme representative of
+chivalry.&nbsp; Valour and virtue, the qualities peculiarly
+identified with the Spanish romantic spirit, were his.&nbsp; His
+energy in warfare, his power in love, his childlike religious
+faith, and his fearlessness in facing pain and also death, are
+characteristics that belong to all the men who have made Spain
+great.</p>
+<p>Spain was the land of the sword, and the business of the true
+Spaniard was war.&nbsp; And this love of action, strange as it
+may seem to those accustomed to think of the lazy Spaniard, is a
+very real trait in the Spanish character.&nbsp; But the action
+must be connected with romance.&nbsp; It has nothing at all to do
+with the idea of working for the gain of money which belongs to
+the &ldquo;getting on&rdquo; <a name="page24"></a><span
+class="pagenum">p. 24</span>spirit of modern civilization.&nbsp;
+The Spaniard works as the child works, for joy, and not for
+gain.</p>
+<p>Living in Spain, you come to understand that this land is
+really the connecting link between Europe and Africa.&nbsp; Both
+in his physical traits and in his character, the Spaniard shows
+his relation to the North African type&mdash;&ldquo;the child of
+a European father by an Abyssinian mother&rdquo; he has been
+called.&nbsp; This is true.&nbsp; Lithe and vigorous, with
+long-shaped heads and rich pigmentation of skin&mdash;the type is
+clearly seen in the pictures of Murillo and Zurbaran, and with a
+more vivid expression in the portraits of El Greco&mdash;the
+Spaniard has more points of contact with the Eastern than with
+the Western races.&nbsp; Seldom indeed is he entirely a
+European.</p>
+<p>But it is among the women that the resemblance stands out most
+clearly.&nbsp; There are women with dark long African
+faces.&nbsp; You will see them among the <i>flamencas</i> of
+Seville, or in the gipsy quarter of the Camino <a
+name="page25"></a><span class="pagenum">p. 25</span>del Sacro
+Monte at Granada&mdash;women with slow, sinuous movements, which
+you notice best when you see them dance, and wonderful eyes that
+flash a slow fire, quite unforgettable in their strange
+beauty.</p>
+<p>In dress we still find the Oriental love of bright and violent
+colours.&nbsp; The elegant Manilla shawls and the mantilla, which
+give such special distinction to the women of Spain, are
+modifications of the Eastern veil.&nbsp; The elaborately dressed
+hair, built up with combs, with the rose or carnation giving a
+note of colour, has also a very ancient origin.&nbsp; Then, the
+men in some districts still retain the fashion of loose, baggy
+trousers such as women wear in the East.</p>
+<p>We see the Moorish influence in the Oriental seclusion of the
+houses, with the barred windows and high gates, often studded
+with bosses, seeming to forbid an entrance.&nbsp; The Spaniard
+still constructs his house as the Moors built their houses,
+around the inner court, or <i>patio</i>, those gardens of colour
+and rest, sometimes quite hidden from the <a
+name="page26"></a><span class="pagenum">p. 26</span>passer-by, as
+at Toledo; sometimes visible through an openwork iron gateway,
+like the gay <i>patios</i> of Seville.&nbsp; Each house still has
+its <i>buzon</i>, and is fronted with a <i>zagu&aacute;n</i>, or
+vestibule of wood.</p>
+<p>In every department of Spanish life we meet with this
+persistence of the Moorish influence.&nbsp; This need not
+surprise us.</p>
+<p>The coming of the Moors into Spain was a civilizing expedition
+more than a conquest.&nbsp; It was the Orient entering
+Europe.&nbsp; The invaders&mdash;for the most part Berbers with a
+few Arabs&mdash;were a race of young and vigorous culture, of
+such astonishing and rapid growth that, although in Africa they
+had hardly emerged from savagery, in Spain they manifested a
+truly wonderful receptivity, and absorbed and developed the best
+elements they found in the life of the country.</p>
+<p style="text-align: center">
+<a href="images/p27.jpg">
+<img alt=
+"Pastimes of the Gitanos in the Camino Del Sacre Monte, Granada"
+title=
+"Pastimes of the Gitanos in the Camino Del Sacre Monte, Granada"
+src="images/p27.jpg" />
+</a></p>
+<p>In two years the Moors became masters, and under their
+dominion, from the eighth to the fifteenth century, the most
+elevated and opulent civilization flourished.&nbsp; All <a
+name="page29"></a><span class="pagenum">p. 29</span>the arts,
+sciences, industries, inventions, and culture, of the old
+civilization budded out into fresh discoveries of creative
+energy.&nbsp; Religious toleration came with them, and was lost
+with them.&nbsp; The spirit of chivalry arose among the Moors,
+and was afterwards appropriated by the Christian warriors of the
+North.&nbsp; A Moorish knight was in every respect like a Spanish
+knight.&nbsp; It was religion alone that divided them&mdash;one
+called on the name of Allah, the other on that of Christ.</p>
+<p>We must remember that the primitive Iberians of Spain were
+themselves of Berber stock, and this affinity in racial origin
+explains the peaceful amalgamation of the conquerors with the
+conquered.&nbsp; Afterwards by the constant mingling of their
+bloods the Moors and the old Spaniards became one.&nbsp; The Moor
+gave to the Spaniard and he took from him, and they contributed
+to the same work of national civilization.</p>
+<p>Ganivet has said truly that those who deny the Moorish
+influence show themselves <a name="page30"></a><span
+class="pagenum">p. 30</span>unable to comprehend the Spanish
+character.&nbsp; The Moorish dominion ended, passing almost as
+swiftly as it came.&nbsp; But the spirit of their exquisite
+civilization, perhaps the most exquisite that the world has yet
+seen, moulded their Christian conquerors into its likeness.&nbsp;
+And penetrating the Spanish character, and the daily life and
+habits of the people, this influence remains; indeed, it is not
+overstating the truth to say that to-day the pulse of the land
+still beats with Moorish life.</p>
+<p>It is in the gardens of Spain that the stranger will find best
+the reflection of the Moorish spirit.&nbsp; The Moors made their
+cities places of gardens and waters.&nbsp; The very names that
+they gave to their pleasure places speak of joy.&nbsp; &ldquo;The
+Meadow of Murmuring Waters,&rdquo; &ldquo;The Garden of the
+Water-wheel&rdquo;&mdash;what magic lingers in the suggestion of
+the words!</p>
+<p>Many of these old gardens have perished.&nbsp; Cordova has
+lost all except its Orange Court and the old garden of the ruined
+Alc&aacute;zar.&nbsp; <a name="page33"></a><span
+class="pagenum">p. 33</span>In Seville the parks are new.&nbsp;
+But in Granada the gardens have triumphed over the devastations
+of the Christians; and it is one of the exquisite surprises of
+the place to come suddenly on some fragment of a delicious garden
+where the Moorish tradition lives almost undisturbed.</p>
+<p style="text-align: center">
+<a href="images/p31.jpg">
+<img alt=
+"Walls and Towers of the Alhambra, on the banks of the Darro,
+Granada"
+title=
+"Walls and Towers of the Alhambra, on the banks of the Darro,
+Granada"
+src="images/p31.jpg" />
+</a></p>
+<p>There are few cities, even in Spain, that hold so many
+gardens.&nbsp; There is the Alameda of the Alhambra, the green
+garden which lies around the Moorish citadel; the <i>paseos</i>
+on the banks of the Genil, planted with trees and cooled by
+fountains, the pleasure-grounds of the people; and the
+Jard&iacute;n de los Adarves, on the south terrace of the
+Alhambra hill, a trellised retreat, with climbing vines and
+flowers, and splendid view of Vega and distant snow-capped
+hills.&nbsp; Everyone will find in these gardens something that
+makes special appeal to him.</p>
+<p>But the most exquisite haunt even among the gardens of Granada
+is the Generalife&mdash;the summer palace of the Moorish Princes,
+at the foot of the Cerro de Sol, and to the <a
+name="page34"></a><span class="pagenum">p. 34</span>east of the
+Alhambra hill.&nbsp; Here you have the charm of small and perfect
+gardens laid out in terraces, with great clipped cypresses,
+myrtles, and orange-trees, and the glow of flowers, with that of
+the delicate Moorish architecture, of richly coloured tiles and
+rare inscriptions.&nbsp; And everywhere is the joyous sound of
+flowing water; the fountains are always playing, and water runs
+in channels made of inverted tiles placed on the top of the
+balustrades.&nbsp; One of the charms of Moorish life was the love
+of pure water.</p>
+<p>An old legend says that the name Generalife in Arabic
+signifies the &ldquo;house of love, of dancing, and of
+pleasure,&rdquo; and, further, that it was built by one Omar, a
+passionate lover of music, that he might retire here and entirely
+give himself up to that amusement.&nbsp; The story is probably
+untrue, and the name, as the chronicles state, is a corruption of
+the Arabic &ldquo;Djennat-al<sup>&rsquo;</sup>-Arif,&rdquo; which
+means &ldquo;the garden of Arif.&rdquo;&nbsp; But romance so
+often is more beautiful than fact.&nbsp; One likes to think that
+this exquisite palace and gardens were <a name="page35"></a><span
+class="pagenum">p. 35</span>designed as a place wherein a man
+could give his soul to music.</p>
+<p>&ldquo;Charming place!&nbsp; Thy garden is embellished with
+flowers which repose upon their stalks and exhale the sweetest
+perfumes; fresh air agitates the orange-trees and spreads abroad
+the sweet odour of its blossoms.&nbsp; I hear voluptuous music
+joined to the rustling of the leaves of thy grove.&nbsp;
+Everything around is harmonious, green, and flowering.&rdquo;</p>
+<p>Such is part of the inscription upon the arcades of the Garden
+of the Pond, and how perfectly the rich imagery of the words
+conveys the charm of the garden!&nbsp; The Generalife has kept
+more than any place in Spain its Moorish character, combining in
+its palace and garden, in spite of decay and alterations, much of
+that full suggestion of all beautiful things that was their
+gift.</p>
+<p>In Spain dancing is something more than an amusement; it is a
+serious art closely connected with religious ritual, which
+expresses, perhaps as nothing else does, if we except the
+bull-fight, the true spirit of the people.&nbsp; The dances are
+Eastern in their <a name="page36"></a><span class="pagenum">p.
+36</span>origin; they are dramas of love, and especially those of
+the Gitanas, who have adopted and kept living the ancient dances
+of the country.</p>
+<p>Seville, the joyous southern capital, is the city that has
+given its own spirit to the most beautiful of the Spanish
+dances.&nbsp; Granada and Malaga are also centres of dancing, and
+sometimes good performances may be witnessed at Madrid.&nbsp; But
+the best <i>caf&eacute;s cantantes</i>, where the true Spanish
+dancers perform, are hidden in back streets where the foreigner
+does not readily find them.&nbsp; These dances are national
+ceremonies and belong to the people, and are far different from
+the dances, often quite modern in character, that are given at
+the popular <i>caf&eacute;s</i>.&nbsp; The varieties are
+numerous, and the names are often confusing.&nbsp; Many dances
+date back far into antiquity, while almost all owe their special
+character to Arabic influences.</p>
+<p style="text-align: center">
+<a href="images/p37.jpg">
+<img alt=
+"A Glimpse of Granada from the walls of the Generalife"
+title=
+"A Glimpse of Granada from the walls of the Generalife"
+src="images/p37.jpg" />
+</a></p>
+<p>The <i>bolero</i> is the most aristocratic dance.&nbsp;
+&ldquo;What majesty, what decorum, what distinction!&rdquo; <a
+name="page39"></a><span class="pagenum">p. 39</span>cried Valera,
+speaking of the dances of Ruiz and his daughter Conchita.&nbsp;
+It is danced by a man and a woman, and is a kind of drama between
+them; both use castanets.&nbsp; It is a slow dance of deliberate
+grace and fascination.&nbsp; The <i>jota</i> is danced by a woman
+alone.&nbsp; This dance, too, is a love drama of intense passion,
+but always decorous, always beautiful.&nbsp; Both these dances
+are native to Andalusia, the province of Spanish dancing.&nbsp;
+Outside of Andalusia, the most famous dance is the Aragonese
+<i>jota</i>.&nbsp; This is danced by a man and a woman, and the
+castanets are used.&nbsp; But the drama is different, the
+movements are quicker and less varied, and there is great
+vivacity.&nbsp; It seems a kind of combat between the two
+dancers; it is more a drama of battle than a drama of love.</p>
+<p>But the most typical of all Spanish dancing is the
+<i>flamenco</i> dance of the Gitanas, which you will see best at
+Seville; it is the most primitive and the most African of
+all.&nbsp; A group of performers sit in a semicircle upon a small
+stage.&nbsp; The spectators all take their <a
+name="page40"></a><span class="pagenum">p. 40</span>part by a
+rhythmic clapping of hands and stamping feet.&nbsp; One of the
+performers&mdash;generally a man&mdash;plays the guitar and sings
+an accompanying song.&nbsp; A dancer rises suddenly,
+spontaneously, as if seized by the passion of the music.&nbsp;
+She wears a long dress, usually of white, and a beautiful Manilla
+shawl is folded on her shoulders.&nbsp; How can one describe the
+dance which is so unlike all other dances?&nbsp; It is not a
+dance of the feet; every part of the body plays its share in the
+performance: the swaying figure, the beckoning hands, the
+glittering smiles that come and go in the dark eyes&mdash;all
+contribute.&nbsp; The dancer is alive to her fingertips, and
+every expressive movement has the Spanish simplicity of
+emphasis.&nbsp; At first the movement is slow, then faster, and
+now increases and rises to a passion of intensity.&nbsp; And all
+the time the spectators are actively participating, their emotion
+rising with the dancer&rsquo;s emotion; their rhythmic clapping
+and beating of feet grows louder as the drama proceeds, and cries
+of long-drawn-out <a name="page43"></a><span class="pagenum">p.
+43</span><i>oles</i> stimulate the dancer.&nbsp; The dance ends
+as unexpectedly as it began: a pause comes, and the swaying body
+is still, as if languor had followed on strong emotion.&nbsp;
+There is silence; the dancer goes back to her seat.&nbsp; Then
+the singer starts a new song, the clapping is taken up again,
+another dancer comes forward, and a new drama is acted.</p>
+<p style="text-align: center">
+<a href="images/p41.jpg">
+<img alt=
+"A group of dancers at the &ldquo;Feria,&rdquo; Seville"
+title=
+"A group of dancers at the &ldquo;Feria,&rdquo; Seville"
+src="images/p41.jpg" />
+</a></p>
+<p>The foreigner who would understand Spain must see these
+dances; then he will come to know yet another characteristic of
+the people&mdash;their love of strong, quite elemental
+sensation.&nbsp; It is this that so often makes them seem cruel
+to us.</p>
+<p>This delight of the Spaniard in all emotions that make sharp
+appeal to the senses explains the existence of the bull-fight,
+the national sport, which is so much a part of the life of the
+people that, although to-day there is a widespread movement to
+repress, or at least to mitigate, its cruelty, it seems unlikely
+that its real attraction will cease.</p>
+<p>It is impossible not to condemn the bull-fight; its cruelty
+cannot be denied.&nbsp; It is <a name="page44"></a><span
+class="pagenum">p. 44</span>brutal, as the most cultivated
+Spaniards themselves admit.&nbsp; And yet there are certain facts
+that the stranger must remember before he condemns.&nbsp; The
+bull-fight, like the dance, is a solemn ritual rather than an
+amusement.&nbsp; The combats take place on Sunday, while the most
+famous form part of the ceremonies of Holy Week.&nbsp; Part of
+the proceeds are devoted to some religious object&mdash;a charity
+or other holy work.&nbsp; Almost all the great bull-rings have a
+chapel where the fighters first prepare themselves in prayer and
+partake of the Holy Eucharist.&nbsp; To the foreigner it may seem
+that this union of religion and bull-fighting is incongruous, but
+to most Spaniards it does not appear so.</p>
+<p>The bull-fight is the Spaniard&rsquo;s strongest, most
+characteristic intoxication.&nbsp; The poor man will sell his
+shirt to buy a ticket for the bull-ring.&nbsp; They are a
+profoundly serious people, but every incident connected with
+their national sport arouses them into vivid life.&nbsp; I
+remember on one occasion, <a name="page45"></a><span
+class="pagenum">p. 45</span>when travelling in Andalusia in an
+open third-class railway carriage, the train passed a
+<i>vacada</i>, or training-place of bulls to be used in the
+ring.&nbsp; The effect was magical.&nbsp; These quiet, sombre
+people sprang upon the seats, some leaned far out of the windows;
+they gesticulated, they waved their sombreros, they called the
+names of the bulls, they cheered, they shouted.&nbsp; Never had I
+seen the decorous Spaniard so strongly moved.</p>
+<p>The <i>toreros</i> are the idols of the Spanish people.&nbsp;
+You will see them best at Seville, in their faultless tight
+<i>majo</i> costumes and frilled shirts, fastened with diamond
+studs, and diamond rings on the fingers of their faultless hands,
+and with their pigtail fastened upon the top of their
+heads.&nbsp; There is something splendidly attractive in their
+perfect bodily equipoise, with every muscle trained to faultless
+precision.&nbsp; The <i>toreros</i> have in the highest degree
+strength, agility, and grace.&nbsp; Even women have been
+<i>toreros</i> and Madame Dieulafoy tells of one
+<i>Do&ntilde;a</i>, Maria de Gaucin, who left her convent to <a
+name="page46"></a><span class="pagenum">p. 46</span>become a
+<i>torero</i>; then, after gaining renown throughout Spain for
+her exploits in the bull-ring, returned to the practices of
+religion.&nbsp; Only in Spain would such division of a life be
+thought perfectly natural, perfectly seemly.</p>
+<p style="text-align: center">
+<a href="images/p47.jpg">
+<img alt=
+"The old town of Ronda"
+title=
+"The old town of Ronda"
+src="images/p47.jpg" />
+</a></p>
+<p>The bull-fight was established in Spain in the eleventh or
+twelfth century, and is of Moorish origin.&nbsp; The bull would
+also seem to have come first from Africa.&nbsp; But the
+spectacular and ceremonial character of the contest is certainly
+adapted from the Roman combats, the influence of which had
+survived among the old Spaniards.</p>
+<p>Every Spanish town has its Plaza de Toros.&nbsp; Here, and
+especially at Seville during the Easter festival, you will see
+all the population of the place, a motley crowd of men and
+women.&nbsp; Se&ntilde;oras in white lace <i>mantillas</i> and
+white dresses, and their cavaliers, the gay <i>Sevillanos</i>,
+side by side with the <i>gente flamenca</i> and the
+<i>cigarreras</i> in lovely shawls, their hair elaborately
+arranged, with a white flower showing against its <a
+name="page49"></a><span class="pagenum">p. 49</span>blackness;
+for the bull-fight is a democratic institution, where the
+greatest foregather with the people.&nbsp; The patience of the
+vast crowd is perfect as they await the advent of the appointed
+hour.&nbsp; All are animated with a suppressed seriousness, the
+prelude to violent emotion which is so characteristic of the
+Spaniard.</p>
+<p>The entire performance is carried out with an elaborate
+ceremony of detail which the stranger often finds difficult to
+appreciate.&nbsp; The President enters his <i>palco</i>.&nbsp;
+Then follows the <i>paseo de la cuadrilla</i>, the processional
+entrance of the bull-fighters, grave, handsome men, in their
+beautiful and varied costumes of yellow and violet, gold and
+green, or whatever the chosen colours may be.&nbsp; The
+procession moves slowly across the ring; there is no haste.&nbsp;
+Each one in turn gravely and with perfect grace salutes the
+President, who then throws down the key of the bulls&rsquo; den,
+the <i>toril</i>.&nbsp; In a few moments the first bull rushes
+into the arena.&nbsp; The combat has begun.</p>
+<p>The fight is divided into three acts.&nbsp; In <a
+name="page50"></a><span class="pagenum">p. 50</span>the <i>Suerte
+de Picar</i>, the first, the <i>picadores</i>, dressed in round
+felt hats, short cloaks, and long leggings of plaited steel, and
+mounted on blindfolded horses, in turn receive the charge of the
+bull, thrusting him aside with their long pikes.&nbsp; Sometimes
+they come to close quarters, a <i>picador</i> is thrown, his
+horse is wounded, or perhaps killed.&nbsp; The shouts of the now
+excited crowd show that this is the critical moment.&nbsp; The
+<i>picador</i> rises quickly, another horse is brought, while the
+<i>chulos</i> divert the attention of the bull by dexterous
+waving of their brightly coloured cloaks.&nbsp; When the bull is
+sufficiently wearied&mdash;for this is the object of the first
+act in the drama&mdash;the President gives a signal, and the
+<i>picadores</i> retire.</p>
+<p style="text-align: center">
+<a href="images/p51.jpg">
+<img alt=
+"The Falls of the Guadalev&iacute;n, the Great Gorge and New
+Bridge, Ronda"
+title=
+"The Falls of the Guadalev&iacute;n, the Great Gorge and New
+Bridge, Ronda"
+src="images/p51.jpg" />
+</a></p>
+<p>The <i>banderilleros</i> take their place.&nbsp; This is the
+<i>Suerte de Banderillear</i>, the second act, the object of
+which is to inflame the bull.&nbsp; The <i>banderilleros</i>
+place the barbed darts, or <i>banderillas</i>, in the shoulders
+of the bull.&nbsp; Each is about 2 feet long, of curious device,
+and ornamented with long coloured streamers.&nbsp; <a
+name="page53"></a><span class="pagenum">p. 53</span>It is the
+most exciting part of the combat.&nbsp; The utmost skill,
+agility, and daring, are needed to plant the darts.&nbsp; There
+must be no bungling, no second of hesitation.&nbsp; It is now
+that the excitement of the spectators is really aroused, for a
+sense of solemnity is given by the possible presence of
+death.&nbsp; A <i>banderillero</i> may be seen to seize hold of
+the lashing tail, swing himself along the beast&rsquo;s side, and
+plant his dart between its horns.&nbsp; It is done with
+surprising skill, with delight, and with passion; and the
+applause of the spectators swells to a great roar, which refuses
+to be silenced.</p>
+<p>The last act is the <i>Suerte de Matar</i>.&nbsp; The chief
+<i>espada</i> comes into the ring; to him belongs the honour of
+the death.&nbsp; First he approaches the President, and solemnly
+dedicates to him the slaying of the bull.&nbsp; He is armed with
+a short Toledan blade and the <i>muleta</i>, a small red
+cloth.&nbsp; Calmly he walks towards the bull.&nbsp; And now a
+silence falls upon the hitherto raging crowd.&nbsp; It is the
+moment of pause, of silent waiting for the <a
+name="page54"></a><span class="pagenum">p. 54</span>most violent
+emotion of all.&nbsp; First he plays with the now infuriated and
+wearied beast.&nbsp; There is still no hurrying.&nbsp; The
+Spaniard wishes always to gain the very utmost out of his
+sensations.&nbsp; The bull is teased by the waving of the red
+cloth, and in this way is made to take the proper position for
+the death-blow.&nbsp; The <i>espada</i> watches his moment; then,
+with unerring decision, he buries the blade in the bull&rsquo;s
+neck between the shoulders, and walks slowly to the
+President&rsquo;s box, with absolute composure and a dignity that
+is almost defiant.&nbsp; Deafening cheers greet him, rewards and
+costly tributes are thrown, and he is presented with a great
+bouquet of flowers.&nbsp; How Spanish is this ending, which
+rewards the slayer with flowers!</p>
+<p>It is over; the ring is cleared, sand is raked over the pools
+of blood, a new bull is driven forward, again the drama
+begins.&nbsp; Six times the scene is re-acted, and a seventh
+bull, a <i>toro de gracia</i>, is added at the first bull-fight
+of the year.</p>
+<p style="text-align: center">
+<a href="images/p55.jpg">
+<img alt=
+"Spanish Dancers, Seville"
+title=
+"Spanish Dancers, Seville"
+src="images/p55.jpg" />
+</a></p>
+<p>In this repetition of emotions, this delight <a
+name="page57"></a><span class="pagenum">p. 57</span>in heaping up
+sensations, we have a very real revelation of the Spanish
+temperament.&nbsp; And this explains the devotion of the people
+to the bull-fight.&nbsp; When we come to estimate the Spanish
+character, we shall find that the Spaniard has the qualities
+which belong to all primitive people.&nbsp; The sentiment of
+sympathy with suffering is essentially a modern one.&nbsp; The
+Spaniard is still the Moor, his ancestor.&nbsp; He is cruel
+because he is indifferent to pain, his own or
+another&rsquo;s.</p>
+<h2><a name="page58"></a><span class="pagenum">p.
+58</span>CHAPTER II&mdash;THE SPANISH PEOPLE</h2>
+<p class="gutsumm">The Character of the People&mdash;Their
+Quietness and Sobriety&mdash;Their Cruelty&mdash;This the Result
+of their Stoicism and Indifference to Pain&mdash;These the
+Qualities of a Strong and Primitive People&mdash;The
+<i>Feria</i>, the Holiday of the Sevillians&mdash;Religion: its
+Place in the National Life&mdash;The Dance of the
+<i>Seises</i>&mdash;Holy Week in Seville&mdash;Religious
+Processions&mdash;The <i>Pasos</i>.</p>
+<p>The character of the Spaniard, as one gradually learns to know
+it, not from a brief visit spent tourist fashion in hurrying from
+one city to another, but from living among the people, sharing
+their common life and entering into their spirit, is a very
+positive character.&nbsp; And this character, though at first
+seemingly full of contradictions, is one of an almost curious
+uniformity, strongly individual, and not easy to comprehend.</p>
+<p><a name="page59"></a><span class="pagenum">p. 59</span>A
+significant quality of the Spaniard is his quietness&mdash;the
+grave enjoyment which he retains even under the influence of
+strong emotion, such as we have seen in the dances and in the
+national pastime of the bull-fight.&nbsp; His countenance will
+keep its accustomed gravity even whilst his mind is
+inflamed.&nbsp; The Spaniard has what one would like to call an
+active languor.&nbsp; On the one hand we find in his character a
+deeply rooted dislike, which is almost a contempt, for useful
+work, with, on the other hand, a reserve of untiring energy and a
+special aptitude for violent and emotional action.</p>
+<p>In Spain work is not the highest aim of life.&nbsp; This is
+the reason why time is of so much less value.&nbsp; It explains
+the tendency to delay everything to a convenient
+to-morrow&mdash;that annoying <i>ma&ntilde;ana</i> with which the
+Spaniard cheerfully responds to every demand.</p>
+<p>One of the first lessons I learnt in Spain was the
+unimportance of time.&nbsp; We were staying in a country village
+off the beaten tracks of travel, and had to drive a long <a
+name="page60"></a><span class="pagenum">p. 60</span>distance to
+meet the train which was to take us to Madrid.&nbsp; When we
+arrived at the small wayside station, we found we had three hours
+to wait.&nbsp; There was no waiting-room, no refreshments could
+be procured, and it was raining and very cold.&nbsp; I felt
+angered at the discomfort and waste of time; but the Spaniards
+who were our companions accepted the delay with true
+philosophy.&nbsp; They were genuinely distressed at my
+annoyance&mdash;the Spaniard is always courteous to the
+foreigner&mdash;but they did not at all share it.&nbsp; They
+wrapped their great cloaks around them, and walked up and down
+the wind-driven platform for three hours, calmly indifferent.</p>
+<p>I understood their acceptance of life on its own terms, which
+is the very root of the Spanish character, at once its strength
+and its weakness, the cause of its beauty and of its defects.</p>
+<p style="text-align: center">
+<a href="images/p61.jpg">
+<img alt=
+"The Cave of the Doves, &ldquo;El Chorro,&rdquo; between
+Boladilla and Malaga"
+title=
+"The Cave of the Doves, &ldquo;El Chorro,&rdquo; between
+Boladilla and Malaga"
+src="images/p61.jpg" />
+</a></p>
+<p>A charge of cruelty is often made against this people.&nbsp;
+But the cruelty which one meets so often, and especially in the
+treatment of animals, is almost always misunderstood <a
+name="page63"></a><span class="pagenum">p. 63</span>by the
+stranger.&nbsp; It arises from a certain hardness of fibre, which
+makes the Spaniard indifferent to pain.&nbsp; And if he is cruel
+to others, the Spaniard is also cruel to himself.&nbsp; I know of
+no people who are as little careful of personal comfort.&nbsp;
+Stoicism may be said to be the religion of the true
+Spaniard.&nbsp; Every form of asceticism has been practised by
+him, and to-day there exist brotherhoods whose members flagellate
+themselves with special instruments made of sharp broken glass
+till the blood flows, just in the same way as the
+<i>banderilleros</i> prick the bulls in the ring.</p>
+<p>The Spaniards have always shown an interest in blood and a
+satisfaction in shedding it.&nbsp; Two centuries ago it was a
+common custom for lovers to scourge themselves in the streets
+during Holy Week, to win admiration from their mistresses.&nbsp;
+The Spaniard still gains the approval of his women by feats of
+daring, and the bull-fighter is the idol of the people.</p>
+<p>We find an expression of this insistence on <a
+name="page64"></a><span class="pagenum">p. 64</span>pain in the
+Spanish pictures and sculpture.&nbsp; Artists in no other country
+have depicted the sufferings of the Christ and the tortures of
+martyrs with the same delight of detail.&nbsp; I recall the
+pictures of Zurbaran and Ribera, or those agonized images of the
+Christ by Juan Juni at Valladolid, in which sorrow is carried to
+a distortion that is almost caricature.&nbsp; The Spaniard
+accepts these images; he clothes them with little embroidered
+skirts and lace petticoats with the <i>na&iuml;vet&eacute;</i> of
+a child; to him they are the most poignant expression of his
+religious emotion.</p>
+<p style="text-align: center">
+<a href="images/p65.jpg">
+<img alt=
+"The Limestone Quarries, Almeria"
+title=
+"The Limestone Quarries, Almeria"
+src="images/p65.jpg" />
+</a></p>
+<p>It would seem, then, that in the Spanish character there is
+not only an indifference to pain, but an actual delight in the
+emotion of suffering, which prevents an understanding of
+cruelty.&nbsp; It is the temperament that makes the martyr and
+the fanatic.&nbsp; I remember on one occasion some boys were
+torturing a young bird, which one boy held by a string tied to
+its leg.&nbsp; I offered to buy the bird for a few
+<i>reales</i>.&nbsp; At once it was given to me, and I set it
+free.&nbsp; But what was the result?&nbsp; In <a
+name="page67"></a><span class="pagenum">p. 67</span>less than an
+hour some twenty birds had been caught, fastened to strings, and
+were brought to me.&nbsp; No payment was asked: the birds were a
+gift to the foreign se&ntilde;ora.&nbsp; The boys had not
+understood at all that I disliked their cruelty; they thought
+that I had a strange fancy for captive birds.</p>
+<p>The incident is characteristic of what the stranger will meet
+constantly in Spain.&nbsp; Your driver will flog his mules with
+the butt-end of his whip&mdash;yes, beat them till they
+fall.&nbsp; If you remonstrate, he will smile, rarely will he be
+angry; but never will you make him understand.&nbsp; Once during
+a long drive I gained respite for a team of mules at the cost of
+a bribe of two pesetas.&nbsp; I know that driver pitied my
+foolishness.</p>
+<p>Yet, let there be no mistake, the Spaniard is not without the
+tenderer emotions of humanity.&nbsp; And, after all one has heard
+of Spanish cruelty, it is interesting to note the signs of
+gentleness and kindness that meet one in many unexpected
+ways.&nbsp; I have never seen any other people so friendly with
+one another.&nbsp; <a name="page68"></a><span class="pagenum">p.
+68</span>The home life of the people, be they rich or poor, is
+charming, with a standard of kindness that compares favourably
+with that of other countries.&nbsp; Domestic crimes are
+comparatively infrequent.&nbsp; The Spaniard is known for his
+considerate love for children, and the relations between parents
+and children are universally happy.&nbsp; In no country does less
+stigma fall upon a child who is born out of wedlock.&nbsp; One of
+the strongest impressions I gained during my stay in the
+Peninsula was the happiness of the charming children.&nbsp; It is
+noteworthy that the first hospital for the insane was established
+in the country of the bull-ring.&nbsp; The practice of allowing
+counsel to poor persons in criminal cases is of much older origin
+than in our own country.&nbsp; The pest of beggars is another
+witness to this softness in their character; the Spaniard feels
+that it is inhuman to refuse alms.</p>
+<p style="text-align: center">
+<a href="images/p69.jpg">
+<img alt=
+"A Gipsy house at Coria"
+title=
+"A Gipsy house at Coria"
+src="images/p69.jpg" />
+</a></p>
+<p>It is when the Spaniard comes into personal relationships that
+his real native kindness appears.&nbsp; For his friend he is
+ready to sacrifice his life&mdash;a quality which Strabo <a
+name="page71"></a><span class="pagenum">p. 71</span>notes as
+belonging to the ancient Iberians.&nbsp; You will often meet with
+a curious mingling of cruelty and kindness in the same
+individual.&nbsp; I recall a characteristic incident.&nbsp; An
+artist friend was sketching in a small town in the province of
+Old Castile, and upon one occasion was greatly annoyed by a lad
+who threw sand upon the wet canvas, thereby showing, I suppose,
+his hostility to the foreigner, whose actions he did not
+understand and therefore disliked.&nbsp; The artist, rather than
+contend with his rudeness, left the spot and returned home.&nbsp;
+By mistake a small purse-bag was left behind.&nbsp; The boy found
+it, and followed with it to the hotel.&nbsp; What a change!&nbsp;
+There was no rudeness now; instead, a real pleasure in rendering
+a service.&nbsp; Smiling and bowing, the persecutor of half an
+hour before returned the purse with the fine Spanish courtesy,
+refusing to receive any reward.</p>
+<p>It is these seemingly contradictory impulses that puzzle the
+stranger in estimating the Spanish character.&nbsp; But the truth
+is, that <a name="page72"></a><span class="pagenum">p.
+72</span>the deep-rooted conservatism of the race has kept alive
+in the Spaniard of to-day the qualities that belong to primitive
+peoples.&nbsp; Mr. Havelock Ellis, the English writer who has
+best understood the Spanish spirit, says truly: &ldquo;The
+Spaniard is, and remains to-day, in the best sense of the word, a
+savage.&rdquo;&nbsp; The Spanish nature is elemental, and
+responds to all the emotions that touch the elemental passions:
+love, religion, war&mdash;these are the emotions that stir life
+into action.</p>
+<p>Much of what is characteristic of the life of the people may
+be studied in the <i>Feria</i>, the great spring festival, which
+is held at Seville each year in the middle of April.&nbsp; From
+all parts of Spain people flock to the southern city, and for
+three days at this national picnic they make holiday
+together.&nbsp; In the Prado de San Sebastian streets of wooden
+pavilions, or <i>casetas</i>, have been erected, consisting
+mainly of one room, which is furnished with chairs, a piano, and
+beautiful flowers.&nbsp; Here on each day the families of Seville
+assemble in their own <a name="page73"></a><span
+class="pagenum">p. 73</span><i>caseta</i>, and pass the joyous
+hours in receiving guests, dancing, guitar-playing, and
+singing.&nbsp; One side of the <i>caseta</i> is entirely open, so
+that all can see the company within.&nbsp; The women and the
+older men sit upon the chairs; the <i>majos</i>, in faultless
+costume, stand about, each smoking his cigarette; the children,
+brilliant, fascinating little people, play in front.&nbsp; Some
+of the women, and many children, are dressed in the old
+Andalusian costume, with black lace over bright yellow silk; all
+the women wear <i>mantillas</i> upon their hair.&nbsp; Fans are
+fluttering everywhere; there is a soft tinkling of guitars.&nbsp;
+Dark eyes flash upon you, and red lips part in smiles as you
+stand and look within.&nbsp; It is a family party, carried out
+with a publicity that seems strange to us, but is perfectly
+natural to the Spaniard.&nbsp; At the <i>Feria</i> everyone is
+accepted as a friend.&nbsp; Someone clicks a pair of castanets,
+and a beautiful girl gets up to dance the <i>seguidilla</i>, that
+most graceful dance which every Andalusian child is taught.&nbsp;
+The effect on the company <a name="page74"></a><span
+class="pagenum">p. 74</span>is magical.&nbsp; How animated they
+are! every face is smiling.&nbsp; Their chairs are drawn in a
+circle around the dancer, whom they applaud with rhythmic
+clapping.&nbsp; It is the <i>seguidilla</i>, with its gracious
+memories, which gives life to the <i>Feria</i>.</p>
+<p>In another part of the fair the Gitanas have their
+tents.&nbsp; All the women from Triana and the Macarena are here,
+amusing themselves simply and quietly with a joyous
+decorum.&nbsp; Some of the Gitana women are remarkably handsome;
+all have superb hair, and the gay colours of their dresses give
+brightness to the scene.&nbsp; There is dancing here, too, the
+<i>flamenco</i> dances, with slow movements and passionate
+suggestion of love, and the noise of the constant clapping of the
+spectators.</p>
+<p style="text-align: center">
+<a href="images/p75.jpg">
+<img alt=
+"Interior of the same house at Coria"
+title=
+"Interior of the same house at Coria"
+src="images/p75.jpg" />
+</a></p>
+<p>On the outskirts, in the open space of the Prado, are flocks
+of sheep and goats, and droves of bullocks, horses, mules, and
+donkeys, tended by picturesque herdsmen and muleteers in the
+dress of the several provinces.&nbsp; <i>Caballeros</i> ride
+their horses up and down to show off their points.&nbsp; The <a
+name="page77"></a><span class="pagenum">p. 77</span>vendors
+haggle and chaffer with the buyers, for all the animals are for
+sale; but all is good-natured, there is no quarrelling.&nbsp; At
+intervals there are little <i>ventas</i>, or refreshment booths,
+where the people buy a <i>refresco</i>.&nbsp; Families are
+camping and picnicking on the grass.&nbsp; Others are seated on
+chairs arranged in a circle around the couple who rise to
+dance.&nbsp; At a little distance there are swings for the
+children.&nbsp; The noise is great&mdash;the Spaniards delight in
+loud sounds&mdash;concertinas and barrel-organs, the sounds from
+the castanets of the dancers, and the loud clapping of hands,
+mingling with the cries of the <i>aguadores</i> and the vendors
+of shell-fish and chestnuts.&nbsp; Here, too, everyone is happy;
+but you will not see one drunken or quarrelsome person; among all
+the people there is a friendly, good-natured content.</p>
+<p>&ldquo;Seville,&rdquo; it has been said, &ldquo;lights up for
+a <i>fiesta</i> as a face lights up with a smile.&rdquo;&nbsp;
+And evening is the time at which the <i>Feria</i> looks its
+best.&nbsp; The great iron tower in the centre of the park is
+brilliantly illuminated, <a name="page78"></a><span
+class="pagenum">p. 78</span>and the avenues of <i>casetas</i>,
+radiating in every direction, are softly lighted with thousands
+of fairy lights, electric lamps, and Chinese lanterns; in each a
+different scheme of colour prevails.&nbsp; The soft warm air is
+fragrant with the scent of the blossoming orange-trees.&nbsp; In
+each <i>caseta</i> there is a dancer, and from the open doors
+eager faces look out upon the passers-by.&nbsp; The sound of
+castanets and guitars is heard in every direction.&nbsp; The
+broad walks are filled with people, an unending stream, slowly
+walking up and down.&nbsp; This is the true Spain, idle, joyous,
+brilliant, happily content, making the very most of life with the
+fine acceptance that is the gift of the Sevillians.</p>
+<p>It is this spirit which the Spaniards have brought into their
+religion&mdash;the understanding that joy is a part of
+worship.&nbsp; And although Seville is not a religious city as
+Toledo and Valencia are, it is here that the splendid ceremonies
+of the Church are carried out with more detail and spectacular
+appeal than in any city in Spain.&nbsp; The Sevillians <a
+name="page79"></a><span class="pagenum">p. 79</span>have made the
+ritual of their religion a part of their life&rsquo;s
+enjoyment.</p>
+<p>Nothing shows this better than the strange medi&aelig;val
+custom of the <i>Seises</i>, the sacred dances which take place
+in the cathedral on the Feast of the Immaculate Conception, and
+on that of Corpus Christi.&nbsp; The sixteen <i>seises</i>, or
+choristers, dance in front of the high-altar, using castanets and
+singing in the most charming and graceful minuet fashion.&nbsp;
+It is perfectly dignified, perfectly religious, and the young
+dancers perform without a suspicion of levity.&nbsp; There is
+something specially characteristic of the Spaniards&rsquo;
+attitude towards religion in thus making dancing a part of the
+sacred ritual of the Church.&nbsp; Just as the bull-fight is
+carried out as a solemn ceremony, so dancing, the people&rsquo;s
+strongest passion, finds its place in the service of the house of
+God.&nbsp; To the stranger it is an astonishing ceremony, a
+witness to the pagan element that lives so persistently in the
+Spaniard&mdash;the cause of those sharp contrasts that surprise
+us in his character.</p>
+<p><a name="page80"></a><span class="pagenum">p. 80</span>All
+Spain gathers in Seville to take part in the great festival,
+which is held during the <i>Semana Santa</i>, the Holy Week of
+Easter.&nbsp; It is the people&rsquo;s holiday as truly as is the
+<i>Feria</i>; both are &ldquo;holy days.&rdquo;</p>
+<p style="text-align: center">
+<a href="images/p81.jpg">
+<img alt=
+"A Village &ldquo;Pasos.&rdquo;"
+title=
+"A Village &ldquo;Pasos.&rdquo;"
+src="images/p81.jpg" />
+</a></p>
+<p>The most characteristic of the ceremonies are the religious
+processions, which take place on each day during the week, and
+all day long on Good Friday.&nbsp; At Granada and many other
+towns the Church processions have been given up; but at Seville
+the custom remains unchanged from the Middle Ages.&nbsp; The
+whole city is given up to the <i>pasos</i>, vehicular traffic is
+stopped, all business ceases.&nbsp; Everyone, from the Archbishop
+and the <i>Alcalde</i> downwards, assembles in the public
+squares, where seats are erected, in the streets, or in the
+balconies and windows of the houses, to witness the
+performance.&nbsp; It is an amazing sight, this multitude
+gathered to watch the procession of an image!&nbsp; But the
+Spaniards give themselves up to it with simple abandonment.&nbsp;
+Nothing seen in Spain will give so true an impression of the part
+<a name="page83"></a><span class="pagenum">p. 83</span>that
+religion takes in the life of the people.&nbsp; The stranger will
+feel himself carried back at least three centuries.</p>
+<p>The <i>pasos</i>, which are carried in these processions,
+consist of a single sacred figure, or a group of figures
+illustrating a scene from the Passion.&nbsp; Many of the statues
+have real beauty; they are the work of Monta&ntilde;&eacute;s,
+the seventeenth-century sculptor, whose polychrome carvings
+express so perfectly the Spanish religious spirit.&nbsp; Borne by
+twenty-five invisible carriers, at an extremely slow pace, the
+sacred groups pass through the streets of the city.&nbsp; Each
+<i>paso</i> is followed by the members of the <i>cofradia</i>, or
+brotherhood, to whom the statue belongs.&nbsp; They are dressed
+in the costume of their Order, the long gown, usually of white
+cloth, with the peaked cowl covering the head.&nbsp; Each brother
+carries a lighted candle.&nbsp; Companies of acolytes, white and
+scarlet robed, swing censers and chant anthems.&nbsp; A line of
+gendarmes, in capes of vivid red, march in advance to clear the
+way.&nbsp; Women clad in <a name="page84"></a><span
+class="pagenum">p. 84</span>white walk beside them; barefooted,
+they are fulfilling a vow.&nbsp; The sacred figures, and
+especially the Virgin, to whom the chivalrous Spaniard has always
+rendered his homage, are vested in rich gowns of silk and velvet,
+enriched with jewels of such great price that a soldier with
+drawn sword walks on guard behind.&nbsp; The platforms on which
+the statues rest are thickset with lighted tapers and laden with
+flowers.</p>
+<p style="text-align: center">
+<a href="images/p85.jpg">
+<img alt=
+"A rope and matting factory, Seville"
+title=
+"A rope and matting factory, Seville"
+src="images/p85.jpg" />
+</a></p>
+<p>The slow procession proceeds through the densely crowded
+streets and squares to the accompaniment of solemn music, with
+which mingle the <i>vivas</i> and <i>bravas</i> of the
+spectators.&nbsp; Before the doors of the City Hall there is a
+pause to greet the <i>Alcalde</i>, who rises from his velvet
+chair.&nbsp; Then the procession passes onwards through the
+reverent, bare-headed crowd to the cathedral.&nbsp; The women,
+black-robed and with black <i>mantillas</i>, in the balconies,
+where rows of lamps and candles burn, rise in reverence.&nbsp;
+One and another sings an ardent petition, with eyes fastened on
+the sacred figure.&nbsp; Now a young <a name="page87"></a><span
+class="pagenum">p. 87</span>girl presses forward in the crowd
+with a gift of marigolds, which are placed at the Virgin&rsquo;s
+feet.</p>
+<p>There is a completeness and simplicity in the worship, the
+great crowd, rich and poor, women and men, all moved by one
+strong emotion.&nbsp; And the spell of the strange scene
+penetrates the spirit; one forgets its pagan, medi&aelig;val
+childishness; one begins to understand how these outward symbols
+have had power to hold the faith of the people.</p>
+<p>The cathedral is the chief centre of all the ceremonies; and
+the vast edifice&mdash;Santa Maria is the largest Gothic church
+in the world&mdash;which is not too vast for its part in the
+great functions, is seen best on these days of festival.&nbsp;
+The gold and silver plate, all the splendid Church
+treasures&mdash;silver candelabra beyond counting, jewelled
+censers, chalices, and crosses, golden keys and diamond stars,
+Arfe&rsquo;s rich and delicate monstrance&mdash;have been laid
+out by the side of the great altar.&nbsp; Crimson drapings cover
+the walls; the priests <a name="page88"></a><span
+class="pagenum">p. 88</span>wear their <i>terno celeste</i>,
+vestments of blue and gold.&nbsp; The great doors are wide open,
+and all day long the people come and go in endless procession, as
+the pageants of the <i>pasos</i> arrive and then depart.&nbsp;
+The Mass, with its elaborate ritual, is sung to the Spanish music
+of Eslava; the Sacrament is borne in priestly procession.&nbsp;
+Each day has its special function.&nbsp; On Palm Sunday is the
+consecration of the palms and olive branches; on Maundy Thursday
+the typical Spanish ceremony of the washing of feet takes place;
+on Good Friday there is the Passion Sermon; and on Saturday the
+<i>Cirio Pascual</i>, the great candle, 25 feet high and
+770&ndash;880 pounds in weight, is consecrated.</p>
+<p style="text-align: center">
+<a href="images/p89.jpg">
+<img alt=
+"Sacristy of the Convent of the Cartuja, Granada"
+title=
+"Sacristy of the Convent of the Cartuja, Granada"
+src="images/p89.jpg" />
+</a></p>
+<p>All the days the cathedral is filled with relays upon relays
+of worshippers: some kneel upon the bare stones, one by one or in
+groups together; some stand; others sit on the chairs they have
+brought with them.&nbsp; The black dresses and <i>mantillas</i>
+of the women mingle with the bright colours of the peasants who
+have come from the country districts.&nbsp; There <a
+name="page91"></a><span class="pagenum">p. 91</span>is something
+social, well-nigh domestic, in the scene.&nbsp; In the intervals
+between their devotions the women chatter loudly together and use
+their fans; children play about as if in their own homes; even
+dogs and cats are there, quite unmolested.&nbsp; The Spaniard is
+wholly at home in his church, which to him is so much a part of
+the world and his daily life that he can talk, eat, sleep, and
+transact business, there.</p>
+<p>As the week advances an indescribable emotion grows, which
+culminates on the Saturday, when, at ten o&rsquo;clock in the
+morning, the Veil of the Temple is rent in twain.&nbsp; The great
+purple curtain, which has hung in front of Roldan&rsquo;s
+beautiful Christ upon the Cross, is sharply drawn by hidden
+cords.&nbsp; The signal is given; all the bells of the city ring
+out joyously, the great organ peals forth jubilees of victory,
+<i>Gloria in Excelsis</i> soars out in choral chants.&nbsp; It is
+the moment of supreme emotion.&nbsp; The multitude falls upon its
+knees before the great symbol of the accomplished Passion.</p>
+<p><a name="page92"></a><span class="pagenum">p. 92</span>This is
+the end of the Holy Week ceremonies.&nbsp; The women put off
+their black, and now appear in white lace <i>mantillas</i> and
+dresses predominantly white.&nbsp; In the afternoon the
+children&rsquo;s festival of the lambs takes place.&nbsp; Then on
+Easter Sunday the bull-fight is celebrated.</p>
+<h2><a name="page93"></a><span class="pagenum">p.
+93</span>CHAPTER III&mdash;TOWN LIFE IN SPAIN</h2>
+<p class="gutsumm">Toledo, the Type of the Spanish City&mdash;Its
+Architectural Monuments&mdash;The Intermingling of Arab and
+Christian Art&mdash;Granada&mdash;The
+Alhambra&mdash;Cordova&mdash;The Great Mosque&mdash;Seville, the
+City of Pleasure&mdash;The Special Character of the
+Streets&mdash;The <i>Caf&eacute;s</i> and Shops&mdash;The Typical
+Andalusian&mdash;The Parks&mdash;The
+<i>Sevillanas</i>&mdash;Spanish Courtship&mdash;The Houses of
+Seville&mdash;The <i>Patios</i>&mdash;The Home-life of the
+Sevillians&mdash;Spanish Hospitality.</p>
+<p>Toledo has kept, perhaps, more than any city in Spain its
+medi&aelig;val aspect, combining in its buildings of so many
+civilizations that here remain together; churches, convents,
+mosques, Gothic walls and ornaments, Moorish houses and steep
+passages&mdash;everywhere the Moorish design is evident&mdash;and
+a great Christian cathedral&mdash;much of what is most typical of
+the genuine Spanish civilization.&nbsp; <a
+name="page94"></a><span class="pagenum">p. 94</span>I know of no
+city that can give a more poignant emotion than Toledo.</p>
+<p>A great town, set on its rough and elevated rock of granite in
+the midst of the blue Sierra, closely ringed by the deep brown
+water of the Tajo, it is like no other city in the world.&nbsp;
+The national character, strong and aloof, passionate and
+brilliant, and the nation&rsquo;s history, are here epitomized
+before you.&nbsp; And coming to the city, as the stranger does,
+from Madrid, blatant, noisy, and modern, you will feel
+transplanted back into an older world.</p>
+<p>Your first impression is of something extraordinarily
+austere.&nbsp; You seem to have passed into silence and an almost
+painful absence of life.</p>
+<p style="text-align: center">
+<a href="images/p95.jpg">
+<img alt=
+"Bridge of Alcantara and the Alc&aacute;zar, Toledo"
+title=
+"Bridge of Alcantara and the Alc&aacute;zar, Toledo"
+src="images/p95.jpg" />
+</a></p>
+<p>Toledo has remained as the Moors built it, a tortuous network
+of cobbled alleys, as was most fitting in a city built upon rock,
+scorched by sun in summer, and in winter swept with icy
+winds.&nbsp; The tall houses, rising in straight <a
+name="page97"></a><span class="pagenum">p. 97</span>upward lines
+like an arrangement of flat walls, are almost all windowless on
+the side next to the street; where there is a window it is barred
+and closely latticed, and the high gates are studded with iron
+bosses and seem to forbid an entrance.&nbsp; No sight of the
+tree-shaded court is given, as at Seville and Cordova.&nbsp; No
+one appears to go in and out of these doors.&nbsp; Every house
+has the aspect of a prison; they all look as if they had
+histories.</p>
+<p>There is the same absence of bustling modern life in the
+streets.&nbsp; In the Calle del Comercio there are shops, but the
+wares are simple, having an old-world air; only specially
+interesting is that of Alvarez, the best maker of
+damascene.&nbsp; Even in the Zocodover, the centre of the
+city&rsquo;s business, all is sedate.&nbsp; You will see the
+water-carriers driving their mules up the steep streets from the
+<i>vega</i>, a peasant whose beast is laden with bright-coloured
+fruits and vegetables, or a group of goats that supply the milk
+for the city.&nbsp; Yet often the streets seem deserted.&nbsp;
+Only the companies of beggar children, who clamour <a
+name="page98"></a><span class="pagenum">p. 98</span>incessantly
+around you with their strange cry, &ldquo;Un caukie sou!&nbsp; Un
+caukie sou!&rdquo; remind you of the life hidden in the sleeping
+city.</p>
+<p>Romance lives in Toledo.&nbsp; How many scenes and how many
+figures famous in Spain&rsquo;s history are recalled to our
+memory here.&nbsp; In no other city are there the same number of
+architectural monuments.&nbsp; It is the chief centre of the two
+great elements of Spanish civilization, the Christian and the
+Arab, which makes it the place where the native art can best be
+studied.&nbsp; Its cathedral and churches are furnished with the
+most perfect examples of the industrial arts that have been
+produced in the Peninsula.&nbsp; El Greco, who adopted Toledo as
+his home, expresses in his pictures, which are one of the great
+possessions of the city, the Toledan spirit, which is the spirit
+of Spain.&nbsp; The churches are the museums and
+picture-galleries of the city; each one has its special
+appeal&mdash;its precious mosaics, its ironwork, its glass
+windows, its cloisters, its tombs, its beautiful carvings, or its
+pictures.</p>
+<p><a name="page99"></a><span class="pagenum">p. 99</span>In
+Toledo you understand the part that religion has taken in the
+history of the country.&nbsp; You can hardly walk for five
+minutes in any direction without coming upon some church; they
+stand at the corner of almost every square, many are embedded
+between the brown walls of the houses.</p>
+<p>Its architecture shows a curious mingling of Arab, Gothic, and
+Renaissance work.&nbsp; Christian and Moor overlap in many
+buildings, while in others the art of each emerges isolated and
+independent.&nbsp; In the great cathedral, the perfection of
+Gothic in Spain, we see nothing of the Moor, while in the mosque
+of Bel-el-pardon, now called El Cristo de la Luz, and in the
+ancient mosque in the Calle de las Tornarias, which has never
+been converted to Christian uses, and retains its original
+character almost unimpaired, we can with difficulty trace the
+Christian.&nbsp; But in other buildings&mdash;the Sinagoga del
+Tr&aacute;nsito, for instance&mdash;we find the Moorish
+traditions persisting with the Christian.&nbsp; And it is this
+intermingling and <a name="page100"></a><span class="pagenum">p.
+100</span>absorption of the Moorish civilization with the
+Christian that gives the real character to Toledo.&nbsp; Not only
+in the churches that once were mosques does the passage of that
+great people remain, but in the houses, austere without but
+beautiful within, in ancient palaces, in fragments of gardens
+that still are places of rest, in embattled bridge and arch, in
+exquisite harmonies of ornament that meet you everywhere, and,
+more than all, we find this gracious influence in the spirit of
+the city itself.&nbsp; Toledo is a living picture, a city in
+which each building is a voice that speaks the history of
+Spain.</p>
+<p>In Cordova, and even in Granada, you are less sharply
+conscious of the Moorish influence.</p>
+<p style="text-align: center">
+<a href="images/p101.jpg">
+<img alt=
+"A street in Cordova, looking towards the Mosque"
+title=
+"A street in Cordova, looking towards the Mosque"
+src="images/p101.jpg" />
+</a></p>
+<p>Time, the tamer of proud cities, has shadowed Granada, and to
+visit it is to understand the desolation of conquest.&nbsp; The
+big hotels, placed so incongruously near to the Alhambra, the
+clamorous guides, the beggars&mdash;all the disagreeable
+conditions of a show city that trades on its past are here.&nbsp;
+<a name="page103"></a><span class="pagenum">p. 103</span>The
+efforts of recent years, that have developed a certain amount of
+industrial activity, have not lessened this impression; for
+modern enterprise seems strangely out of place in Granada, while
+the attempts to improve the old city, such as the boulevard which
+has been driven through its centre, have been left unfinished,
+with a result of added desolation.&nbsp; In the air itself there
+seems something of decay, as the white mists from the snowy
+heights of the Sierra Nevada rest shroud-like upon the
+<i>vega</i>.&nbsp; Always you seem to catch an echo of that
+<i>ultimo suspiro del Moro</i>.&nbsp; Ruins meet you everywhere;
+only the gardens in Granada have kept the charm of their
+exquisite beauty.</p>
+<p>But there is one possession that conquest has left to
+Granada.&nbsp; It is to see the Alhambra that everyone comes to
+the city, which is but a setting to this Moorish jewel.&nbsp; And
+in the wooded garden, which lies around the citadel, where
+nightingales sing, and flowers embroider the grass, and the sound
+of running water is always heard, Granada, <a
+name="page104"></a><span class="pagenum">p. 104</span>with its
+memories of ruin, seems shut off as by a veil of quiet.&nbsp; The
+Alhambra is the supreme pearl of Moorish art in Spain.&nbsp; It
+is bewildering in the appeal of its strange beauty.&nbsp; It is
+like an invocation of an Eastern sorcerer, and as you wander in
+its courts and halls the Thousand and One Nights seem true.&nbsp;
+It is hardly conceivable that people lived here.&nbsp; You seem
+to understand the brilliant dominion of the Moors in Spain.&nbsp;
+Only people with a history like theirs could have reigned here;
+life lived here could but have been a romance.</p>
+<p>The first impression you gather from the almost bewildering
+beauty is how any building so seemingly fragile can be so
+strong.&nbsp; More than five centuries have passed since the
+Alhambra was built.&nbsp; The repeated earthquakes which did so
+much damage to Granada, and laid in ruin the Renaissance palace
+of Charles V., have been powerless to destroy this most delicate
+of architectural structures.&nbsp; To-day the Alhambra is kept as
+a show-place, rejuvenated by the restorer.&nbsp; <a
+name="page105"></a><span class="pagenum">p. 105</span>But even
+this has not been able to dim the exquisite beauty of its courts
+and halls.&nbsp; And all the jewelled weaving of ornaments, so
+difficult to grasp as being quite real, have kept much of their
+splendour.&nbsp; It almost seems as though the common
+superstition were true, and that the charm of Fate does guard the
+Red Palace of the Moors.</p>
+<p>Cordova suffers from the memory of a past greatness which she
+cannot now support.&nbsp; Gautier describes the city as <i>le
+squelette blanch&eacute; et calcin&eacute;</i>.&nbsp; Cordova is
+a city in sleep; it rests in a quiet and beautiful dream.&nbsp;
+Here the Eastern spirit of acceptance echoes with an unsilenced
+voice.&nbsp; And this is why the sensitive stranger will find
+such perfect satisfaction in the white city&rsquo;s sleeping
+peace.&nbsp; Cordova was the town that I most loved in Spain.</p>
+<p>But the tourist goes to Cordova in haste to visit the
+mosque.&nbsp; &ldquo;Mezquita?&nbsp; Mezquita?&rdquo;&nbsp; Each
+Cordovese you encounter will surmise your desire and direct you
+without question.&nbsp; They know that this <a
+name="page106"></a><span class="pagenum">p.
+106</span>imperishable building is the one interesting lion in
+their city; it is to visit it that the stranger comes to
+Cordova.</p>
+<p>The great mosque is a &ldquo;wonder of the world,&rdquo; the
+one perfectly satisfying building left in the city of the Khalif,
+the Cordova that was known as &ldquo;the Bride of
+Andalusia.&rdquo;&nbsp; This Church of the Divine Wisdom is the
+most complete expression in building that the Moors have left in
+Spain, more even than the Alhambra.&nbsp; It is one of the
+buildings that sum up the genius of a people, the experience of a
+race, and the teaching of a school.</p>
+<p>In the Outer Court of Oranges, where the water of the
+fountains and the leafy shade of the orange-trees give delicious
+coolness from the blazing heart of the sun, you will find the
+untiring charm and dreamy peace of Oriental repose.&nbsp; You
+will see the women of Cordova gathered around the great
+<i>alm&icirc;da</i> fountain with their red-brown pitchers to
+fill.&nbsp; You will hear them chattering, telling the news of
+the day.&nbsp; Now and then <a name="page107"></a><span
+class="pagenum">p. 107</span>will come a sound of laughter as a
+youth, also with a vessel to fill, joins them.&nbsp; The women
+will leave their pitchers and go into the mosque, one by one or
+in groups together, for prayer is a part of the day&rsquo;s
+work.&nbsp; Figures move slowly up and down the cloisters; they
+are the Canons; each will be smoking a cigarette.&nbsp; Groups of
+beggars crouch on the low stone seats; they seem quite content in
+the sun.&nbsp; At the hour of service a band of acolytes will
+come from the chancery and cross the court slowly to the mosque,
+making a line of scarlet.&nbsp; And presently there will be a
+soft sound of music as the boys sing the <i>coplas</i> in honour
+of the Virgin.&nbsp; Yes, the Court of Oranges is the most
+perfect spot in Cordova, to which the stranger will come again
+and again.</p>
+<p style="text-align: center">
+<a href="images/p108.jpg">
+<img alt=
+"Puerta Del Perd&oacute;n (Gate of Pardon) the Mosque, Cordova"
+title=
+"Puerta Del Perd&oacute;n (Gate of Pardon) the Mosque, Cordova"
+src="images/p108.jpg" />
+</a></p>
+<p>And when you go into the mosque itself, you will pass out of
+the colonnades of orange-trees into colonnades of stone.&nbsp;
+Before you, around you, everywhere, a forest of columns; and the
+canopy of curves above you, formed by the double rows of crossed
+fantastic arches, <a name="page110"></a><span class="pagenum">p.
+110</span>will seem like the interlacing branches of great
+trees.&nbsp; You will remember those enchanted forests you
+dreamed of as a child.&nbsp; In truth, the architecture of the
+mosque is like a living thing.&nbsp; The light, entering from
+above, plays upon the arches, causing the red stones to gleam
+like fire; it frets the thousand columns with moving patterns; it
+catches the glass mosaics in jewelled brilliance, and makes a
+soft shining upon the marble pavement, in which, as you look up
+and down, you see the long arcades reflected until the distance
+dies away, mysterious and apparently unending.</p>
+<p style="text-align: center">
+<a href="images/p111.jpg">
+<img alt=
+"The Queen&rsquo;s Chamber, Alhambra, Granada"
+title=
+"The Queen&rsquo;s Chamber, Alhambra, Granada"
+src="images/p111.jpg" />
+</a></p>
+<p>But words cannot describe this wonderful temple.&nbsp; The
+Moorish houses of prayer will bring you a sense of joy: there is
+nothing of the mystic suggestion of a Gothic cathedral&mdash;that
+of Seville, for instance; your spirit is freed, not awed.&nbsp;
+The mosque was to the Moor this world as well as the next.&nbsp;
+Here is the message of a race who understood the fulness of
+living so well that they knew how to be joyously at home with
+their God; and you realize more fully this lesson that the <a
+name="page113"></a><span class="pagenum">p. 113</span>Moors gave
+to Spain, which finds its expression to-day in the
+Spaniard&rsquo;s happy familiarity with his God.</p>
+<p>The stranger will now be ready to understand the special
+atmosphere of Seville, for it is this frank acceptance of joy as
+the gold thread of life which gives the southern city its
+charm.&nbsp; It is not shadowed with memory like sleeping
+Cordova, nor is it overburdened with heroic monuments like
+Toledo; there are no ruins such as give sadness to Granada; it is
+still a living city whose blood is pulsing with the joy of life
+lived in the sunshine.</p>
+<p>The buildings for which the city is famous all have this
+aspect of joy&mdash;the Moorish Tower of Gold; the
+Alc&aacute;zar, with its flower-crowded gardens; the Giralda
+Tower, which is so old, and yet in its glittering whiteness looks
+so new.&nbsp; There is a joyousness in these buildings that I
+have never seen in the buildings of any other city.</p>
+<p>Then, Seville is alive commercially, and from its wharves
+among the orange-trees which line the banks of its rivers vessels
+<a name="page114"></a><span class="pagenum">p. 114</span>carry
+away its wine, its oil, and its oranges.</p>
+<p>Seville has no rival among the cities of Spain.&nbsp; The old
+saying is still true: &ldquo;To him whom God loves He gives a
+home in Seville.&rdquo;</p>
+<p>In Seville you are happy without seeking to be so, and when
+the stranger has learnt this he has learnt the secret of the
+<i>Sevillanos</i>.</p>
+<p>Seville has the aspect of a city given up to a holiday humour;
+and if I wished to describe the special quality of her happy
+people, I should say that they understood perfectly the difficult
+art of loafing.&nbsp; You must be happy to loaf successfully;
+that is why Northern people find it so difficult.&nbsp; But not
+even the Venetians loaf as well as the <i>Sevillanos</i>.&nbsp;
+Go to the Calle de las Sierpes, that narrow, animated street, the
+centre of Seville&rsquo;s joyous life; it is different from other
+streets; its gay shops, with the double row of irregular,
+close-drawn windows that make a sinuous line of
+light&mdash;certainly it is like a serpent.&nbsp; All day and far
+into the night people saunter up and down its <a
+name="page115"></a><span class="pagenum">p. 115</span>pavements
+or sit in one of the many <i>caf&eacute;s</i>, which are always
+filled with crowds of unoccupied persons.&nbsp; You will seem to
+be watching a stage play.&nbsp; It is here that you will see best
+the <i>majos</i>, or dandies of Seville; in springtime there is
+sure to be a <i>matador</i> strolling about in splendid costume,
+and women in <i>mantillas</i> saunter to and fro with their slow,
+graceful walk.</p>
+<p>In the <i>caf&eacute;s</i> you will have an opportunity of
+studying the typical Andalusian.&nbsp; He wears a short coat and
+very tight trousers of a light colour, and a felt hat with a
+broad, flat brim.&nbsp; He is always clean-shaven, and his hair
+is cut very short.&nbsp; These men are often handsome, and have a
+striking expression of strength; the faces, dignified and always
+humorous, often resemble a comic actor.&nbsp; They are an
+affectionate and friendly company, and their conversation echoes
+with a deafening buzz.&nbsp; Notice the way in which they smoke
+their cigarettes, and at intervals drink their <i>refrescos</i>
+or sip from their small glasses of <i>aguardiente</i>.&nbsp;
+Their enjoyment is <a name="page116"></a><span class="pagenum">p.
+116</span>so Spanish, so epicurean.&nbsp; And women in the street
+fan themselves in the same way.&nbsp; All these people are happy
+in the frank acceptance of life as it is.</p>
+<p>Inside the shops, which have doors wide open to the street,
+groups of women sit to buy fans and <i>mantillas</i>.&nbsp;
+Making purchases is a delightful game, in which all Spanish women
+excel.&nbsp; They smile, and chatter, and use their fans,
+bargaining with delicious grace, while the salesman, cigarette in
+hand, shrugs his shoulders and gesticulates.</p>
+<p>&ldquo;But the <i>mantilla</i> is dear,
+se&ntilde;or.&rdquo;</p>
+<p>He throws out his hands in protest.</p>
+<p>&ldquo;No, se&ntilde;orita; I am giving it away at ten
+<i>pesetas</i>.&rdquo;</p>
+<p>&ldquo;Is the quality good?&rdquo; and she raises her eyebrows
+in bewitching incredulity.</p>
+<p>&ldquo;As good as God&rsquo;s blessing.&rdquo;</p>
+<p>And with mutual smiles and salutations the purchase is
+made.</p>
+<p style="text-align: center">
+<a href="images/p117.jpg">
+<img alt=
+"Court of Lions, Alhambra, Granada"
+title=
+"Court of Lions, Alhambra, Granada"
+src="images/p117.jpg" />
+</a></p>
+<p>It is in the Paseo de las Delicias&mdash;the name will tell
+you of the beauty of this park, with its orange-groves, hedges of
+blue aloes, <a name="page119"></a><span class="pagenum">p.
+119</span>and all manner of tropical trees and flowers&mdash;that
+the ladies of Seville drive and promenade each afternoon.&nbsp;
+The <i>majos</i> cast languishing glances upon them as they walk
+to and fro, and compliments are given: &ldquo;Oh, Jesus, what an
+air!&rdquo;&nbsp; &ldquo;Happy is the mother that bore
+thee!&rdquo;&nbsp; &ldquo;Your eyes are as runaway stars that
+would rather shine in your face than in the heavens!&rdquo;</p>
+<p>The <i>Sevillanas</i> smile and chatter together; this play of
+love is a part of the accustomed homage which is their due.</p>
+<p>There is a fascination about Spanish women not easy to
+define.&nbsp; Many of them are not beautiful, but they are always
+graceful, and they all walk beautifully.&nbsp; Then, most of them
+have the soft, expressive eyes which the East has bequeathed to
+Spain.&nbsp; There is a quality and certain finish about them
+which is unique; each one looks as if she understood that she was
+a woman, and was very glad that this was so.&nbsp; Perhaps this
+is why they are so attractive; this is the reason, too, why the
+old women are so <a name="page120"></a><span class="pagenum">p.
+120</span>good-humoured, smiling, and gay.&nbsp; The indefinite
+unquietness that so often characterizes English and American
+women is entirely absent.&nbsp; These Spanish se&ntilde;oras, for
+their happiness, have kept the pagan content.</p>
+<p style="text-align: center">
+<a href="images/p121.jpg">
+<img alt=
+"A group of workers in a &ldquo;patio&rdquo; at Seville"
+title=
+"A group of workers in a &ldquo;patio&rdquo; at Seville"
+src="images/p121.jpg" />
+</a></p>
+<p>Much of what is characteristic of the home life of the
+Sevillians may be gathered from the arrangement of their
+houses.&nbsp; They are all&mdash;the houses of the poor as well
+as those of the rich citizens&mdash;built around the
+<i>patio</i>, or shaded court, where palms, myrtles,
+pomegranates, and jasmines grow, and the singing of caged birds
+mingles with the sound of the playing fountains.&nbsp; Into this
+<i>patio</i> all the windows of the house open and the rooms
+lead.&nbsp; The doors are of open ironwork&mdash;no two doors are
+alike&mdash;and often, even in the small houses, the grating is
+of exquisite workmanship.&nbsp; One door, which also has an open
+<i>reja</i>, or grating, leads into the street.&nbsp; It is in
+these <i>patios</i> that the Sevillians spend their lives, and
+this throwing open of their homes to the gaze of all who pass in
+the streets is exactly characteristic of this simple, <a
+name="page123"></a><span class="pagenum">p. 123</span>happy
+people.&nbsp; Every afternoon and evening the youth of the family
+laugh and sing and dance to the rattle of the castanets.&nbsp; It
+is against the <i>rejas</i> that the lovers stand at night and
+sing their serenades, and so persistent is their patience that
+they have gained the title of &ldquo;iron-eaters.&rdquo;&nbsp;
+All Andalusians are musical; even the beggar thrums his guitar,
+which he will not part with for bread; to him music is a
+necessity, and bread a luxury with which he can dispense.</p>
+<p>The Andalusian&rsquo;s leisure is a perpetual source of
+delight.&nbsp; What impresses the serious foreigner, who is so
+fortunate as to become an inmate of a Sevillian home, is the
+mirth and courtesy of the family, who all seem to enjoy endless
+leisure.&nbsp; Spanish households have a pleasantness quite their
+own.&nbsp; The men are never preoccupied with business; smoking
+cigarettes, they will pass hours chattering to the women of the
+family, who spend the greater part of the day working their
+beautiful embroideries.&nbsp; Few books are read, and talking is
+the chief occupation.&nbsp; <a name="page124"></a><span
+class="pagenum">p. 124</span>No people can talk like the
+Spaniards, and the excitement is so spontaneous that often the
+conversation is carried on far into the night.&nbsp; The
+slightest incident gains a poetic vividness from their dramatic
+telling.&nbsp; Cigarette-smoking and talking are the only
+indulgences which the Sevillians carry to excess.</p>
+<p>In their home life there is a love of visiting and a love of
+receiving visitors.&nbsp; <i>Tertulias</i>, or parties, are
+frequent.&nbsp; But a Spanish party differs materially from an
+English, in so far as there are no refreshments&mdash;if we
+except the glasses of pure water and plate of <i>azucarillos</i>
+to sweeten the water, which are placed upon a side-table.&nbsp;
+This is an instance of the sobriety of the Sevillians.&nbsp; The
+guests dance and sing and talk incessantly, and are perfectly
+satisfied to enjoy themselves without eating.</p>
+<p>The Spaniards are good hosts; the exquisite politeness which
+is natural to them, even to those of the very lowest classes,
+causes them to lay themselves out to <a name="page125"></a><span
+class="pagenum">p. 125</span>entertain; boredom would seem to be
+unknown to the native host and hostess.&nbsp; They make a
+pleasure of the slightest social intercourse.&nbsp; I recall one
+occasion in Seville, when I asked permission to enter the house
+of a poor woman in the Macarena quarter, in order that my artist
+friend might make a drawing from her balcony of a building of
+which a satisfactory view could not be obtained in the
+street.</p>
+<p>&ldquo;My house is yours, se&ntilde;oras; make whatsoever use
+of it you will,&rdquo; was her answer to my request.&nbsp; And
+during the hours that my friend was at work she put aside her
+occupations&mdash;she was a <i>planchadora</i>, and was ironing
+with her assistants on our entrance&mdash;and gave herself up
+solely to help and entertain us.&nbsp; A <i>refresco</i> was
+brought to us; <i>calientes</i>, the twisted doughnuts which are
+made in every Andalusian house, were fried for us.&nbsp; Nor
+would she consent to receive the payment which we, with our
+foreign stupidity, offered to her on our departure.&nbsp; No, the
+kindly, cheery <a name="page126"></a><span class="pagenum">p.
+126</span>woman did not understand payment for hospitality.</p>
+<p>But it is during the days of festival at Easter and the
+<i>Feria</i> that the fine hospitality of the Sevillians is seen
+at its best.&nbsp; The houses are filled to overflowing, and
+hospitality is taxed to a degree that only the most perfect
+courtesy and good-nature could endure.&nbsp; Every corner is
+received with a chorus of welcome, and embraced like a
+brother.&nbsp; Beds are surrendered, even sofas are given up, and
+as fresh strangers arrive, unable to gain accommodation in the
+crowded inns, mattresses, pillows, and rugs are brought out of
+cupboards, and beds are made upon the floor.&nbsp; All the
+members of the family, and even the tired servants, who are
+always joyously ready to help, sit up, because there is literally
+<i>nowhere</i> for them to sleep.&nbsp; The difficulty of
+obtaining provisions in these seasons of festivity is very great:
+the butcher cannot provide meat; even bread is hard to buy.&nbsp;
+But the se&ntilde;ora of the house is never troubled; she tells
+you her woes, and then <a name="page129"></a><span
+class="pagenum">p. 129</span>goes smiling to fry <i>calientes</i>
+and prepare other delicacies for the refreshment of her
+guests.&nbsp; The constant Spanish courtesy never fails, and the
+foreigner who happily chances among this crowded joyous party can
+but wonder.</p>
+<p style="text-align: center">
+<a href="images/p127.jpg">
+<img alt=
+"&ldquo;Las Planchadoras&rdquo; (laundresses) at work, Seville"
+title=
+"&ldquo;Las Planchadoras&rdquo; (laundresses) at work, Seville"
+src="images/p127.jpg" />
+</a></p>
+<h2><a name="page130"></a><span class="pagenum">p.
+130</span>CHAPTER IV&mdash;TOWN LIFE IN SPAIN
+(<i>continued</i>)</h2>
+<p class="gutsumm">Madrid: its Situation&mdash;The Old
+Town&mdash;The Rastro&mdash;The New Town&mdash;The Puerta del
+Sol&mdash;<i>Caf&eacute;s</i>&mdash;The
+<i>Aguadores</i>&mdash;The Prado Park&mdash;The
+Theatre&mdash;Spanish Children&mdash;The Museums&mdash;The
+Picture-galleries.</p>
+<p>The contrast is great from Seville to Madrid, which is less
+distinctly Spanish than any city in the Peninsula.&nbsp; The
+royal capital, established by the decree of Philip II., has the
+appearance of an accidental growth on the harsh Castilian
+slopes.&nbsp; The climate is the worst of any town in
+Spain.&nbsp; Madrid suffers all the oppressions of the
+sky&mdash;baked by fierce summer suns, and chilled by the ice of
+treacherous winds.&nbsp; In point of distance it is only some
+twenty leagues, in one direction, from Toledo, and in the other
+from beautiful <a name="page133"></a><span class="pagenum">p.
+133</span>Avila; but in its life it is separated by centuries
+from the old Spanish cities.&nbsp; It is the strangest
+transformation to come from them into the eager, bustling life of
+the modern capital.&nbsp; There are no antiquities here, no great
+memories, no romance, nothing but what the people and the natural
+brightness in the air give to it.</p>
+<p style="text-align: center">
+<a href="images/p131.jpg">
+<img alt=
+"The Throne-Room, Royal Palace, Madrid"
+title=
+"The Throne-Room, Royal Palace, Madrid"
+src="images/p131.jpg" />
+</a></p>
+<p>To stay in Madrid is to undergo the most absorbing
+fatigue.&nbsp; The Madrile&ntilde;o lives with a speed that in
+Spain startles.&nbsp; The city never sleeps, never stays its
+chatter; its inhabitants are apparently so full of business that
+they turn day into night, yet no one seems to work.&nbsp; It thus
+comes about that the lover of Spain, who has become used to the
+untroubled content of happy Seville or the sleeping peace of
+Cordova and Toledo, can with difficulty find himself at home in
+Madrid.</p>
+<p>Madrid is a city of contrasts.&nbsp; Treasures of art abound
+in its museum, yet of all cities it is surely the least
+influenced by the spirit of beauty and design.&nbsp; Its splendid
+bridge which <a name="page134"></a><span class="pagenum">p.
+134</span>gives entrance to the city has been ridiculed with the
+question, &ldquo;Where is the river?&rdquo;&nbsp; It misses all
+charm of environment; the city has no suburbs, and the country
+around is barren and without trees and verdure.&nbsp; Yet the
+Madrile&ntilde;os cannot be persuaded that any other city is its
+equal.&nbsp; It is a capital in transition of a country in
+transition, and as such it must be regarded.</p>
+<p style="text-align: center">
+<a href="images/p135.jpg">
+<img alt=
+"The Rastro Market, Madrid"
+title=
+"The Rastro Market, Madrid"
+src="images/p135.jpg" />
+</a></p>
+<p>The old part of the town, such as the Rastro and surrounding
+narrow streets, where on each Sunday is held the market, the
+largest rag-fair in the world, still bring one a sensation of
+living in the Middle Ages.&nbsp; The wares are laid out in most
+primitive fashion in the narrow streets in great piles; all kinds
+of antiquities are sold, as well as clothes and wonderful peasant
+jewellery.&nbsp; The low stalls are piled up with flowers,
+fruits, and vegetables, of all colours, in confused
+abundance.&nbsp; Women and girls stand in groups of twos or
+threes, or sit beside their wares, bundled in bright-coloured
+shawls, and all with kerchiefed heads.&nbsp; They talk
+incessantly; they do not <a name="page137"></a><span
+class="pagenum">p. 137</span>seem to care whether their goods are
+sold or not, but they chaffer noisily over every sale.&nbsp; Some
+of the women have perfectly-shaped faces with magnetic eyes that
+recall the East.&nbsp; It was here once that I saw a
+<i>manola</i>, beautifully attired with a white <i>mantilla</i>,
+silk shoes, gaily coloured dress and jewellery.&nbsp; She
+reminded me of Goya&rsquo;s pictures.</p>
+<p>Fine savage old men in tattered cloaks wander on the outskirts
+of the market asking alms, and beautiful, bewitching children
+play their games unchecked.</p>
+<p>But the Rastro is not the real Madrid.&nbsp; The modern town,
+with its aspect of a city still in the making, so that one thinks
+not so much of what it is as of what it may become, has grown up
+in the image of Paris, with boulevards, wide streets, tall
+characterless houses and modish shops.&nbsp; It is to be feared
+that this new Madrid will overgrow all that is left of the old
+city.</p>
+<p>The Madrile&ntilde;os spend their lives in the streets and
+squares, almost all of which are wide, clean, and well
+paved.&nbsp; The houses are <a name="page138"></a><span
+class="pagenum">p. 138</span>ornamented with balconies, the first
+of which, supported by pillars, forms in many parts of the city a
+piazza where the inhabitants may walk under cover.&nbsp; The
+Puerta del Sol, the largest and most animated <i>plaza</i>, and
+the centre of Madrid, is the rendezvous of the idlers of the
+city.&nbsp; From eight o&rsquo;clock in the morning, and far into
+the night, it is thronged with groups of men wrapped in their
+cloaks, which they wear to protect them from the treacherous
+winds that sweep the city even in summer.&nbsp; Furnished with
+several dozen cigarettes and coppers for <i>az&uacute;car</i> and
+water, they pass the hours in endless talking.&nbsp; Politics
+form the chief subject of conversation, and the progressive
+element in Spanish society discusses here.</p>
+<p>Most of the <i>caf&eacute;s</i> are in this quarter, and they
+are always filled.&nbsp; They are less attractive in their
+outside appearance than the <i>caf&eacute;s</i> of Seville, but
+the refreshments served are excellent.&nbsp; The
+Madrile&ntilde;os, like all Spaniards, drink more water than
+wine.&nbsp; In every street and <i>paseo</i> you see the <a
+name="page139"></a><span class="pagenum">p. 139</span>picturesque
+<i>aguadore</i>, with his <i>c&aacute;ntaro</i> of white or brown
+clay and reed basket, containing glasses, sticks of
+<i>azucarillos</i>, and oranges or limes.&nbsp; He has not
+changed from the day when Velazquez painted him; he still wears a
+loose jacket of snuff-coloured cloth, breeches, leather gaiters,
+and a peaked hat.</p>
+<p>Perhaps it is the climate which causes the Madrile&ntilde;os
+always to suffer thirst.&nbsp; The <i>bebidas heladas</i>, or
+iced drinks, flavoured with orange, lemon, strawberry, cherries,
+or almond, which are sold in every <i>caf&eacute;</i>, are far
+superior to any English or American beverages.&nbsp; Spanish
+preserves also deserve to be mentioned, and there is one variety,
+known by the name &ldquo;angel&rsquo;s hair,&rdquo; <i>cabello de
+angel</i>, which is delicious.</p>
+<p>Madrid is so much a modern city that at first the stranger
+hardly realizes how pleasantly its inhabitants live.&nbsp; It is
+most fortunately rich in well-shaded parks and beautiful green
+promenades.</p>
+<p>The Prado is the evening gathering-place of the fashionable
+Madrile&ntilde;os, and the <a name="page140"></a><span
+class="pagenum">p. 140</span>tree-shaded promenade, from seven
+o&rsquo;clock onwards, affords the most animated sight.&nbsp; An
+astonishing number of people collect here.&nbsp; In the crossways
+which intersect the carriage-drive, all the families of the city
+walk to enjoy the cool of the evening.&nbsp; The
+Madrile&ntilde;os are seen at their finest here.&nbsp; The
+<i>majos</i>, resembling plates of fashion in their tight,
+faultless clothes, stand about in groups admiring the ladies who
+roll past in landaus, for carriages are essential to fashionable
+Madrid.&nbsp; Some of the men ride the splendid Andalusian
+horses; with manes, long sweeping tails, and gay trappings, like
+the horses that Velazquez painted.&nbsp; The Madrile&ntilde;as
+have adopted the costumes of Paris, and in fashionable attire
+Spanish women always look badly dressed.&nbsp; The
+<i>mantilla</i> is, however, worn by most women, and even a plain
+face looks beautiful in this fascinating head-dress.&nbsp; Like
+all Spanish women, each Madrile&ntilde;a carries a fan, which is
+held open as a parasol to give shade from the sun.&nbsp; A woman
+without a fan is unknown, and there is something truly <a
+name="page143"></a><span class="pagenum">p. 143</span>Spanish in
+the use these vivid, bewitching women make of them.&nbsp; The
+Madrile&ntilde;a collects fans as an English lady collects
+jewels; she will often own more than a hundred of various colours
+and patterns.</p>
+<p style="text-align: center">
+<a href="images/p141.jpg">
+<img alt=
+"Mounting guard in the Plaza De Armas, Royal Palace, Madrid"
+title=
+"Mounting guard in the Plaza De Armas, Royal Palace, Madrid"
+src="images/p141.jpg" />
+</a></p>
+<p>During summer this outdoor parade in the Prado is in gay
+career until midnight; and as the night advances the promenades
+are full of gay noise.&nbsp; There are open-air concerts, and
+dancing takes place upon the open spaces of grass.&nbsp; Around
+the stalls of the <i>refresco</i> sellers, families are seated
+talking gaily together.&nbsp; The greatest animation
+prevails.&nbsp; The Madrile&ntilde;os never seem to be
+tired.&nbsp; The abandonment to happiness is contagious, and the
+stranger will gain a sense of the joy of life as he sees the
+ardent faces of men, women, and children, in whom mirth is never
+vulgar, but as natural as speech.</p>
+<p>In the winter season the Madrile&ntilde;os visit the theatre,
+which every Spaniard adores.&nbsp; Gautier writes that
+&ldquo;long before Shakespeare the Spaniards invented the
+drama.&rdquo;&nbsp; Spain in the sixteenth and seventeenth
+centuries <a name="page144"></a><span class="pagenum">p.
+144</span>produced an almost countless number of dramatic works,
+and a passion for the drama still animates the people.&nbsp;
+Spanish women, as we should expect, are first-rate actresses;
+they mark all shades of character with appreciation and fine
+delicacy.&nbsp; It is interesting to note that it was in Spain
+that women first played women&rsquo;s parts, which in England at
+the same period were entrusted to boys.</p>
+<p>The Teatro Real at Madrid is devoted to Italian opera, but at
+the more popular Teatro Espa&ntilde;ol, where La Guerrero, the
+Bernhardt of Spain holds sway, there is an opportunity of
+witnessing the native dramas of Zorilla, Hartzenbusch, and Tirso
+de Molina, or the modern society plays of Echegaray and
+Galdos.&nbsp; The <i>sainete</i>, which takes the place of our
+&ldquo;curtain-raiser,&rdquo; is usually comic, and those that
+are most popular are adapted from the farces of Cervantes and
+Lope de Rueda.</p>
+<p>Even in the heat of summer the Madrile&ntilde;os visit the
+theatres, but at this season the <a name="page145"></a><span
+class="pagenum">p. 145</span>performances are limited to the
+popular <i>zarzuelas</i>, operettas, four of which are given in
+each evening.</p>
+<p>Spanish children share the love of the theatre which belongs
+to their elders.&nbsp; At the afternoon performances, which are
+given on every Sunday and <i>fiestas</i>, half the house is
+occupied by child ticket-holders, whose interest in the action of
+the piece is astonishing.&nbsp; They applaud with cries of
+&ldquo;<i>bonito</i>&rdquo;; they ask questions, and the house is
+never still for a single instant.</p>
+<p>Spanish children are already grown up when quite young, but
+they are the most fascinating little people, at the same time
+natural and self-conscious, with a sort of precocious
+winsomeness.&nbsp; Their bodies are so full of energy that they
+give an impression of more vivid life than the children of
+Northern countries.</p>
+<p>Nowhere are children happier and more loved than in Spain; the
+<i>ni&ntilde;os</i> are the idols of their parents, and are
+universally treated with indulgence.&nbsp; Yet the Spanish child
+is <a name="page146"></a><span class="pagenum">p. 146</span>not
+spoilt, and the obedient spirit is never lacking.&nbsp; Even the
+poorest child is taught to practise those courtesies of life
+which in Spain are never forgotten.&nbsp; Ask a child his name,
+and after the answer he will always add, &ldquo;at the service of
+God and yourself.&rdquo;&nbsp; No child forgets the &ldquo;<i>mil
+gracias</i>&rdquo; with which a benefit is accepted.&nbsp; I
+recall a small boy of peasant parentage who acted as my guide
+upon one occasion, and who, when asked what gift he would like
+for his service, answered: &ldquo;I shall like best,
+se&ntilde;ora, what pleases you most to give me.&rdquo;&nbsp;
+Even in the prayer which Spanish children offer at night you find
+an expression of this quaint, delicious politeness:</p>
+<blockquote><p>&ldquo;Jesus, Joseph, Mary,<br />
+&nbsp;&nbsp; Your little servant keep,<br />
+While, <i>with your kind permission</i>,<br />
+&nbsp;&nbsp; I lay me down to sleep.&rdquo;</p>
+</blockquote>
+<p>Those who have taught Spanish children all praise their
+intelligence.&nbsp; During the first twelve years of life both
+girls and boys develop more rapidly than other European
+children.</p>
+<p style="text-align: center"><a name="page147"></a><span
+class="pagenum">p. 147</span>
+<a href="images/p147.jpg">
+<img alt=
+"Children at play in the park of the Buen Retiro, Madrid"
+title=
+"Children at play in the park of the Buen Retiro, Madrid"
+src="images/p147.jpg" />
+</a></p>
+<p><a name="page149"></a><span class="pagenum">p. 149</span>This
+precocious understanding is manifest in their games.&nbsp; Go to
+the great park of the Buen Retiro, where during each afternoon
+the young Madrile&ntilde;os are busy with their plays of
+bull-fighting, politics, and flirtations.&nbsp; The children are
+attended by their nurses, who most frequently are the
+<i>pasiegas</i> from Santander, who wear the charming national
+costumes of a pleated red petticoat with silver-lace border,
+velvet bodice, and brightly coloured handkerchief as
+head-dress.</p>
+<p><i>Al toro</i> is the favourite game.&nbsp; The
+<i>ni&ntilde;os</i>, using a mask for the bull and the capes of
+red and yellow which are sold on the stalls, go through the whole
+pantomime of the bull-ring with a vivid and quite grown-up
+delight in the sharp appeal made to their sensations.&nbsp;
+Another group play at soldiers, armed with sticks for swords and
+holding a great flag.&nbsp; Other children, a little older, pass
+the time in flirtations.&nbsp; The boys pay the extravagant
+Spanish compliments to little girls, or in the wooded groves they
+sing the native melodies to the answering songs of the
+nightingales.</p>
+<p><a name="page150"></a><span class="pagenum">p. 150</span>I
+talked with one young singer, who told me he had reached his
+fifteenth year, and already was betrothed.&nbsp; I asked him if
+he were not too young.&nbsp; &ldquo;No, se&ntilde;ora,&rdquo; was
+his answer; &ldquo;God is good, and my parents have money to
+maintain us.&rdquo;&nbsp; Afterwards he took up his song, that
+had something wild and Oriental in its passionate notes.</p>
+<p>Among the excellences of Madrid must be counted her
+Museums.&nbsp; The Armeria with its fine collection of arms and
+weapons, the Museo Naval, and the Museo Arqueologico, furnish
+effective mementoes of the entire tragedy of Spain&rsquo;s
+history.&nbsp; Of her art galleries who can say praise
+enough?&nbsp; It is only in Madrid that it is possible to
+realize, to the full extent of their gifts and limitations, the
+artists of Spain.&nbsp; The Academia de Bellas Artes and the
+Museo de Arte Moderno are rich in pictures.&nbsp; And it is to
+see the Museo del Prado that the stranger visits Madrid; no
+picture-gallery in the world contains a more wonderful collection
+of masterpieces.</p>
+<p>It is a splendid art inheritance that is <a
+name="page151"></a><span class="pagenum">p. 151</span>enshrined
+in the Prado.&nbsp; Spain in the sixteenth and seventeenth
+centuries was closely connected with the countries that were then
+the centres of art.&nbsp; The Catholic Sovereigns had a fine
+taste for pictures, and to them we owe largely the collection of
+the great works which, after the pictures of Velazquez, are the
+glory of the Prado.</p>
+<p>The building, of pale brick and white stone, placed in a
+tree-shaded park, is well designed, and on the whole well
+lighted.&nbsp; Externally it is a model of what a picture-gallery
+should be.&nbsp; A bronze statue of Velazquez stands before the
+entrance.&nbsp; This is fitting.&nbsp; The Prado is in a very
+special way the home of Velazquez.&nbsp; No other nation has been
+so supremely fortunate in preserving almost intact the work of
+her greatest painter.&nbsp; No picture is wanting to the complete
+understanding of his exquisite art.</p>
+<p>In the Prado there are masterpieces by the world&rsquo;s great
+painters&mdash;by Titian, by Rubens, by Raphael, by Albrecht
+D&uuml;rer, by Holbein, and how many others?&nbsp; But <a
+name="page152"></a><span class="pagenum">p. 152</span>even in the
+presence of these masters we seek Velazquez.&nbsp; Here, too,
+Goya astonishes us with his vigorous and wonderful art; there are
+admirable paintings by El Greco, by Ribera, by Murillo; but we
+can see nothing but Velazquez.&nbsp; And the emotion of first
+seeing these pictures is one of awe.&nbsp; We are not in the
+presence of an Old Master, but of a painter who in his perfect
+art forestalled every modern movement in painting.&nbsp; This is
+why Velazquez stands alone among artists.&nbsp; And the lover of
+art journeys to the Prado that he may study his pictures, as the
+pilgrim journeys to the shrine of his saint.</p>
+<h2><a name="page153"></a><span class="pagenum">p.
+153</span>CHAPTER V&mdash;COUNTRY LIFE IN SPAIN</h2>
+<p class="gutsumm">Life in a Spanish <i>Posada</i>&mdash;Spanish
+Peasants&mdash;The Toilers of the Field and other
+Workers&mdash;The <i>Cigarreras</i> of Seville&mdash;The
+<i>Kermesse</i> in the Esclava Gardens&mdash;The Love of
+Festivals&mdash;Easter Day in a Spanish Village&mdash;Third-class
+Travelling&mdash;Wild Life in Spain&mdash;Fishing in the Country
+Districts.</p>
+<p>To know Spain it is not enough to visit the towns.&nbsp; It is
+when the stranger leaves the beaten tracks of travel, and goes to
+the country districts, where the outcome of modern progress is
+still unknown, that he sees the life of ancient Spain almost
+unchanged.&nbsp; I know of no experience more necessary to the
+understanding of the country and its people than a lengthened
+stay in a village <i>posada</i>.&nbsp; The life, indeed, will be
+hard in many ways, and it will be wise for <a
+name="page154"></a><span class="pagenum">p. 154</span>the
+stranger to cultivate the stoicism and indifference to personal
+comfort that characterize the Spaniards themselves; but the
+experience is excellent, and the people you meet are charming in
+their kindness and perfect courtesy.</p>
+<p>The <i>posada</i> is the <i>casa hu&eacute;spedes</i>, or
+house of hospitality for the neighbourhood.&nbsp; The title is no
+misnomer, but stands for what the village <i>posada</i> truly
+is.&nbsp; To stay there is to find a new meaning in the word
+&ldquo;hospitality&rdquo;; it is to know willing service,
+restrained by the fine Spanish courtesy from offensive
+attention.</p>
+<p style="text-align: center">
+<a href="images/p155.jpg">
+<img alt=
+"A bridge and country homes in the mountains of Northern Spain"
+title=
+"A bridge and country homes in the mountains of Northern Spain"
+src="images/p155.jpg" />
+</a></p>
+<p>It is more than probable that the first sight of the
+<i>posada</i> may disturb the stranger.&nbsp; It is built with a
+spacious vestibule.&nbsp; On one side of the stone staircase,
+which gives entrance to the upstairs living-rooms, is a dark
+wineshop, where the men of the village foregather to talk and
+drink the black native wine; while the other side serves as the
+stable, in which the mules, donkeys, oxen, and other animals
+belonging to the <a name="page157"></a><span class="pagenum">p.
+157</span>house, have their home.&nbsp; Many odours cling about
+the dark staircase; the scent of closely packed animals mingles
+with that of garlic, while the air reeks with the fumes of rancid
+<i>aceite</i>, or oil&mdash;the never-to-be-forgotten smell that
+belongs to every <i>posada</i>.&nbsp; The noise in the vestibule
+is deafening and incessant; the men talk in loud voices which are
+piercingly vibrant and metallic.&nbsp; Cackling hens, with maybe
+a fat black pig or little woolly lamb, block the way as one
+climbs the staircase to the living-room.</p>
+<p>This room is bare, but never dirty; the filth which I had been
+led to expect from my experience of some of the smaller inns in
+the towns does not exist in the village <i>posadas</i>.&nbsp; The
+large windows open on to wooden balconies which look out on to
+the tree-shaded <i>plaza</i>.&nbsp; The walls are freshly
+whitewashed, and the bare boards of the floor are scrubbed to
+snowy whiteness by their daily scouring with sand; the curtains,
+too, when there are any, are always white.&nbsp; Sometimes a few
+highly coloured and amazing religious <a name="page158"></a><span
+class="pagenum">p. 158</span>prints in black frames hang upon the
+walls, but, fortunately, more often they are bare.&nbsp; The
+furniture is of the simplest description&mdash;a large table,
+bare of any cloth, that fills most of the room, wooden chairs and
+a Spanish press, a great cupboard which holds the linen of the
+family.&nbsp; The beds are placed in small alcoves which lead out
+of the living-rooms; and these beds are always comfortable, with
+spotless linen, embroidered, lace-trimmed, and brought from the
+lavender-scented chest.&nbsp; There is no fireplace in the
+living-room, and if, as often chances in winter and early spring,
+the weather is cold, the only heat is gained from the
+<i>brasero</i>, whose charcoal ashes give the very faintest glow
+of warmth.&nbsp; The Spaniards accept cold without murmur; they
+wrap themselves in their cloaks, and wait till God sends out the
+sun.</p>
+<p style="text-align: center">
+<a href="images/p159.jpg">
+<img alt=
+"The Village Posada at Matarosa"
+title=
+"The Village Posada at Matarosa"
+src="images/p159.jpg" />
+</a></p>
+<p>The <i>posada</i> is ruled by the se&ntilde;ora.&nbsp; She
+sways a rod of iron over her husband, relatives, servants,
+guests, and the arrangements of the house, being full of energy
+and the vigour of character that is common to <a
+name="page161"></a><span class="pagenum">p. 161</span>Spanish
+women even in old age.&nbsp; She is the characteristic type of
+the Spanish woman of the people, her face a formidable mass of
+wrinkles; <i>jamona</i>, or stout in body, but of surprising
+agility; she is witty, smiling, and contented.&nbsp; From break
+of day until late evening she bustles about, shouting orders as
+she goes from one task to another, yet she seems never hurried,
+never overburdened.&nbsp; How happy she is if her efforts are
+appreciated and her guests enjoy the fare she has provided! how
+her face saddens and clouds if any dish is sent from the table
+uneaten.&nbsp; &ldquo;Mas, mas!&rdquo; (More, more!), is her
+constant cry as she enters the room at the beginning of every
+course to urge her guests to eat.</p>
+<p>To have English visitors staying at her posada filled the good
+se&ntilde;ora with pride.&nbsp; Her satisfaction reached its
+zenith when letters arrived from England.&nbsp; She was loath to
+yield them up.&nbsp; &ldquo;The great English people will know of
+my <i>posada</i> now,&rdquo; she said on one occasion, pointing
+to the address in triumph.&nbsp; With comical humility she <a
+name="page162"></a><span class="pagenum">p. 162</span>asked that,
+in my goodness, I would give her the envelope.&nbsp; How well do
+I remember the joy with which she carried away the torn
+trophy!</p>
+<p>Nothing was too good for these strangers who had come from a
+foreign land to stay at her <i>posada</i>.&nbsp; The best of
+everything the house contained was given up for our use, special
+food was cooked, and the village was ransacked to provide things
+fitting for <i>los Ingl&eacute;ses</i>.&nbsp; On one occasion,
+when I had asked for a certain food not to be obtained in the
+neighbourhood, a messenger was sent on horseback twenty miles
+over the mountains to the nearest town to procure it.&nbsp; Nor
+was any payment allowed for the service.&nbsp; No, the English
+se&ntilde;ora was her guest; she had asked for something, it was
+her duty to provide it.&nbsp; The trouble! the expense! she did
+not understand.&nbsp; In the old Spain service is not rendered
+for payment.</p>
+<p>It is in the villages that one is best able to study the
+peasants and the gipsies.&nbsp; Sunday is the <i>dia festivo</i>,
+when the youths and maidens, dressed in the picturesque native <a
+name="page163"></a><span class="pagenum">p. 163</span>costumes,
+dance and sing to the music of the village piper, who plays the
+<i>dulzaina</i>, a kind of clarionet.&nbsp; He marks the time by
+beating on a drum which is slung around his waist.&nbsp; The
+singing is the tuneless chanting heard so often in Spain, a kind
+of interminable dwelling on one piercing note, not beautiful to
+unaccustomed ears, but disturbing in its strange appeal, which so
+persistently recalls the East.&nbsp; The dances are danced by
+boys and girls and men and women grouped in couples of four or
+six.&nbsp; There is a great deal of movement; the hands keep time
+with the feet, playing castanets hung with bright-coloured
+ribbons.</p>
+<p>In all parts of Spain there are gipsies, but it is in the
+districts of the south that the stranger will see them best, for
+there would seem to be a special affinity between the Andalusian
+and the gipsy character.&nbsp; The Gitanas and Gitanos live in
+communities, often in houses carved out of the mountain
+sides.&nbsp; It is among them that we find the most typical of
+the Spanish dancers.&nbsp; Dancing <a name="page164"></a><span
+class="pagenum">p. 164</span>is a universal accomplishment, a
+part of life, in which every girl and boy takes his or her
+share.</p>
+<p style="text-align: center">
+<a href="images/p165.jpg">
+<img alt=
+"A medi&aelig;val ox-cart, Province of Guip&uacute;zcoa"
+title=
+"A medi&aelig;val ox-cart, Province of Guip&uacute;zcoa"
+src="images/p165.jpg" />
+</a></p>
+<p>On one day in the week the market is held in every small town,
+on the open ground of the <i>plaza</i>, under the overspreading
+trees.&nbsp; Let us look at the market-place at Ampuero, a large
+village in the Basque province of Guip&uacute;zcoa.&nbsp; The
+whole ground space is filled with booths that are piled up with
+fruit and vegetables, with dress-stuffs, pots, water-jugs,
+furniture, and a medley of wares that give bright colour to the
+scene.&nbsp; Peasants from the surrounding hamlets have all come
+to buy and sell.&nbsp; They are dressed in the native
+costume&mdash;the men with the <i>boina</i>, or cap of dark blue
+wool, shaped like a Scotch tam-o&rsquo;-shanter, short smock
+jackets, trousers of bright blue linen, and red or black body
+sashes; and the women with their many-coloured handkerchiefs of
+silk, bright skirts that are short and very wide, and still
+brighter blouses.&nbsp; The Spanish peasants have the delight in
+vivid colour that belongs to all <a name="page167"></a><span
+class="pagenum">p. 167</span>primitive and happy people.</p>
+<p>The sellers and buyers stand about in groups talking in the
+ancient and mysterious Basque language, which once, as
+place-names prove, was spoken over the greater part of the
+Peninsula.&nbsp; All business is carried out in the vivid,
+primitive Spanish manner.&nbsp; And what impresses the stranger
+most is the courtesy and happy good-nature, which makes the
+universal bargaining a game enjoyed alike by buyer and
+seller.</p>
+<p>In one corner of the <i>plaza</i>, under an archway, is a
+stone image, beneath which burns a sacred lamp, and always, as
+they pass, the men and women pause, cross themselves, and make a
+genuflection; religion is part of business.&nbsp; The mules and
+ox-carts stand at the outskirts of the plaza.&nbsp; The mules are
+shaved on the upper part of their bodies and their tails and
+ears, and have a curious appearance; they are thin and badly
+cared for, but this is hidden by their gay trappings.&nbsp; The
+ox-waggons are exceedingly primitive, and as each one arrives a
+hoarse and deafening noise pierces the air.&nbsp; The peasants
+leave <a name="page168"></a><span class="pagenum">p.
+168</span>the wheels of the cart unoiled, and delight in the
+frightful music, which can be heard half a league away; they
+believe that the sound drives off demons.&nbsp; A peasant would
+not own a cart that did not &ldquo;play.&rdquo;</p>
+<p>The Basques claim to be the oldest race in Europe; and it is
+now generally acknowledged that they represent the primitive
+Iberians of Berber stock, who form the fundamental population of
+all Spain.&nbsp; Many primitive customs survive among them, and
+one of the most interesting is that by which the eldest daughter
+in some districts takes precedence over the sons in
+inheritance.&nbsp; They are a people of the mountains, and to
+know the Basques you must live in their villages; even their one
+town, Bilbao, in spite of its industrial and commercial
+prosperity, is really an overgrown village more than a
+city.&nbsp; It offers a striking contrast to Barcelona, the other
+great Spanish seaport, and the most perfect example of a
+commercial city.</p>
+<p style="text-align: center">
+<a href="images/p169.jpg">
+<img alt=
+"Harvesting wheat in the Basque Province of Guip&uacute;zcoa"
+title=
+"Harvesting wheat in the Basque Province of Guip&uacute;zcoa"
+src="images/p169.jpg" />
+</a></p>
+<p>To see the Basques at their finest you <a
+name="page170"></a><span class="pagenum">p. 170</span>must watch
+them in the fields, where the women work side by side with the
+men, and appear to have equal strength with them.&nbsp; They use
+a large and primitively-shaped fork on which both feet are placed
+to force the implement into the ground, and the work is carried
+out with surprising rapidity.</p>
+<p>Great flocks of sheep are reared in Spain, especially in
+Estremadura; each flock belonging to one proprietor is called a
+<i>caba&ntilde;a</i>, and many contain 50,000 sheep.&nbsp; The
+shepherd who guards the <i>caba&ntilde;a</i> is one of the most
+constant figures in the country districts.&nbsp; A million
+arrobes of wool&mdash;an arrobe is about 25 pounds&mdash;are said
+to be obtained in each year, and the wool is famed throughout
+Europe.&nbsp; Although manufactures are not extensively
+developed, I have seen cloth made at Guadalajara that for beauty
+of colour and quality would compare favourably with the
+manufactures of England or France.&nbsp; It is worth noting that
+in some manufactories it is the custom to set aside a portion of
+the wool to be sold for the benefit of souls in <a
+name="page172"></a><span class="pagenum">p.
+172</span>purgatory&mdash;an instance of how in Spain religion is
+connected with everything.</p>
+<p>The most important industries of Spain are wine-making and
+fruit-growing.&nbsp; The country makes all the common wines for
+her own consumption, and the brandies, rich wines, and fruits
+exported form a considerable source of wealth.&nbsp; Many
+thousands of men, women, and children, are employed in these
+industries.&nbsp; At Seville and other towns in the south, the
+women pick the oranges ready to be taken to the ships.&nbsp;
+Great heaps of golden fruit line the groves, which are afterwards
+sorted, the better fruit being wrapped in paper before it is
+packed.</p>
+<p>One of the oldest industries is pottery.&nbsp; The
+<i>jarro</i>, or earthen pots used for water, are made of white
+or red clay, unglazed, and very beautiful in shape.&nbsp; The
+<i>jarro</i> are sold by women in the markets of the towns for a
+few reales&mdash;that is to say, about five or six English
+pence.</p>
+<p style="text-align: center">
+<a href="images/p173.jpg">
+<img alt=
+"An orange-picker, Seville"
+title=
+"An orange-picker, Seville"
+src="images/p173.jpg" />
+</a></p>
+<p>Spanish workers are universally poor, receiving wages so low
+that it is surprising <a name="page175"></a><span
+class="pagenum">p. 175</span>how they live.&nbsp; But they are
+thrifty and sober, while their needs are simple, and their
+hardships are mitigated in some measure by the fact that almost
+all industries are carried on out of doors.&nbsp; In the streets
+of the towns you see men and women at work at the edge of
+pavements, making and mending boots, working sewing-machines,
+preparing leather goods, ironware, and other commodities.&nbsp;
+The shops and small manufactories are open to the street; you can
+see the occupants within making ropes and baskets, saddlebags,
+brushes, and a variety of wares.&nbsp; What impressed me was that
+these workers always looked happy.</p>
+<p>Women play an important part in the life of workaday Spain,
+and the splendid types of these women workers make the foreigner
+think deeply.&nbsp; They are full of energy and vigour even in
+old age.&nbsp; They work as well as the men in the fields,
+turning the soil with forks, training the vines, and garnering
+the grapes and chestnuts.&nbsp; I have seen women carrying
+immense burdens, <a name="page176"></a><span class="pagenum">p.
+176</span>unloading boats, acting as porters, removing household
+furniture.&nbsp; I saw one woman with a chest of drawers easily
+poised upon her head; another, who was quite old, carried a
+bedstead.&nbsp; A beautiful woman porter in one village carried
+our heavy luggage, running with it on bare feet, without sign of
+effort.&nbsp; For what surprised me most was that, in spite of
+hard physical labour, these women are beautiful.&nbsp; They are
+always happy and contented; in their faces, and especially in
+their eyes, is that indescribable expression, the wonderful smile
+of Spanish women.</p>
+<p>A visit to the <i>f&aacute;brica de tabacos</i> at Seville
+will show the stranger a charming scene of labour.&nbsp; The
+rooms of the factory are large, and, although low, are
+airy.&nbsp; They open into outer courts, and the great chambers,
+supported by pillars, resemble a church.&nbsp; Each room has its
+altar, which is decorated with flowers and offerings.&nbsp; As
+the workers pass they cross themselves, and never fail to make
+the customary <a name="page177"></a><span class="pagenum">p.
+177</span>genuflection.&nbsp; Yet, with the easy familiarity
+which is the special feature of the Spaniard&rsquo;s religion,
+they will often place their outer garments upon the altar.&nbsp;
+The <i>cigarreras</i> are deeply religious, and at a recent
+Easter festival one of the <i>pasos</i> of the Virgin was
+presented with a splendid new mantle at a cost of 9,000 dollars,
+for the purchase of which the 7,000 workers had each contributed
+two <i>centimos</i> a week during the preceding year.</p>
+<p>The <i>cigarreras</i>, in brightly coloured costumes, sit at
+work making <i>polvo de Sevilla</i> and <i>tabaco de
+fraile</i>.&nbsp; A skilful worker can easily accomplish ten
+<i>atados</i>, or bundles of fifty cigars, daily.&nbsp; The
+murmur of conversation never ceases; talking seems to aid the
+Spaniards in work.&nbsp; Many of the women have their babies with
+them, whom they tend in the intervals of work; children a little
+older play happily together in groups.&nbsp; It is enough to have
+seen these smiling, contented, industrious women to know that
+life is happy to most women in Spain.</p>
+<p><a name="page178"></a><span class="pagenum">p. 178</span>The
+<i>Kermesse</i>, which is held each year in the Esclava Gardens,
+is the festival of the <i>cigarreras</i>; it is a kind of
+fair.&nbsp; The stalls and booths, where every variety of wares
+are sold, are presided over by the <i>cigarreras</i>, dressed in
+the beautiful Andalusian attire.&nbsp; They chaffer over every
+sale, but they do not seek customers, and appear to be more
+occupied in talking than in selling their goods.&nbsp; All day
+long the gardens are full of gay noise.&nbsp; The women pass to
+and fro; some sit on seats, some rest upon the grass under the
+trees.&nbsp; In the centre of the gardens a platform is erected,
+where in turn the women dance the <i>sevillanas</i> and other
+dances with charming spontaneous enjoyment.&nbsp; The sound of
+castanets and clapping of hands never ceases; the talking is
+deafening.&nbsp; Sometimes there is a quarrel, but this is
+rare.&nbsp; There is a natural refinement in these women, and
+because they are really happy they have no need of riot to
+convince themselves that life is pleasant.</p>
+<p style="text-align: center">
+<a href="images/p179.jpg">
+<img alt=
+"Pottery vendors in a Spanish Market"
+title=
+"Pottery vendors in a Spanish Market"
+src="images/p179.jpg" />
+</a></p>
+<p>Their love of festivals is shared by all <a
+name="page181"></a><span class="pagenum">p. 181</span>Spaniards,
+and everywhere holiday-making is a part of life.&nbsp; In the
+country districts, as in the towns, the <i>Pascua de
+Resurrecci&oacute;n</i> of Easter is the most popular festival,
+when the days are spent in a curious combination of religious
+ceremonial and holiday-making.</p>
+<p>It was my good fortune to spend one Easter in a mountain
+village, where I had an opportunity of seeing the customs of the
+people of old Spain.&nbsp; On Palm Sunday the village was filled
+to overflowing with peasants, many of whom had travelled long
+distances, riding on mules or driving in the wooden ox-carts,
+from the hamlets among the mountains.&nbsp; They were dressed in
+the native costumes.&nbsp; The men wore velvet breeches adorned
+with silver buttons, and leather gaiters, open to show the
+calves; bright sashes of red or yellow silk; jackets of brown
+cloth, with embroidered cuffs and collars; blue or maroon cloaks,
+brightly lined; and pointed hats, adorned with silver
+tassels.&nbsp; The fantastic dress gave the scene an aspect more
+African than European.&nbsp; <a name="page182"></a><span
+class="pagenum">p. 182</span>The women were not so gay, and were
+almost universally attired in black; but the <i>mantilla</i> with
+the white flower, which all wore, gave them an incomparable
+grace.&nbsp; All day the streets were filled with bustle and
+life.&nbsp; Vendors of palms were stationed in every corner
+selling their wares, while boys ran to and fro among the crowds
+with arms full of olive branches.</p>
+<p>The great function was the procession, when the <i>pasos</i>
+were carried through the streets after the celebration of
+Mass.&nbsp; In the <i>plaza</i> a stand had been erected, and
+every seat was filled; people crowded the pavements, and in the
+balconies of every house men and women were closely packed.&nbsp;
+The gendarmes of the little town walked first, marching gravely,
+the representatives of law and order; then followed the children,
+clad in white, and bearing the consecrated palms and olive
+branches; while after them came the priests, dressed in robes
+richly embroidered and trimmed with lace.&nbsp; Upon the
+shoulders of hidden bearers was carried the litter, <a
+name="page183"></a><span class="pagenum">p. 183</span>illuminated
+with hundreds of candles, upon which rested the figure of the
+Virgin, the patron saint of the village.&nbsp; The image was
+hideous, quite without beauty, and decked out in cheap tawdry
+finery, strangely incongruous.&nbsp; But to the peasants she was
+the Mother of God.&nbsp; I saw no sign of levity; the attitude of
+the men as well as of the women was perfectly dignified,
+perfectly religious.&nbsp; All eyes were riveted upon the sacred
+figure, heads were bared, and each man and woman bowed and made
+the sign of the cross as the lighted litter passed.&nbsp; Prayers
+were murmured and blessings invoked.&nbsp; &ldquo;Holy Mother,
+cause the crops to ripen,&rdquo; &ldquo;the sick child to be
+healed,&rdquo; &ldquo;the lover&rsquo;s heart to
+soften&rdquo;&mdash;such were the cries of the women.&nbsp;
+Children pressed forward, dodging unchecked among the gendarmes
+and priests, clamouring for a blessing.&nbsp; One small
+<i>ni&ntilde;a</i> knelt upon the pavement in front of the
+<i>pasos</i>, holding up a white carnation in offering.&nbsp; A
+priest stepped forward, took the flower, and placed it upon the
+litter.</p>
+<p><a name="page184"></a><span class="pagenum">p. 184</span>To
+the children of the village the Easter days brought special
+enjoyment.&nbsp; The part they played in the festival was a
+strange one, giving an example of the old-world customs that live
+so persistently in Spain.&nbsp; On the <i>Viernes Santo</i>, or
+Good Friday, each boy and girl went to church armed with a horn
+and large wooden clapper, upon which strange instruments they
+played to frighten the spirit of the traitor Judas Iscariot, who
+betrayed Se&ntilde;or Dios, the name by which they quaintly
+designate the Saviour.&nbsp; They blew and rattled with a will,
+and the hideous, deafening noise mingled strangely with the music
+of the Mass, for the evil spirit must not escape.&nbsp;
+Incomprehensible survival of an old superstition, blending the
+grotesque with the most sacred service of the Church&mdash;how
+often the stranger is surprised in Spain!</p>
+<p style="text-align: center">
+<a href="images/p185.jpg">
+<img alt=
+"A Basque peasant-girl driving an ox-cart"
+title=
+"A Basque peasant-girl driving an ox-cart"
+src="images/p185.jpg" />
+</a></p>
+<p>The Spaniards are more friendly with one another than any
+people that I know.&nbsp; The stranger will realize this
+travelling in the third-class trains, as he must in the country
+districts, where the expresses do not stop.&nbsp; <a
+name="page187"></a><span class="pagenum">p. 187</span>These
+trains are known as <i>mixto</i>, and convey luggage as well as
+passengers.&nbsp; The carriages are uncomfortable, and not always
+clean, and the speed is very slow.&nbsp; Patience is a quality
+that the visitor to Spain must cultivate.&nbsp; The train may
+start before the advertised time; it may be an hour late.&nbsp;
+No Spaniard is disturbed by such trifles.&nbsp; At the stations
+there is always a crowd of people waiting.&nbsp; There is a kind
+of fatalistic patience in their appearance; they seem not so much
+to be waiting for a particular train, as hoping that presently a
+train will come that will take them to their destination.&nbsp;
+Even when the train arrives there is no hurrying; a start will
+not be made until everyone is ready, for punctuality is a small
+virtue compared with politeness.&nbsp; The long-drawn cry of
+<i>A-a-gua fresco</i>! is always heard.&nbsp; Much time is
+occupied, as everyone in the train seems to want to drink.</p>
+<p>In the carriages the company talk together with excessive
+volubility, and have the appearance of being members of one
+family.&nbsp; <a name="page188"></a><span class="pagenum">p.
+188</span>As soon as you enter questions will be asked.&nbsp;
+&ldquo;Where are you going to?&rdquo;&nbsp; &ldquo;Are you
+Franc&eacute;ses or Ingl&eacute;ses?&rdquo;&nbsp; &ldquo;Why have
+you come to visit their country?&rdquo;&nbsp; &ldquo;Are you
+married, and is the se&ntilde;or who is with you your
+husband?&rdquo;&nbsp; &ldquo;How many children have
+you?&rdquo;&nbsp; &ldquo;How old are you?&rdquo;&nbsp; &ldquo;Why
+do you wear a hat, and not a <i>mantilla</i>?&rdquo;&nbsp;
+&ldquo;And how is it you have no earrings and no
+fan?&rdquo;&nbsp; You will soon become accustomed to this
+interrogation, which is made with no hint of familiarity, and is
+the outcome of a friendliness that wishes to make the stranger at
+home.</p>
+<p>The natives seem to be without a thought of themselves, and
+incapable of considering personal comfort.&nbsp; They will crowd
+upon one seat of the carriage to give the English strangers more
+room.&nbsp; If the weather is cold, they will insist upon giving
+you their cloaks.&nbsp; They talk to you incessantly, explaining
+to you the scenery and various places through which the train
+passes, with delightful childish enthusiasm.&nbsp; They will
+offer you everything in <a name="page191"></a><span
+class="pagenum">p. 191</span>their possession that you chance to
+admire.</p>
+<p style="text-align: center">
+<a href="images/p189.jpg">
+<img alt=
+"Sherry a half-century old, Jerez"
+title=
+"Sherry a half-century old, Jerez"
+src="images/p189.jpg" />
+</a></p>
+<p>I remember saying to a little Spanish maid, &ldquo;What a
+beautiful carnation in your hair!&rdquo;&nbsp; Off came the
+flower.&nbsp; &ldquo;It is at your disposal,
+se&ntilde;ora.&rdquo;&nbsp; I protested with the fitting answer:
+&ldquo;A thousand thanks, but, no, I could not
+accept.&rdquo;&nbsp; But the offer was quite sincere, and, in
+spite of protest, the flower was fastened into my hair, amidst
+the compliments and congratulations of every occupant of the
+carriage.&nbsp; On another journey a fan and a beautiful peasant
+brooch, which I rashly admired, were pressed upon me with the
+same delightful politeness.</p>
+<p>When meal-time arrives, each peasant brings out the
+<i>alforja</i>, or embroidered wallet, which Sancho Panza kept so
+well filled.&nbsp; A huge Spanish loaf is produced, and some of
+the long thin garlic sausages.&nbsp; Slices of the bread are cut
+to serve as plates.&nbsp; But before the meal is begun a hearty
+<i>gusta</i> invites all the other occupants to share in the
+feast.&nbsp; It is customary at this stage to refuse, and
+&ldquo;Muchas gracias&rdquo; is <a name="page192"></a><span
+class="pagenum">p. 192</span>politely murmured.&nbsp; Soon the
+black-leather wine-bottle is brought out of the wallet and a
+packet of some kind of sweetmeat.&nbsp; Now is the time for
+acceptance; the bottle is handed round for everyone to drink, and
+small pieces of the sweetmeat are divided.&nbsp; It is a charming
+experience, provided that you have acquired the skill to drink
+from that curious long-spouted bottle of leather.&nbsp; And if
+you fail, the Spaniards will enjoy the task of teaching you the
+art.</p>
+<p>But, indeed, there is no limit to the helpful friendliness of
+these simple happy people.&nbsp; On one occasion a workman
+abandoned his own journey, and, in spite of our protests, came
+with us.&nbsp; When we arrived at our destination, he spent
+several hours in assisting us to find suitable lodgings in the
+village in which we had planned to stay, where there was no
+regular house of hospitality.&nbsp; He introduced us to the
+inhabitants of the place as his friends, and expended much energy
+to insure our comfort.&nbsp; It is only when work is profitable
+that the Spaniard is ever lazy.&nbsp; <a name="page193"></a><span
+class="pagenum">p. 193</span>He delights to expend an immense
+amount of effort, which may not be considered useful, so long as
+the work makes appeal to his Spanish love of romantic
+effects.&nbsp; It is because this trait is so often overlooked by
+the stranger, who too quickly condemns &ldquo;the lazy
+Spaniards,&rdquo; that I recount this characteristic
+incident.&nbsp; Our friend was genuinely surprised when we
+offered payment for his services; there was a note of dignified
+sorrow in the &ldquo;Muchas gracias&rdquo; of his refusal.&nbsp;
+It had been a privilege to assist <i>los Ingl&eacute;ses</i>,
+whom he admired.&nbsp; Had he not once visited our country?&nbsp;
+We were a great people.&nbsp; He desired that we should think
+well of his country.&nbsp; All he would accept was to share our
+meal, after which he left us&mdash;I suppose, to continue his own
+journey.</p>
+<p>Among the mountains and in many country districts there are
+still no railways.&nbsp; The stranger who travels here has to use
+the diligences, which on certain days in the week run from the
+nearest town to the outlying hamlets.&nbsp; The diligence is a
+kind of <a name="page194"></a><span class="pagenum">p.
+194</span>coach without springs.&nbsp; I know of no other
+conveyance so uncomfortable, except the long car of
+Ireland.&nbsp; It is drawn by a team of gaunt mules, usually six
+in number, with gay harness, and each animal has jangling bells
+around its neck.&nbsp; The driver wears a picturesque dress: a
+brown jacket with coloured collar, a red sash and knee-breeches,
+and a peaked hat adorned with tassels.&nbsp; He drives with a
+tremendous amount of noise, stamping his feet, shouting, and
+brandishing his whip.&nbsp; He beats incessantly the wretched
+mules.&nbsp; The coach is kept at full gallop, and ascends and
+descends the steep hills with a rapidity which is often alarming;
+but accidents are rare, owing to the sure-footedness of the
+mules.</p>
+<p style="text-align: center">
+<a href="images/p195.jpg">
+<img alt=
+"Ruins of the Old Aqueduct, which supplied the Alhambra with
+water, Granada"
+title=
+"Ruins of the Old Aqueduct, which supplied the Alhambra with
+water, Granada"
+src="images/p195.jpg" />
+</a></p>
+<p>It was when travelling in these mountainous districts that we
+gained some knowledge of the wild animals of Spain.&nbsp; We were
+often near to the haunts of boars, wolves, and deer.&nbsp; Bears
+are common in many hilly districts, and that fine wild creature,
+the ibex, ranges the peaks of the <a name="page197"></a><span
+class="pagenum">p. 197</span>higher mountains.&nbsp; Foxes are
+plentiful everywhere, and the wild-cat is far from scarce.&nbsp;
+The marten is often found, and otters live in most of the
+rivers.</p>
+<p>The swamps and ponds are filled with big green frogs, and
+lizards of the same colour are common.&nbsp; The frogs are much
+larger than the English frog, and their peculiar cry, a sort of
+monotonous rumbling, is so loud that it can be heard a mile
+away.&nbsp; The legs of these green frogs are a table delicacy
+much esteemed in many districts.</p>
+<p>In the country hamlets the stranger must be prepared to meet
+discomfort.&nbsp; One of the trials will be hunger.&nbsp; In the
+<i>fondas</i> of the Basque provinces and in the smaller towns
+the fare is ample, and as a rule well cooked.&nbsp; But the
+peasants of Central and Southern Spain are the most frugal
+people, who subsist on a diet that would be refused by the
+poorest workers in England.&nbsp; For the stranger the peasants
+do their utmost, but the diet is limited to eggs, leathery, quite
+tasteless beef, hard stale bread, and thin <a
+name="page198"></a><span class="pagenum">p. 198</span>wine.&nbsp;
+The cooking is always indifferent.&nbsp; The first meal of the
+day consists of a cup of chocolate or coffee, often without milk,
+and a lump of dry bread.&nbsp; There is no butter, and no milk
+except goat&rsquo;s milk, and, strange as it seems in this
+fertile land, vegetables and fruit are always scarce in the
+country villages.&nbsp; The universal dish is <i>garbanzos</i>, a
+large dried pea, which is cooked with garlic as a flavour.</p>
+<p>We spent several months fishing in these districts, and,
+although sometimes we fared tolerably well, more often we had to
+be content with indifferent and inadequate meals.&nbsp; But for
+the sake of experience the stranger can endure discomfort with
+fortitude.</p>
+<p style="text-align: center">
+<a href="images/p199.jpg">
+<img alt=
+"Beaching fishing-boats: the Blue Mediterranean"
+title=
+"Beaching fishing-boats: the Blue Mediterranean"
+src="images/p199.jpg" />
+</a></p>
+<p>There are numerous sport-giving rivers in all parts of Spain,
+which possess all the qualities for the production of
+fish-life.&nbsp; Such rivers as the Sil and Minho contain trout
+as big as any in Europe.&nbsp; The fishing is free, except for a
+licence costing about three shillings.&nbsp; There can be no
+doubt that with proper cultivation these rivers might <a
+name="page201"></a><span class="pagenum">p. 201</span>become a
+fisherman&rsquo;s paradise in the course of a few years.&nbsp;
+But a complete revision of the <i>ley de pesca</i>&mdash;fishing
+law&mdash;is necessary.&nbsp; Rivers are not stocked, and trout
+hatcheries are almost unknown.&nbsp; The poacher is everywhere,
+using snares, spears, and the deadly dynamite.&nbsp; Thousands of
+small fish are scooped out of the small pools of the tributaries
+with pole-nets during dry seasons.&nbsp; But, on the other hand,
+Spain is, happily, almost free, except in the mining districts of
+the north, from poisoned and contaminated waters.&nbsp; There are
+thousands of miles of beautiful rivers with no factories, works,
+or big cities within many leagues of their lengths.&nbsp; Then,
+the fish in the Spanish rivers are splendidly prolific.&nbsp;
+Trout teem in many rivers, where the deep pools baffle the
+poachers, who devote their attention to the shallows and
+tributaries.&nbsp; Salmon are found in many rivers; shad or
+s&aacute;balos, escalos&mdash;a kind of cross between a chub and
+a dace&mdash;barbel, bogas, and other coarse fish, and eels, are
+plentiful.&nbsp; The barbel is different from <a
+name="page202"></a><span class="pagenum">p. 202</span>the barbel
+of England, being a handsomer fish and not so coarse; it is more
+golden in colour, and the scales are less thick.&nbsp; The
+beautiful silvery s&aacute;balos are caught in sunk nets, whose
+opening is concealed by a green bough which looks like
+water-weed, and so deceives the travelling fish.&nbsp; The
+s&aacute;balos will not rise to any bait.&nbsp; They vary from 4
+pounds to 12 pounds in weight, and are an excellent fish to eat,
+resembling the salmon.</p>
+<p>In all parts of Spain there are native anglers.&nbsp; The
+tackle they use is of the rudest description&mdash;a rod made of
+maize stalks, with a hazel switch for the top, coarse casts, and
+flies clumsy and big.&nbsp; But they are all keen, and many of
+them are clever fishermen.&nbsp; At Materosa, a small hamlet on
+the wild Sil, some leagues from the town of Ponferrada, the
+peasants gain their living by fishing with the rod for trout,
+which they send to the market at Madrid.</p>
+<p>I recall Estanislao, a <i>chico</i> who fished with a great
+bamboo rod, which he looked too small to handle.</p>
+<p><a name="page203"></a><span class="pagenum">p. 203</span>We
+talked to him.</p>
+<p>&ldquo;You are also a fisherman?&rdquo;</p>
+<p>&ldquo;Yes, se&ntilde;ora; I have fished all my life, and my
+father before me.&rdquo;</p>
+<p>This <i>chico</i> was a good angler.&nbsp; Standing on a great
+boulder, he cast with a loud swishing noise across the river,
+letting his dozen flies swim on the rough water.&nbsp; At each
+cast the weight of his great rod nearly threw him into the
+whirling current.&nbsp; But he caught more fish than we did.</p>
+<p>We offered him a present of some of our flies.&nbsp; He looked
+at them and smiled.</p>
+<p>&ldquo;Muchas gracias, they are very pretty.&nbsp; But how can
+I catch big trout with these little hooks?&rdquo;</p>
+<p>He laughed till the tears ran down his face.&nbsp; But in a
+minute he remembered the good manners in which every Spanish
+child is trained.&nbsp; He added:</p>
+<p>&ldquo;Mil gracias, se&ntilde;ora!&nbsp; Es favor que usted me
+hace (A thousand thanks, se&ntilde;ora!&nbsp; It is a favour you
+make me).&nbsp; <i>I will keep them as toys</i>!&rdquo;</p>
+<h2><a name="page204"></a><span class="pagenum">p.
+204</span>CHAPTER VI&mdash;SPANISH ART</h2>
+<p class="gutsumm">Spanish Art the Reflection of the Spanish
+Temperament&mdash;The Great Buildings of Spain&mdash;Spanish
+Gothic&mdash;Its Realistic Naturalness, its Massiveness and
+Extravagance&mdash;The Churches, the Real Museums of Art
+Treasures&mdash;Polychrome Sculpture&mdash;Spanish
+Painting&mdash;Its Late Development&mdash;Its Special
+Character&mdash;Its Strength, its Dramatic and Religious
+Character.</p>
+<p>To understand Spain you must know her architecture, her
+sculpture, and her pictures.&nbsp; For in Spain, perhaps to a
+greater extent than in any country, art is the reflection of the
+life and temper of the people.&nbsp; And this is true although
+the essential ideas of her art in building, in carving, and in
+painting, have all been borrowed from other nations.&nbsp; It is
+the distinctive Spanish gift to stamp with the <a
+name="page205"></a><span class="pagenum">p. 205</span>seal of her
+own character all that she learns from without.</p>
+<p>The first, as it has remained the strongest, expression in art
+of this people was in building and in sculpture, which gave
+opportunity for emphasis to their special dramatic
+temperament.&nbsp; We must go back to Rome for another country
+that has spoken in its buildings with the same overwhelming
+force.</p>
+<p>The cathedrals which arose in the period of the nation&rsquo;s
+greatest prosperity were the chief point of attraction&mdash;the
+theatre, the centre, of all life.&nbsp; They were built for the
+honour of God, but also for the enjoyment of the people
+themselves; religion was joyful, popular&mdash;democratic, one
+might say.&nbsp; All the exuberant life garnered by Hispano-Arab
+culture lives in the Spanish buildings.&nbsp; Here Roman,
+Byzantine, and Arab art have passed, and also the Mudejar, the
+Gothic, and the Renaissance&mdash;in fact, all the styles of
+Europe.&nbsp; For this reason there is no native school of
+architecture.&nbsp; Spain possesses few <a
+name="page206"></a><span class="pagenum">p. 206</span>pure
+Gothic, Romanesque, or Renaissance buildings.</p>
+<p>But it is just this complexity which gives to the Spanish
+buildings their special character.&nbsp; The Spanish artists,
+though they lacked creative genius, were no base imitators; they
+sought to combine, and they gave to the temples they had to
+construct that massive, strong, and exuberant spirit that was in
+harmony with their own temperament.&nbsp; In such a cathedral,
+for instance, as that of Burgos we find vigour and joyous
+exuberance rather than reserve and beauty&mdash;a confused
+richness that has a flavour of brutality almost.&nbsp; The sombre
+Gothic can be traced in the older portions of the building, but
+everywhere it has been seized upon by the restless fancy of later
+workers.&nbsp; Spanish architecture is like the Spanish
+manners.&nbsp; The Spaniard can use a floridity of expression
+that would be ridiculous in England.</p>
+<p style="text-align: center"><a name="page207"></a><span
+class="pagenum">p. 207</span>
+<a href="images/p207.jpg">
+<img alt=
+"Choir stalls in the Mosque, Cordova"
+title=
+"Choir stalls in the Mosque, Cordova"
+src="images/p207.jpg" />
+</a></p>
+<p>The carving and moulding of wood and stone and iron in the
+fifteenth century had reached a high level of
+accomplishment.&nbsp; <a name="page209"></a><span
+class="pagenum">p. 209</span>And although none of the
+world&rsquo;s famous sculptors have been Spaniards, the amount of
+strong and beautiful carvings to be found in every part of the
+Peninsula is amazing; in no country can they be surpassed.&nbsp;
+Every great church and cloister contains carvings in wood&mdash;a
+material chosen by the Spaniards for the freedom and facility it
+gave for expression&mdash;which are treasures of delight.&nbsp;
+The immense and amazing retablos and the carved walnut-wood
+choir-stalls which every great church contains cannot be matched
+elsewhere.&nbsp; It is a pity that these characteristic works are
+hardly known; they are the basis of all Spanish art.&nbsp; In no
+country in Europe can be seen more wonderful carvings than on the
+monumental tombs of such cathedrals as Toledo, Zamora, and
+Leon.&nbsp; Again, the ironwork church screens, notably those of
+the cathedrals of Seville, Granada, and Toledo, cannot be
+surpassed.&nbsp; In these works, with their dramatic conceptions,
+finding expression in a wealth of interesting details, never
+without the <a name="page210"></a><span class="pagenum">p.
+210</span>tendency to over-emphasis of statement which marks the
+art of this people, the Spanish character speaks.&nbsp;
+&AElig;sthetic sensibility is almost always absent; the art here
+is vigorous and romantic, frankly expressive, with a kind of
+childlike, almost grotesque, naturalism that shows a realistic
+grasp of all things, even of spiritual things.&nbsp; I recall the
+polychrome sculpture of this people; the images of the anguished
+Virgin, in which sorrow is carried to its utmost limit of
+expression; the bleeding heads of martyred saints, such, for
+instance, as those terrible yet moving heads of the Baptist by
+Alonso Cano at Granada, or the poignantly lifelike polychrome
+carvings of the Crucified Christ by Monta&ntilde;es, Gregorio
+Hernandez, Juni Juanes, and other sculptors, which are seen in
+many churches, and which are carried in procession in the Easter
+<i>pasos</i> at Seville and elsewhere, images in which all the
+details of the Passion are emphasized with an emotional delight
+in the presentment of pain.&nbsp; And when I think of these
+images I understand the bull-fight.</p>
+<p style="text-align: center">
+<a href="images/p211.jpg">
+<img alt=
+"Burgos Cathedral"
+title=
+"Burgos Cathedral"
+src="images/p211.jpg" />
+</a></p>
+<p><a name="page213"></a><span class="pagenum">p. 213</span>Until
+the fifteenth century painting found no home in Spain.&nbsp;
+Placed as she is almost midway between the art centres of
+Flanders in the North and of Italy in the South, Spain has
+geographically a position of equipoise between these conflicting
+art influences.&nbsp; But this balance of influence was modified
+by the bent of the Spanish character, and the true affinity of
+Spain in art has always been with the Flemings.&nbsp; No one can
+doubt this who has a knowledge of the Spanish Primitives.&nbsp;
+The art of Spain is Northern in its literalness, in its dramatic
+force, and deep and singular gravity.</p>
+<p>Jan van Eyck in 1428 visited Portugal and Spain, and, incited
+by the brilliant reception accorded to the great Flemish master,
+other enterprising Netherland painters flocked to the
+Peninsula.&nbsp; From this time the native artists gave their
+attention to painting, and on this Flemish foundation arose a
+really capable group of painters.&nbsp; The essential ideas in
+the pictures of these early masters are all borrowed; but, <a
+name="page214"></a><span class="pagenum">p. 214</span>though
+Flemish in their inspiration, they yet retain an attractive
+Spanish personality of their own.&nbsp; The Spanish painters,
+more perhaps than the painters of any other school, have imitated
+and absorbed the art of other nations without degenerating into
+copyists.</p>
+<p style="text-align: center">
+<a href="images/p215.jpg">
+<img alt=
+"Residence of the Mexican Minister, Madrid"
+title=
+"Residence of the Mexican Minister, Madrid"
+src="images/p215.jpg" />
+</a></p>
+<p>But this development of a national art on the basis of Flemish
+influence was not of long duration, and before the fifteenth
+century closed the newly-born Spanish school was rudely disturbed
+by the introduction into Spain of the Italian influences of the
+Renaissance.&nbsp; The building of the Escorial brought a crowd
+of artists from Italy&mdash;not the great masters, for they were
+no longer alive, but pupils more or less mannered and
+decadent.&nbsp; Spain was overrun with third-rate imitators of
+the Italian grand styles, of Michael Angelo, of Raphael, and
+their followers.&nbsp; This is not the place to speak of the
+blight which fell upon the native painters.&nbsp; The distinctive
+Italian schools were an influence for evil, fatal to <a
+name="page217"></a><span class="pagenum">p. 217</span>the
+expression of the true genius of the people; for the
+deep-feeling, individualistic temper of the Spaniards could not
+be reconciled with the spirit of Italy.</p>
+<p>But the Spanish temper is strong.&nbsp; The native painters
+used Renaissance forms, but they never worked in the Renaissance
+spirit.&nbsp; And it was not long before Spanish artists were
+turning to Venice, where they found a new inspiration in an art
+suited to their temperament in its methods, and in its
+spirit.&nbsp; El Greco, who had received his first inspiration
+from Tintoretto, the mighty master of the counter-Reformation,
+came as a liberating force to Spain.&nbsp; The torch he had
+lighted at Tintoretto&rsquo;s fire burnt in Toledo with splendid
+power.&nbsp; El Greco is the first great Spanish painter.</p>
+<p>And the seventeenth century witnessed in the art of the
+Spanish school one of those surprising outbursts of successful
+life that meet us now and again, in every department of
+enterprise, in this land of fascinating contradictions, which
+give so strange a denial to <a name="page218"></a><span
+class="pagenum">p. 218</span>the usual limit of her
+attainment.&nbsp; It was the century of Velazquez and Murillo, of
+Ribera and Zurbaran.&nbsp; In Velazquez, Spanish painting gained
+its crown of achievement.</p>
+<p>In the period after his great inspiration, imitation seemed
+inevitable to his successors.&nbsp; Spanish painting apparently
+was dead.&nbsp; Yet it was just in this time of degradation that
+the Spanish school was surprised suddenly by the remarkable art
+of Goya.&nbsp; Again a great personality filled the Spanish art
+stage, forcing a reversal of judgment.&nbsp; We forget the usual
+level of the period&rsquo;s achievement; we remember only
+Goya.&nbsp; With him, once more, we are face to face with a new
+force in art.&nbsp; Spain challenges the world again; and she
+gives it its most personal, its most daring genius.</p>
+<p>Such, in briefest outlines, is the history of Spanish
+painting.</p>
+<p style="text-align: center">
+<a href="images/p219.jpg">
+<img alt=
+"The Old Aqueduct, known as &ldquo;El Pueute,&rdquo; of Trajan,
+Segovia"
+title=
+"The Old Aqueduct, known as &ldquo;El Pueute,&rdquo; of Trajan,
+Segovia"
+src="images/p219.jpg" />
+</a></p>
+<p>It will be seen that Spain is not an art-lover&rsquo;s
+paradise.&nbsp; There has never been a time when the
+accomplishment of the Spanish school is really comparable to what
+the Italian <a name="page221"></a><span class="pagenum">p.
+221</span>and Flemish schools have achieved.&nbsp; Spain is not a
+land of great painters.&nbsp; Murillo has sunk to the rank of a
+second-rate master; Ribera and Zurbaran are yet hardly known
+outside Spain.&nbsp; El Greco, Velazquez, Goya&mdash;these are
+the only really great names; and Velazquez towers as much above
+his fellow-artists as Cervantes above his fellow-novelists.&nbsp;
+Spain&rsquo;s claim to the world&rsquo;s attention in the arts,
+as also in literature, rests upon the accomplishment of
+individuals more than upon the general average of her work.&nbsp;
+It is the result of that personal quality&mdash;the predominance
+of character&mdash;which rules every department of Spanish
+achievement.&nbsp; It still lives in the vigorous and
+characteristic Spanish painters of to-day&mdash;such, for
+instance, as Zuloaga, Anglada-Camarasa, and Sorolla, artists who
+take high rank among European painters.</p>
+<p>It is often contended that Spanish paintings, if we except the
+works of the masters El Greco, Velazquez, and Goya, are wanting
+in dignity, wanting in beauty.&nbsp; But are we <a
+name="page222"></a><span class="pagenum">p. 222</span>not too apt
+to confine beauty to certain forms of accepted expression?&nbsp;
+Surely, any art that interprets life has beauty; and no one can
+doubt, who knows the Spanish pictures, that life was the
+inspiration of these painters.</p>
+<p style="text-align: center">
+<a href="images/p223.jpg">
+<img alt=
+"The main gallery in the Museo Del Prado, Madrid"
+title=
+"The main gallery in the Museo Del Prado, Madrid"
+src="images/p223.jpg" />
+</a></p>
+<p>The Spanish character speaks in every Spanish picture.&nbsp;
+There is one quality, which at a first knowledge will impress the
+careful observer, in all these pictures, which, though different,
+all have one aim&mdash;it is their dramatic seriousness.&nbsp;
+Rarely do you meet with a picture in which the idea of beauty,
+whether it be the beauty of colour or the beauty of form, has
+stood first in the painter&rsquo;s mind.&nbsp; Almost in vain
+will you search for any love of landscape, for any passage of
+beauty introduced for its own sake.&nbsp; Pictures of Passion
+scenes, of Assumptions, of martyrdoms and saintly legends, were
+painted with a vivid belief in the reality of these things, by
+men who felt the presence of the Divine life as a part of human
+life.&nbsp; To see these pictures in which <a
+name="page225"></a><span class="pagenum">p. 225</span>homely
+details are introduced into the most sacred themes is to
+understand the Spaniard&rsquo;s easy familiarity with his
+religion.</p>
+<p>This is the reason why the Spanish painters always treat a
+vision as a real scene, and why, too, they present religious and
+saintly characters by Spanish models.&nbsp; There is a Spanish
+picture by Zurbaran in the National Gallery of London; it is
+entitled &ldquo;St. Margaret.&rdquo;&nbsp; You look at the
+picture; you see a Spanish lady, her face powdered, as was the
+fashion; an embroidered saddle-bag hangs on one arm, in the other
+hand she holds a rosary.&nbsp; She is dressed in the picturesque
+Andalusian costume.&nbsp; I always smile when I look at this
+picture, it is so truly Spanish.&nbsp; The incongruity of
+clothing saintship in the garb of fashion would not be evident to
+Spanish Zurbaran; he could not see a saint, therefore he painted
+a woman, but in accordance with the custom of the day he called
+her a &ldquo;saint.&rdquo;</p>
+<p>All the Spanish pictures tell stories.&nbsp; The successes of
+her painters are due to this aim; <a name="page226"></a><span
+class="pagenum">p. 226</span>their failures, to the sacrifice of
+beauty of ideal to this&mdash;a danger from which, perhaps, no
+painter except Velazquez quite escaped.&nbsp; He alone, faultless
+in the balance of his exquisite vision, was saved quite from this
+danger of overstatement.&nbsp; It is the special gift of the
+whole school, from the time of the early painters of Andalusia to
+the time of Goya, to present a scene just as the painter supposed
+it might have happened.&nbsp; Was not their aim to translate
+life&mdash;the life of earth and the truer life of heaven?&nbsp;
+And to the Spaniard, we must remember, life was always
+dramatic.</p>
+<p style="text-align: center">
+<a href="images/p227.jpg">
+<img alt=
+"The Cross by the Wayside, Granada"
+title=
+"The Cross by the Wayside, Granada"
+src="images/p227.jpg" />
+</a></p>
+<p>We find a sort of wild delight in martyrdom, as, for instance,
+in the pictures of Ribera&mdash;a joy that is perfectly sincere
+in pain and in the scourging of the body.&nbsp; There are
+pictures horrible with the sense of death and human
+corruption.&nbsp; Again and again is enforced the Catholic lesson
+of humility, expressing itself in acts of charity to the poor,
+such as exists to-day in the custom of the washing of feet at the
+Easter <a name="page229"></a><span class="pagenum">p.
+229</span>celebrations in Seville.&nbsp; There is a childlike
+sincerity in these pictures which compels us to accept and
+realize what the painter himself believed in.</p>
+<p>I recall the pictures of Zurbaran in the museum of Seville,
+pictures which carry you into a world of realism, a world in
+which visions are translated into the facts of life, set forth
+with a childlike simplicity of statement.&nbsp; Each picture is a
+scene from the life of old Spain.&nbsp; What honesty is here,
+what singular striving to record the truth!&nbsp; (The word
+&ldquo;truth&rdquo; is used in a restricted sense.&nbsp; Zurbaran
+understood nothing of the inner suggestiveness of art; to him art
+meant facts, not vision.)&nbsp; The peasants in his religious
+scenes are almost startling in their outward resemblance to
+life.&nbsp; How simple is his rendering of the Scriptural scenes,
+his conceptions of the Christ!&nbsp; With what poignant reality
+he depicts the Crucifixion, a subject exactly suited to his
+art!&nbsp; His saints are all portraits, faces caught in a
+mirror, the types of old Spain.&nbsp; No one has painted saints
+as <a name="page230"></a><span class="pagenum">p.
+230</span>Zurbaran has done.&nbsp; Before his saints gained their
+sanctity they must have struggled as men; and as we look at the
+cold, strong faces we come to know the spiritual instinct that
+belongs to every true Spaniard.</p>
+<p>Among the Spanish priests to-day, and especially in those
+living in the country districts of Castile, the observant
+stranger will see the types represented in Zurbaran&rsquo;s
+pictures.&nbsp; In the faces of these men, as, indeed, in their
+whole appearance, there is a profound asceticism, a sort of
+energy concentrated in a white heat of devotion.&nbsp; I have
+never seen the same type in Italy, or among the priests of any
+country.&nbsp; But often when watching a Spanish priest, in the
+services of the Church or walking alone on the roads, I have felt
+that I understood the meaning of the phrase, &ldquo;This man has
+embraced religion.&rdquo;</p>
+<p>To all the Spanish painters art was serious&mdash;a matter of
+heaven, not of earth.&nbsp; Each painter was conscious of the
+presence of the Divine life, giving seriousness as well as <a
+name="page231"></a><span class="pagenum">p. 231</span>joy to
+earthly life.&nbsp; It is this which gives Spanish painting a
+special interest to the student of Spain.&nbsp; In their
+ever-present religious sense, in their adherence, almost brutal
+at times, to facts, as well as in those interludes of sensuous
+sweetness which now and again, as, for instance, in the facile
+and pleasing art of Murillo, burst out so strangely like an
+exotic bloom, the Spanish pictures reflect the temper of
+Spain.</p>
+<p>No one can understand Spanish painting who does not know the
+Spanish character.&nbsp; I think, too, that nothing reveals to
+the stranger more truly the Spanish character, which is at once
+so simple and yet so difficult, in its apparent contradictions,
+to comprehend, as a knowledge of the art of her painters.</p>
+<h2><a name="page232"></a><span class="pagenum">p.
+232</span>CHAPTER VII&mdash;ABOUT MANY THINGS</h2>
+<p class="gutsumm">The Real Spirit of Spain&mdash;The Spiritual
+Instinct of the Race&mdash;The Escorial&mdash;Spanish
+Beggars&mdash;The Spaniard belongs to the Past, but also to the
+Future.</p>
+<p>What is the real spirit of Spain?&nbsp; We are now in a better
+position to attempt an answer.&nbsp; The word which I should use
+to represent the main impression made upon me by the character of
+the average Spaniard, the soldier, the bull-fighter, the priest,
+the gentleman, the peasant, is individualism; and it seems to me
+that this attitude explains Spain&rsquo;s greatness in the past,
+and also her position to-day.&nbsp; A love of independence, a
+kind of passionate egotism, and a clannish preference for small
+social groups, has always distinguished this race.&nbsp; To his
+<a name="page233"></a><span class="pagenum">p. 233</span>friends,
+even when they have injured him, the Spaniard is invariably
+indulgent; but those who are outside his circle he regards with
+indifference, which quickly rises to enmity.</p>
+<p>Spain has always been the country of great
+personalities.&nbsp; Her brilliant achievements in every
+department of life&mdash;in warfare, in travel, in politics, in
+literature, and in the arts&mdash;have ever been the result of
+individual, and not of collective, genius.&nbsp; Velazquez is the
+world&rsquo;s greatest painter; Cervantes, the world&rsquo;s
+greatest story-teller.&nbsp; The Spanish spirit, with its
+wide-ranging energy for dramatic enterprise and its passion for
+personal freedom, has filled Spain in the past with martyrs and
+heroes.</p>
+<p>The Spaniard has two devotions: his observance of the
+traditions of his race, and his religion.&nbsp; The ceremonies of
+life, which he never forgets to practise, are so real in his
+hands that they become quite simple and natural.&nbsp; He may
+commit a crime sooner <a name="page234"></a><span
+class="pagenum">p. 234</span>than forget to behave
+gracefully.&nbsp; Every Spaniard, be he beggar, peasant, or
+prince, acts in the tradition of his race, by which every man is
+equal and a gentleman.</p>
+<p>There is an inscription on the staircase of the Ayuntamiento
+(Town Hall) of Toledo which is worth quoting as an instance of
+the Spanish attitude to duty: &ldquo;Noble and judicious men who
+govern Toledo, leave your passions on this staircase&mdash;leave
+there love, fear, and desire of gain.&nbsp; For the public
+benefit forget every private interest, and serve God; He has made
+you the pillars of this august place, be firm and
+upright.&rdquo;</p>
+<p style="text-align: center">
+<a href="images/p235.jpg">
+<img alt=
+"Town and Monastery of the Escorial"
+title=
+"Town and Monastery of the Escorial"
+src="images/p235.jpg" />
+</a></p>
+<p>Religion is the great devotion of the Spaniard: it is much
+more than an attendance upon forms; it is a profound sentiment,
+which in him is the spirit of acceptance.&nbsp; In the sphere of
+devotion this people know no limit to self-sacrifice.&nbsp; It is
+not without significance that Ferrer, the greatest of later-day
+martyrs, was a Spaniard.&nbsp; The spiritual instinct is the
+deepest instinct of the race.&nbsp; In the faces of many
+peasants, <a name="page237"></a><span class="pagenum">p.
+237</span>and in some of the dwellers in the towns, I have seen
+often the making of martyrs and fanatics.&nbsp; The gloom, so
+helpful to the emotion of worship, which pervades all Spanish
+churches is one instance of how truly they comprehend the needs
+of the devotional spirit.&nbsp; The ecstatic attitudes which may
+be noted almost everywhere in the worshippers in the churches is
+quite unlike anything that will be seen in other
+countries&mdash;in Italy, for example, or in France.&nbsp; And
+religion is so real a thing, so truly a part of life, that
+immediately after this absorbed prayer they will talk and laugh
+together.</p>
+<p>But if you would understand the spiritual instinct which so
+remarkably unites the life of this world with the
+after-life&mdash;the instinct which is really at the root of the
+true nature of the Spaniard&mdash;there is one building that the
+stranger must not fail to visit: it is the Escorial, the Royal
+Temple to Death.&nbsp; The spirit of the Escorial is in one
+aspect the spirit of Spain.&nbsp; There is nothing in the <a
+name="page238"></a><span class="pagenum">p. 238</span>country
+more impressive than this mighty Palace of the Dead.&nbsp; It was
+built, as all the world knows, by Philip II., the richest and
+most powerful of Kings, in fulfilment of a vow made on the day of
+the Battle of St. Quentin.&nbsp; We see the suite of small dark
+rooms which he prepared for himself, wherein he might make ready
+for death.&nbsp; And how Spanish are these barely furnished rooms
+set in the midst of a palace&mdash;this withdrawal from all the
+things of this world to prepare for the life of the next
+world!</p>
+<p style="text-align: center">
+<a href="images/p239.jpg">
+<img alt=
+"Puerta Judiciana, or Gate of Justice"
+title=
+"Puerta Judiciana, or Gate of Justice"
+src="images/p239.jpg" />
+</a></p>
+<p>It is in the Pantheon of the Escorial that the Spanish Kings
+are buried.&nbsp; The great outer doors of the palace are never
+opened except when the Sovereigns come for the first time to the
+Escorial, and when their bodies are brought there to the vault
+which awaits them.&nbsp; The Pantheon is a small octagon; it is
+lined with polished marbles, which are crumbling away with a
+strange decomposition.&nbsp; The sarcophagi, all exactly alike,
+are placed in niches that cover all the wall space; almost every
+niche is occupied, <a name="page241"></a><span class="pagenum">p.
+241</span>but a few empty ones await the living.&nbsp; An altar
+with a crucifix of black marble upon a pedestal of porphyry
+stands opposite the doorway.&nbsp; The chamber is very cold, and
+is penetrated only by a few rays of half-extinguished light.</p>
+<p>To-day tourists flock to the Escorial: English, American,
+French&mdash;a strange procession!&nbsp; They seem curiously out
+of place; their expressions of admiration are grotesque in their
+incongruity.&nbsp; There is a deathly solemnity about this mighty
+palace that has something ferocious, almost, in its suggestion.
+Yes, to see this immense building, with its simple structure
+which corresponds so perfectly with the emotion of the place, set
+in such splendid isolation amidst the grey and sombre mountains
+of Old Castile, where it seems but a part of the desolate
+landscape, is to realize that insistence on death and acceptance
+of pain which is so real a part of the Spanish spirit&mdash;the
+shadow which, in spite of all her joyous life, haunts this
+romantic and fascinating land.&nbsp; And the <a
+name="page242"></a><span class="pagenum">p. 242</span>sensitive
+stranger will feel again that he understands the cruelty that has
+surprised him sometimes in the character of her people.</p>
+<p>It was from the Moors that the Spaniards inherited their
+readiness to sacrifice themselves for a cause, and this genius
+for sacrifice has made them heroes, martyrs, and conspirators; it
+has given them their strength, and also their weakness.&nbsp;
+This people can resign themselves to anything, and resignation
+can just as easily be heroism or mere apathy.&nbsp; The heroic
+side of this power gave Spain the greatness of her past history;
+the other side, the resignation that is apathy, may be seen
+everywhere in Spain to-day.&nbsp; One instance is the beggars who
+follow you in the streets of every town, with their incessant cry
+for alms.&nbsp; There is terrible poverty in Spain, of which
+these hordes of beggars are but a too genuine sign.</p>
+<p style="text-align: center">
+<a href="images/p243.jpg">
+<img alt=
+"Municipal plaza and south fa&ccedil;ade of the famous old
+cathedral-seat of the Primate of Spain, Toledo"
+title=
+"Municipal plaza and south fa&ccedil;ade of the famous old
+cathedral-seat of the Primate of Spain, Toledo"
+src="images/p243.jpg" />
+</a></p>
+<p>Begging is a profession of which no one is ashamed.&nbsp; And
+what impressed me most was that only rarely did the beggar appear
+unhappy.&nbsp; <a name="page245"></a><span class="pagenum">p.
+245</span>They all seemed to find their own enjoyment in that
+open-air life in the sun which is the happiness of Spain.&nbsp; I
+recall one beggar who always sat at the door of the Cathedral of
+Leon.&nbsp; He was very old.&nbsp; The cloak in which he was
+wrapped was so worn and threadbare that one wondered how the rags
+held together.&nbsp; He never appeared to move; through each day
+he kept the same position.&nbsp; His face was a mass of wrinkles
+which showed strongly from the ingrained dirt.&nbsp; There was a
+patient humour in his eyes, which were still bright.&nbsp; His
+face reminded me of Velazquez&rsquo; picture.&nbsp; He seemed
+quite content when I refused his cry for alms, so that I gave the
+answer that Spanish courtesy demands, &ldquo;Perdone usted, por
+el amor de Dios!&rdquo; (Excuse me, brother, for the love of
+God!).&nbsp; He hardly troubled to hold out his hand.&nbsp; It
+was warm where he sat in the sunshine; a shadow from the
+sculptured figures of saints and angels, which ornamented the
+portal, fell on him pleasantly.&nbsp; Someone will give to him
+some day; he <a name="page246"></a><span class="pagenum">p.
+246</span>was quite content.&nbsp; He was a man of Spain.</p>
+<p>Spain has something from of old, which the younger countries
+of the world, with all their headlong progress, have as yet only
+begun to gain.&nbsp; That something is tradition.&nbsp; It is
+interesting to note for one&rsquo;s self the signs of this
+tradition in the daily life of the people&mdash;in their fine
+understanding of the art of living, in their unfailing courtesy,
+in their kindness in all personal relationships.&nbsp; I have
+never known a people with so little thought of themselves or care
+for personal gain.&nbsp; The greatest gift of their inheritance
+is a splendid capacity for sacrifice.&nbsp; And if, as must be
+acknowledged, this quality has led them often into evil,
+nevertheless it will, with awakened knowledge, gain their
+redemption.</p>
+<p style="text-align: center">
+<a href="images/p247.jpg">
+<img alt=
+"The valley of the Guadalev&iacute;n River, Ronda"
+title=
+"The valley of the Guadalev&iacute;n River, Ronda"
+src="images/p247.jpg" />
+</a></p>
+<p>In England, and even more in America&mdash;the newest as Spain
+is one of the oldest of civilizations&mdash;business is the only
+respectable pursuit, including under business literature and the
+arts, which in these countries are <a name="page249"></a><span
+class="pagenum">p. 249</span>departments of business.&nbsp; In
+Spain this is not so; there are other aims and other traditions,
+havens of refuge from the prevalent commercialism.</p>
+<p>The duty of expending great labour to gain the little good of
+money is not as yet understood by the Spaniards.&nbsp; They have
+always been, and still are, a people who stand definitely for art
+and the beauty of life&mdash;men and women whose spiritual
+instinct enables them to open windows to the stars, and through
+these windows, in passing, the stranger sometimes looks.</p>
+<p style="text-align: center">
+<a href="images/p250.jpg">
+<img alt=
+"Flamenco dance of a Gitana, Seville"
+title=
+"Flamenco dance of a Gitana, Seville"
+src="images/p250.jpg" />
+</a></p>
+<p>Literature and art in Spain rest on a long tradition which has
+not only produced pictures, carvings, splendid buildings, and
+books, but has left its mark on the language, the manners, the
+ideas, and the habits of the people.&nbsp; And even though in
+every art the technical tradition has been interrupted, there
+remains the tradition of feeling.&nbsp; Spain is one of the few
+uncommercial countries where the artist and the author are still
+esteemed as worthy and profitable <a name="page251"></a><span
+class="pagenum">p. 251</span>members of the community.&nbsp;
+Spanish paper money bears the portraits of men of letters and
+great painters.&nbsp; Goya&rsquo;s etchings are reproduced on the
+pictures used as stiffeners in the packets of cigarettes.</p>
+<p>It is this ever-present consciousness of a great tradition,
+which we may call an understanding of &ldquo;good manners,&rdquo;
+meaning by this the art of beautiful living, finding its
+expression as it does in the common life of the people, that
+makes it true that, though the Spaniard belongs to the Past, he
+belongs also to the Future.&nbsp; He has the qualities which
+younger nations now are striving to gain.</p>
+<p>Side by side with the new growth of material prosperity, which
+has been so marked in the country in recent years, there is
+to-day a corresponding movement of spiritual reawakening.&nbsp;
+When education spreads among the people, when the over-scrupulous
+submission to authority, which has given power to the officialism
+of Church and State, shall have found new channels of duty, we
+shall <a name="page252"></a><span class="pagenum">p.
+252</span>cease to hear dismal prophecies of Spain&rsquo;s
+downfall.&nbsp; By the splendid spiritual qualities of her people
+Spain will be saved.&nbsp; She will be born again before many
+years have passed.</p>
+<h2><a name="page253"></a><span class="pagenum">p.
+253</span>INDEX</h2>
+<table>
+<tr>
+<td><p><i>Al toro</i>, the game of,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page149">149</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Alc&aacute;zar, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page113">113</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Algeciras,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page13">13</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Alhambra, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page103">103</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Andalusian, the typical,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page115">115</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>&ldquo;Angel&rsquo;s hair,&rdquo;</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page139">139</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Architecture,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page205">205</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Architecture in Toledo,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page99">99</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Art,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page204">204</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Art galleries,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page150">150</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>Banderilleros</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page50">50</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Basques, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page168">168</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Beggars,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page68">68</a></span>, <span class="indexpageno"><a
+href="#page242">242</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Boina</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page164">164</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Bolero</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page36">36</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Bota</i>, or leather bottle,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page18">18</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Bull-fight, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page43">43</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Burgos Cathedral,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page206">206</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Business v. Art,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page249">249</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>Caba&ntilde;a</i> a,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page170">170</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Caf&eacute;s cantantes</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page36">36</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Caf&eacute;s in Madrid,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page138">138</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Calientes</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page125">125</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Carvings,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page206">206</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Casetas</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page72">72</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Children, Spanish,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page145">145</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Chulos</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page50">50</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Cigarreras</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page46">46</a></span>, <span class="indexpageno"><a
+href="#page177">177</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Climate of Madrid, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page139">139</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Conservatism of Spain,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page14">14</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Consumos</i>, or Customs officers,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page18">18</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Cordova,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page105">105</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Court of Oranges at Cordova,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page106">106</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Cruelty in the Spanish nature,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page60">60</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Dancing,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page35">35</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Democracy in Spain,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page19">19</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Diligences,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page193">193</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Dress,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page25">25</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Dulsaina</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page163">163</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>El Greco,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page98">98</a></span>, <span class="indexpageno"><a
+href="#page217">217</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Escorial, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page237">237</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Espada</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page53">53</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>F&aacute;brica de Tabacos</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page176">176</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Family life,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page72">72</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Fans,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page140">140</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Feria</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page72">72</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Fishing,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page198">198</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Flamenco</i> dance of the Gitanas,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page39">39</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Food, indifferent,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page198">198</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Friendliness,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page188">188</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Frogs as a delicacy,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page197">197</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Fruit-growing,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page172">172</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Ganivet on Moorish influence,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page29">29</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Gardens,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page30">30</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Generalife</i> of Granada, the</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page33">33</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Gente flamenca</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page46">46</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Giralda Tower, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page113">113</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Gitana women,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page74">74</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Gitanas, the, or gipsies,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page36">36</a></span>, <span class="indexpageno"><a
+href="#page163">163</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Goya,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page218">218</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Granada, the gardens of,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page33">33</a></span>, <span class="indexpageno"><a
+href="#page103">103</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Hair, elaborately dressed,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page25">25</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Hospitality of the Spaniards,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page125">125</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Households, Spanish,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page123">123</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Houses, construction of,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page25">25</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Indifference to pain,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page63">63</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Irun,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page13">13</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><a name="page254"></a><span class="pagenum">p.
+254</span>Jan Van Eyck,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page213">213</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Jarro</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page172">172</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Jota</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page39">39</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>Kermesse</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page178">178</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Kindliness of the Spanish nature</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page68">68</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Madrid,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page130">130</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Majos</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page115">115</a></span>, <span class="indexpageno"><a
+href="#page140">140</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Mana&ntilde;a,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page59">59</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Maria de Gaucin, torero,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page45">45</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Market, a,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page164">164</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Montan&eacute;s, the sculptor,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page83">83</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Moorish influence,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page25">25</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Moors in Spain, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page26">26</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Mosque at Cordova,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page106">106</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Muleta</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page53">53</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Museo del Prado,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page150">150</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Museums,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page150">150</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Ox-waggons,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page167">167</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Pain, the Spaniard&rsquo;s indifference to,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page64">64</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Painting,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page213">213</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Pascua de Resurrecci&oacute;n</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page181">181</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Paseo de la Cuadrilla</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page49">49</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Pasos</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page80">80</a></span>, <span class="indexpageno"><a
+href="#page182">182</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Patio</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page25">25</a></span>, <span class="indexpageno"><a
+href="#page120">120</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Peasants, Spanish,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page164">164</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Physical traits,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page24">24</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Picador</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page50">50</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Plaza de Toros, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page46">46</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Port Bou</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page13">13</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Posada</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page18">18</a></span>, <span class="indexpageno"><a
+href="#page153">153</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Prado, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page139">139</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Puerta del Sol, the</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page138">138</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Railway trains,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page184">184</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Rastro of Madrid, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page134">134</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Reja</i>, the, or grating,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page120">120</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Religion and dancing,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page78">78</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Religious processions,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page83">83</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Romance, Spain the home of,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page14">14</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>Sainete</i>, or &ldquo;curtain-raiser,&rdquo;</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page144">144</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Santa Maria, Cathedral of,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page87">87</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Seguidilla, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page73">73</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Seises</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page79">79</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Semana Santa, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page80">80</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Serenos</i>, or night watchmen,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page17">17</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Seville,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page36">36</a></span>, <span class="indexpageno"><a
+href="#page46">46</a></span>, <span class="indexpageno"><a
+href="#page80">80</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Spanish character, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page20">20</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Stendhal on the Spanish people,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page14">14</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Suerte de Banderillear</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page50">50</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Suerte de Matar</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page53">53</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Suerte de Picar</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page50">50</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Teatro Real at Madrid,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page144">144</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Tertulias</i>, or parties,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page124">124</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Theatre in Spain, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page145">145</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Thrift and sobriety,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page175">175</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Toledo,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page93">93</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Toreros, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page45">45</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Toro de gracia</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page54">54</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Tower of Gold, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page113">113</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Unpunctuality,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page187">187</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>Vacada</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page45">45</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Velazquez,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page151">151</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p><i>Ventas</i>,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page77">77</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p>Wild animals,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page194">194</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Wine-making,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page172">172</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Women, fascination of Spanish,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page119">119</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Women, Spanish,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page24">24</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Women workers,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page175">175</a></span></p>
+</td>
+</tr>
+<tr>
+<td colspan="2"><p style="text-align: right">&nbsp;</p>
+</td>
+</tr>
+<tr>
+<td><p><i>Zegu&aacute;n</i>, the,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page26">26</a></span></p>
+</td>
+</tr>
+<tr>
+<td><p>Zurbaran,</p>
+</td>
+<td><p style="text-align: right"><span class="indexpageno"><a
+href="#page225">225</a></span></p>
+</td>
+</tr>
+</table>
+<div class="gapspace">&nbsp;</div>
+<div class="gapmediumline">&nbsp;</div>
+<p style="text-align: center"><span class="GutSmall">BILLING AND
+SONS, LTD., PRINTERS, GUILDFORD.</span></p>
+<h2>Footnote</h2>
+<p><a name="footnote0"></a><a href="#citation0"
+class="footnote">[0]</a>&nbsp; The pagination of the printed book
+could not be totally reproduced in this eText.&nbsp; The
+illustrations, which don&rsquo;t carry a page number, take up two
+page numbers&mdash;hence the &ldquo;gaps&rdquo; in the page
+numbering you see in this eText.&nbsp; Similarly, as the
+illustrations are inserted somewhat randomly and with no
+reference to the text, they often appear in the middle of
+paragraphs which have nothing to do with them.</p>
+<p>Most page numbers related to the illustrations have been
+removed in this etext, and the list of illustrations has had the
+page numbers adjusted to those pages which carry page numbers in
+the printed book.</p>
+<p>Lastly, the filenames of the illustrations are based on their
+original but unprinted page numbering in the book.&nbsp; E.g. an
+illustration named &ldquo;p47.jpg&rdquo; would be where page 47
+of the printed book should be.&mdash;DP.</p>
+<p>***END OF THE PROJECT GUTENBERG EBOOK THINGS SEEN IN SPAIN***</p>
+<pre>
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