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diff --git a/40201-h/40201-h.htm b/40201-h/40201-h.htm new file mode 100644 index 0000000..59ab8d1 --- /dev/null +++ b/40201-h/40201-h.htm @@ -0,0 +1,5227 @@ +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" /> +<title>Things seen in Spain, by C. Gasquoine Hartley</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + P.gutsumm { margin-left: 5%;} + P.poetry {margin-left: 3%; } + .GutSmall { font-size: 0.7em; } + H1, H2 { + text-align: center; + margin-top: 2em; + margin-bottom: 2em; + } + H3, H4, H5 { + text-align: center; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + table { border-collapse: collapse; } +table {margin-left:auto; margin-right:auto;} + td { vertical-align: top; border: 1px solid black;} + td p { margin: 0.2em; } + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .smcap {font-variant: small-caps;} + + .pagenum {position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-weight: normal; + color: gray; + } + img { border: none; } + img.dc { float: left; width: 50px; height: 50px; } + p.gutindent { margin-left: 2em; } + div.gapspace { height: 0.8em; } + div.gapline { height: 0.8em; width: 100%; border-top: 1px solid;} + div.gapmediumline { height: 0.3em; width: 40%; margin-left:30%; + border-top: 1px solid; } + div.gapmediumdoubleline { height: 0.3em; width: 40%; margin-left:30%; + border-top: 1px solid; border-bottom: 1px solid;} + div.gapshortdoubleline { height: 0.3em; width: 20%; + margin-left: 40%; border-top: 1px solid; + border-bottom: 1px solid; } + div.gapdoubleline { height: 0.3em; width: 50%; + margin-left: 25%; border-top: 1px solid; + border-bottom: 1px solid;} + div.gapshortline { height: 0.3em; width: 20%; margin-left:40%; + border-top: 1px solid; } + .citation {vertical-align: super; + font-size: .8em; + text-decoration: none;} + img.floatleft { float: left; + margin-right: 1em; + margin-top: 0.5em; margin-bottom: 0.5em; } + img.floatright { float: right; + margin-left: 1em; margin-top: 0.5em; + margin-bottom: 0.5em; } + img.clearcenter {display: block; + margin-left: auto; + margin-right: auto; margin-top: 0.5em; + margin-bottom: 0.5em} + --> + /* XML end ]]>*/ + </style> +</head> +<body> +<pre> + +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"> </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">“RECORD OF SPANISH PAINTING,” +“MOORISH CITIES</span><br /> +<span class="GutSmall">IN SPAIN,” ETC.</span></p> +<div class="gapspace"> </div> +<p style="text-align: center">WITH FIFTY ILLUSTRATIONS</p> +<div class="gapspace"> </div> +<p style="text-align: center">LONDON<br /> +SEELEY, SERVICE & CO. LIMITED<br /> +38 <span class="smcap">Great Russell Street</span><br /> +1912</p> +<div class="gapspace"> </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 & 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. +</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. +</span><span class="GutSmall"><i>With 50 +Illustrations</i></span></p> +<blockquote><p>“A successful series by capable +writers.”—<i>Times</i>.</p> +</blockquote> +<p style="text-align: center">THINGS SEEN IN HOLLAND<br /> +<span class="GutSmall">BY C. E. ROCHE. </span><span +class="GutSmall"><i>With 50 Illustrations</i></span></p> +<blockquote><p>“A charming addition to the series . . . +eminently readable.”—<i>The Morning Post</i>.</p> +</blockquote> +<p style="text-align: center">THINGS SEEN IN EGYPT<br /> +<span class="GutSmall">BY E. L. BUTCHER. </span><span +class="GutSmall"><i>With 50 Illustrations</i></span></p> +<blockquote><p>“Mrs. Butcher is thoroughly conversant with +her subject . . . excellently written.”—<i>The +Globe</i>.</p> +</blockquote> +<p style="text-align: center">THINGS SEEN IN CHINA<br /> +<span class="GutSmall">BY J. R. CHITTY. </span><span +class="GutSmall"><i>With 50 Illustrations</i></span></p> +<blockquote><p>“By a writer who adds grace and style to +entire familiarity with the country and +people.”—<i>The Birmingham Post</i>.</p> +<p>“A racy description of the social life of the +Chinese.”—<i>The Scotsman</i></p> +</blockquote> +<p style="text-align: center">THINGS SEEN IN JAPAN<br /> +<span class="GutSmall">BY CLIVE HOLLAND. </span><span +class="GutSmall"><i>With 50 Illustrations</i></span></p> +<blockquote><p>“A delightful little +book.”—<i>The Church Times</i>.</p> +<p>“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.”—<i>The Manchester Guardian</i>.</p> +</blockquote> +<p style="text-align: center">SEELEY, SERVICE & 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> </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—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</p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page13">13</a></span>–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—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 <i>Feria</i>, the Holiday +<a name="pagevi"></a><span class="pagenum">p. vi</span>of the +Sevillians—Religion: its Place in the National +Life—The Dance of the <i>Seises</i>—Holy Week in +Seville—Religious Processions—The <i>Paseos</i></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page58">58</a></span>–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—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 <i>Café’s</i> and Shops—The +Typical Andalusian—The Parks—The +<i>Sevillanas</i>—Spanish Courtship—The Houses of +Seville—The <i>Patios</i>—The Home-life of the +Sevillians—Spanish Hospitality</p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page93">93</a></span>–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—The Old Town—The +Rastro—The New Town—The Puerta del +Sol—<i>Cafés</i>—The +<i>Aguadores</i>—The <a name="pagevii"></a><span +class="pagenum">p. vii</span>Prado Park—The +Theatre—Spanish Children—The Museums—The +Picture-galleries</p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page130">130</a></span>–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>—Spanish +Peasants—The Toilers of the Field and other +Workers—The <i>Cigarreras</i> of Seville—The +<i>Kermesse</i> 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</p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page153">153</a></span>–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—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</p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page204">204</a></span>–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—The Spiritual Instinct of +the Race—The Escorial—Spanish Beggars—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>–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>–254</p> +</td> +</tr> +</table> +<h2><a name="pageix"></a><span class="pagenum">p. ix</span>LIST +OF ILLUSTRATIONS</h2> +<table> +<tr> +<td><p> </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 Alcázar, 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’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>“Las Planchadoras”</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—THE FASCINATION OF SPAIN</h2> +<p class="gutsumm">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.</p> +<p>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 <a name="page14"></a><span class="pagenum">p. 14</span>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.</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 mediæval +Europe. “I regard the Spanish people,” says +Stendhal, “as the living representatives of the Middle +Ages.”</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. 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 <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. These are the +types that have remained unchanged.</p> +<p>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.</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. The <i>serenos</i>, 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.</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. 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 <i>consumos</i> 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.</p> +<p>If the town is small, the <i>posada</i> where you seek for +lodging will have a wineshop below. 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. They are +taking wine from the <i>bota</i>, 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 <a name="page19"></a><span +class="pagenum">p. 19</span>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 <i>caballero</i> to feel at home.</p> +<p>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 <i>Señor</i> +is given alike to God and to a beggar. 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. 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 <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. 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, <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. 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.</p> +<p>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” <a name="page24"></a><span +class="pagenum">p. 24</span>spirit of modern civilization. +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. 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.</p> +<p>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 <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—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. 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.</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. 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. Each house still has +its <i>buzon</i>, and is fronted with a <i>zaguán</i>, or +vestibule of wood.</p> +<p>In every department of Spanish life we meet with this +persistence of the Moorish influence. This need not +surprise us.</p> +<p>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.</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. 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. 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.</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. 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.</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. 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.</p> +<p>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!</p> +<p>Many of these old gardens have perished. Cordova has +lost all except its Orange Court and the old garden of the ruined +Alcázar. <a name="page33"></a><span +class="pagenum">p. 33</span>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.</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. 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 +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.</p> +<p>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 <a +name="page34"></a><span class="pagenum">p. 34</span>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.</p> +<p>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<sup>’</sup>-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 <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>“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.”</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! 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. 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. Granada and Malaga are also centres of dancing, and +sometimes good performances may be witnessed at Madrid. But +the best <i>cafés cantantes</i>, 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 <i>cafés</i>. 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.</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. +“What majesty, what decorum, what distinction!” <a +name="page39"></a><span class="pagenum">p. 39</span>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 <i>jota</i> 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 +<i>jota</i>. 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.</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. A group of performers sit in a semicircle upon a small +stage. 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. 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 <a name="page43"></a><span class="pagenum">p. +43</span><i>oles</i> 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.</p> +<p style="text-align: center"> +<a href="images/p41.jpg"> +<img alt= +"A group of dancers at the “Feria,” Seville" +title= +"A group of dancers at the “Feria,” 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—their love of strong, quite elemental +sensation. 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. It is <a name="page44"></a><span +class="pagenum">p. 44</span>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.</p> +<p>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, <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. 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.</p> +<p>The <i>toreros</i> are the idols of the Spanish people. +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. There is something splendidly attractive in their +perfect bodily equipoise, with every muscle trained to faultless +precision. The <i>toreros</i> have in the highest degree +strength, agility, and grace. Even women have been +<i>toreros</i> and Madame Dieulafoy tells of one +<i>Doña</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. 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. 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.</p> +<p>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 <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. 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.</p> +<p>The entire performance is carried out with an elaborate +ceremony of detail which the stranger often finds difficult to +appreciate. The President enters his <i>palco</i>. +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. 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 <i>toril</i>. In a few moments the first bull rushes +into the arena. The combat has begun.</p> +<p>The fight is divided into three acts. 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. Sometimes +they come to close quarters, a <i>picador</i> is thrown, his +horse is wounded, or perhaps killed. The shouts of the now +excited crowd show that this is the critical moment. 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. 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 +<i>picadores</i> retire.</p> +<p style="text-align: center"> +<a href="images/p51.jpg"> +<img alt= +"The Falls of the Guadalevín, the Great Gorge and New +Bridge, Ronda" +title= +"The Falls of the Guadalevín, the Great Gorge and New +Bridge, Ronda" +src="images/p51.jpg" /> +</a></p> +<p>The <i>banderilleros</i> take their place. This is the +<i>Suerte de Banderillear</i>, the second act, the object of +which is to inflame the bull. The <i>banderilleros</i> +place the barbed darts, or <i>banderillas</i>, in the shoulders +of the bull. Each is about 2 feet long, of curious device, +and ornamented with long coloured streamers. <a +name="page53"></a><span class="pagenum">p. 53</span>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 <i>banderillero</i> 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.</p> +<p>The last act is the <i>Suerte de Matar</i>. The chief +<i>espada</i> 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 <i>muleta</i>, 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 <a +name="page54"></a><span class="pagenum">p. 54</span>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 <i>espada</i> 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!</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. 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. 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.</p> +<h2><a name="page58"></a><span class="pagenum">p. +58</span>CHAPTER II—THE SPANISH PEOPLE</h2> +<p class="gutsumm">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 +<i>Feria</i>, the Holiday of the Sevillians—Religion: its +Place in the National Life—The Dance of the +<i>Seises</i>—Holy Week in Seville—Religious +Processions—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. 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—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.</p> +<p>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 <i>mañana</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. 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. 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.</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, “El Chorro,” between +Boladilla and Malaga" +title= +"The Cave of the Doves, “El Chorro,” between +Boladilla and Malaga" +src="images/p61.jpg" /> +</a></p> +<p>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 <a +name="page63"></a><span class="pagenum">p. 63</span>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 +<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. 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.</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. 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 <i>naïveté</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. 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 +<i>reales</i>. At once it was given to me, and I set it +free. But what was the result? 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. 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.</p> +<p>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.</p> +<p>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. <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. 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.</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. For his friend he is +ready to sacrifice his life—a quality which Strabo <a +name="page71"></a><span class="pagenum">p. 71</span>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.</p> +<p>It is these seemingly contradictory impulses that puzzle the +stranger in estimating the Spanish character. 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. 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.</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. 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 <i>casetas</i>, 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 <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. One side of the <i>caseta</i> is entirely open, so +that all can see the company within. 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. 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. 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 <i>Feria</i> everyone is +accepted as a friend. 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. +The effect on the company <a name="page74"></a><span +class="pagenum">p. 74</span>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 <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. 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 +<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. <i>Caballeros</i> ride +their horses up and down to show off their points. 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. At +intervals there are little <i>ventas</i>, or refreshment booths, +where the people buy a <i>refresco</i>. 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 <i>aguadores</i> 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.</p> +<p>“Seville,” it has been said, “lights up for +a <i>fiesta</i> as a face lights up with a smile.” +And evening is the time at which the <i>Feria</i> looks its +best. 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. The soft warm air is +fragrant with the scent of the blossoming orange-trees. In +each <i>caseta</i> 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.</p> +<p>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 <a +name="page79"></a><span class="pagenum">p. 79</span>have made the +ritual of their religion a part of their life’s +enjoyment.</p> +<p>Nothing shows this better than the strange mediæval +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. 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. +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.</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. It is the people’s holiday as truly as is the +<i>Feria</i>; both are “holy days.”</p> +<p style="text-align: center"> +<a href="images/p81.jpg"> +<img alt= +"A Village “Pasos.”" +title= +"A Village “Pasos.”" +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. 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 <i>pasos</i>, vehicular traffic is +stopped, all business ceases. 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. 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 +<a name="page83"></a><span class="pagenum">p. 83</span>that +religion takes in the life of the people. 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. 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 +<i>paso</i> is followed by the members of the <i>cofradia</i>, 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 <a name="page84"></a><span +class="pagenum">p. 84</span>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.</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. Before the doors of the City Hall there is a +pause to greet the <i>Alcalde</i>, 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 <i>mantillas</i>, 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 <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’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. 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.</p> +<p>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 <a name="page88"></a><span +class="pagenum">p. 88</span>wear their <i>terno celeste</i>, +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 <i>pasos</i> 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 +<i>Cirio Pascual</i>, the great candle, 25 feet high and +770–880 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. 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. There <a +name="page91"></a><span class="pagenum">p. 91</span>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.</p> +<p>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, +<i>Gloria in Excelsis</i> 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.</p> +<p><a name="page92"></a><span class="pagenum">p. 92</span>This is +the end of the Holy Week ceremonies. The women put off +their black, and now appear in white lace <i>mantillas</i> 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.</p> +<h2><a name="page93"></a><span class="pagenum">p. +93</span>CHAPTER III—TOWN LIFE IN SPAIN</h2> +<p class="gutsumm">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 <i>Cafés</i> and Shops—The Typical +Andalusian—The Parks—The +<i>Sevillanas</i>—Spanish Courtship—The Houses of +Seville—The <i>Patios</i>—The Home-life of the +Sevillians—Spanish Hospitality.</p> +<p>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. <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. +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.</p> +<p>Your first impression is of something extraordinarily +austere. 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 Alcázar, Toledo" +title= +"Bridge of Alcantara and the Alcázar, 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. 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. 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.</p> +<p>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 +<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. Yet often the streets seem deserted. +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, “Un caukie sou! Un +caukie sou!” remind you of the life hidden in the sleeping +city.</p> +<p>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.</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. 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. 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 <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. 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.</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. 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. +<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. 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>. Always you seem to catch an echo of that +<i>ultimo suspiro del Moro</i>. 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. 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, <a +name="page104"></a><span class="pagenum">p. 104</span>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.</p> +<p>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. <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. 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.</p> +<p>Cordova suffers from the memory of a past greatness which she +cannot now support. Gautier describes the city as <i>le +squelette blanché et calciné</i>. 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.</p> +<p>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 <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 “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.</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. You +will see the women of Cordova gathered around the great +<i>almîda</i> fountain with their red-brown pitchers to +fill. You will hear them chattering, telling the news of +the day. 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. 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 <i>coplas</i> 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.</p> +<p style="text-align: center"> +<a href="images/p108.jpg"> +<img alt= +"Puerta Del Perdón (Gate of Pardon) the Mosque, Cordova" +title= +"Puerta Del Perdón (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. +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. 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.</p> +<p style="text-align: center"> +<a href="images/p111.jpg"> +<img alt= +"The Queen’s Chamber, Alhambra, Granada" +title= +"The Queen’s Chamber, Alhambra, Granada" +src="images/p111.jpg" /> +</a></p> +<p>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 <a +name="page113"></a><span class="pagenum">p. 113</span>Moors gave +to Spain, which finds its expression to-day in the +Spaniard’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. 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—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.</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. The old +saying is still true: “To him whom God loves He gives a +home in Seville.”</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. 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 <i>Sevillanos</i>. +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 <a +name="page115"></a><span class="pagenum">p. 115</span>pavements +or sit in one of the many <i>cafés</i>, 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 <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>cafés</i> 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 <i>refrescos</i> +or sip from their small glasses of <i>aguardiente</i>. +Their enjoyment is <a name="page116"></a><span class="pagenum">p. +116</span>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.</p> +<p>Inside the shops, which have doors wide open to the street, +groups of women sit to buy fans and <i>mantillas</i>. +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.</p> +<p>“But the <i>mantilla</i> is dear, +señor.”</p> +<p>He throws out his hands in protest.</p> +<p>“No, señorita; I am giving it away at ten +<i>pesetas</i>.”</p> +<p>“Is the quality good?” and she raises her eyebrows +in bewitching incredulity.</p> +<p>“As good as God’s blessing.”</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—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—that +the ladies of Seville drive and promenade each afternoon. +The <i>majos</i> 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!”</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. 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 <a name="page120"></a><span class="pagenum">p. +120</span>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.</p> +<p style="text-align: center"> +<a href="images/p121.jpg"> +<img alt= +"A group of workers in a “patio” at Seville" +title= +"A group of workers in a “patio” 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. They are all—the houses of the poor as well +as those of the rich citizens—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. Into this +<i>patio</i> 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 +<i>reja</i>, or grating, leads into the street. 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. Every afternoon and evening the youth of the family +laugh and sing and dance to the rattle of the castanets. 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 “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.</p> +<p>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. <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. 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.</p> +<p>In their home life there is a love of visiting and a love of +receiving visitors. <i>Tertulias</i>, 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 <i>azucarillos</i> +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.</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. 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.</p> +<p>“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 <i>planchadora</i>, and was ironing +with her assistants on our entrance—and gave herself up +solely to help and entertain us. 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. Nor +would she consent to receive the payment which we, with our +foreign stupidity, offered to her on our departure. 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. 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 +<i>nowhere</i> 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 <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. 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= +"“Las Planchadoras” (laundresses) at work, Seville" +title= +"“Las Planchadoras” (laundresses) at work, Seville" +src="images/p127.jpg" /> +</a></p> +<h2><a name="page130"></a><span class="pagenum">p. +130</span>CHAPTER IV—TOWN LIFE IN SPAIN +(<i>continued</i>)</h2> +<p class="gutsumm">Madrid: its Situation—The Old +Town—The Rastro—The New Town—The Puerta del +Sol—<i>Cafés</i>—The +<i>Aguadores</i>—The Prado Park—The +Theatre—Spanish Children—The Museums—The +Picture-galleries.</p> +<p>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 <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. 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.</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. 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.</p> +<p>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 <a name="page134"></a><span class="pagenum">p. +134</span>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.</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. 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 <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. Some +of the women have perfectly-shaped faces with magnetic eyes that +recall the East. 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. She +reminded me of Goya’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. 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.</p> +<p>The Madrileños spend their lives in the streets and +squares, almost all of which are wide, clean, and well +paved. 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. 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. 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 <i>azúcar</i> 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.</p> +<p>Most of the <i>cafés</i> are in this quarter, and they +are always filled. They are less attractive in their +outside appearance than the <i>cafés</i> of Seville, but +the refreshments served are excellent. The +Madrileños, like all Spaniards, drink more water than +wine. 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>cántaro</i> of white or brown +clay and reed basket, containing glasses, sticks of +<i>azucarillos</i>, 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.</p> +<p>Perhaps it is the climate which causes the Madrileños +always to suffer thirst. The <i>bebidas heladas</i>, or +iced drinks, flavoured with orange, lemon, strawberry, cherries, +or almond, which are sold in every <i>café</i>, 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,” <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. 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 +Madrileños, and the <a name="page140"></a><span +class="pagenum">p. 140</span>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 +<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. 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 +<i>mantilla</i> 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 <a +name="page143"></a><span class="pagenum">p. 143</span>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.</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. There are open-air concerts, and +dancing takes place upon the open spaces of grass. Around +the stalls of the <i>refresco</i> 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.</p> +<p>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 <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. +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.</p> +<p>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 <i>sainete</i>, 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.</p> +<p>Even in the heat of summer the Madrileños 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. 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. They applaud with cries of +“<i>bonito</i>”; 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. 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>niños</i> are the idols of their parents, and are +universally treated with indulgence. Yet the Spanish child +is <a name="page146"></a><span class="pagenum">p. 146</span>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 “<i>mil +gracias</i>” 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:</p> +<blockquote><p>“Jesus, Joseph, Mary,<br /> + Your little servant keep,<br /> +While, <i>with your kind permission</i>,<br /> + I lay me down to sleep.”</p> +</blockquote> +<p>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.</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. 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 +<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. The +<i>niños</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. +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.</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. 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.</p> +<p>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.</p> +<p>It is a splendid art inheritance that is <a +name="page151"></a><span class="pagenum">p. 151</span>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.</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. 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.</p> +<p>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 <a +name="page152"></a><span class="pagenum">p. 152</span>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.</p> +<h2><a name="page153"></a><span class="pagenum">p. +153</span>CHAPTER V—COUNTRY LIFE IN SPAIN</h2> +<p class="gutsumm">Life in a Spanish <i>Posada</i>—Spanish +Peasants—The Toilers of the Field and other +Workers—The <i>Cigarreras</i> of Seville—The +<i>Kermesse</i> 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.</p> +<p>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 <i>posada</i>. 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 huéspedes</i>, or +house of hospitality for the neighbourhood. The title is no +misnomer, but stands for what the village <i>posada</i> 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.</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. 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 <a name="page157"></a><span class="pagenum">p. +157</span>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 +<i>aceite</i>, or oil—the never-to-be-forgotten smell that +belongs to every <i>posada</i>. 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.</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>. The +large windows open on to wooden balconies which look out on to +the tree-shaded <i>plaza</i>. 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 <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. 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 +<i>brasero</i>, 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.</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 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 <a +name="page161"></a><span class="pagenum">p. 161</span>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; <i>jamona</i>, 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.</p> +<p>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 <i>posada</i> now,” she said on one occasion, pointing +to the address in triumph. 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. 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>. 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 Ingléses</i>. 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.</p> +<p>It is in the villages that one is best able to study the +peasants and the gipsies. 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. 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.</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. 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 <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 mediæval ox-cart, Province of Guipúzcoa" +title= +"A mediæval ox-cart, Province of Guipúzcoa" +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. 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 <i>boina</i>, 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 <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. 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.</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. 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 <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. A peasant would +not own a cart that did not “play.”</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. 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.</p> +<p style="text-align: center"> +<a href="images/p169.jpg"> +<img alt= +"Harvesting wheat in the Basque Province of Guipúzcoa" +title= +"Harvesting wheat in the Basque Province of Guipúzcoa" +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. 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>cabaña</i>, and many contain 50,000 sheep. The +shepherd who guards the <i>cabaña</i> 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 <a +name="page172"></a><span class="pagenum">p. +172</span>purgatory—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. 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.</p> +<p>One of the oldest industries is pottery. The +<i>jarro</i>, or earthen pots used for water, are made of white +or red clay, unglazed, and very beautiful in shape. The +<i>jarro</i> are sold by women in the markets of the towns for a +few reales—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. 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.</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. 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, <a name="page176"></a><span class="pagenum">p. +176</span>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.</p> +<p>A visit to the <i>fábrica de tabacos</i> 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 <a name="page177"></a><span class="pagenum">p. +177</span>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 <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>. A skilful worker can easily accomplish ten +<i>atados</i>, 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.</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. 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. 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 <i>sevillanas</i> 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.</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. In the +country districts, as in the towns, the <i>Pascua de +Resurrección</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. 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. <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. 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.</p> +<p>The great function was the procession, when the <i>pasos</i> +were carried through the streets after the celebration of +Mass. 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. +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, <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. 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 +<i>niña</i> knelt upon the pavement in front of the +<i>pasos</i>, holding up a white carnation in offering. 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. 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 <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 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!</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. The stranger will realize this +travelling in the third-class trains, as he must in the country +districts, where the expresses do not stop. <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. 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 +<i>A-a-gua fresco</i>! is always heard. 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. <a name="page188"></a><span class="pagenum">p. +188</span>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 <i>mantilla</i>?” +“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.</p> +<p>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 <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, “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.</p> +<p>When meal-time arrives, each peasant brings out the +<i>alforja</i>, 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 +<i>gusta</i> invites all the other occupants to share in the +feast. It is customary at this stage to refuse, and +“Muchas gracias” is <a name="page192"></a><span +class="pagenum">p. 192</span>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.</p> +<p>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. <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. 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 <i>los Ingléses</i>, +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.</p> +<p>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 <a name="page194"></a><span class="pagenum">p. +194</span>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.</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. 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 <a name="page197"></a><span +class="pagenum">p. 197</span>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.</p> +<p>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.</p> +<p>In the country hamlets the stranger must be prepared to meet +discomfort. One of the trials will be hunger. In the +<i>fondas</i> 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 <a +name="page198"></a><span class="pagenum">p. 198</span>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 <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. 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. 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 <a +name="page201"></a><span class="pagenum">p. 201</span>become a +fisherman’s paradise in the course of a few years. +But a complete revision of the <i>ley de pesca</i>—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 <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. 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.</p> +<p>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.</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>“You are also a fisherman?”</p> +<p>“Yes, señora; I have fished all my life, and my +father before me.”</p> +<p>This <i>chico</i> 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.</p> +<p>We offered him a present of some of our flies. He looked +at them and smiled.</p> +<p>“Muchas gracias, they are very pretty. But how can +I catch big trout with these little hooks?”</p> +<p>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:</p> +<p>“Mil gracias, señora! Es favor que usted me +hace (A thousand thanks, señora! It is a favour you +make me). <i>I will keep them as toys</i>!”</p> +<h2><a name="page204"></a><span class="pagenum">p. +204</span>CHAPTER VI—SPANISH ART</h2> +<p class="gutsumm">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.</p> +<p>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 <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. 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’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 <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. 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.</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. <a name="page209"></a><span +class="pagenum">p. 209</span>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 <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. +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 +<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. 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. +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.</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. 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, <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. 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. 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 <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. 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.</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. It was the century of Velazquez and Murillo, of +Ribera and Zurbaran. In Velazquez, Spanish painting gained +its crown of achievement.</p> +<p>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.</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 “El Pueute,” of Trajan, +Segovia" +title= +"The Old Aqueduct, known as “El Pueute,” of Trajan, +Segovia" +src="images/p219.jpg" /> +</a></p> +<p>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 <a name="page221"></a><span class="pagenum">p. +221</span>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.</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. 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? +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. +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 <a +name="page225"></a><span class="pagenum">p. 225</span>homely +details are introduced into the most sacred themes is to +understand the Spaniard’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. 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.”</p> +<p>All the Spanish pictures tell stories. 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—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.</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—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 <a name="page229"></a><span class="pagenum">p. +229</span>celebrations in Seville. 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. 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 <a name="page230"></a><span class="pagenum">p. +230</span>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.</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’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.”</p> +<p>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 <a +name="page231"></a><span class="pagenum">p. 231</span>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.</p> +<p>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.</p> +<h2><a name="page232"></a><span class="pagenum">p. +232</span>CHAPTER VII—ABOUT MANY THINGS</h2> +<p class="gutsumm">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.</p> +<p>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 +<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. 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.</p> +<p>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 <a name="page234"></a><span +class="pagenum">p. 234</span>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.</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: “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.”</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. 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, <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. 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.</p> +<p>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 <a +name="page238"></a><span class="pagenum">p. 238</span>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!</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. 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, <a name="page241"></a><span class="pagenum">p. +241</span>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.</p> +<p>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 <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. +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.</p> +<p style="text-align: center"> +<a href="images/p243.jpg"> +<img alt= +"Municipal plaza and south façade of the famous old +cathedral-seat of the Primate of Spain, Toledo" +title= +"Municipal plaza and south façade 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. And +what impressed me most was that only rarely did the beggar appear +unhappy. <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. 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 <a name="page246"></a><span class="pagenum">p. +246</span>was quite content. 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. 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.</p> +<p style="text-align: center"> +<a href="images/p247.jpg"> +<img alt= +"The valley of the Guadalevín River, Ronda" +title= +"The valley of the Guadalevín River, Ronda" +src="images/p247.jpg" /> +</a></p> +<p>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 <a name="page249"></a><span +class="pagenum">p. 249</span>departments of business. 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. 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.</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. 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 <a name="page251"></a><span +class="pagenum">p. 251</span>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.</p> +<p>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.</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. +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’s +downfall. By the splendid spiritual qualities of her people +Spain will be saved. 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>Alcázar, 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>“Angel’s hair,”</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"> </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"> </p> +</td> +</tr> +<tr> +<td><p><i>Cabaña</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>Cafés 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>Cafés 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"> </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"> </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"> </p> +</td> +</tr> +<tr> +<td><p><i>Fábrica 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"> </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"> </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"> </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"> </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"> </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"> </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>Manaña,</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>Montanés, 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"> </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"> </p> +</td> +</tr> +<tr> +<td><p>Pain, the Spaniard’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 Resurrección</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"> </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"> </p> +</td> +</tr> +<tr> +<td><p><i>Sainete</i>, or “curtain-raiser,”</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"> </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"> </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"> </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"> </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"> </p> +</td> +</tr> +<tr> +<td><p><i>Zeguán</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"> </div> +<div class="gapmediumline"> </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> The pagination of the 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