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+*** START OF THE PROJECT GUTENBERG EBOOK 63136 ***
+
+ THE SPANISH SERIES
+
+
+ VALENCIA AND MURCIA
+
+
+
+
+ THE SPANISH SERIES
+
+ _EDITED BY ALBERT F. CALVERT_
+
+
+ GOYA
+ TOLEDO
+ MADRID
+ SEVILLE
+ MURILLO
+ CORDOVA
+ EL GRECO
+ VELAZQUEZ
+ THE PRADO
+ THE ESCORIAL
+ VALENCIA AND MURCIA
+ SCULPTURE IN SPAIN
+ ROYAL PALACES OF SPAIN
+ GRANADA AND ALHAMBRA
+ SPANISH ARMS AND ARMOUR
+ LEON, BURGOS AND SALAMANCA
+ CATALONIA AND THE BALEARIC ISLES
+ VALLADOLID, OVIEDO, SEGOVIA,
+ ZAMORA, AVILA AND ZARAGOZA
+
+
+
+
+ VALENCIA
+ AND MURCIA
+ A GLANCE AT AFRICAN SPAIN
+ BY A. F. CALVERT
+ WITH 288 PLATES
+
+
+ LONDON: JOHN LANE, THE BODLEY HEAD
+ NEW YORK: JOHN LANE COMPANY: MCMXI
+
+
+
+
+ THE BALLANTYNE PRESS TAVISTOCK STREET COVENT GARDEN LONDON
+
+
+
+
+CONTENTS
+
+
+ PAGE
+
+THE OLD KINGDOM OF VALENCIA 1
+
+SAGUNTUM AND CASTELLON 26
+
+THE KINGDOM OF MURCIA 33
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+VALENCIA
+
+TITLE PLATE
+
+General View 1
+
+General View, looking South 2
+
+View from the Puente del Mar 3
+
+General View 4
+
+View from the Puente del Mar 5
+
+Entrance to the Town by the Puerta de Santa Lucia 6
+
+The Fair at the Puerta de Santa Lucia 7
+
+Puerta de Serranos 8
+
+Puerta de Cuarte 9
+
+The Market-Place 10
+
+The Puente Real 11
+
+Paseo de la Glorieta 12
+
+Paseo de la Glorieta 13
+
+Paseo de la Alameda 14
+
+Fountain of the Alameda 15
+
+Plaza de la Aduana 16
+
+Plaza de Santo Domingo 17
+
+Plaza de San Francisco 18
+
+Plaza de Tétuan 19
+
+Plaza de la Constitucion 20
+
+Calle de la Bajada de San Francisco 21
+
+Calle de San Vicente 22
+
+Tros Alt 23
+
+Calle de la Bolseria y Tros Alt 24
+
+General View of the Cathedral 25
+
+The Cathedral: Gate of the Apostles 26
+
+The Cathedral: Puerta del Palau 27
+
+The Cathedral: A Door 28
+
+The Temple 29
+
+The Miguelete 30
+
+Church of Santa Catalina 31
+
+Church of Santa Catalina 32
+
+Church of Los Santos Juanes 33
+
+Façade of San Miguel el Real 34
+
+Church of Santa Cruz 35
+
+Church of Santa Cruz 36
+
+Entrance to the Church of San Andrés 37
+
+The Campo-Santo 38
+
+The Campo-Santo 39
+
+The Campo-Santo 40
+
+The Audiencia, old Palace of the Cortes 41
+
+Royal Hall in the Audiencia, upper part 42
+
+Royal Hall in the Audiencia, lower part 43
+
+Interior Door of the Audiencia 44
+
+The Exchange 45
+
+The Exchange: Detail of the Gallery 46
+
+Interior of the Exchange 47
+
+Interior Door of the Exchange 48
+
+Colegio del Patriarca 49
+
+Courtyard in the Colegio del Patriarca 50
+
+Courtyard of the University 51
+
+Entrance to the Civil Hospital 52
+
+Gate of Mosen S’Orrell 53
+
+The Custom-House 54
+
+The Archbishop’s Palace 55
+
+The Bull-Ring 56
+
+Tobacco Factory 57
+
+A Private House 58
+
+Statue of King Jaime 59
+
+Statue of Ribera 60
+
+Statue of St Christopher 61
+
+Palace of the Marqués de Dos Aguas 62
+
+Palace of the Marqués de Dos Aguas 63
+
+Portal of the Palace of the Marqués de Dos Aguas 64
+
+Palace of the Marqués de Ripalda 65
+
+General View of Grao 66
+
+Grao Harbour 67
+
+Grao Harbour 68
+
+Grao Harbour 69
+
+Camino del Grao: Hermitage of Ave Maria 70
+
+A “Tartana,” or Char-à-banc 71
+
+Peasants 72
+
+Peasants 73
+
+Peasants 74
+
+Types of Women 75
+
+“Tribunal des Eaux” 76
+
+Barbers on the Bridge of Serranos 77
+
+Zigzag of the Cabrillas 78
+
+A Road in Cabañal 79
+
+A Road in Cabañal 80
+
+The Shores of the Mediterranean 81
+
+The Shores of the Mediterranean 82
+
+
+MURVIEDRO
+
+General View 83
+
+General View 84
+
+View from the Station 85
+
+View from the Castle 86
+
+The Castle and Town 87
+
+The Castle 88
+
+The Castle from one of the Courts 89
+
+Entrance to the Castle 90
+
+General View of the Roman Amphitheatre 91
+
+General View of the Roman Amphitheatre 92
+
+The Roman Amphitheatre 93
+
+Interior of the Roman Amphitheatre 94
+
+Principal Gate of the Roman Amphitheatre 95
+
+Entrance to the Roman Amphitheatre 96
+
+Entrance to the Roman Amphitheatre 97
+
+JATIVA
+
+General View 98
+
+View from the Station 99
+
+The Civil Hospital 100
+
+
+ALICANTE
+
+General View 101
+
+The Castle 102
+
+View from the Castle 103
+
+The Breakwater 104
+
+General View 105
+
+General View 106
+
+General View 107
+
+Paseo de los Martires 108
+
+Paseo de los Martires 109
+
+Paseo de los Martires 110
+
+Paseo de los Martires 111
+
+Paseo de Nuñez 112
+
+The Town Hall 113
+
+The Town Hall 113
+
+Monument to Quijano 115
+
+The Bull-Ring 116
+
+
+ELCHE
+
+General View 117
+
+General View 118
+
+General View 119
+
+View of the Town 120
+
+Plaza Mayor 121
+
+View from the Station 122
+
+The Road to Alicante 123
+
+The Road from Alicante 124
+
+The Town Hall 125
+
+Church of San Juan 126
+
+Bridge over the Rambla de Elche 127
+
+View from the Railway Bridge 128
+
+The Canal 129
+
+Washing Linen in the Canal 130
+
+A Canal 131
+
+Tower of Rapsamblanc, belonging to the Conde de
+Luna 132
+
+Castle of the Duque de Altamira, now a Prison 133
+
+Mill and Castle of the Duque de Altamira 134
+
+Castle of the Duque de Altamira 135
+
+Castle and Mill 136
+
+Palms 137
+
+Country Spinners 138
+
+Casa de la Huerta 139
+
+A Country Road 140
+
+A Country House 141
+
+A Country House 142
+
+A Famous Palm 143
+
+A Palm celebrated for its Resemblance to a Column 144
+
+Palm Groves 145
+
+A Road 146
+
+
+SAX
+
+General View 147
+
+
+MURCIA
+
+General View 148
+
+View from the Tower of the Cathedral, towards the
+South 149
+
+View of the Town 150
+
+General View of the Town 151
+
+General View of the Town 152
+
+General View of the Town 153
+
+General View 154
+
+The Bridge 155
+
+The River 156
+
+The Bridge over the Segura 157
+
+The River Segura 158
+
+The Fair 159
+
+The Fair 160
+
+The Market-Place 161
+
+Plaza de Santo Domingo on Market-Day 162
+
+Paseo del Malecon 163
+
+Plaza de Santa Catalina 164
+
+Plaza de Toros, now Plaza de San Agustin 165
+
+Paseo del Arenal 166
+
+Plaza de San Pedro 167
+
+Paseo de Floridablanca and Palace of the Exhibition 168
+
+Plaza de Santa Isabella 169
+
+Calle del Puente 170
+
+Plaza de la Gloriéta 171
+
+Plaza de la Gloriéta 172
+
+The Cathedral 173
+
+General View of the Cathedral 174
+
+Principal Façade of the Cathedral 175
+
+Tower of the Cathedral 176
+
+Side Door of the Cathedral 177
+
+The Cathedral: Gate of the Apostles 178
+
+The Cathedral: Chapel of the Marqués de los Velez 179
+
+The Cathedral: Detail of the Façade 180
+
+Detail of the Cathedral 181
+
+The Cathedral: Window of the Belfry 182
+
+The Cathedral: Principal Nave 183
+
+The Cathedral: Lateral Nave 184
+
+The Cathedral: Behind the Choir 185
+
+The Cathedral: Entrance to the Chapel of the Marqués
+de los Velez 186
+
+The Cathedral: Chapel of the Marqués de los Velez 187
+
+The Cathedral: The High Altar 188
+
+The Cathedral: The High Altar 189
+
+The Cathedral: General View of the Choir 190
+
+The Cathedral: The Bishop’s Throne, in the Choir 191
+
+The Cathedral: Detail of the Choir Stalls 192
+
+The Cathedral: Detail of the Choir Stalls 193
+
+The Cathedral: The Sacristy 194
+
+The Cathedral: Tomb of Alfonso the Wise 195
+
+Church of Santo Domingo 196
+
+Church of Santo Domingo 197
+
+Church of San Bartolomé 198
+
+Façade of the Convent de la Misericordia 199
+
+Palace of the Marqués de Villafranca de los Velez, and
+Convent of Santa Clara 200
+
+The Episcopal Palace 201
+
+Casa Huerta de las Bombas 202
+
+Palace of the Marqués de Almodovar 203
+
+Palace of the Baron de Albalá 204
+
+Palace of the Marqués de Espinardo 205
+
+The “Contraste” 206
+
+Monument to Salzillo 207
+
+Roman Altar dedicated to Peace, found in Carthagena
+and moved in 1594 to the Palace of the Marqués de
+Espinardo 208
+
+House in the Calle Jaboneria 209
+
+House of the Painter Villasis 210
+
+A Balcony in the Calle Traperia 211
+
+Puerta Cadenas 212
+
+Teatro de Romea 213
+
+The Bull-Ring 214
+
+The Town Hall 215
+
+The Town Hall 216
+
+Procession leaving the Church of Jesus in Holy Week--St.
+Veronica 217
+
+Procession leaving the Church of Jesus in Holy Week--The
+Kiss of Judas 218
+
+Procession in Holy Week. The Garden of Gethsemane 219
+
+Procession in Holy Week. Our Lord Falling 220
+
+Procession in Holy Week. The Scourging 221
+
+Church of Jesus. The Last Supper, by Zarzillo 222
+
+Pilgrimage of St. Blas 223
+
+Ruins of the Arab Baths 224
+
+Environs of Murcia: Convent of San Jeronimo 225
+
+Environs of Murcia: Hermitage of the Fuensanta 226
+
+Environs of Murcia: Hermitage of the Fuensanta 227
+
+Environs of Murcia: Hermitage of the Fuensanta 228
+
+Environs of Murcia: Castle of Monteagudo 229
+
+Paisaje de la Huerta 230
+
+Paisaje de la Huerta 231
+
+Paisaje de la Huerta 232
+
+A Cart Loaded with “Tinajas” 233
+
+Harvest-Time 234
+
+Environs of Murcia: The Huerta des Capucins 235
+
+Environs of Murcia: The Huerta des Capucins 236
+
+Environs of Murcia: View from the Huerta des
+Capucins 237
+
+Environs of Murcia: The Huerta des Capucins--Date-Gathering 238
+
+
+ORIHUELA
+
+General View 239
+
+General View from the Puerta de Murcia 240
+
+The River Segura 241
+
+The River Segura from the East 242
+
+Door of the Church of Santiago 243
+
+
+CARTHAGENA
+
+General View 244
+
+A Partial View 245
+
+View from the Station 246
+
+View from the High Road 247
+
+View from Quitapellijos 248
+
+View from the Fort of Atalaya 249
+
+View from the Fort of Atalaya 250
+
+View from St. Joseph’s Mill 251
+
+View from St. Joseph’s Mill 252
+
+View from the Fort of Galera 253
+
+View from the Fort of Galera 254
+
+View of the Harbour 255
+
+Santa Lucia and the Harbour 256
+
+The Harbour from Santa Lucia 257
+
+The Harbour from Santa Lucia 258
+
+The Harbour from the Powder Magazine 259
+
+The Harbour from Trincabatijos 260
+
+View from the Esplanadero 261
+
+The Entrance to the Harbour from Trincabatijos 262
+
+The Breakwater 263
+
+Entrance to the Harbour 264
+
+Entrance to the Arsenal 265
+
+Puerta del Mar 266
+
+Puerta de Murcia 267
+
+Plaza de las Monjas 268
+
+The Marine College 269
+
+The Bull-Ring 270
+
+
+ARCHENA
+
+The Baths, from La Sierra de Verdelena 271
+
+General View of the Baths from the West 272
+
+General View of the Baths at the Entrance to the
+Village 273
+
+Entrance to the Baths 274
+
+The Carretera and River Segura 275
+
+View of the Church 276
+
+Interior of the Church 277
+
+The Church: Altar of the “Virgen de la Salud” 278
+
+Environs of Archena: View of Villanueva 279
+
+Environs of Archena: View of Blanca from the Salto del
+Palomo 280
+
+Environs of Archena: View of Blanca from Bujamente 281
+
+Environs of Archena: Village and Gardens of Ulea
+from Villanueva 282
+
+Environs of Archena: Village and Gardens of Ulea,
+East Side 283
+
+Environs of Archena: Village of Ojos and Mountains 284
+
+Environs of Archena: The Gardens of Ojos, from the
+Lovers’ Leap 285
+
+Environs of Archena: The Lovers’ Leap 286
+
+
+LORCA
+
+General View 287
+
+View from the Railway Station 288
+
+
+
+
+VALENCIA & MURCIA
+
+
+
+
+THE OLD KINGDOM OF VALENCIA
+
+
+Shut in between the barren range of the Sierra Molina on the north, and
+the arid plains of Murcia to the south, the ancient Kingdom of Valencia
+is one of the regions of Spain least visited by the tourist. And yet, a
+flowering and fruitful Eden, it lies beneath a burning sun, its waters
+trained in obedience to the hand of man. It puts forth a vegetation of
+tropical luxuriance. Demeter has blessed the land. Under the soft
+caressing winds that sweep up from the Mediterranean the soil yields
+four or five crops in the year to the industry of the peasant. And if at
+times the dreaded sirocco, charged with poisonous vapours from the
+Albufera, lays the country prostrate--well, for every Paradise was
+devised a snake!
+
+The people of the province, with the exception of those of Orihuela,
+speak that variety of the Romance which I may call Catalan, and which,
+with local modification, is common all along the eastern coast of Spain
+from the mouth of the Segura to the frontier of Rousillon. Limousin, as
+it is sometimes called, is not a mere dialect, but a quite distinct
+language, a survival of the old _Langue d’oc_. Probably it was spoken by
+those Romanised Spaniards who were driven north of the Pyrenees by the
+Arabic invasion. It would be restored by them when they reconquered this
+portion of their old territory. The Christian population, before
+Valencia was recovered by Jaime el Conqueridor of Aragon, spoke
+Castilian or a tongue akin to it. But the Catalan of the new rulers was
+stronger, and soon swept aside the common speech of the people.
+Curiously enough, this same Catalan was not the language used in Aragon
+itself, a fact which no doubt had a strong determining influence in the
+choice of Castilian at the time of the unification of the two kingdoms.
+Why Orihuela alone clung to its old Castilian tongue in despite of the
+Conqueror is not clear, unless it was owing merely to the proximity of
+Murcia.
+
+In character the Valencians are superstitious, revengeful, relentless in
+hate. “Ni olvido ni perdono” is their motto. They love the colour and
+joy of life. Dancing and love-making are their chief delights. And yet
+they are a laborious race. But their white, rather flabby appearance
+proclaims them lacking in backbone and initiative. “Flesh is grass, and
+grass is water. The men are women, the women--nothing!” says their own
+proverb.
+
+The fertile huerta has found its novelist in Blasco Ibañez, a native of
+Valencia, who has beautifully described the languid life of the
+province. A translation must necessarily lack the force and elegance of
+the master’s style, but the following passages will at least enable the
+reader to picture a summer in the south:
+
+“When the vast plain awakes in the bluish light of dawn, the last of the
+nightingales that have sung through the night breaks off abruptly in his
+final trill, as though he had been stricken by the steely shaft of day.
+Sparrows in whole coveys burst forth from the thatched roofs, and
+beneath this aerial rabble preening their wings the trees shake and nod.
+
+“One by one the murmurs of the night subside; the trickling of the
+water-courses, the sighing of the reeds, the barking of the watchful
+dogs, other sounds belonging to the day, grow louder and fill the
+huerta, the crow of the cock is heard from every farm, and the village
+bells proclaim the call to prayer borne across from the towers of
+Valencia, which are yet misty in the distance. From the farmyards arises
+a discordant animal concert--the neighing of horses, the bellowing of
+oxen, the clucking of hens, the bleating of lambs, the grunting of
+swine--the sounds produced by beasts that scent the keen odour of
+vegetation in the morning breeze and are hungry for the fields.
+
+“The sky is suffused with light, and with light life inundates the plain
+and penetrates to the interior of human and animal abodes. Doors open
+creaking. In the porches white figures appear, their hands clasped
+behind their necks, scanning the horizon. From the stables issue towards
+the city milch cows, herds of goats, manure-carts. Bells tinkle between
+the dwarf trees bordering the high road, and every now and again is
+heard the sharp “Arre, Aca” of the drivers.
+
+“On the thresholds of the cottages those bound for the town exchange
+greetings with those who stay in the fields. ‘Bon dia nos done Deu!’
+[May God give us a good day!] ‘Bon Dia.’
+
+“Immense is the energy, the explosion of life at midsummer, the best
+season of the year, the time of harvest and abundance. Space throbs with
+light and heat. The African sun rains torrents of fire on the land
+already crackled and wrinkled by its burning caresses, and its golden
+beams pierce the dense foliage, beneath which are hidden the canals and
+trenches to save them from the all-powerful vivifying heat.
+
+“The branches of the trees are heavy with fruit. They bend beneath the
+weight of yellow grapes covered with glazed leaves. Like the pink
+cheeks of a child grow the apricots amid the verdure. Children greedily
+eye the luxurious burden of the fig-trees. From the gardens is wafted
+the scent of jasmin, and the magnolias dispense their incense in the
+burning air, laden with the perfume of cereals.
+
+“The gleaming scythe has already sheared the land, levelling the golden
+fields of wheat and the tall corn-stalks which bowed beneath their heavy
+load of life. The hay forms yellow hills which reflect the colour of the
+sun. The wheat is winnowed in a whirlwind of dust; in the naked fields
+among the stubble sparrows hop from spot to spot in search of stray
+gleanings. Everywhere are happiness and joyous labour. Waggons go
+groaning down the road; children frolic in the fields and among the
+sheaves, thinking of the wheaten cakes in prospect, and of the lazy
+pleasant life which begins for the farmer when his barn is filled. Even
+the old horses stride along more gaily, cheered by the smell of the
+golden grain which will flow steadily into their mangers as the year
+rolls on.
+
+“When the harvest has levelled the panorama and cleared the great
+stretches of wheat sprinkled with poppies, the plain seems vast, almost
+illimitable. Farther than the eye can reach stretch its great squares of
+red soil, marked off by paths and trenches. The Sunday’s rest is
+rigorously observed over the whole countryside. Not a man is seen
+toiling in the fields, not a beast at work on the road. Down the paths
+pass old women with their mantillas drawn over their eyes, and their
+little chairs hanging to their arms. In the distance resound, like the
+tearing of linen, the shots fired at the swallows, which fly hither and
+thither in circles. A noise seems to be produced by their wings ruffling
+the crystal firmament. From the canals rises the murmur of clouds of
+almost invisible flies. In a farm all painted blue, under an ancient
+arbour, there is a whirlwind of gaily-coloured shawls and petticoats,
+while the guitars with their drowsy rhythm and the strident cornets
+accompany the measures of the Valencian ‘Jota.’
+
+“In the village the little plaza is thronged with the field-folk. The
+men are in their shirt-sleeves with black sashes and gorgeous
+handkerchiefs arranged mitre-like on their heads. The old men lean on
+their big Liria sticks. The young men, with sleeves turned up, display
+their red nervous arms and carry mere sprigs of ash between their huge
+knotted fingers.
+
+“In the afternoon, towards the fountain along the road, bordered with
+poplars which shake their silvered foliage, go groups of girls with
+their pitchers on their heads. Their rhythmical movements and their
+grace recall the Athenian Canephori. This procession to the well lends
+to the huerta something of a Biblical character. The Fontana de la Reina
+is the pride of the huerta, condemned to drink the water of wells, and
+the red and dirty liquid of the canals. It is esteemed as an ancient and
+valuable work. It has a square basin with walls of reddish stone. The
+water is below the soil. You reach the bottom by means of six green and
+slippery steps. Opposite the steps is a defaced bas-relief, probably a
+Virgin attended by angels--no doubt an ex-voto of the time of the
+Conquest. Laughter and chatter are not wanting round the well. The girls
+cluster round, eager to fill their pitchers but in no hurry to depart.
+They jostle each other on the steps, with their petticoats gathered in
+between their legs, the better to lean forward and to plunge their
+vessels into the basin. The surface of the water is unceasingly troubled
+by the bubbles rising from the sandy bed, which is covered with weeds
+waving in the current.”
+
+The exuberant natural life pictured in these passages is not altogether
+due to the bounty of nature. The scorching sun would have brought death
+instead of life to Valencia without the co-operation of man. The whole
+province is a triumph of irrigation. The Moors were masters of hydraulic
+science. They tapped the Jucar and the Guadalaviar and drew their
+waters through the Moncada and seven smaller but magnificent canals into
+every corner of the land. This was the legacy they left behind when they
+were so suicidally expelled. Their successors, as Mr. Richard Ford so
+eloquently puts it, exercise “a magic control over water, wielding it at
+their bidding”--presumably as Gilbert’s hero Ferdinando brandished the
+turtle soup!
+
+Bequeathed also directly by the Moors, the Tribunal of the Waters is the
+most interesting sight of Valencia. It is independent of all law; no
+Government has ever touched it; it has no written records. The court
+meets every Thursday morning at eleven o’clock at the Apostles’ Gate of
+the Cathedral in the capital, to try all cases and disputes in regard to
+the precious water that is the life-blood of the province. There are
+seven judges, one for each canal, elected by the peasantry of the
+districts, and each is known by the name of his canal--Mislata, Cuarte,
+and so forth. They are grave, stoutly-built men, with tanned faces and
+close-cropped hair. They wear black, the colour beloved by the
+comfortably situated working man all the world over; but they have not
+degenerated quite so far as to discard the native handkerchief round
+their polished brows, or the espadrilla, the Valencian shoe.
+
+Except that the turban has given place to the sombrero and the divan to
+an ancient sofa, the proceedings of the tribunal are as patriarchal as
+of old. In the plaza a crowd of litigants are collected, chattering,
+gesticulating, arguing their wrongs according to the manner of their
+kind all the world over. With an air of importance befitting the
+occasion the Alguazil of the tribunal places the magisterial bench in
+the shadow of the great Gothic portal. A light rail will keep the vulgar
+at a distance. Then the peasant magistrates take their seats, and the
+oldest pronounces the words, “Se abri el tribunal” (The tribunal is
+open). A portentous silence falls, for any one who speaks before his
+turn must pay a fine. One by one the litigants are introduced within the
+railing and plead their cause bareheaded before the court. Woe to the
+insolent wight that dare stand covered in its presence. The Alguazil
+will tear the handkerchief from off his head, and he will also be
+mulcted in a fine. Each must await the tapping of the presidential foot
+before he ventures into the presence. But the severity of the discipline
+does not suffice to make the fiery Valencians restrain their feelings.
+At every moment there is an explosion of wrath or indignation, a heated
+expostulation from one or other of the parties. The fines collected must
+be a considerable sum. Out of their own wisdom the judges give their
+decisions, which are almost invariably received without discontent. The
+Valencians are anxious to preserve their unique tribunal from criticism
+and interference, for they know that in Spain, as in other countries,
+royal justice is a costly matter.
+
+The history of Valencia for all practical purposes is that of its
+capital and namesake. “Its name,” says Mr. Ford, “is fondly derived
+from, or considered equivalent to, Roman, because Ρὡμη in Greek
+signifies power, as Valencia does in Latin.” The principle is doubtless
+excellent, but seems to be that of _lucus a non lucendo_.
+
+When the warriors of Viriathus surrendered to Rome on the death of their
+chief, Valencia was granted to them by the Consul D. Junius Brutus.
+Destroyed by Pompey, it became a _colonia_ when rebuilt and the capital
+of the Edetani. But the history of few Roman colonies, as it has reached
+us, is of interest. The province had the usual martyrs under the
+persecution of Diocletian and Decius, and was the place of banishment of
+the zealot Ermengild. Proud of its haughty name, Valencia has yet
+allowed itself to be taken and retaken oftener than any other city in
+the world. In 413 it yielded to the Goths, and three hundred years later
+with great nonchalance transferred its allegiance to the Moor. It formed
+at one time part of the Khalifate; and again, one or more petty kingdoms
+in itself.
+
+Don Feodoro Lleorente speaks of “the slave kings” of Valencia. It is
+certain that many of its rulers were slave adventurers from the palace
+of the Khalifa, who, like the janizaries of Turkey had literally carved
+their fortunes with their swords. One of these princes added the
+Balearic Isles to his realms and unsuccessfully attempted the conquest
+of Sardinia.
+
+The kingdom thus founded by military adventurers was overthrown by the
+most famous of that warlike brood.
+
+The Moors had made the desert blossom like the rose. Wealth and
+prosperity had been secured to the province. The Moslem paradise was
+located here. Medinat-u-Tarab was its capital--the City of Mirth. The
+greedy eyes of Christian neighbours were inevitably drawn to such a
+region, and the break-up of the Ummeyah dynasty offered an excellent
+opportunity for interference.
+
+Valencia was split up into factions, and the King or Amir Kadir was
+merely the puppet of the two opposing parties, who alternately supported
+him on his tottering throne. But the Moors were a proud race and felt
+themselves dishonoured in yielding homage to so weak a ruler. Headed by
+Ibn Jahhaf, the people rose in revolt. Kadir fled, but was detected
+under his woman’s disguise, was taken and beheaded. That strange
+anomaly a Mohammedan republic was formed. A council of the leaders was
+constituted with Ibn Jahhaf as President.
+
+A people which arrogates the right to choose its ruler has ever been
+considered a sort of pirate among the nations, and fair game for more
+powerful States. Kadir, at the time of his deposition, had been under
+the hardly disinterested protection of the Cid, who, under pretence of
+avenging his _protégé’s_ death, immediately advanced on Valencia. For
+some time Ibn Jahhaf, who seems to have had some of the qualities of a
+great general, amused the Campeador with negotiations, while he pushed
+hastily forward preparations for defence. Discovering that he was being
+played with, the Cid swept through the country and threw his army round
+Valencia, which for twenty months made a stubborn resistance. The city
+falling at length, Jahhaf, who had become a special object of hatred to
+the Conqueror, was burnt alive in the plaza. Until his death in 1097,
+the Cid ruled the kingdom as absolute lord and despot. The legend runs
+that Ximena, his wife, defended the city for two years after her
+husband’s death. And so great was the reputation and the terror of the
+Campeador that she finally won a victory over the Mussulmans and carried
+him to his last resting-place at Cardeña by the stratagem of placing his
+corpse fully armed upon his war-horse with his celebrated sword in his
+hand.
+
+But for two centuries longer Valencia followed the law of the Prophet.
+It was finally wrested from the yoke of Islam on the memorable 28th of
+September 1238, when the standard of the victorious Jaime I. of Aragon
+was hoisted over the tower of Ali Bufat, and the Crescent bowed before
+the Cross. The conquest in the history of Aragon ranks with the taking
+of Seville in the history of Castile. Granada was the joint conquest of
+both kingdoms. The way in which the Moors in these old days surrendered
+their whole kingdom to the Christians, sometimes after only one battle
+had been fought, stands out in dark contrast with the tenacious
+resistance offered by their descendants in Algeria in modern times.
+Enervated by the climate of Spain the Mussulmans of that country were
+absolutely incapable of maintaining a prolonged guerilla warfare. If a
+fortified capital was taken they at once handed over the whole kingdom
+to the conqueror. They were not of course peculiar in this respect. The
+sentiments of nationality and physical courage are characteristic far
+more of the modern than of the ancient world. We have only to compare
+the resistance of the Anglo-Saxons to the Normans with that of the Boers
+to the British, of the French in the Hundred Years War with that of
+their descendants in 1871, to realise how much more of manliness and
+endurance we possess than did our ancestors. We must go back to the days
+of Leonidas and Regulus to find parallels for the exploits of our own
+Indian Army; to Numantia and Seguntum for parallels to Saragossa and
+Gerona. National and individual self-respect withered under feudalism,
+and revived only on the introduction of free institutions.
+
+The commerce and wealth of the country now fell into the hands of the
+Jews, who came over in great numbers from Aragon. For a long time the
+industrious people lived, hated it is true, but unmolested, in their own
+quarter of the city. But one ill-fated day a band of children, urged on
+probably by some fanatic, marched against the Jewry crying that they had
+come to baptize the unbelieving dogs, and that the Archdeacon of Seville
+was close upon their heels. In terror the wretched people retreated to
+their homes, firmly barricading themselves. Some of the Christian
+children got shut up in the quarter. Like wildfire the rumour spread
+through the streets that the Jews were submitting them to untold
+tortures behind their barred doors. The whole populace went mad with the
+rage for blood, attacked the wholly unprepared Jews, and the most
+horrible scenes of massacre ensued. This was in 1391. The prosperity of
+Valencia suffered its first severe blow with the barbarous expulsion of
+the Moors at the command of Philip III. Another fell some time later
+when, on account of its strenuous opposition to the French claim to the
+Crown, Philip V. confiscated the liberties of the province and imposed
+an enormous fine.
+
+But Valencia, though fallen from its old estate, is nevertheless to-day
+a thriving prosperous province; its capital is handsome and progressive.
+Busy life pulsates through the streets; the _cafés_ are alive with the
+hum of voices. There is little to recall the days of its allegiance to
+the Prophet, and it has not retained more monuments of the past than
+most other cities. From the sightseer’s point of view it is not
+intensely interesting; from the stranger’s, even less convenient, since
+indications of the names of the streets are few and far between. New and
+splendid avenues are arising, which, in pleasant contrast to the dull
+uniformity of most Continental town perspectives, contain houses
+original and individual in style. You enter the town by one of two
+massive castellated gates, which give a note of the mediæval picturesque
+to their respective quarters. The fourteenth century Torres de Serranos
+form a narrow archway flanked by two fine octagonal towers. Above, are
+windows with elaborate panelling, and heavy machicolations crown the
+whole building. The Torres de Cuartes, of a century later, are very
+similar, but the parapet is itself borne on corbels and machicolated.
+Unfortunately the walls of the city have perished.
+
+The Cathedral, the Lonja, and the Picture Gallery exhaust the sights of
+Valencia. The Cathedral was founded in 1262 on the ruins of the Great
+Mosque, which in its turn had replaced the Temple of Diana. It is far
+inferior to most of the great Spanish churches in beauty and interest.
+Originally Gothic, it was considerably enlarged in the fifteenth
+century, the height, however, being left unaltered. The principal
+entrance, in the receding circular form, is an outrage, but the north
+door, called the Puerta de los Apostoles, richly sculptured and
+delicately moulded, exhibits the skill and industry of the fourteenth
+century at its best.
+
+Above the semicircular Puerta de Palau is an interesting series of
+medallions. These represent the heads of fourteen men and women. These
+are the seven knights of the Conquest and the seven fair ladies they
+sought in the surrounding provinces, from whom the whole Valencian
+nobility is said to be sprung. This doorway is evidently by the same
+hand as the Puerta de los Infantes at Lerida. But the most striking part
+of the Cathedral is the imposing Miguelete Tower. Its sculpture is
+indifferent, but seen from a distance the effect is fine. It is the
+great landmark of the district, and the Valencians speak of exile as
+“losing sight of the Miguelete.”
+
+The plan of the Cathedral, like most Spanish churches, is cruciform. In
+1760 the interior was modernised in a manner that makes the
+beauty-loving traveller long to tear his hair--or that of the
+perpetrator of the “restoration.” Over-decoration is its chief defect.
+The walls have been encrusted with marbles, the Gothic columns almost
+concealed by Corinthian pilasters, the pointed arches rounded off. The
+church may merit its surname of “La Rica,” but it has lost that
+atmosphere of remote beauty that calls forth the instincts of religion
+in the worshipper. During the French occupation of 1809 the magnificent
+silver altar was melted down, but fortunately its protecting door panels
+were uninjured. These are painted with six pictures by Francisco Pagano
+and Pablo de San Leocadio, disciples of Leonardo da Vinci, and ascribed
+by some to the master himself. The spurs and bridle of Jaime el
+Conqueridor, presented by him on the day he took the city to his Master
+of the Horse, are preserved on one of the pillars on the Gospel side.
+
+The choir is for the most part modern, with plain and classical walnut
+stalls. The rear portion, or _trascoro_, dates from the fifteenth
+century, and is decorated with a fine series of Biblical scenes in
+alabaster. The chapels have little of interest, except the tomb of Tomás
+de Villanueva, the holy Archbishop of Valencia, in the one dedicated to
+him. Over the crossing rises the fine octagonal lantern, which was built
+in 1404 and restored in 1731. It was once adorned by many trophies,
+among them the flags taken from the Genoese by Ramon Corveran, a famous
+sea-dog of Valencia. These, however, have long since vanished.
+
+After the Cathedral the Lonja de la Seda, or Silk Exchange, is the most
+interesting sight of Valencia. Built in the Gothic style (though not of
+the purest) it is one of the best specimens of civil architecture of the
+Middle Ages that we have remaining. Its square tower, crenellated
+chimneys, open galleries and high windows give an extremely fine effect.
+The hall has spirally fluted pillars that branch out into graceful
+clusters of palm-leaves. The ceiling is painted with stars and round the
+walls runs the legend, “He only that shall not have deceived nor done
+usury shall be worthy of eternal life,” which (let us hope) has guided
+generations of merchants into the paths of commercial integrity. The
+Audiencia, in good Renaissance style, is well worth a visit, where in
+the Salon de Cortes the old provincial States assembled till the middle
+of the eighteenth century. As a building the University is beautiful,
+if it is a little backward in thought. Here Fernando VII. raised the
+noble sport of _Tauromachy_, or Bull-fighting, to the dignity of a
+Faculty!
+
+The smaller churches are interesting enough, but not striking, and the
+visitor will do well to prefer the almost deserted Picture Gallery.
+Until the name of Velasquez dwarfed that of every other Spanish artist,
+Valencia boasted a school of painting second to none in the country.
+Ribalta, Juanes, Ribera, Espinosa, and Orrente all lived and loved and
+painted in the old kingdom. The story of Ribalta is romantic. The son of
+a ploughman, he deemed himself on the high road to fortune when he
+entered a Valencian studio as a pupil. But alas! the black eyes and
+pretty figure of his master’s daughter proved more alluring than canvas
+virgins. Ribalta was dismissed the studio in disgrace. He wandered
+towards Italy, the land of promise, and studied under the brothers
+Carracci. Some years later he returned. His mistress was in possession
+of the studio, her father having gone out. A wooden and lifeless Madonna
+stood on an easel. Ribalta seized a brush and painted furiously until
+sunset, and when the artist returned a masterpiece was awaiting him.
+Astonishment, admiration, tears, and gratitude--no artist could forbid
+his daughter’s _fiançailles_ with a man of genius. Ribalta afterwards
+devoted his whole life to the adornment of the churches of his native
+kingdom.
+
+But Valencia is hardly less distinguished for its theatre than for its
+painting. Here at the end of the sixteenth century was founded the
+celebrated society of “Nocturnes” which welcomed the youth of Lope de
+Vega. Guillen de Castro was its head, a man of wit and honourable
+family, whose adventurous life ended in the gutter. He is best known as
+the author of _Las Mocedades del Cid_, a tedious drama with a fine
+heroic touch, whence Corneille drew his inspiration.
+
+Leaving Valencia we run southward as far as Alcira without a stop. Here
+we cross the Jucar, which strikes terror into the hearts of the
+townsfolk. Rising in the rainy season with terrible rapidity, with
+constant shiftings of its channel, it sweeps over the countryside,
+swallowing up whole villages in its destructive, impetuous course. When
+the sky grows black and the river starts to rise, the panic-stricken
+inhabitants run to the churches and seize the images. Then with frenzied
+prayers to the _Pare San Bernard_, they dip the holy forehead in the
+water, hoping to stay the onrush of the torrent. But the inundated
+country to-day will in a few years bear heavy rice crops and luxuriant
+orchards. The swampy unhealthy lagoon, the Albufera (which gave its
+name to one of Napoleon’s marshals) is becoming filled up with the
+_débris_ brought down from the mountains. Soon it, too, will be a
+fertile huerta. Meanwhile, trees are being planted on the rugged
+hill-side, a wise measure which it is hoped will check the violence of
+the floods and the denudation of the arid soil.
+
+Jativa will be our next stopping-place. Like most of the towns in this
+country it is rich in historic interest. Past cottages, embosomed in
+palm-and orange-trees, you climb up to the hill where the old and new
+castles stand side by side. Here in 1284 the Infantes de la Cerda,
+rightful heirs to the throne, were confined by their Uncle Sancho el
+Bravo. Here too the Duke of Calabria, heir of Naples, languished for ten
+years after having trusted himself to the honour of Gonzalo de Cordoba,
+who betrayed him. This was one of the three deeds of which Gonzalo is
+said to have repented at the last. Indeed the castle of Jativa seems to
+have greatly troubled his death-bed, for we learn that the second of
+these three misdeeds was the imprisonment in the same place of the
+infamous Cæsar Borgia. The Borgias--those super-men of the
+Renaissance--had their origin in the neighbourhood of Jativa, which also
+boasts itself the birthplace of the artist Ribera.
+
+The smaller coast towns of Alicante attract the weary traveller by their
+beautifully sounding names: Benidorm, Villajoyosa--what pleasant chords
+they strike in the imagination! But time is short. You think of them
+regretfully and hurry towards the capital. But first, if the month is
+April, you must turn aside for a flying visit to Alcoy, where every year
+a mediæval joust takes place to the glory of Saint George (the city’s
+patron saint) and the discomfiture of the Moors. This is to celebrate
+the taking of the town from the Moors by Jaime el Conqueridor in 1253.
+
+Alicante, the largest town in the province of that name, and the second
+in the Kingdom of Valencia, is as dull as most thriving commercial
+centres. Its broad white quays are thronged with a busy bustling
+humanity. Touches of vivid colour in the dress of the women, who are
+labouring like navvies, a burning sun overhead, and the blue of the
+Mediterranean, make a not unpleasing picture. Behind the town towers an
+enormous rock--a second Gibraltar--crowned by the old castle of Santa
+Barbara. A deep fissure in the rock recalls the stubborn siege of 1707,
+when the English General and all his garrison were blown to pieces by a
+mine.
+
+Southwards still, to Elche, the City of Palms, or, less poetically, “The
+Frying-pan!” A mist of heat seems to hang over the little
+Oriental-looking town. Not even in the palm groves that shut out the
+desert can you avoid it. These magnificent trees (it has been estimated
+that there are 80,000 in the belt that encircles the town) provide
+practically all the palms used by the Christian churches in Passion
+Week. In the shade of their avenues flourish the laurel, the rose, and
+the geranium; beyond, extend crops of lucerne and wheat, watered by the
+carefully regulated Vinalapo.
+
+But though Elche makes an agreeable impression on travellers, in Spain
+it is chiefly celebrated for its Passion or Mystery Play, the only one
+of its kind in the kingdom. Elche is under the special protection of Our
+Lady of the Assumption, who sent her miraculous image over the seas
+along with the words and music of the opera inscribed _Soy para Elche_
+(I am for Elche). To this image, supposed to have been found in 1370 by
+a coastguard named Canto, many houses and palm plantations round the
+city belong. They are all marked with a crown and the initials M.V. The
+image is said to have been carved by St. Luke, but hardly reflects
+credit on his skill. However, the miracles it performs seem highly
+satisfactory, judging by the magnificent jewels and garments that have
+been presented by the faithful.
+
+The opera is presented on August 13 and 14, the eve and the feast of the
+Assumption. In a country where the sister of Cervantes was allowed to
+install a theatre in her convent and herself play the leading _rôles_,
+you are not surprised to find that the representation takes place in the
+church, which is, however, for the occasion, carefully stripped of
+sacred images.
+
+The scenery, as in mediæval days, is simple. There is a little cave for
+the Garden of Gethsemane, a plain coffin for the Holy Sepulchre. Angels
+playing harps on a blue cloth stretched across the roof betoken the
+celestial regions. Hence, by an ingenious arrangement of ropes and
+pulleys, angels will presently come down to take the Virgin up to
+heaven. Apostles and saints, their names legibly inscribed on cardboard
+haloes, the holy angels and the Trinity itself have all their appointed
+parts. The Virgin is a small boy of eleven. Unfortunately that touch of
+vulgarity which seems inseparable from modern Continental Catholicism
+liberally decorates the angels with well-greased hair, vivid sashes, and
+paper flowers of startling hues. However, the crowded audience is not
+critical and very real emotion at times interrupts the continuous
+chatter and shaking of fans. There seems something singularly human in a
+religion so all-embracing.
+
+Orihuela, in its fertile plain, rendered independent of rain by the
+waters of the Segura, will be our last stopping-place in the southern
+portion of the kingdom. Here the Goths made a last resistance under
+Theodomir. Orihuela is the only city in the district where Castilian is
+spoken. Its square towers and domes shaded with palms are decidedly
+Oriental in appearance. A visit to the Cathedral shows some beautiful
+choir-stalls of carved mahogany, but the interior of the building has
+been hopelessly barbarised. There is little else to detain us here, so
+we take train again for Valencia and the north.
+
+
+
+
+SAGUNTUM AND CASTELLON
+
+
+Leaving the city of Valencia, the traveller journeys northwards through
+one of the most luxuriant garden-plains of southern Europe. Groves of
+olive, almond, and orange trees crowd thick upon each other, their
+almost monotonous fruitfulness broken only by an occasional graceful
+cluster of stately palms. Soon there comes in sight a hill crowned with
+an irregular line of battlemented walls. Its silhouette is warm against
+the sky-line. This is Saguntum, famed in story.
+
+You pass out of the station and on your left rise up the eastern slopes
+of the Saguntine hill. At its feet are huddled the dark green tiled
+roofs of the village, from among which the little church of San Salvador
+detaches its quadrangular tower, proudly conscious that (in the eye of
+its worshippers at least) it is the oldest Christian foundation in the
+whole of Spain. Tiny cottages gleam white in the dark places of the
+rocks, between thickets of aloes and prickly-pear. And far above, the
+reddish walls of the castle with its huge square towers stretch in
+slanting belts along the summit of the hill, keeping watch over the
+ever-retreating sea that has so often been studded with the ships of
+enemies.
+
+To the right, coaches from Teruel and Segorbe lumber along a white
+ribbon of road, smothered in clouds of dust. Clambering up the fence of
+masonry that separates populace and passengers a dozen Saguntine youths,
+burnt by the sun, with eyes like sloes and jet-black hair, hail you in
+eager tones. They thrust towards you sinewy arms holding cups of milk or
+wine and plates of savoury meats, with branches of oranges or wands
+garlanded with fruits and sweet-smelling flowers.
+
+But it is a silent town, Saguntum (or Murviedro as it is generally
+called), and seems to brood on memories of the past. Founded in 1389
+B.C. by the Greeks of Zacynthus, it has been held in turn by
+Carthaginian and Roman, by Goth, Moor, and Spaniard. Its place in
+history is unique. The story of its famous siege has repeatedly been
+told.
+
+It is the year 219 B.C.--the eve of the Second Punic War. Hannibal,
+having sworn war to the death on Rome, is gathering his forces for a
+crushing blow. The wealth of Saguntum attracts him; impoverished by the
+loss of Sicily, its position as frontier town appeals to him as a
+strategist; as the ally of Rome it draws his hatred. Suddenly a force
+of a hundred and fifty thousand Carthaginian soldiers is hurled against
+the town; battering-rams thunder at the gates; huge catapults scatter
+death among the startled townsfolk. Then begins a struggle that can be
+compared only with Numantia in ancient or Saragossa in modern times.
+Force and cunning have met their match in desperate heroism.
+
+The siege lasted for eight months. Rome was appealed to, but her
+Ambassadors were not allowed to land. They turned to Carthage and
+entered the Senate House. “I bring you peace or war,” cried Valerius
+Flaccus; “choose which you will have!” and resounding cries of “War!
+War!” initiated one of the fiercest struggles of antiquity. But though
+fighting against a common enemy, Rome deserted her Spanish ally.
+
+A city beseiged is a city doomed. Saguntum could hold out no longer.
+Hannibal named his terms--life and two garments to each individual.
+Arms, wealth, and Fatherland must all be given up, and the inhabitants
+must drift to whatever part of the world the conqueror decreed.
+
+Immediately, by order of the Senate, a scaffold was erected in the
+public square. All the wealth from the public treasury was flung upon
+it. Private citizens added their treasures to the holocaust, and with
+the courage of despair flung themselves into the flames. Then a shout
+arose from the walls; one of the towers had fallen and the attacking
+army swarmed over the ramparts to wholesale massacre. Such is Livy’s
+account, but it is probably an overstatement. For though the
+Carthaginians, being a Semitic race, were capable of any cruelty,
+history records that the first act of the Scipios, on rebuilding the
+town four years later, was to buy back the exiled inhabitants.
+
+Two thousand years later Saguntum was once again the theatre of war,
+when in 1808 it was attacked and taken by Marshal Suchet. But Napoleon’s
+success was as ephemeral as Hannibal’s. The French violet could not take
+root in the granite of Spain.
+
+The present castle is principally Moorish, though some traces of the old
+Saguntine walls can be distinguished. It is probable that the keep
+described by Livy occupied the site of the present citadel. There are
+some old Moorish cisterns to which the girls of the village climb in the
+evening with water-jars on their shoulders.
+
+A little lower down the hill lies the ancient Roman amphitheatre, the
+most nearly perfect of its kind that exists to-day, not even excepting
+those of Italy. The separate entrances that Roman ceremony required for
+knights and magistrates, for women and for the common people, can still
+be recognised in spite of the depredations of Suchet and the
+Philistines. Its thirty-three tiers of bluish grey pebbles, cemented
+cunningly together to look like huge blocks of stone, rise with the
+sloping hill-side. The theatregoer of Murviedro had little to complain
+of in the old days. If the play was tedious, he could turn his eye to
+the beautiful scenery that lay before him. His lot was enviable beside
+the Londoner’s.
+
+The plain that now separates Murviedro from the sea is rich in ruins of
+a bygone age. Desultory excavations have yielded some results. In 1795 a
+magnificent mosaic was discovered representing Bacchus astride a tiger
+in the midst of revellers, which, unfortunately, has since been lost.
+For the antiquary with money at his back and method in his brain a rich
+and interesting harvest lies waiting.
+
+Leaving Saguntum we continue northwards past the picturesque old castle
+of Almenara; past Nules, famous for its mineral springs; past Burriana,
+whose oranges you have eaten in every country of Europe; and the train
+steams at length into Castellon de la Plana. To the eye this city is
+uninteresting enough, but the imagination is touched by the recital of
+its history.
+
+A league to the north of the town the barren mountains of the Desierta
+rise from an arid plain. Here can be seen some crumbling grey walls and
+a hermitage in honour of St. Mary Magdalena. The walls mark the site of
+the old town captured in 1233 by Jaime I. of Aragon. A few years later
+the inhabitants petitioned the King’s lieutenant for leave to remove
+their town to the fertile plain on the coast where it now stands. Not
+only was this granted but considerable privileges were bestowed on the
+enterprising city.
+
+Every year on the third Sunday in Lent this event is commemorated by the
+Feast of Las Gayates. Clergy and laity alike, bearing green reeds,
+proceed in pilgrimage to the hermitage, where a solemn service is
+celebrated. A gay crowd invades the hill. They sing; they dance; they
+shout; they eat and drink. After this sylvan feast, they troop back to
+the town. At nightfall a second procession sets out, in which are
+represented with all edifying accompaniments the worldly pomps and
+repentance of the Magdalene. Raised up among a myriad flashing lanterns
+the “Gayata,” which gives its name to the festival and recalls the
+removal of the city, is borne along with song and dance.
+
+More than once has Castellon fought bravely in defence of its liberties.
+A very strenuous resistance was offered to Pedro IV. when the women
+fought side by side with the men upon the walls. One of the amazon
+warriors killed a relative of the attacking General, Don Pedro de Boil,
+and was hanged in the market-place on the fall of the city, along with
+the other rebel leaders. Considering the part that Spanish women have
+played in the history of their country, it is curious to remember that
+voluptuous indolence is supposed to entirely sum up their character. The
+War of the Brotherhood, that great popular rising, gave three more
+martyrs to Castellon. It is not, therefore, surprising to find that this
+city to-day stands, in the province to which it gives its name, for
+democratic tendencies. So Morella on its rocky throne, the stronghold of
+the ferocious Carlist chief, Cabrera, stands for aristocratic
+militarism; and Segorbe, lying in the shadow of the magnificent
+monastery of Valdecristo, for the ecclesiastical element and clerical
+control.
+
+
+
+
+THE KINGDOM OF MURCIA
+
+
+The ancient Kingdom of Murcia, which lies to the south of Valencia,
+includes the two modern provinces of Murcia and Albacete. It is a wild,
+fierce region, where the sun’s heat scorches all vegetation from off the
+hill-sides. Deep and terrible chasms yawn between the rugged mountains;
+there are sharp and rocky peaks that seem to have been thrown up by
+sudden upheavals of the earth, and at their feet lie great stretches of
+tawny desert recalling the burning expanse of the Sahara. The shadow of
+long-continued drought often broods over the whole kingdom. But yet the
+district watered by the Segura is an earthly paradise--in spring all
+flowers, in autumn all fruit. Mingling with the carob-tree and
+broad-leaved palm glistens the gold of oranges, and luxuriant vines give
+pleasant promise of a sparkling harvest.
+
+But nature has not thus blessed the land of her own free will. She
+needed coaxing and much wooing by the cunning Arabs. A wonderful system
+of irrigation prevails, and science has harnessed fast the wayward
+rivers. The greatest treasure of the Murcian, water, is sold by auction
+to the highest bidder. M. Jean Brunhés, in a lately published work,
+gives some very curious and interesting details relating to this
+singular system.
+
+The volume of the Monegre is divided into old and new water, the former
+belonging of right to the ancient riparian proprietors, the latter to
+the owners of the locks and reservoirs. A very vicious system prevails
+at Lorca. There, a private company has obtained all rights in the water
+of Guadalentin, subject to the condition of supplying the old
+proprietors of the adjoining lands with 500 litres per second every day.
+Only in rainy seasons, when the company’s barrage is swept away by the
+torrent (as it usually is some five or six times in the year), does the
+water become public property. When this happens the company is not
+allowed to make the barrage any stronger when it is rebuilt. In seasons
+of drought the owners are masters of the situation, and are able to
+recoup themselves for the losses thus incurred by forcing up prices to a
+figure absolutely ruinous to all but the richest cultivators. There is
+only one palliation to this system, that the bidder who has bought the
+first lot can buy as many of the lots following as he may desire at the
+same figure. Notwithstanding this poor concession it would seem that the
+principle of private ownership has been pushed a little too far in this
+part of the world.
+
+Here is M. Brunhés’ account of the water auction at Lorca:
+
+“The sale takes place in a badly lit hall with naked walls, on a level
+with the street, with which it communicates by an immense door almost
+its own breadth. This door remains open during the sale, and the crowd
+of bidders stand partly in the street. The hall has no floor; you stand
+on the bare ground. Opposite the door at the end of the hall is a
+railed-off daïs, entered by a side door, and without any direct
+communication with the public side. On the daïs the secretaries are
+seated at a large table covered by a threadbare green cloth. Behind the
+table are five arm-chairs. In one is seated the presiding officer (a
+civil engineer who must own no land in the Vega). On a stool is
+stationed the crier.
+
+“At eight o’clock in the morning, at a sign from the presiding officer,
+the crier pronounces these words in a singing monotonous voice, and
+without any pause between the two phrases: ‘In honour of the Holy
+Sacrament of the Altar, who buys the first lot of Sotellana?’
+Immediately shouts go up, ‘Eight, nine, or ten reales!’ One voice
+overpowers the other, wide mouths vociferate loudly, necks are strained,
+muscles grow tense with excitement. The bidders press and crush each
+other against the iron railing, for the one nearest has the best chance
+of being heard. The presiding officer listens and follows the frantic
+shouting with sovereign calm. Suddenly, with a quick gesture, he
+designates the highest bidder. At once the clamour ceases. Amid absolute
+silence the man indicated calls out his name, which the clerks write
+down.
+
+“The men are hatless. Some wear black or dark-coloured handkerchiefs
+bound round their heads, but all hold their broad-brimmed hats in their
+hands. No one smokes or talks till the bidding recommences, and even
+those in the street are silent and bareheaded. It is easy to see that
+all are peasants. Heads are closely cropped; here are no beards or
+moustaches, no one wears a collar, and most carry a cloak other than the
+aristocratic _capa_ on the shoulders or arm. It is a curious and
+impressive sight enough these bronzed physiognomies, animated by one
+desire to obtain, as cheaply as may be, possession of the supreme good,
+water.”
+
+Such is the province of Murcia in the twentieth century. When vegetation
+depended only on the sun and very infrequent rain, the land can have
+been very little better than an arid wilderness. And yet its possession
+has from the earliest times been a matter of keen dispute. To the early
+inhabitants have always been ascribed those simple guileless virtues
+with which the eighteenth century endowed the noble savage. Like the
+high-souled inhabitants of More’s “Utopia,” they used the gold and
+silver, in which their mountains abounded, for the meanest articles of
+domestic use. But this admirable custom seems unfortunately to have been
+based on mere ignorance of the value of their treasures.
+
+More sophisticated were the Phœnicians, who scented the precious metals
+from afar, and here, as everywhere, established their commercial
+centres. Next, the Greeks swooped down and planted colonies, rivalry
+between the two races precipitating the fierce conflict between their
+respective allies, the Carthaginians and the Romans. New Carthage, or
+Cartagena, was founded by Hasdrubal; his son made it the starting-place
+of his famous march to Rome. The city made a brave resistance to Scipio,
+and its fall marked the downfall of the Carthaginian in Spain.
+
+As an outpost of the Roman Empire this district was one of the first
+abandoned to the attacks of the barbarians. Under the Visigoths it
+became a duchy with the name of Aurariola, which offered so determined a
+resistance to the Mussulman that it was enabled to retain its
+independence, subject merely to the Khalifa as suzerain. Here, as in so
+many Iberian sieges, the women played no small part. Dressed as men,
+they paraded the walls of the city: and by this stratagem enabled Duke
+Theodomir to obtain such favourable terms.
+
+Perpetuating the memory of this Duke, the province lasted under the name
+of Todmir some sixty-eight years as a self-governing State. But the last
+governors allied themselves with Charlemagne. Arab invaders poured in,
+who soon swamped the Christian population and Todmir was completely
+absorbed into the Moslem Empire.
+
+A new capital, Murcia, was founded, that soon rivalled Toledo and
+Cordoba as a manufactory of arms. After undergoing the usual
+vicissitudes of Moorish States, it was taken in 1266 by Jaime el
+Conqueridor, and handed over to his son-in-law, the King of Castile. For
+two hundred years it endured the attacks of the Moors of Granada, acting
+meanwhile as a buffer to the Christian kingdom.
+
+Murcia to-day seems a survival of the Middle Ages. The legend goes that
+Adam returning to earth recognised the province as the only relic of the
+world he left. The Murcians are a conservative people, clinging to the
+beliefs and ideas of their forefathers, untouched by the march of
+thought. Religion is the changeless background of their lives, and often
+its picturesque ceremonies completely hold the stage. One of the most
+interesting of their religious festivals is the Passion Procession held
+on Good Friday. According to tradition this has continued without
+interruption since 1603, except in the year 1809 only, when it was
+forbidden by the Government.
+
+Organised by the Confraternity of Jesus, the great feature of the
+procession is the magnificent series of carved groups (known as _pasos_)
+representing scenes from the Biblical narrative. These are the work of
+the great master Salzillo, who is said to have carved no fewer than 1792
+wooden figures in his long life of seventy-six years. During the
+eighteenth century the Trades Guilds of Murcia gave special support to
+the Confraternity. They are accordingly granted the privilege of
+carrying the different _pasos_ in the procession. Thus the “Kiss of
+Judas” is borne by the bakers; Santa Veronica by the weavers; while the
+tailors carry the gigantic group of the Last Supper. The bearers, all
+alike clad in purple, carry lighted candles and musical instruments.
+Their hoods shroud their heads, the eyes alone being visible through
+slits; a knotted rope girdles the waist, and stockings of coarse white
+wool, instead of the bare feet demanded by the original statute,
+acknowledge the claims of the twentieth century.
+
+It is six o’clock on Good Friday morning. The streets are thronged with
+eager sightseers; heads are devoutly bared and many a plain wooden
+cross is displayed to mark the sympathy of the crowd. A band of mounted
+gendarmes clears the way. The standard-bearer chants to the populace
+that “This is done in remembrance of the Passion of Our Lord Jesus
+Christ.” Smothered in flowers the first five _pasos_ are borne along.
+Then to the sound of drum and trumpet, with the ringing of bells and the
+blare of bugles, Our Father Jesus passes, enveloped in a cloud of
+flaming candles, accompanied by the Holy Brotherhood. The remaining
+_pasos_ follow close, the clergy and the representatives of King and
+Bishop bringing up the rear.
+
+The _pasos_ themselves will repay inspection. Though abounding in
+ludicrous anachronisms, often in flabby sentiment, they are beautifully
+carved and superbly mounted. It is said that £1000 was offered by an
+enthusiastic German for the uplifted arm of St. Peter in the “Kiss of
+Judas.”
+
+The first group of the Last Supper is of enormous size, requiring no
+fewer than twenty-four bearers during the procession. Among the tailors
+of the city there is keen competition for this honour, for the splendid
+collation that is offered by the pious to the lifeless feasters is later
+sold by auction for the benefit of the bearers. The price it fetches is
+no small one, for it is regarded as true _pain béni_, bringing
+happiness to those who eat. The Agony in the Garden is reputed of
+supernatural design and is known as “The Pearl of Salzillo.” The Angel
+Gabriel is considered unrivalled, and the legend goes that the Duke of
+Wellington bid £80,000 for this one figure. The figures are
+magnificently clothed, the sword and crown of Jesus being set down in
+the accounts of the brotherhood at £200 and £120 respectively. Perhaps
+the finest of the groups is that which comes last--our Lady of Dolours,
+whose expression of supreme sorrow has rarely been equalled whether by
+chisel or brush. It is said that the sculptor copied it from the
+countenance of his own daughter, to whom, with this end in view, he had
+deliberately presented a forged letter announcing the suicide of her
+betrothed. The _pasos_ are deposited in the Ermita de Jesus, where they
+can be seen by the traveller.
+
+In the town of Murcia itself the influence of the Cross has almost
+completely banished the Crescent. Gone is the Alcazar, where the Amirs
+mimicked the State of Cordoba and Toledo; gone is the mosque, where
+thousands of turbaned heads bowed daily towards Mecca. But in the centre
+of the city is one of those squares found in every southern and eastern
+city, which in Spain is always named after the Constitution, in Italy
+after Victor Emmanuel, and in France after the Republic. To cross it in
+the afternoon would mean sudden death, for Murcia is one of the hottest
+corners of Europe. But later a gentle breeze springs up and the citizens
+troop out to meet with friends upon the Malecon and admire the charming
+view of the Segura valley, which, as M. Brunhés has said, is “an
+admirable zone of model agricultural establishment.” This fertile huerta
+bespeaks industry as great as that of the Swiss or Scottish peasant, for
+the worship of sloth with which Mr. O’Shea charges the Murcian people is
+groundless and unjust.
+
+A visit to the Cathedral will exhaust the architectural sights of
+Murcia. Even this is not of first-class interest. Dating in parts from
+1386 and Gothic in style, the west front is Churrigueresque, though
+fortunately not in the most florid style of that unhappy architect. The
+earthquake of 1829 and a fire in the middle of the last century have
+greatly damaged the interior, but the general effect is sufficiently
+striking. The choir-stalls of carved walnut are very beautiful, but the
+reredos is poor. The eighth wonder of the world, in the opinion of the
+inhabitants, is the little Velez Chapel modelled on the Constable’s
+Chapel at Burgos, but parts of it, according to Don Rodrigo Amador de
+los Rios, show the painful caprices and aberrations which announce the
+death agony of a powerful art. Just beyond the Junteron Chapel, with
+its wealth of beautifully sculptured figures and designs in the most
+exuberant Renaissance style, is the urn where the city carefully guards
+the internal organs of Alfonso the Learned--a gruesome legacy but one
+greatly valued.
+
+Much older than Murcia, the old Visigothic capital Carthagena has
+preserved even fewer monuments of antiquity, though it has not lost the
+military character first impressed upon it by its founder Hasdrubal. For
+this is the first arsenal of Spain and perhaps its strongest fortress.
+Its splendid sheltered harbour is defended by powerful forts and
+formidable batteries. Their fire has not always been directed upon the
+enemies of Spain. For many months in 1873 over them waved the red flag
+of the Intransigents, the extreme communistic republicans, who,
+simultaneously with the Carlists of the north, threatened to ruin
+Castelar’s Government at Madrid. The acquisition of the great national
+arsenal without firing a shot was, of course, of the utmost advantage to
+the determined revolutionaries. The garrison, in addition to the
+enthusiastic population, included several revolted battalions of regular
+troops under General Contreras.
+
+Against this terrible stronghold of the Revolution, General Martinez
+Campos advanced with an army from Madrid, with orders to reduce the
+place with the utmost despatch. This was easier said than done. Supplies
+were lacking; the advantage in artillery lay entirely with the besieged.
+The Carlists effected diversions in favour of the Intransigents--an odd
+coalition. Meanwhile three of the revolutionary vessels were seized by a
+Prussian squadron as pirates--an utterly unjustifiable interference with
+the domestic affairs of another State. The Prussians and Italians
+exacted, moreover, a war indemnity of 50,000 pesetas from the Cantonal
+Junta, which body became a prey to internal dissensions. One of its
+members was assassinated. Taking advantage of these embarrassments of
+the besieged the republican troops redoubled their efforts. Señor
+Castelar came down from Madrid to assume the supreme command, and
+Martinez Campos was superseded by General Lopez Dominguez. An incessant
+bombardment was kept up, the besieged responding shell by shell. In
+January the frigate _Tetuan_ was burnt to the water’s edge, and a day or
+two later the explosion of the magazine destroyed hundreds of the
+garrison. The end was near. The city had for half a year defied almost
+the whole kingdom and withstood the covert attacks of foreign Powers.
+The Government troops forced their way into wretched, blood-drenched
+Carthagena; Galvez, Contreras, and the leaders of the cantonal movement
+escaped by sea in the ironclad _Numancia_, which far exceeded the
+Government vessels in speed, and took refuge in Algeria. Thus collapsed
+a movement which was, after the Commune of Paris, the most determined
+organised attempt ever made to subvert the existing constitution of
+European society.
+
+I have given at some length this chapter in the history of Carthagena,
+partly because the town has little interest of itself, and partly
+because these events though so recent and significant are ignored by
+most writers of travel books. Out of so much evil good came at last, for
+these well-nigh fatal disorders opened the eyes of the Spaniards to the
+instability of the Madrid Government and formed the prelude to the reign
+of peace inaugurated by the accession to the throne of King Alfonso XII.
+
+Boasting less than most Spanish provinces of sights that appeal only to
+the casual tourist, Murcia is interesting as a region of perpetual
+struggle and bloodshed; of struggle against nature, of struggles between
+differing religions, and of the deadly internecine feuds of race and
+race.
+
+[Illustration: PLATE 1
+
+VALENCIA: GENERAL VIEW]
+
+[Illustration: PLATE 2
+
+VALENCIA: GENERAL VIEW, LOOKING SOUTH]
+
+[Illustration: PLATE 3
+
+VALENCIA: VIEW FROM THE PUENTE DEL MAR]
+
+[Illustration: PLATE 4
+
+VALENCIA: GENERAL VIEW]
+
+[Illustration: PLATE 5
+
+VALENCIA: VIEW FROM THE PUENTE DEL MAR]
+
+[Illustration: PLATE 6
+
+VALENCIA: ENTRANCE TO THE TOWN BY THE PUERTA DE SANTA LUCIA]
+
+[Illustration: PLATE 7
+
+VALENCIA: THE FAIR AT THE PUERTA DE SANTA LUCIA]
+
+[Illustration: PLATE 8
+
+VALENCIA: PUERTA DE SERRANOS]
+
+[Illustration: PLATE 9
+
+VALENCIA: PUERTA DE CUARTE]
+
+[Illustration: PLATE 10
+
+VALENCIA: THE MARKET-PLACE]
+
+[Illustration: PLATE 11
+
+VALENCIA: THE PUENTE REAL]
+
+[Illustration: PLATE 12
+
+VALENCIA: PASEO DE LA GLORIETA]
+
+[Illustration: PLATE 13
+
+VALENCIA: PASEO DE LA GLORIETA]
+
+[Illustration: PLATE 14
+
+VALENCIA: PASEO DE LA ALAMEDA]
+
+[Illustration: PLATE 15
+
+VALENCIA: FOUNTAIN OF THE ALAMEDA]
+
+[Illustration: PLATE 16
+
+VALENCIA: PLAZA DE LA ADUANA]
+
+[Illustration: PLATE 17
+
+VALENCIA: PLAZA DE SANTO DOMINGO]
+
+[Illustration: PLATE 18
+
+VALENCIA: PLAZA DE SAN FRANCISCO]
+
+[Illustration: PLATE 19
+
+VALENCIA: PLAZA DE TÉTUAN]
+
+[Illustration: PLATE 20
+
+VALENCIA: PLAZA DE LA CONSTITUCION]
+
+[Illustration: PLATE 21
+
+VALENCIA: CALLE DE LA BAJADA DE SAN FRANCISCO]
+
+[Illustration: PLATE 22
+
+VALENCIA: CALLE DE SAN VICENTE]
+
+[Illustration: PLATE 23
+
+VALENCIA: TROS ALT]
+
+[Illustration: PLATE 24
+
+VALENCIA: CALLE DE LA BOLSERIA Y TROS ALT]
+
+[Illustration: PLATE 25
+
+VALENCIA: GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 26
+
+VALENCIA CATHEDRAL: GATE OF THE APOSTLES]
+
+[Illustration: PLATE 27
+
+VALENCIA: THE CATHEDRAL, PUERTA DEL PALAU]
+
+[Illustration: PLATE 28
+
+VALENCIA CATHEDRAL: A DOOR]
+
+[Illustration: PLATE 29
+
+VALENCIA: THE TEMPLE]
+
+[Illustration: PLATE 30
+
+VALENCIA: THE MIGUELETE]
+
+[Illustration: PLATE 31
+
+VALENCIA: CHURCH OF SANTA CATALINA]
+
+[Illustration: PLATE 32
+
+VALENCIA: CHURCH OF SANTA CATALINA]
+
+[Illustration: PLATE 33
+
+VALENCIA: CHURCH OF LOS SANTOS JUANES]
+
+[Illustration: PLATE 34
+
+VALENCIA: FAÇADE OF SAN MIGUEL EL REAL]
+
+[Illustration: PLATE 35
+
+VALENCIA: CHURCH OF SANTA CRUZ]
+
+[Illustration: PLATE 36
+
+VALENCIA: CHURCH OF SANTA CRUZ]
+
+[Illustration: PLATE 37
+
+VALENCIA: ENTRANCE TO THE CHURCH OF SAN ANDRÉS]
+
+[Illustration: PLATE 38
+
+VALENCIA: THE CAMPO-SANTO]
+
+[Illustration: PLATE 39
+
+VALENCIA: THE CAMPO-SANTO]
+
+[Illustration: PLATE 40
+
+VALENCIA: THE CAMPO-SANTO]
+
+[Illustration: PLATE 41
+
+VALENCIA: THE AUDIENCIA, OLD PALACE OF THE CORTES]
+
+[Illustration: PLATE 42
+
+VALENCIA: ROYAL HALL IN THE AUDIENCIA, UPPER PART]
+
+[Illustration: PLATE 43
+
+VALENCIA: ROYAL HALL IN THE AUDIENCIA, LOWER PART]
+
+[Illustration: PLATE 44
+
+VALENCIA: INTERIOR DOOR OF THE AUDIENCIA]
+
+[Illustration: PLATE 45
+
+VALENCIA: THE EXCHANGE]
+
+[Illustration: PLATE 46
+
+VALENCIA: THE EXCHANGE. DETAIL OF THE GALLERY]
+
+[Illustration: PLATE 47
+
+VALENCIA: INTERIOR OF THE EXCHANGE]
+
+[Illustration: PLATE 48
+
+VALENCIA: INTERIOR DOOR OF THE EXCHANGE]
+
+[Illustration: PLATE 49
+
+VALENCIA: COLEGIO DEL PATRIARCA]
+
+[Illustration: PLATE 50
+
+VALENCIA: COURTYARD IN THE COLEGIO DEL PATRIARCA]
+
+[Illustration: PLATE 51
+
+VALENCIA: COURTYARD OF THE UNIVERSITY]
+
+[Illustration: PLATE 52
+
+VALENCIA: ENTRANCE TO THE CIVIL HOSPITAL]
+
+[Illustration: PLATE 53
+
+VALENCIA: GATE OF MOSEN S’ORRELL]
+
+[Illustration: PLATE 54
+
+VALENCIA: THE CUSTOM-HOUSE]
+
+[Illustration: PLATE 55
+
+VALENCIA: THE ARCHBISHOP’S PALACE]
+
+[Illustration: PLATE 56
+
+VALENCIA: THE BULL-RING]
+
+[Illustration: PLATE 57
+
+VALENCIA: TOBACCO FACTORY]
+
+[Illustration: PLATE 58
+
+VALENCIA: A PRIVATE HOUSE]
+
+[Illustration: PLATE 59
+
+VALENCIA: STATUE OF KING JAIME]
+
+[Illustration: PLATE 60
+
+VALENCIA: STATUE OF RIBERA]
+
+[Illustration: PLATE 61
+
+VALENCIA: STATUE OF ST. CHRISTOPHER]
+
+[Illustration: PLATE 62
+
+VALENCIA: PALACE OF THE MARQUÉS DE DOS AGUAS]
+
+[Illustration: PLATE 63
+
+VALENCIA: PALACE OF THE MARQUÉS DE DOS AGUAS]
+
+[Illustration: PLATE 64
+
+VALENCIA: PORTAL OF THE PALACE OF THE MARQUÉS DE DOS AGUAS]
+
+[Illustration: PLATE 65
+
+VALENCIA: PALACE OF THE MARQUES DE RIPALDA]
+
+[Illustration: PLATE 66
+
+GENERAL VIEW OF GRAO]
+
+[Illustration: PLATE 67
+
+GRAO HARBOUR]
+
+[Illustration: PLATE 68
+
+GRAO HARBOUR]
+
+[Illustration: PLATE 69
+
+GRAO HARBOUR]
+
+[Illustration: PLATE 70
+
+CAMINO DEL GRAO: HERMITAGE OF AVE MARIA]
+
+[Illustration: PLATE 71
+
+VALENCIA: A “TARTANA,” OR CHAR-À-BANC]
+
+[Illustration: PLATE 72
+
+VALENCIA: PEASANTS]
+
+[Illustration: PLATE 73
+
+VALENCIA: PEASANTS]
+
+[Illustration: PLATE 74
+
+VALENCIA: PEASANTS]
+
+[Illustration: PLATE 75
+
+VALENCIA: TYPES OF WOMEN]
+
+[Illustration: PLATE 76
+
+VALENCIA: TRIBUNAL DES EAUX]
+
+[Illustration: PLATE 77
+
+VALENCIA: BARBERS ON THE BRIDGE OF SERRANOS]
+
+[Illustration: PLATE 78
+
+VALENCIA: ZIGZAG OF THE CABRILLAS]
+
+[Illustration: PLATE 79
+
+ENVIRONS OF VALENCIA: A ROAD IN CABAÑAL]
+
+[Illustration: PLATE 80
+
+ENVIRONS OF VALENCIA: A ROAD IN CABAÑAL]
+
+[Illustration: PLATE 81
+
+VALENCIA: THE SHORES OF THE MEDITERRANEAN]
+
+[Illustration: PLATE 82
+
+VALENCIA: THE SHORES OF THE MEDITERRANEAN]
+
+[Illustration: PLATE 83
+
+MURVIEDRO: GENERAL VIEW]
+
+[Illustration: PLATE 84
+
+MURVIEDRO: GENERAL VIEW]
+
+[Illustration: PLATE 85
+
+MURVIEDRO: VIEW FROM THE STATION]
+
+[Illustration: PLATE 86
+
+MURVIEDRO: VIEW FROM THE CASTLE]
+
+[Illustration: PLATE 87
+
+MURVIEDRO: THE CASTLE AND TOWN]
+
+[Illustration: PLATE 88
+
+MURVIEDRO: THE CASTLE]
+
+[Illustration: PLATE 89
+
+MURVIEDRO: THE CASTLE FROM ONE OF THE COURTS]
+
+[Illustration: PLATE 90
+
+MURVIEDRO: ENTRANCE TO THE CASTLE]
+
+[Illustration: PLATE 91
+
+MURVIEDRO: GENERAL VIEW OF THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 92
+
+MURVIEDRO: GENERAL VIEW OF THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 93
+
+MURVIEDRO: THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 94
+
+MURVIEDRO: INTERIOR OF THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 95
+
+MURVIEDRO: PRINCIPAL GATE OF THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 96
+
+MURVIEDRO: ENTRANCE TO THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 97
+
+MURVIEDRO: ENTRANCE TO THE ROMAN AMPHITHEATRE]
+
+[Illustration: PLATE 98
+
+JATIVA: GENERAL VIEW]
+
+[Illustration: PLATE 99
+
+JATIVA: VIEW FROM THE STATION]
+
+[Illustration: PLATE 100
+
+JATIVA: THE CIVIL HOSPITAL]
+
+[Illustration: PLATE 101
+
+ALICANTE: GENERAL VIEW]
+
+[Illustration: PLATE 102
+
+ALICANTE: THE CASTLE]
+
+[Illustration: PLATE 103
+
+ALICANTE: VIEW FROM THE CASTLE]
+
+[Illustration: PLATE 104
+
+ALICANTE: THE BREAKWATER]
+
+[Illustration: PLATE 105
+
+ALICANTE: GENERAL VIEW]
+
+[Illustration: PLATE 106
+
+ALICANTE: GENERAL VIEW]
+
+[Illustration: PLATE 107
+
+ALICANTE: GENERAL VIEW]
+
+[Illustration: PLATE 108
+
+ALICANTE: PASEO DE LOS MARTIRES]
+
+[Illustration: PLATE 109
+
+ALICANTE: PASEO DE LOS MARTIRES]
+
+[Illustration: PLATE 110
+
+ALICANTE: PASEO DE LOS MARTIRES]
+
+[Illustration: PLATE 111
+
+ALICANTE: PASEO DE LOS MARTIRES]
+
+[Illustration: PLATE 112
+
+ALICANTE: PASEO DE NUÑEZ]
+
+[Illustration: PLATE 113
+
+ALICANTE: THE TOWN HALL]
+
+[Illustration: PLATE 114
+
+ALICANTE: THE TOWN HALL]
+
+[Illustration: PLATE 115
+
+ALICANTE: MONUMENT TO QUIJANO]
+
+[Illustration: PLATE 116
+
+ALICANTE: THE BULL-RING]
+
+[Illustration: PLATE 117
+
+ELCHE: GENERAL VIEW]
+
+[Illustration: PLATE 118
+
+ELCHE: GENERAL VIEW]
+
+[Illustration: PLATE 119
+
+ELCHE: GENERAL VIEW]
+
+[Illustration: PLATE 120
+
+ELCHE: VIEW OF THE TOWN]
+
+[Illustration: PLATE 121
+
+ELCHE: PLAZA MAYOR]
+
+[Illustration: PLATE 122
+
+ELCHE: VIEW FROM THE STATION]
+
+[Illustration: PLATE 123
+
+ELCHE: THE ROAD TO ALICANTE]
+
+[Illustration: PLATE 124
+
+ELCHE: THE ROAD FROM ALICANTE]
+
+[Illustration: PLATE 125
+
+ELCHE: THE TOWN HALL]
+
+[Illustration: PLATE 126
+
+ELCHE: CHURCH OF SAN JUAN]
+
+[Illustration: PLATE 127
+
+ELCHE: BRIDGE OVER THE RAMBLA DE ELCHE]
+
+[Illustration: PLATE 128
+
+ELCHE: VIEW FROM THE RAILWAY BRIDGE]
+
+[Illustration: PLATE 129
+
+ELCHE: THE CANAL]
+
+[Illustration: PLATE 130
+
+ELCHE: WASHING LINEN IN THE CANAL]
+
+[Illustration: PLATE 131
+
+ELCHE: A CANAL]
+
+[Illustration: PLATE 132
+
+ELCHE: TOWER OF RAPSAMBLANC, BELONGING TO THE CONDE DE LUNA]
+
+[Illustration: PLATE 133
+
+ELCHE: CASTLE OF THE DUQUE DE ALTAMIRA, NOW A PRISON]
+
+[Illustration: PLATE 134
+
+ELCHE: MILL AND CASTLE OF THE DUQUE DE ALTAMIRA]
+
+[Illustration: PLATE 135
+
+ELCHE: CASTLE OF THE DUQUE DE ALTAMIRA]
+
+[Illustration: PLATE 136
+
+ELCHE: CASTLE AND MILL]
+
+[Illustration: PLATE 137
+
+ELCHE: PALMS]
+
+[Illustration: PLATE 138
+
+ELCHE: COUNTRY SPINNERS]
+
+[Illustration: PLATE 139
+
+ELCHE: CASA DE LA HUERTA]
+
+[Illustration: PLATE 140
+
+ELCHE: A COUNTRY ROAD]
+
+[Illustration: PLATE 141
+
+ELCHE: A COUNTRY HOUSE]
+
+[Illustration: PLATE 142
+
+ELCHE: A COUNTRY HOUSE]
+
+[Illustration: PLATE 143
+
+ELCHE: A FAMOUS PALM]
+
+[Illustration: PLATE 144
+
+ELCHE: A PALM CELEBRATED FOR ITS RESEMBLANCE TO A COLUMN]
+
+[Illustration: PLATE 145
+
+ELCHE: PALM GROVES]
+
+[Illustration: PLATE 146
+
+ELCHE: A ROAD]
+
+[Illustration: PLATE 147
+
+SAX: GENERAL VIEW]
+
+[Illustration: PLATE 148
+
+MURCIA: GENERAL VIEW]
+
+[Illustration: PLATE 149
+
+MURCIA: VIEW FROM THE TOWER OF THE CATHEDRAL, TOWARDS THE SOUTH]
+
+[Illustration: PLATE 150
+
+MURCIA: VIEW OF THE TOWN]
+
+[Illustration: PLATE 151
+
+MURCIA: GENERAL VIEW OF THE TOWN]
+
+[Illustration: PLATE 152
+
+MURCIA: GENERAL VIEW OF THE TOWN]
+
+[Illustration: PLATE 153
+
+MURCIA: GENERAL VIEW OF THE TOWN]
+
+[Illustration: PLATE 154
+
+MURCIA: GENERAL VIEW]
+
+[Illustration: PLATE 155
+
+MURCIA: THE BRIDGE]
+
+[Illustration: PLATE 156
+
+MURCIA: THE RIVER]
+
+[Illustration: PLATE 157
+
+MURCIA: THE BRIDGE OVER THE SEGURA]
+
+[Illustration: PLATE 158
+
+MURCIA: THE RIVER SEGURA]
+
+[Illustration: PLATE 159
+
+MURCIA: THE FAIR]
+
+[Illustration: PLATE 160
+
+MURCIA: THE FAIR]
+
+[Illustration: PLATE 161
+
+MURCIA: THE MARKET-PLACE]
+
+[Illustration: PLATE 162
+
+MURCIA: PLAZA DE SANTO DOMINGO ON MARKET-DAY]
+
+[Illustration: PLATE 163
+
+MURCIA: PASEO DEL MALECON]
+
+[Illustration: PLATE 164
+
+MURCIA: PLAZA DE SANTA CATALINA]
+
+[Illustration: PLATE 165
+
+MURCIA: PLAZA DE TOROS, NOW PLAZA DE SAN AUGUSTIN]
+
+[Illustration: PLATE 166
+
+MURCIA: PASEO DEL ARENAL]
+
+[Illustration: PLATE 167
+
+MURCIA: PLAZA DE SAN PEDRO]
+
+[Illustration: PLATE 168
+
+MURCIA: PASEO DE FLORIDABLANCA AND PALACE OF THE EXHIBITION]
+
+[Illustration: PLATE 169
+
+MURCIA: PLAZA DE SANTA ISABELLA]
+
+[Illustration: PLATE 170
+
+MURCIA: CALLE DEL PUENTE]
+
+[Illustration: PLATE 171
+
+MURCIA: PLAZA DE LA GLORIÉTA]
+
+[Illustration: PLATE 172
+
+MURCIA: PLAZA DE LA GLORIÉTA]
+
+[Illustration: PLATE 173
+
+MURCIA: THE CATHEDRAL]
+
+[Illustration: PLATE 174
+
+MURCIA: GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 175
+
+MURCIA: PRINCIPAL FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 176
+
+MURCIA: TOWER OF THE CATHEDRAL]
+
+[Illustration: PLATE 177
+
+MURCIA: SIDE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 178
+
+MURCIA CATHEDRAL: GATE OF THE APOSTLES]
+
+[Illustration: PLATE 179
+
+MURCIA CATHEDRAL: CHAPEL OF THE MARQUÉS DE LOS VELEZ]
+
+[Illustration: PLATE 180
+
+MURCIA CATHEDRAL: DETAIL OF THE FAÇADE]
+
+[Illustration: PLATE 181
+
+MURCIA: DETAIL OF THE CATHEDRAL]
+
+[Illustration: PLATE 182
+
+MURCIA CATHEDRAL: WINDOW OF THE BELFRY]
+
+[Illustration: PLATE 183
+
+MURCIA CATHEDRAL: PRINCIPAL NAVE]
+
+[Illustration: PLATE 184
+
+MURCIA CATHEDRAL: LATERAL NAVE]
+
+[Illustration: PLATE 185
+
+MURCIA CATHEDRAL: BEHIND THE CHOIR]
+
+[Illustration: PLATE 186
+
+MURCIA CATHEDRAL: ENTRANCE TO THE CHAPEL OF THE MARQUÉS DE LOS VELEZ]
+
+[Illustration: PLATE 187
+
+MURCIA CATHEDRAL: CHAPEL OF THE MARQUÉS DE LOS VELEZ]
+
+[Illustration: PLATE 188
+
+MURCIA CATHEDRAL: THE HIGH ALTAR]
+
+[Illustration: PLATE 189
+
+MURCIA CATHEDRAL: THE HIGH ALTAR]
+
+[Illustration: PLATE 190
+
+MURCIA CATHEDRAL: GENERAL VIEW OF THE CHOIR]
+
+[Illustration: PLATE 191
+
+MURCIA CATHEDRAL: THE BISHOP’S THRONE, IN THE CHOIR]
+
+[Illustration: PLATE 192
+
+MURCIA CATHEDRAL: DETAIL OF THE CHOIR STALLS]
+
+[Illustration: PLATE 193
+
+MURCIA CATHEDRAL: DETAIL OF THE CHOIR STALLS]
+
+[Illustration: PLATE 194
+
+MURCIA CATHEDRAL: THE SACRISTY]
+
+[Illustration: PLATE 195
+
+MURCIA CATHEDRAL: TOMB OF ALFONSO THE WISE]
+
+[Illustration: PLATE 196
+
+MURCIA: CHURCH OF SANTO DOMINGO]
+
+[Illustration: PLATE 197
+
+MURCIA: CHURCH OF SANTO DOMINGO]
+
+[Illustration: PLATE 198
+
+MURCIA: CHURCH OF SAN BARTOLOMÉ]
+
+[Illustration: PLATE 199
+
+MURCIA: FAÇADE OF THE CONVENT DE LA MISERICORDIA]
+
+[Illustration: PLATE 200
+
+MURCIA: PALACE OF THE MARQUÉS DE VILLAFRANCA DE LOS VELEZ AND CONVENT OF
+SANTA CLARA]
+
+[Illustration: PLATE 201
+
+MURCIA: THE EPISCOPAL PALACE]
+
+[Illustration: PLATE 202
+
+MURCIA: CASA HUERTA DE LAS BOMBAS]
+
+[Illustration: PLATE 203
+
+MURCIA: PALACE OF THE MARQUÉS DE ALMODOVAR]
+
+[Illustration: PLATE 204
+
+MURCIA: PALACE OF THE BARON DE ALBALA]
+
+[Illustration: PLATE 205
+
+MURCIA: PALACE OF THE MARQUÉS DE ESPINARDO]
+
+[Illustration: PLATE 206
+
+MURCIA: THE “CONTRASTE”]
+
+[Illustration: PLATE 207
+
+MURCIA: MONUMENT TO SALZILLO]
+
+[Illustration: PLATE 208
+
+MURCIA: ROMAN ALTAR DEDICATED TO PEACE, FOUND IN CARTHAGENA AND MOVED IN
+1594 TO THE PALACE OF THE MARQUÉS DE ESPINARDO]
+
+[Illustration: PLATE 209
+
+MURCIA: HOUSE IN THE CALLE JABONERIA]
+
+[Illustration: PLATE 210
+
+MURCIA: HOUSE OF THE PAINTER VILLASIS]
+
+[Illustration: PLATE 211
+
+MURCIA: A BALCONY IN THE CALLE TRAPERIA]
+
+[Illustration: PLATE 212
+
+MURCIA: PUERTA CADENAS]
+
+[Illustration: PLATE 213
+
+MURCIA: TEATRO DE ROMEA]
+
+[Illustration: PLATE 214
+
+MURCIA: THE BULL RING]
+
+[Illustration: PLATE 215
+
+MURCIA: THE TOWN HALL]
+
+[Illustration: PLATE 216
+
+MURCIA: THE TOWN HALL]
+
+[Illustration: PLATE 217
+
+MURCIA: PROCESSION LEAVING THE CHURCH OF JESUS IN HOLY WEEK ST.
+VERONICA]
+
+[Illustration: PLATE 218
+
+MURCIA: PROCESSION LEAVING THE CHURCH OF JESUS IN HOLY WEEK
+
+THE KISS OF JUDAS]
+
+[Illustration: PLATE 219
+
+MURCIA: PROCESSION IN HOLY WEEK. THE GARDEN OF GETHSEMANE]
+
+[Illustration: PLATE 220
+
+MURCIA: PROCESSION IN HOLY WEEK. OUR LORD FALLING]
+
+[Illustration: PLATE 221
+
+MURCIA: PROCESSION IN HOLY WEEK. THE SCOURGING]
+
+[Illustration: PLATE 222
+
+MURCIA: CHURCH OF JESUS THE LAST SUPPER, BY ZARZILLO]
+
+[Illustration: PLATE 223
+
+MURCIA: PILGRIMAGE OF ST. BLAS]
+
+[Illustration: PLATE 224
+
+MURCIA: RUINS OF THE ARAB BATHS]
+
+[Illustration: PLATE 225
+
+ENVIRONS OF MURCIA: CONVENT OF SAN JERONIMO]
+
+[Illustration: PLATE 226
+
+ENVIRONS OF MURCIA: HERMITAGE OF THE FUENSANTA]
+
+[Illustration: PLATE 227
+
+ENVIRONS OF MURCIA: HERMITAGE OF THE FUENSANTA]
+
+[Illustration: PLATE 228
+
+ENVIRONS OF MURCIA: HERMITAGE OF THE FUENSANTA]
+
+[Illustration: PLATE 229
+
+ENVIRONS OF MURCIA: CASTLE OF MONTEAGUDO]
+
+[Illustration: PLATE 230
+
+MURCIA: PAISAJE DE LA HUERTA]
+
+[Illustration: PLATE 231
+
+MURCIA: PAISAJE DE LA HUERTA]
+
+[Illustration: PLATE 232
+
+MURCIA: PAISAJE DE LA HUERTA]
+
+[Illustration: PLATE 233
+
+MURCIA: A CART LOADED WITH “TINAJAS”]
+
+[Illustration: PLATE 234
+
+MURCIA: HARVEST-TIME]
+
+[Illustration: PLATE 235
+
+ENVIRONS OF MURCIA: THE HUERTA DES CAPUCINS]
+
+[Illustration: PLATE 236
+
+ENVIRONS OF MURCIA: THE HUERTA DES CAPUCINS]
+
+[Illustration: PLATE 237
+
+ENVIRONS OF MURCIA: VIEW FROM THE HUERTA DES CAPUCINS]
+
+[Illustration: PLATE 238
+
+ENVIRONS OF MURCIA: THE HUERTA DES CAPUCINS, DATE-GATHERING]
+
+[Illustration: PLATE 239
+
+ORIHUELA: GENERAL VIEW]
+
+[Illustration: PLATE 240
+
+ORIHUELA: GENERAL VIEW FROM THE PUERTA DE MURCIA]
+
+[Illustration: PLATE 241
+
+ORIHUELA: THE RIVER SEGURA]
+
+[Illustration: PLATE 242
+
+ORIHUELA: THE RIVER SEGURA FROM THE EAST]
+
+[Illustration: PLATE 243
+
+ORIHUELA: DOOR OF THE CHURCH OF SANTIAGO]
+
+[Illustration: PLATE 244
+
+CARTHAGENA: GENERAL VIEW]
+
+[Illustration: PLATE 245
+
+CARTHAGENA: A PARTIAL VIEW.]
+
+[Illustration: PLATE 246
+
+CARTHAGENA: VIEW FROM THE STATION]
+
+[Illustration: PLATE 247
+
+CARTHAGENA: VIEW FROM THE HIGH ROAD]
+
+[Illustration: PLATE 248
+
+CARTHAGENA: VIEW FROM QUITAPELLIJOS]
+
+[Illustration: PLATE 249
+
+CARTHAGENA: VIEW FROM THE FORT OF ATALAYA]
+
+[Illustration: PLATE 250
+
+CARTHAGENA: VIEW FROM THE FORT OF ATALAYA]
+
+[Illustration: PLATE 251
+
+CARTHAGENA: VIEW FROM ST. JOSEPH’S MILL]
+
+[Illustration: PLATE 252
+
+CARTHAGENA: VIEW FROM ST. JOSEPH’S MILL]
+
+[Illustration: PLATE 253
+
+CARTHAGENA: VIEW FROM THE FORT OF GALERA]
+
+[Illustration: PLATE 254
+
+CARTHAGENA: VIEW FROM THE FORT OF GALERA]
+
+[Illustration: PLATE 255
+
+CARTHAGENA: VIEW OF THE HARBOUR]
+
+[Illustration: PLATE 256
+
+CARTHAGENA: SANTA LUCIA AND THE HARBOUR]
+
+[Illustration: PLATE 257
+
+CARTHAGENA: THE HARBOUR FROM SANTA LUCIA]
+
+[Illustration: PLATE 258
+
+CARTHAGENA: THE HARBOUR FROM SANTA LUCIA]
+
+[Illustration: PLATE 259
+
+CARTHAGENA: THE HARBOUR FROM THE POWDER MAGAZINE]
+
+[Illustration: PLATE 260
+
+CARTHAGENA: THE HARBOUR FROM TRINCABATIJOS]
+
+[Illustration: PLATE 261
+
+CARTHAGENA: VIEW FROM THE ESPLANADERO]
+
+[Illustration: PLATE 262
+
+CARTHAGENA: THE ENTRANCE TO THE HARBOUR FROM TRINCABATIJOS]
+
+[Illustration: PLATE 263
+
+CARTHAGENA: THE BREAKWATER]
+
+[Illustration: PLATE 264
+
+CARTHAGENA: ENTRANCE TO THE HARBOUR]
+
+[Illustration: PLATE 265
+
+CARTHAGENA: ENTRANCE TO THE ARSENAL]
+
+[Illustration: PLATE 266
+
+CARTHAGENA: PUERTA DEL MAR]
+
+[Illustration: PLATE 267
+
+CARTHAGENA: PUERTA DE MURCIA]
+
+[Illustration: PLATE 268
+
+CARTHAGENA: PLAZA DE LAS MONJAS]
+
+[Illustration: PLATE 269
+
+CARTHAGENA: THE MARINE COLLEGE]
+
+[Illustration: PLATE 270
+
+CARTHAGENA: THE BULL-RING]
+
+[Illustration: PLATE 271
+
+ARCHENA: THE BATHS, FROM LA SIERRA DE VERDELENA]
+
+[Illustration: PLATE 272
+
+ARCHENA: GENERAL VIEW OF THE BATHS FROM THE WEST]
+
+[Illustration: PLATE 273
+
+ARCHENA: GENERAL VIEW OF THE BATHS AT THE ENTRANCE TO THE VILLAGE]
+
+[Illustration: PLATE 274
+
+ARCHENA: ENTRANCE TO THE BATHS]
+
+[Illustration: PLATE 275
+
+ARCHENA: THE CARRETERA AND RIVER SEGURA]
+
+[Illustration: PLATE 276
+
+ARCHENA: VIEW OF THE CHURCH]
+
+[Illustration: PLATE 277
+
+ARCHENA: INTERIOR OF THE CHURCH]
+
+[Illustration: PLATE 278
+
+ARCHENA: THE CHURCH: ALTAR OF THE “VIRGEN DE LA SALUD”]
+
+[Illustration: PLATE 279
+
+ENVIRONS OF ARCHENA: VIEW OF VILLANUEVA]
+
+[Illustration: PLATE 280
+
+ENVIRONS OF ARCHENA: VIEW OF BLANCA FROM THE SALTO DEL PALOMO]
+
+[Illustration: PLATE 281
+
+ENVIRONS OF ARCHENA: VIEW OF BLANCA FROM BUJAMENTE]
+
+[Illustration: PLATE 282
+
+ENVIRONS OF ARCHENA: VILLAGE AND GARDENS OF ULEA FROM VILLANUEVA]
+
+[Illustration: PLATE 283
+
+ENVIRONS OF ARCHENA: VILLAGE AND GARDENS OF ULEA, EAST SIDE]
+
+[Illustration: PLATE 284
+
+ENVIRONS OF ARCHENA: VILLAGE OF OJOS AND MOUNTAINS]
+
+[Illustration: PLATE 285
+
+ENVIRONS OF ARCHENA: THE GARDENS OF OJOS, FROM THE LOVERS’ LEAP]
+
+[Illustration: PLATE 286
+
+ENVIRONS OF ARCHENA: THE LOVERS’ LEAP]
+
+[Illustration: PLATE 287
+
+LORCA: GENERAL VIEW]
+
+[Illustration: PLATE 288
+
+LORCA: VIEW FROM THE RAILWAY STATION]
+
+
+
+
+
+End of Project Gutenberg's Valencia and Murcia, by Albert F. Calvert
+
+*** END OF THE PROJECT GUTENBERG EBOOK 63136 ***
generated by cgit v1.2.3 (git 2.25.1) at 2026-05-10 07:21:22 +0000