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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..4e952f4 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #64914 (https://www.gutenberg.org/ebooks/64914) diff --git a/old/64914-0.txt b/old/64914-0.txt deleted file mode 100644 index 444d449..0000000 --- a/old/64914-0.txt +++ /dev/null @@ -1,5454 +0,0 @@ -The Project Gutenberg eBook of Seville, by Albert F. Calvert - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Seville - -Author: Albert F. Calvert - -Release Date: March 24, 2021 [eBook #64914] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK SEVILLE *** - - - - - THE SPANISH SERIES - - - SEVILLE - - - - - THE SPANISH SERIES - - Edited by ALBERT F. CALVERT - - - MURILLO - SPANISH ARMS AND ARMOUR - THE ESCORIAL - CORDOVA - SEVILLE - THE PRADO - - - _In Preparation_ - - GOYA - GRANADA AND ALHAMBRA - VELAZQUEZ - TOLEDO - ROYAL PALACES OF SPAIN - MADRID - LEON, BURGOS AND SALAMANCA - VALLADOLID, OVIEDO, SEGOVIA, - ZAMORA, AVILA & ZARAGOZA - - - - - SEVILLE - - AN HISTORICAL AND DESCRIPTIVE - ACCOUNT OF - “THE PEARL OF ANDALUSIA” - BY ALBERT F. CALVERT - WITH 300 ILLUSTRATIONS - - - LONDON: JOHN LANE, THE BODLEY HEAD - NEW YORK: JOHN LANE COMPANY MCMVII - - TURNBULL AND SPEARS. PRINTERS, EDINBURGH - - - - -PREFACE - - -There is a charm and compelling fascination about Seville which -produces in the traveller visiting the city for the first time a -sensation of physical ecstasy. The spell of the Pearl of Andalusia is -instant and enduring; I have not met a man or woman proof against its -witchery. George Borrow shed tears of rapture as he beheld Seville from -the Cristina Promenade, and “listened to the thrush and the nightingale -piping forth their melodious songs in the woods, and inhaled the breeze -laden with the perfume of its thousand orange gardens.” The Moors left -their beloved capital at the height of its prosperity, in the full -flower of its beauty; change has not affected its material importance, -and time has not staled its infinite variety. A Christian Cathedral now -stands on the foundation of the great mosque of Abu Yakub Yusuf; but -the Moorish Giralda, the most expressive monument of the Mohammedan -occupation, still beckons the distant traveller onwards to the promised -land; the Alcazar breathes the spirit of its Oriental masters; and the -shimmering Torre del Oro still reflects the light of the setting sun -upon the broad bosom of the rose-coloured river. - -The history of Seville from the time of its subjugation by Musa is -a volume of romance; its pages are illumined by the cold light of -flashing steel and stained with the blood of tyrants, traitors, and -innocent men; but it forms a chronicle which the reader will follow -with absorbing interest. The more exacting student will satisfy his -thirst for knowledge in Dr Dozy’s “History of the Mohammedans of -Spain,” in Gayangos’ translation of El Makkari’s “History of the -Mohammedan Dynasties in Spain,” in Coppee’s “History of the Conquest -of Spain,” and Pedro de Madrazo’s “Sevilla”--to refer to only a few of -the many learned works that have been published on the subject. Many -will continue to be content with the few pages of Notes which appear in -the various Spanish Guides; but a certain section, it is hoped, of the -English travelling public, will find in this book an album, a handbook, -and a history which will supply a long-felt want. - -In my attempt to produce a volume which will appeal both to the artist -and the tourist, to the archæologist as well as the least imaginative -sightseer, I have reproduced a number of illustrations which may -incline some persons to accuse me of a superabundant regard for detail. -It is true that many pages are devoted to intricacies of decoration -which the general reader may find of small interest, but my object in -multiplying this detail is to satisfy the requirements of those who -would fathom the mystery of Moslem art. When I was first in Granada I -inquired for pictures of the minutiæ of many choice examples of design, -and, failing to obtain anything of the kind, I had to employ a local -artist to make sketches of the detail of the mosaics. That experience -determined me, in treating of these Mohammedan cities of Spain, to -include those reproductions for which I had searched in vain, and to -make my illustrations, as far as possible, the last word on the subject -of Arabian architecture and ornament. - -For the historical portion of the letterpress I have laid under tribute -the authorities already mentioned, and I have also to acknowledge the -assistance received in the compilation from Mr E. B. d’Auvergne. - -A large number of the photographs included here were supplied by Messrs -Rafael Garzon and Senan & Gonzalez of Granada, Hauser & Menet of -Madrid, Ernst Wasmuth of Berlin, publisher of Uhde’s “Baudenkmaeler in -Spanien und Portugal,” and Eugen Twietmayer of Leipzig, publisher of -Junghandel’s “Die Baukunst Spaniens,” and my thanks are due to them for -the courteous permission to reproduce their work in this volume. - -Some of the illustrations are reproductions of pictures which were -at one time in the San Telmo Collection. As that collection has been -distributed I have been unable to trace the originals, but as they were -so closely identified with Seville I make no apology for including them. - -A. F. C. - -“ROYSTON,” - - SWISS COTTAGE, - - N.W. - - - - -CONTENTS - - - PAGE - -SEVILLE 1 - -MOORISH SEVILLE 5 - -SEVILLE UNDER THE CASTILIAN KINGS 35 - -THE ALCAZAR 45 - -THE CATHEDRAL 69 - -OTHER BUILDINGS OF THE FIFTEENTH AND -SIXTEENTH CENTURIES 89 - -BUILDINGS OF THE SEVENTEENTH AND EIGHTEENTH -CENTURIES 101 - -THE PAINTERS OF SEVILLE 107 - -THE OLD ROMAN CITY 135 - - - - -ILLUSTRATIONS - - - TITLE PLATE - -General view of Seville from the Giralda Tower, West -side of the City. First view 1 - -General view of Seville from the Giralda Tower, West -side of the City. Second view 2 - -General view of Seville from the Giralda Tower, East -side 3 - -General view of Seville from the Giralda Tower, Central -part of the City 4 - -General view of Seville from the Giralda Tower, North -side 5 - -Procession of the Conception of the Virgin passing -through the Plaza de San Francisco 6 - -View of Seville 7 - -View of Seville 8 - -View of Seville 9 - -View of Seville 10 - -View of Seville 11 - -View of Seville 12 - -View of Seville 13 - -View of Seville 14 - -Bridge over the Guadalquivir 15 - -Hercules Avenue 16 - -The Plaza Nueva 17 - -View of Triana from the Tower of Gold 18 - -View of Seville from Triana 19 - -View of Seville from Triana 20 - -The Tower of Gold from San Telmo 21 - -A street in Seville 22 - -The Tower of Gold 23 - -Church of San Marcos, from the Palace of the Dueñas 24 - -Church of San Marcos 25 - -Court of the Hotel de Madrid 26 - -Hospital, with the Mosaics painted by Murillo 27 - -Portal of the Convent of Santa Paula 28 - -Church of Santa Catalina 29 - -Church of Todos Santos 30 - -The Provincial Museum, with Murillo’s statue 31 - -Statue of Murillo 32 - -General view of the Town Hall 33 - -The Town Hall, left side 34 - -The Town Hall, left side, detail of the interior angle 35 - -Door of the Town Hall 36 - -The Town Hall, detail of the principal part 37 - -General view of the Town Hall 38 - -The Town Hall, detail of the façade 39 - -The Town Hall, detail of the principal door 40 - -Window in the Town Hall 41 - -Principal facade of the Tobacco Factory 42 - -The Tobacco Factory 43 - -Cigar makers, Seville 44 - -The “Sevillanas” Dance 45 - -Sevillian Costumes--A Courtyard 46 - -General view of the Exchange 47 - -Court in the Exchange 48 - -The Aceite Postern and ancient ramparts 49 - -The Roman walls near the gate of the Macarena 50 - -The Roman Amphitheatre of Italica 51 - -General view of the Palace of San Telmo from the River 52 - -Principal Portal of the San Telmo Palace 53 - -Interior of the Hall of Columns in the San Telmo -Palace 54 - -Interior view of the Duke of Montpensier’s study in -San Telmo 55 - -Various objects found in the sepulchres at San Telmo. -(In the Palace of San Telmo) 56 - -Palms in the Gardens of San Telmo 57 - -The sepulchres of the victims of Don Juan Tenorio in -the Gardens of San Telmo 58 - -The Roman Sepulchres in the Gardens of San Telmo 59 - -View in the Gardens of San Telmo 60 - -The Aviary in the Gardens of San Telmo 61 - -The River in the Gardens of San Telmo 62 - -The Cocoa Tree and east side of San Telmo 63 - -The Zapote, a tree in the Gardens of San Telmo 64 - -The Island and River in the Gardens of San Telmo 65 - -The Yucca, a rare tree in the Gardens of San Telmo 66 - -General view of the Hospital de la Sangre 67 - -Church of the Sagrario, north side 68 - -Principal façade of the Hospital de la Sangre 69 - -Porch of the Church of the Hospital de la Sangre 70 - -Bas-relief, Hospital de la Sangre, the work of -Torregiano 71 - -General view of the exterior of the Cathedral 72 - -The Giralda, from the Patio de los Naranjos 73 - -The top of the Giralda 74 - -The Dancing Choir-boys, Seville Cathedral 75 - -Dancing-boys, Seville Cathedral 76 - -The Gate of the Archbishop 77 - -Plaza de San Francisco, with the Giralda and -Cathedral 78 - -Plaza del Triunfo, the Cathedral, and the Exchange, -from the Gate of the Lion 79 - -The Fête 80 - -Gate of San Miguel in the Cathedral 81 - -Gate of the Cathedral called de las Campanillas 82 - -Gate of the Baptist in the Cathedral 83 - -The Gate of the Lizard in the Cathedral 84 - -General view of the Cathedral from the Tribune of the -principal door 85 - -Principal Sacristy in the Cathedral 86 - -Principal Entrance to the Cathedral 87 - -Interior view of the Principal Sacristy in the Cathedral 88 - -The Gamba Chapel 89 - -The Cathedral, the Gamba Chapel, and entrance to that -of the Antigua 90 - -Chapels of the Conception and the Annunciation in the -Cathedral 91 - -The Cathedral. The Chapel of the Conception 92 - -The Cathedral. Detail of the High Altar 93 - -The Cathedral. Retablo, or altar-piece of the High Altar 94 - -Iron railings of the lateral part of the High Altar 95 - -The Cathedral. Wrought-iron screen in the Choir 96 - -The Cathedral. Wrought-iron screen of the High Altar 97 - -St Christopher carrying the Child Jesus, by Mateo -Perez Alesio, in the Cathedral 98 - -San Fernando Square 99 - -Gardens of the Alcazar 100 - -General view of the Gardens of the Alcazar 101 - -View of the Gardens of the Alcazar 102 - -General view of the Gardens of the Alcazar 103 - -The Gardens of the Alcazar. Lake and Gallery of Don -Pedro I., the Cruel 104 - -The Gardens of the Alcazar. View of the Gallery of -Don Pedro I., the Cruel 105 - -The Hothouses in the Gardens of the Alcazar 106 - -Calle de las Vedras in the Gardens of the Alcazar 107 - -The Gardens of the Alcazar. Parterre of Doña Maria -de Padilla 108 - -The Alcazar. Baths of Doña Maria de Padilla 109 - -Magnificent altar in faience, painted in the fifteenth -century. (In the Oratory of the Catholic Sovereigns -in the Alcazar.) 110 - -Town Hall of Seville. Details of doors and balconies 111 - -Town Hall of Seville. Details 112 - -Parish Church of San Marcos 113 - -Various Towers of Seville 114 - -Details of the Mosaic commonly called El Grande 115 - -Sculpture and details of ancient churches 116 - -Architectural parts, bas-reliefs, and ceramic objects 117 - -Façade of the Consistorial houses 118 - -Entrance to the Alcazar, Seville 119 - -Principal Façade of the Alcazar 120 - -Gate of the principal entrance, Alcazar 121 - -Interior of the Hall of Ambassadors, Alcazar 122 - -Hall of Ambassadors, Alcazar 123 - -Interior of the Hall of Ambassadors, Alcazar 124 - -Interior of the Hall of Ambassadors, Alcazar 125 - -Hall of Ambassadors, Alcazar 126 - -Hall of Ambassadors, Alcazar 127 - -Hall of Ambassadors. Alcazar 128 - -Upper part of the Court of the Dolls, Alcazar 129 - -Court of the Dolls from the Room of the Prince, Alcazar 130 - -Court of the Dolls, Alcazar 131 - -Angle in the Court of the Dolls, Alcazar 132 - -Court of the Dolls, Alcazar 133 - -Court of the Dolls, Alcazar 134 - -Court of the Dolls, Alcazar 135 - -Court of the Dolls, Alcazar 136 - -Court of the Dolls, Alcazar 137 - -Court of the Dolls, Alcazar 138 - -Gallery on the second storey of the Court of the Dolls, -Alcazar 139 - -Upper part of the Court of the Dolls, Alcazar 140 - -Upper part of the Court of the Dolls, Alcazar 141 - -Entrance to the Dormitory of the Moorish Kings, -Alcazar 142 - -Dormitory of the Moorish Kings, Alcazar 143 - -Front of the sleeping-saloon of the Moorish Kings, -Alcazar 144 - -Sleeping-saloon of the Moorish Kings, Alcazar 145 - -Intercolumniation, where Don Fadrique was assassinated, -Alcazar 146 - -Sultana’s Quarters, Alcazar 146 - -Room in which King St Ferdinand died, Alcazar 147 - -Interior of the Hall of St Ferdinand, Alcazar 148 - -Front of the Hall of St Ferdinand, Alcazar 149 - -Gate of the Hall of St Ferdinand, Alcazar 150 - -Gallery of the Hall of St Ferdinand, Alcazar 151 - -Throne of Justice, Alcazar 152 - -Court of the Hundred Virgins, Alcazar 153 - -Court of the Virgins, Alcazar 154 - -General view of the Court of the Hundred Virgins, -Alcazar 155 - -Court of the Virgins, Alcazar 156 - -Front of the Dormitory of the Moorish Kings and the -Court of the Virgins, Alcazar 157 - -Gallery in the Court of the Virgins, Alcazar 158 - -The Court of the Virgins, Capital of the door of the Hall -of Ambassadors, Alcazar 159 - -The Alcazar. Court of the Virgins. Capital of the -gate of the Hall of Charles V. 160 - -Palace of the Dueñas, Door of the Chapel 161 - -Palace of the Dukes of Alcalá, commonly called Casa -de Pilatos 162 - -The Court in the House of Pilate 163 - -Court of the House of Pilate 164 - -Gallery in the Court of the House of Pilate 165 - -House of Pilate 166 - -Gallery in the Court of the House of Pilate 167 - -Angle and statue in the House of Pilate 168 - -House of Pilate. Entrance to the ante-room of the -Chapel 169 - -The staircase in the House of Pilate, by Barrera 170 - -House of Pilate. Entrance door of the Oratory 171 - -House of Pilate. Way out to the flat roofs in the High -Gallery 172 - -Staircase in the House of Pilate 173 - -House of Pilate. Doors of the officers in the High -Gallery 174 - -House of Pilate. Window of the Prætor’s Hall leading -to the Garden 175 - -House of Pilate. Barred window in the Prætor’s -Garden 176 - -House of Pilate. Bolt on the Prætor’s Gate 177 - -House of Pilate. Window in the Ante-room of the -Chapel 178 - -House of Pilate. Section of the ceiling in the Prætor’s -Hall 179 - -Palace of the Dueñas in Seville 180 - -House of Pilate. Mosaics in the Hall of the Fountain 181 - -Palace of the Dueñas in Seville. Glazed tiles in the -socles of the Chapel and arches 182 - -Mosaic of the Peristyle in the Palace 183 - -House of Pilate. Mosaic in the Hall of the Fountain 184 - -Mosaic in the Court of the House of Pilate 185 - -Mosaic in the Court of the House of Pilate 186 - -Mosaic in the Court of the House of Pilate 187 - -House of Pilate. Mosaic in the Chapel 188 - -Bartolomé Esteban Murillo. Born in Seville, 1617 189 - -Altar-screen of the La Gamba, by Luis de Vargas. -Seville Cathedral 190 - -“Descent from the Cross,” by Pedro Campaña, -Seville Cathedral 191 - -“St Anthony of Padua visited by the Infant Saviour -while kneeling at his prayers,” by Murillo. -Seville Cathedral 192 - -“Our Lord baptized by St John Baptist,” by Murillo. -Seville Cathedral 193 - -“The Guardian Angel,” by Murillo. Seville Cathedral 194 - -“St Leander,” by Murillo. Seville Cathedral 195 - -“St Isidore,” by Murillo. Seville Cathedral 196 - -“St Ferdinand, crowned and robed,” by Murillo. -Seville Cathedral 197 - -“Madre Francisca Dorotea Villalda,” by Murillo. -Seville Cathedral 198 - -“St Anthony with the Infant Saviour,” by Murillo. -Seville Museum 199 - -“Our Lady of the Immaculate Conception,” by -Murillo. Seville Museum 200 - -“Our Lady of the Immaculate Conception,” by -Murillo. Seville Museum 201 - -“Our Lady of the Immaculate Conception,” by -Murillo. Seville Museum 202 - -“Our Lady of the Immaculate Conception,” by -Murillo. Seville Museum 203 - -“St Justa and St Rufina, Patron Saints of Seville, -holding between them the Giralda Tower,” by -Murillo. Seville Museum 204 - -“St Bonaventure and St Leander,” by Murillo. -Seville Museum 205 - -“St Thomas of Villanueva, giving alms at the door of -his Cathedral,” by Murillo. Seville Museum 206 - -“The Annunciation of Our Lady,” by Murillo. -Seville Museum 207 - -“St Felix of Cantalisi, restoring to Our Lady the -Infant Saviour, whom she had placed in his arms,” -by Murillo. Seville Museum 208 - -“Adoration of the Shepherds of Bethlehem,” by -Murillo. Seville Museum 209 - -“St Peter Nolasco kneeling before Our Lady of -Mercy,” by Murillo. Seville Museum 210 - -“The Deposition,--St Francis of Assisi supporting -the body of Our Lord nailed by the left hand to the -Cross,” by Murillo. Seville Museum 211 - -“St Joseph and the Infant Saviour,” by Murillo. -Seville Museum 212 - -“St John the Baptist in the Desert leaning against a -rock,” by Murillo. Seville Museum 213 - -“St Augustine and the Flaming Heart,” by Murillo. -Seville Museum 214 - -“St Felix of Cantalisi and the Infant Jesus,” known -as “San Felix de las Arrugas,” by Murillo. -Seville Museum 215 - -“St Anthony with the Infant Saviour,” by Murillo. -Seville Museum 216 - -“Deposition from the Cross,” by Murillo. Seville -Museum 217 - -“Our Lady with the Infant Saviour in her Arms,” by -Murillo. (An early picture.) Seville Museum 218 - -“Our Lady and the Infant Saviour,” known as “La -Virgen de la Servilleta,” by Murillo. Seville -Museum 219 - -“Our Lady seated, with the Infant Saviour in her lap,” -by Murillo. (An early picture.) Seville Museum 220 - -“St Thomas of Aquin,” by Zurbarán. Seville Museum 221 - -“The Virgin of the Grotto,” by Zurbarán. Seville -Museum 222 - -“St Bruno talking to the Pope,” by Zurbarán. Seville -Museum 223 - -“The Day of Judgment,” by Martin de Vos. Seville -Museum 224 - -“Our Lady of the Immaculate Conception,” by J. -Valdes Leal. Seville Museum 225 - -“Jesus crowning St Joseph,” by Zurbarán. Seville -Museum 226 - -“The Devout Punyon,” by Zurbarán. Seville -Museum 227 - -“Our Lady of the Immaculate Conception,” the -Virgin surrounded by Cherubim, by Fr. Pacheco. -Seville Museum 228 - -“Our Lord’s Miracle of the Loaves and Fishes,” by -Murillo. Seville Hospital 229 - -“Moses striking the Rock in Horeb,” by Murillo. La -Caridad, Seville 230 - -“St John of God, sinking under the weight of a sick -man, assisted by an Angel,” by Murillo. La -Caridad, Seville 231 - -“The Death of St Hermenigild” by J. de las Roelas. -Hospital de la Sangre, Seville 232 - -“The Apostleship,” by Juan de las Roelas. Hospital -de la Sangre, Seville 233 - -“The End of this World’s Glories,” by Valdes Leal. -La Caridad, Seville 234 - -“Pietà, or the Virgin supporting the dead body of -her Divine Son,” altar-screen, by Luis de Vargas. -Santa Maria la Blanca, Seville 235 - -“St Joseph, holding the Infant Saviour in his arms,” -by Murillo. San Telmo, Seville 236 - -“Our Lady of the Girdle,” by Murillo, San Telmo, -Seville 237 - -“Portrait of Ferdinand VII.,” by Goya. San Telmo, -Seville 238 - -“Portrait of Charles IV.,” by Goya. San Telmo, -Seville 239 - -“The Annunciation,” by F. Zurbarán. San Telmo, -Seville 240 - -“The Death of Laocoon and his Sons at the Siege of -Troy,” by El Greco. San Telmo, Seville 241 - -“Caton of Utique tearing open his wounds,” by Josef -Ribera. San Telmo, Seville 242 - -“Pietà. The Virgin holding the dead Saviour in her -arms,” by Morales. San Telmo, Seville 243 - -“Portrait of El Greco,” by himself. Gallery of San -Telmo, Seville 244 - -“The Miracle of St Vœu. St Hugo in the refectory -with several Chartreux,” by Zurbarán. Seville -Museum 245 - -“The Martyrdom of St Andrew,” by J. de las Roelas. -Seville Museum 246 - -“The Last Supper,” by P. de Cespedes. Seville -Museum 247 - -“Christ on the Cross,” by Zurbarán. Seville Museum 248 - -Portrait of the figure in Pacheco’s picture at Seville, -supposed to represent Cervantes 249 - -“The Virgin and the Child Jesus,” by Alonso Cano. -Seville Cathedral 250 - -“The Descent from the Cross,” by Alego Fernandez. -Seville Cathedral 251 - -The Cathedral 252 - -The Giralda 253 - -The Giralda 254 - -Cathedral. The Gate of Pardon 255 - -Cathedral. Puerta de los Palos 256 - -Plan of the Cathedral 257 - -Cathedral. View of an organ 258 - -Cathedral. Monument to Columbus 259 - -Cathedral. Silver Tabernacle (weighing forty-five -arrobas) 260 - -Alcazar Gardens 261 - -Alcazar Gardens 262 - -Alcazar Gardens 263 - -House of Pilate. The Goddess Ceres 264 - -House of Pilate. The Goddess Pallas Pacifer 265 - -Italica 266 - -Roman Walls 267 - -Patio de Banderas and the Giralda 268 - -Plaza de San Francisco 269 - -St Mark’s Church 270 - -Plaza de San Fernando 271 - -The Town Hall. Details of the old part 272 - -Façade of the Palace of San Telmo 273 - -Statue of Velazquez 274 - -Plaza de la Constitución 275 - -Plaza de la Constitución 276 - -Calle de Sierpes 277 - -Calle de Sierpes 278 - -A street in Seville 279 - -Hercules Avenue 280 - -The Pasadera 281 - -Courtyard of La Caridad 282 - -Plaza de San Fernando 283 - -Plaza de Gavidia 284 - -View from the Pasadera 285 - -The Drive 286 - -Paseo de las Delicias 287 - -The Quay 288 - -Partial view of Seville 289 - -Plaza de Toros 290 - -Fields of San Sebastian 291 - -Park of Maria Luisa 292 - -Railway Station of M.Z.A. Principal Façade 293 - -Railway Station of M.Z.A. General View 294 - -Triana Bridge 295 - -View from Triana Bridge 296 - -View from Triana 297 - -San Telmo from Triana 298 - -The Cathedral. Our Lord Crucified. Sculpture in the -Sacristy 299 - -Plan of Seville 300 - - - - -SEVILLE - - -Seville is the most Spanish of the cities of Spain. On her white walls -the sunlight plays perpetually, the air is laden with the scent of the -orange, the sound of the guitar and castanets is heard continually in -the narrow streets. This is the South of romance, the South of which -northerners dream and towards which so many of them are drawn by an -irresistible fascination. The cities of Leon and Castile are grim and -Gothic. Cordova is Moorish; but Seville is not essentially one nor -the other, but presents that blending of both styles which makes her -typical, which stands for all that Spain means to the average foreigner. - -Seville lives. Cordova is dead, and Granada broods over her past. These -are cemeteries of a vanished civilisation. Alone among the ancient -seats of Moorish dominion, Seville has maintained her prosperity. Her -wharves, as in the days of Al Mansûr, are still the resort of sailors -from many lands. There is still wealth in her palaces and genius in her -schools. To-day she holds the first place in native art, and Garcia -y Ramos, Sanchez Perrier, Jimenez Aranda, and Bilbao not unworthily -continue the traditions of Murillo and Zurbarán. - -The city is Moorish, but informed throughout with the spirit of Spain. -In Cordova the Spaniard seems a stranger; in Seville he has assimilated -and adapted all that was bequeathed by his onetime rulers till you -might think the place had always been his. It is as though the glowing -metal of Andalusian life and temper had been poured into a mould made -expressly by other hands to receive it. Thus Seville has not died nor -decayed like her rivals. Her vitality intoxicates the northerner. -Valdés says, “Seville has ever been for me the symbol of light, the -city of love and joy.” - -In my book, “Moorish Remains in Spain,” I have sketched the history -of the city and briefly referred to its importance under the Roman -sway. With the few monuments remaining from that time I do not purpose -dealing separately--incorporated as they have been, for the most part, -with works of more recent construction. Nor has Roman influence left -very profound traces in Seville, any more than in the rest of Spain. -Señor Rafael Contreras justly remarks that Roman civilisation made -no deep impression on the country or the people. “We have in Spain,” -he continues, “aqueducts, bridges, circuses, baths, roads, vases, -urns, milliaria, statues, and jewellery. Specimens are still found, -but, strictly speaking, art with us has never been either Roman or -Greek.” And Seville, in particular, even during the Roman occupation, -was rather a Punic than a Latin town. As to the successors of the -Cæsars--the Visigoths--to them can only be ascribed a few capitals and -stone ornaments, roughly executed in the Byzantine style. These, like -the Roman remains, were used by the Moors in the construction of those -buildings that have determined the physiognomy of Seville. - - - - -MOORISH SEVILLE - - -Seville was not among the spoils of Tarik, conqueror at the Guadalete. -That general having directed his march upon Toledo, it was reserved to -his superior officer, Musa Ben Nosseyr, to subdue the proudest city -of Bætica. The citizens held out for a month and then retired upon -Beja in Alemtejo. The Arabian commander left a garrison in the city, -henceforward to be known for five hundred and thirty-six years as -Ishbiliyah, and pushed forward to Merida. The Sevillians took advantage -of his absence to shake off his yoke, assisted by the people of Beja -and Niebla. Their triumph was short lived. Abdelasis, son of Musa, fell -upon them like a thunderbolt, extinguished the rising in blood, and -made the city the seat of government of the newly acquired provinces. - -The interesting personality and tragic fate of Seville’s first Viceroy -have made the site of his residence a question of some importance. -It was formerly believed that he occupied the Acropolis or Citadel, -supposed then to be covered by the Alcazar. The researches of Señores -Gayangos and Madrazo have made it plain, however, that he established -his headquarters in a church which had been dedicated by the sister of -St Isidore to the martyrs Rufina and Justa, now amalgamated with the -convent of La Trinidad. Adjacent to this building Abdelasis erected a -mosque; and it was within its walls, while reciting the first surah of -the Koran, that he was assassinated by the emissaries of the Khalif of -Damascus--death being a not uncommon reward in the Middle Ages for too -brilliant military services rendered to one’s sovereign. - -The seat of government was transferred, soon after the murder of the -son of Musa, to Cordova, and Seville sank for a time to a subsidiary -rank. The various cities of Andalusia were allotted by the governor -Abdelmelic among the different Syrian peoples who had flocked over -on the news of the conquest; and Ishbiliyah, according to Señor de -Madrazo, was assigned to the citizens of Horns, the classic Emesa. -Owing to intermarriage between the conquerors and the natives, the -distinction between the Moslems according to the places of origin -of these early settlers was soon lost in that drawn between the -pure-blooded Arabs and the Muwallads or half-breeds. In the meantime -the germs of Arabian culture had fallen upon a kindly soil, and a -new school of art and letters was in process of formation in Spain. -The imposing monuments of Roman, Greek, and Byzantine civilisation, -which the victorious hosts of Islam found ever in their path, were not -without influence upon their conceptions of the beautiful in form. -The fusion of the Hispano-Goths and Arabs likewise tended to produce -a commingling of spirit, and ultimately to give birth to an art and -a culture racy of the soil. “According to all contemporary writers,” -says Señor Rafael Contreras, “it is beyond all doubt that the style -which the artists of the Renaissance called Moorish (in the sense of -originating in Northern Africa) was never anything of the sort. The -details so much admired on account of their richness, the vaultings and -the arched hollows practised in the walls, the festoons of the arches, -the _commarajias_ and _alicates_, were Spanish works finer and more -delicate than those of the East. The root was originally in Arabia, but -it was happily transplanted to Spain, where blossomed that beautiful -flower which diffuses its perfume after a lapse of seven centuries.” - -Under the Western Khalifate, Seville flourished in spite of the -assaults and internecine warfare of which it was frequently the -theatre. When in 888 Andalusia became temporarily split up into several -nominally independent states, the city acknowledged the sway of Ibrahim -Ibn Hajjaj. The chronicler Ben Hayán, often quoted by Señor de Madrazo, -describes this prince as keeping up imperial state and riding forth -attended by five hundred horsemen. He ventured to assume the _tiraz_, -the official garb of the Amirs of Cordova. To his court flocked the -poets, the singers, and the wise men of Islam. Of him it was written, -“In all the West I find no right noble man save Ibrahim, but he is -nobility itself. When one has known the delight of living with him, -to dwell in any other land is misery.” Flattery did not blind the -sagacious Ibn Hajjaj to the insecurity of his position, and he bowed -before the rising star of the new Khalifa, Abd-er-Rahman III. In 913 -Ishbiliyah opened her gates to that powerful ruler and again became -subject to Cordova. The city lost nothing by its timely submission. The -generous and beneficent Khalifa narrowed and deepened the channel of -the Guadalquivir, thus rendering it navigable. He introduced the palm -tree from Africa, planted gardens, and adorned the city with splendid -edifices. Much of the splendour of the Court of Cordova was reflected -on Seville, which certainly rivalled the capital as a seat of learning. -Among its citizens was Abu Omar Ahmed Ben Abdallah, surnamed _El Begi_ -or “the Sage,” the author of an encyclopædia of sciences, which was -long esteemed as a work of marvellous erudition. According to Condé, -Abdallah was frequently consulted by the magistrates, even in his early -youth, in affairs of the gravest import. - -The public edifices of the Pearl of Andalusia were no doubt worthy of -its fame as a home of wisdom and culture. In addition to the mosque -built by Abdelasis, near or on the spot where the convent of La -Trinidad now stands, a notable ornament of the city was the mosque -raised on the site of the basilica of St Vincent--immortalised by -several memorable Councils. “But who,” asks Señor de Madrazo, “would -be capable to-day of describing this edifice? Nothing of it remains -except the memory of the place where it stood. Other structures, -ampler and more majestic, replaced it when, under the Almoravides and -Almohades, Seville recovered its rank as an independent kingdom. Let -us content ourselves with recording that the principal mosque, built -at the same time as and on the model of that of Cordova, although on -a smaller and less sumptuous scale, was situated on the site of the -existing Cathedral, and that in the ninth century it was burnt by the -Normans. In consequence it is impossible to say if the great horseshoe -arches which occur in the cloister of the Cathedral are works earlier -or later than that event. It does not appear probable that in the time -of the Khalifs the mosque of Seville could have had the considerable -dimensions suggested by the northern boundary of the _patio de los -naranjos_. That line is 330 Castilian feet, which would give the -mosque, extending from north to south, a length about double, the -breadth of the atrium included--unlikely dimensions for a temple which, -compared with the Jama of Cordova, was unquestionably of the second -class. No one knows who ordered the construction of the primitive -mosque of Seville.” - -The irruption of the Normans, one of the results of which was the -demolition of this edifice, took place in 859. The pirates were -afterwards defeated off the coast of Murcia by the Moorish squadron, -and made sail for Catalonia. A serious descent had taken place in -844. Lisbon was the first city to fall a victim to the Northmen, whom -we next hear of at Cadiz and at Sidonia, where they defeated the -Khalifa’s troops in a pitched battle. Fierce fighting took place before -the walls of Ishbiliyah, the invaders being uniformly victorious. Laden -with the richest booty, they at length retired overland to Lisbon, -where they took to their ships. They not only destroyed the mosque of -Seville, but threw down the city walls, which dated from Roman times. -These were repaired by Abd-er-Rahman II., to be partially demolished -again by Abd-er-Rahman III. on his triumphal entry into the amirate of -Ibrahim Ibn Hajjaj. - -The subjection of Seville to the yoke of the Khalifs of Cordova was, -unhappily for the city and for Islam generally, not of long duration. -The mighty Wizir, Al Mansûr, restored the waning power of the Crescent -and drove back the Christians into the mountain fastnesses of the -North. But the collapse of the Western Khalifate had been postponed, -not averted. This Al Mansûr well knew. On his deathbed he reproached -his son for yielding to unmanly tears, saying, “This is to me a -signal of the approaching decay of this empire.” His prediction did -not long await fulfilment. In 1009, seven years after his death, his -second son, Abd-er-Rahman Sanjul, had the audacity to proclaim himself -the Khalif Hisham’s heir. The empire became at once resolved into -its component parts. On all sides the kadis and governors revolted. -Independent amirates were set up in all the considerable towns. At -Ishbiliyah the shrewd and powerful kadi, Mohammed Ben Abbad, perceived -his opportunity, but contrived to excuse his ambition by a specious -pretence of legality. An impostor, impersonating the legitimate -Khalifa, Hisham, appeared on the troubled scene. Ben Abbad espoused his -cause and pretended to govern the city in his name. His power firmly -established, the kadi announced that the Khalifa was dead and had -designated him as his lawful successor. For the second time, Seville -rose to the dignity of an independent state. - -The Abbadites were a splendour-loving race. Their Court was extolled by -Arabian writers as rivalling that of the Abbasside sultans. Under their -rule the city waxed every year more beautiful, more prosperous. Patrons -of art and letters, the amirs were vigorous and capable sovereigns, and -in all Musulman Spain no state was more powerful than theirs, except -Toledo. The second monarch of the dynasty, Abu Amru Abbad, better known -as Mo’temid, was a mighty warrior. He reduced Algarve and took Cordova. -When not engaged in martial exploits he took delight in composing -verses, in the society of talented men, and in the contemplation of -the garden of his enemies’ heads, which he had laid out at the door of -his palace. He was succeeded in 1069 by his son Abul-Kasim Mohammed, a -native of Beja. - -The Crescent was waning. All Al Mansûr’s conquests had been recovered -by the Christians. Toledo fell before the arms of Alfonso III. The -Castilians overran Portugal and penetrated into Andalusia. The Amir -of Ishbiliyah took the only course open to him at the moment, and -cultivated the friendship of the Castilian king. He consented to the -removal of the body of St Isidore from Italica to Leon, and gave his -daughter Zayda in a sort of left-handed marriage to Alfonso III. As the -Christian king was already the husband of Queen Constancia, and Zayda’s -dowry consisted of the most valuable conquests of the Amir Mut’adid, -this transaction did not reflect much credit on either party. But it -purchased for Seville a period of peace and security, during which its -inhabitants became hopelessly enervated by luxury and ease. - -The Abbadite sovereigns have left but few traces on the city which -they did so much to embellish and improve. To them, however, may be -ascribed the foundation of the Alcazar. Such at least is the opinion -of Señor de Madrazo. In the horseshoe arches of the Salón de los -Embajadores with their rich Corinthian capitals--on which the names of -different Khalifas are inscribed--we detect a resemblance to the mosque -of Cordova, and recognise the early Saracenic style, unaffected by -African, or properly Moorish, influence. To the same period and school -of architecture, Señor de Madrazo attributes the ornate arcading of the -narrow staircase leading from the entrance court to near the balcony -of the chapel; and the three arches with capitals in the abandoned -apartment adjoining the Salón de los Principes. The ultra-semicircular -curve of the arch occurs very rarely in later or true Moorish -architecture. - -The Moslem conquerors had, in the majority of cases, converted to their -use the Christian churches in the cities they occupied. Many of the -mosques that adorned Ishbiliyah during the reign of the race of Abbad -had been adapted in this way, the lines of pillars being readjusted in -most cases to give the structure that south-easterly direction that the -law of Islam required. Traces of these Abbadite mosques remain in the -churches of San Juan Bautista and San Salvador. On the wall of the -former was found an inscription which has been thus translated by Don -Pascual de Gayangos: “In the name of the clement and merciful Allah. -May the blessing of Allah be on Mohammed, the seal of the Prophets. The -Princess and august mother of Er-Rashid Abu-l-hosaya Obayd’ allah, son -of Mut’amid Abu-l-Kasim Mohammed Ben Abbad (may Allah make his empire -and power lasting, as well as the glory of both!), ordered this minaret -to be raised in her mosque (which may Allah preserve!), awaiting the -abundance of His rewards; and the work was finished, with the help of -Allah, by the hand of the Wizir and Katib, the Amir Abu-l-Kasim Ben -Battah (may Allah be propitious to me!), in the moon of Shaaban, in the -year 478.” - -The site of the present collegiate church of San Salvador was occupied -by a mosque, which was used by the Moors for a considerable time after -the Christian conquest, and preserved its form down to the year 1669. -An inscription on white marble relates that a minaret was constructed -in the year 1080, by Mut’amid Ben Abbad, that “the calling to prayer -might not be interrupted.” - -The reign of the Abbadites was brought to a close by the advent of the -Almoravides (a word allied to _Marabut_), who, at the invitation of -the Andalusian amirs, invaded Spain in the last quarter of the eleventh -century. It was a story common enough in history. The Africans came at -first as the friends and allies of the Spanish Arabs, and effectually -stemmed the tide of Christian successes; but in 1091, Yusuf, the -Almoravide leader, annexed Ishbiliyah and all Andalusia to his vast -empire. The city became a mere provincial centre, the appanage of -the Berber monarch. Mo’temid, loaded with chains, was transported to -Africa, where he died in 1095, having reigned as amir twenty-seven -years. - -The Almoravides lived by the sword and perished by the sword. -Perpetually engaged in warfare, among themselves or with the -Christians, they left no deep impress on the character of Seville or -of Andalusia generally. With them the student of the arts in Spain has -little concern. They burst like a tornado over the land, destroying -much, creating nothing. Little more than half-a-century had passed -since the downfall of the Abbadites, when the star of the Almoravides -paled before the rising crescent of the Almohades or Al Muwahedun. The -new sectaries, as fierce as their predecessors, but more indomitable -and austere, wrested all Barbary from the descendants of Tashrin and -annexed Ishbiliyah to their empire in 1146. - -The reign of the Almohades is the most interesting period in the -history of the city. It was marked by the foundation of Seville’s most -important existing edifices, and by the introduction of a new style -of architecture. Hitherto, what is loosely called Moorish art, had -been native Andalusian art, following Saracenic or Syrian ideals. Of -this first period, the Mezquita at Cordova is the finest monument. -Seville is peculiarly the city of the second, or true, Moorish period. -Byzantine and Oriental influences disappeared and were supplanted by -the African or, more properly, Berber, character. The new conquerors -of Andalusia were a rude, hardy race, and we find something virile -and coarse in their architecture. “Beside the Giralda of Seville,” -remarks Herr Karl Eugen Schmidt, “the columns of the mosque of Cordova -seem small; the pretty halls of the Alhambra have something weak and -feminine.” The weakness of the Almohade builders, as is usually the -case with imperfectly civilised peoples, lay in an excessive fondness -for ornamentation. Señor de Madrazo’s criticism, though severe, is, -on the whole, just. While admitting the beauty of certain of their -innovations, such as the stalactited dome (afterwards carried out -with so much effect at Granada) and the pointed arch, he goes on to -say, “The Almohade architecture displays that debased taste which -is imitative rather than instinctive, and which creates only by -exaggerating forms to a degree inconsistent with the design--differing -from the Mudejar work of the thirteenth to the fifteenth centuries, -which reveals an instinctive feeling for the beautiful in ornament, -which never loses sight of the graceful, the elegant, and the bold, and -which consequently never betrays any aberration. The Almohade style, -in short, at once manifests the vigour of the barbarian civilised -by conquest; the Mudejar style has the enduring character of the -works of a man of taste, wise in good and evil fortune; both are the -faithful expression of the culture of peoples of different origins and -aptitudes.” Elsewhere the same authority observes, “It is certain that -the innovation characteristic of Musulman architecture in Spain in -the eleventh and twelfth centuries, cannot be explained as a natural -mutation from the Arabic art of the Khalifate, or as a prelude to -the art of Granada, because there is very little similarity between -the style called secondary or Moorish and the Arab-Byzantine and -Andalusian; while, on the other hand, it is evident that the Saracenic -monuments of Fez and Morocco, of the reigns of Yusuf Ben Tashfin, -Abdul Ben Ali, Al Mansûr, and Nasr, partake of the character of the -ornamentation introduced by the Almohades into Spain.” - -The most important example of this style is the Giralda, now adjacent -to the magnificent Christian cathedral which was reared in later -days on the foundations of the great mosque. Señor de Madrazo has -reconstructed for us the general form and aspect of the finest monument -of Almohade piety. The mosque replaced that which had been destroyed -by the Normans, and appears to have embodied some part of the original -structure, to judge from the horseshoe arches still to be seen in the -Claustro de la Granada. The work was begun by order of Yusuf, the son -of Abd-er-Rahman, the founder of the dynasty. The mosque formed a -rectangle, extending from north to south, and surrounded by cloisters -and courtyards. The interior was divided into longitudinal naves by a -series of marble columns, which supported an adorned ceiling of carved -and painted wood. The _mihrab_, or sanctuary, would have been at the -southern extremity, after the Syrian custom, it taking the Spanish -Muslims some time to realise that Mecca lay east rather than south -of Andalusia. The mosque would also have contained a _maksurrah_, or -vestibule, for the imam and his officials, the _nimbar_, or pulpit, for -the sovereign, and the tribune for the preacher. In the northern court -was the existing fountain for ablutions, surmounted by a cupola, and -surrounded by orange and palm-trees. The eastern court was known as the -Court of the Elms. In all probability, attached to the sacred edifice, -was the _turbeh_, or tomb of the founder. - -The Giralda is not only the most important and famous of minarets, but -is among the three or four most remarkable towers in the world. It is -more to Seville than Giotto’s campanile to Florence; it rivals in fame -the now vanished campanile of St Mark’s. Unlike similar edifices in -Egypt and Syria, minarets among the western Moslems were built strong -and massive, rather than slender and elegant. The Giralda,” says Herr -Schmidt, “is one of the strongest buildings in the world, and few of -our Christian church towers could have withstood so successfully the -lightning and the earthquake.” - -The Giralda is quadrangular in section, and covers a space of 13.60 -square metres. The architect--whose name is variously spelt Gever, -Hever, and Djabir--is said to have used quantities of Roman remains -and statuary as a base for the foundations. The thickness of the -wall at the base is nine feet, but it increases with the height, the -interior space narrowing accordingly. The lower part of the tower is of -stone, the upper part of brick. At a height of about 15 metres above -the ground begin those decorations in stone which lend such elegance -and beauty to this stout structure. They consist in vertical series of -windows--mostly _ajimeces_ or twin-windows--some with the horseshoe, -others the pointed arch, flanked on either side by broad vertical bands -of beautiful stone tracery, resembling trellis-work. The windows are -enclosed in arches which exhibit considerable diversity of design. The -decoration as a whole is harmonious and beautiful. - -The Moorish tower only reaches to a height of 70 metres. The remaining -portion, reaching upwards for another 25 metres, is of Christian -workmanship. Before this was added, the tower appears to have been -crowned, like most West African minarets, by a small pinnacle or -turret. This supported four balls or apples of gilded copper, one of -which was so large that the gates of Seville had to be widened that it -might be brought into the city. The iron bar which supported the balls -weighed about ten hundredweights, and the whole was cast by a Sicilian -Arab named Abu Leyth, at a cost of £50,000 sterling. We owe these -particulars to a Mohammedan writer of the period, and his accuracy was -confirmed in 1395, when the balls, having been thrown to the ground by -an earthquake, were carefully weighed and examined. - -The upper or newer part of the Giralda was built by Fernando Ruiz -in 1568. Despite its Doric and Ionic columns and Renaissance style, -it does not mar the beauty and harmony of the whole building, and -is itself a remarkably graceful work. The entablature of the second -stage or storey bears the words _Turris fortissima Nomen Domini_. The -whole fabric is surmounted by the bronze statue of Faith, executed -by Bartolomé Morel in 1568. It stands fourteen feet high, and weighs -twenty-five hundredweights, yet so wonderful is the workmanship that -it turns with every breath of the wind. Hence the name applied to the -whole tower--Giralda--from _que gira_, “which turns.” The figure wears -a Roman helmet. The right hand clasps the labarum of Constantine, and -the left a palm branch symbolical of victory. - -The Giralda is ascended by means of thirty-five inclined planes, up -which a horse might be ridden with ease to the very top. The various -_cuerpos_ or stages of the ascent are all named. The Cuerpo de Campanas -is named after its fine peal of bells. The bell named Santa Maria was -hung in 1588 by order of the Archbishop Gonzalo de Mena. It cost ten -thousand ducats, and weighs eighteen tons. The Cuerpo de Azucenas (or -of the lilies) is so named after its urns with floral decorations in -ironwork. El Cuerpo del Reloj (clock tower) contains a clock partly -constructed in 1765 by the monk José Cordero, with pieces of another -placed here in 1400 in the presence of Don Enrique III.--the first -tower-clock set up in Spain. The Cuerpos de Estrellas (stars) and de -las Corambolas (billiard-balls) are named after the predominant devices -in their schemes of decoration. - -The highest platform of the Giralda affords, as might be expected, -a very extensive view. On the whole, the prospect is disappointing. -The neighbourhood of Seville is not beautiful, nor are there any -very notable sites or natural features included within the panorama. -Standing below Morel’s great statue, however, and gazing down upon the -city, interesting considerations naturally present themselves. That -the figure of Christian faith should thus be reared on the summit of a -building specially intended to stimulate the zeal and to excite the -devotion of the followers of Islam is a reflection calculated to give -profound satisfaction to the devout Spaniard. The whimsical philosopher -may also find an appropriateness in the handiwork of the men of the -simpler, cruder faith conducting one upwards to the more refined and -complicated creed. I do not know if Mohammedans ever visit Seville. -If so, they doubtless console themselves for the desecration of their -sacred edifices by thoughts of Hagia Sophia and the onetime Christian -churches of the East. And the Giralda has fared better at the hands of -the Christians than many a church of their own has done. I may instance -the chapel at Mayence, which with practically no alteration in its -architecture and internal arrangements now serves the purpose of a -beer-shop. - -As the Giralda attests the size and beauty of the great mosque, so -several smaller towers exist in Seville to mark the sites of the lesser -Mohammedan temples. The most important of these is the tower or minaret -of San Marcos. It is seventy-five feet high and ten feet broad--the -highest edifice in the city except the Giralda. It is built according -to the pure Almohade style, “without any admixture,” points out Señor -de Madrazo, “of the features taken from the Christian architecture of -the West.” According to Mr Walter M. Gallichan there is a tradition -that Cervantes used to ascend this tower to scan the vicinity in -search of a Sevillian beauty of whom he was enamoured. The church is -Gothic, and dates from 1478, but the beautiful portal exhibits Mudejar -workmanship, and may be ascribed to the days of St Ferdinand or of his -immediate successors. - -The parish churches of San Juan Bautista, Santa Marina, San Esteban, -Santiago, Santa Catalina, San Julián, San Ildefonso, San Andrés, San -Vicente, San Lorenzo, San Bartolomé, Santa Cruz, and Santa Maria de las -Nieves (some of which no longer exist), were all mosques during the -Almohade era. A few continue to preserve their minarets and _mihrabs_, -generally restored and modified almost beyond recognition. - -While attending by the construction of these numerous places of worship -to the spiritual needs of their subjects, the Almohade rulers neglected -no means of strengthening Ishbiliyah and of promoting its general -prosperity. The city became the most important seat of Mohammedan power -in the West. Trade rapidly increased, and the town became the principal -resort of the weavers, metal-workers, and other prominent Moorish -craftsmen. Abu Yakub Yusuf was the first to throw a bridge of boats -across the Guadalquivir, over which troops first passed on October -11th, 1171. This bridge immensely added to the strength of the city as -a fortified place, as it established permanent communication between -it and its principal source of supplies, the fertile district called -the Ajarafa on the right bank of the river. The charms of this expanse, -otherwise known as the Orchard of Hercules, are rapturously described -by Arab historians. These are the words of the poet Ibn Saffar: “The -Ajarafa surpasseth in beauty and fertility all the lands of the world. -The oil of its olives goeth even to far Alexandria; its farms and -orchards exceed those of other countries in size and convenience; so -white and clean are they, that they appear like so many stars in a -sky of olive gardens.” The Ajarafa is an Arabia Felix without wild -beasts, the Guadalquivir a Nile without crocodiles. El Makkari says it -measured about forty miles in each direction and contained a numerous -population. Those who know the rather dreary country extending westward -of the modern city will realise the melancholy change brought about by -time. - -The city then, as now, was girdled by strong walls. The gates -were twelve in number. Those not turned towards the river were -strongly fortified with towers and bastions. The farther bank of the -Guadalquivir was defended by castles and redoubts. Upwards of a hundred -keeps and watch-towers studded the adjacent country. - -One of the most vital points in the defensive works was the -poetically-named Torre del Oro (tower of gold), which still exists, and -is familiar to every visitor to the city. The tower is a twelve-sided -polygon of three storeys. It is surmounted by a smaller tower, also -of twelve sides, which in turn supports a small round cupola. This -superstructure was added in the eighteenth century, whereas the main -building was erected by the Almohade governor Abu-l-Ala in the year -1220. The tower was in those days connected with the walls of the city -by what is called in military parlance a curtain, which was pulled -down as late as in 1821. The outwork faced another watch-tower on the -opposite bank of the river, and a great iron chain was drawn from the -one to the other, effectually closing the harbour against hostile -vessels. The assaults of the foeman and the deadlier ravages of time -have stripped this strong and graceful monument of the beautiful tiles -or _azulejos_ with which it was once adorned, and which seemed to have -earned for it its present name. No Danaë, alas! waits in this tower of -gold to-day for tyrant or deliverer. The place is occupied by clerks, -whose pens are ever busy recording the shipments of coal brought by -incoming steamers; and the immediate vicinity is infested by “tramp” -sailors of all nationalities, mostly British, for whose benefit, -presumably, rum, “Old Tom,” and other stimulating but unromantic -beverages are dispensed at kiosks and bars. - -The spot appears to have been the scene of a picturesque episode -recounted by Contreras. It is worth repeating as revealing the polished -character of the dusky amirs who ruled in Ishbiliyah three hundred -years before Charles of Orleans devoted his declining years, in his -palace by the Loire, to the making of ballads, triolets, and rondeaux. - -The Abbadite amir, Mut’adid-billah, was walking one day in the field -of Marchab Afida, on the banks of the Guadalquivir, and observed the -breeze ruffling the surface of the water. He improvised the line-- - - “The breeze makes of the water a cuirass”-- - -and turning to the poet Aben Amr, called upon him to complete -the verse. While the laureate was still in the throes of poetical -parturition, a young girl of the people who happened to be standing by, -anticipated him, and gave utterance to these original lines-- - - “A cuirass strong, magnificent for combat, - As if the water had been frozen truly.” - -The prince was astonished at this display of the lyrical gift by a -woman of her condition, and ordered one of his eunuchs to conduct her -to the palace. On being questioned, she informed him that she was -called Romikiwa, because she was the slave of Romiya, and was a driver -of mules. - -“Are you married?” asked the prince. - -“No, sire.” - -“It is well, for I shall buy you and marry you.” - -It is to be hoped that Romikiwa’s merits as a wife exceeded her -abilities as a poetess. - -The Alcazar, the palace inhabited by this dilettante amir and his -successors of the race of Abbad, continued to be the principal -residence of the subsequent rulers of Ishbiliyah, both Almoravides -and Almohades. There can be no doubt that the latter restored and -reconstructed the building to an extent that almost effaced the work -of the founders. But the impress of the Berber architects was in its -turn almost entirely lost when the fabric came into the possession of -the Christians. Thus the Alcazar cannot be rightly classed among the -monuments of the Almohade period. It is certain that its extent at this -time was greater than it is now. Its enclosure was bounded by the city -wall, which ran down to the river, and occupied the whole angle formed -by the two. The Alcazar was then primarily a fortress, and its walls -were flanked on every side by watch-towers such as those with which its -front is still furnished. The principal entrance seems to have been at -the Torre de la Plata (silver tower), which was standing as late as -1821. Finally, among the works of the last Musulman rulers of Seville, -we must not omit to mention the great aqueduct of four hundred and -ten arches, called the Caños de Carmona, constructed in 1172, which -ensured the city an abundant supply of water from the reservoir of -Alcalá de Guadaira. The Almohades had other palaces in the city. The -old residence of Abdelasis yet remained, and we hear of the palaces of -St Hermenegildo and of the Bib Ragel (or northern gate). - -The Almohades kinged it nobly in Andalusia; but these successive -revivals of fervour and activity in Western Islam may be compared to -the last strong spasms of a dying man. Despite these furious inrushes -of Almoravides and Al-Muwahedun, the Christians were slowly but surely -gaining ground. The lieutenants of Abd-ul-Mumin subjugated Granada and -Almeria in the east, Badajoz and Evora in the west. The Moorish amir -of Valencia did homage to Yusuf, Abd-ul-Mumin’s son and successor, at -Ishbiliyah. The third sovereign of the dynasty, Yakub Al Mansûr, dealt -what seemed a crushing blow to the allied Spaniards at Alarcos in 1195. -Had that victory been properly followed up, perhaps to this day a -Mohammedan power might have been seated firmly in the south of Spain, -and the Strait of Gibraltar might have been a western Dardanelles. - -But the Christians rallied. In 1212 was fought the decisive battle -of Las Navas de Tolosa, between the Moorish Khalif An-Nasr and the -Castilian King, Alfonso VIII. The Musulmans were totally defeated. “Six -hundred thousand combatants,” says El Makkari, with perhaps a trace of -Oriental hyperbole, “were led by An-Nasr to the field of battle; all -perished, except a few that did not amount to a thousand. This battle -was a malediction, not only on Andalus but on all the West.” - -Yet the downfall of the Islamite power did not immediately follow. -An-Nasr survived his defeat seven years, and his son, Abu Yusuf Yakub -Al-Mustanser, reigned four more inglorious years. His dying (1223) -without children was the signal for dissensions and disturbances -throughout his still vast empire. While Abd-ul-Wahed was proclaimed -Khalifa in Morocco, Al Adil took up the reins of sovereignty in Murcia. -Both pretenders soon disappeared from the troubled scene, Abd-ul-Wahed -being assassinated, and his rival, after having been defeated in Spain -by the Christians, being forced to take refuge in Morocco, there to -abdicate in favour of An-Nasr’s son, Yahya. Abu-l-Ala, Al Adil’s -brother, who had been left as governor in Ishbiliyah, declared himself -Khalifa on learning the accession of Yahya. He was the last of the race -of Abd-ul-Mumin to rule in the city. He was driven from Spain--to found -a wider empire in Africa--by Mohammed Ben Yusuf, variously styled Ben -Hud and Al Jodhami. - -The storm-clouds were gathering fast over the beautiful city by the -Guadalquivir. Spain’s great national hero, St Ferdinand, now wore the -crown of Castile. He routed the Moors at Jerez, and in 1235 wrested -from them their most ancient and glorious metropolis, Cordova. The -discord and sedition which history shows are the usual prelude to the -extinction of a state, were not wanting at Seville. Ben Hud died in -1238, and his subjects turned once more in their despair to the African -Almohades. But no new army of Ghazis crossed the strait to do battle -with the Unbeliever. Despite their protestations of allegiance to the -Khalifa of Barbary, the Moors of Seville were left to fight their last -fight unassisted. When the Castilian army appeared before the walls, -the defence was directed, strangely enough for a Mohammedan community, -by a junta of six persons. Their names are worthy of being recorded: -Abu Faris, called by the Spaniards Axataf, Sakkáf, Shoayb, Ben Khaldûn, -Ben Khiyar, and Abu Bekr Ben Sharih. - -The siege of Ishbiliyah lasted fifteen months. Material assistance -was lent to the Spaniards by Musulman auxiliaries, among them the -Amirs of Jaën and Granada. The Castilian fleet under Admiral Ramon -Bonifaz dispersed the Moorish ships, while the Sevillian land forces -were driven to take refuge within the walls. The Admiral succeeded -in breaking the chain stretched across the river, and thus cut off -the garrison from their principal magazines in the suburb of Triana. -Only when in the clutches of famine did the defenders ask for terms. -They offered to give up the city, on the condition that they should -be allowed to demolish the mosque. The Infante Alfonso replied that -if a single brick were displaced, the whole population would be put -to the sword. The garrison finally surrendered on the promise that -all inhabitants who desired to do so should be free to leave the city -with their families and property, and that those who elected to remain -should pay the Castilian king the same tribute they had hitherto paid -to the native ruler. The brave Abu Faris was invited to accept an -honourable post under the conqueror, but he magnanimously declined and -retired to Africa. Thither thousands of his countrymen followed him. -Indeed, probably only a few thousand Moors remained behind in Seville. - -Ferdinand took possession on December 22nd, 1248. He took up his -residence in the Alcazar and allotted houses and territory to his -officers. It is worthy of remark that the first Christian soldier to -ascend the Giralda was a Scotsman named Lawrence Poore. Among the first -duties of the saintly king was the purification of the mosque and its -conversion into a Christian church. - -Seville, after having remained in the hands of the Musulmans five -hundred and thirty-six years, had passed from them for ever. - - - - -SEVILLE UNDER THE CASTILIAN KINGS - - -The outward transformation of the Moorish Ishbiliyah into Seville, -the Christian capital, proceeded slowly and gradually. The -personal devotion and profound religious fervour of King Ferdinand -notwithstanding, even the war which resulted in the taking of the -city cannot be regarded as a crusade. As we have seen, Mohammedan -troops fought under the banners of the Christian king and contributed -to his victory; and in the division of the spoils these allies were -not forgotten. Satisfied with their triumph, the Castilians showed -moderation in their treatment of their Muslim subjects. The fall of -Ishbiliyah was attended by no outburst of iconoclastic fury. The -conquerors were delighted with the beauty and richness of their prize, -and had no desire to impair the handiwork of their predecessors. - -The transition from the pure Arabic and Almohade styles of architecture -to what is called the Mudejar style was therefore almost imperceptible. -The physiognomy of the city altered but slowly. But the alteration was -from the first inevitable. Houses and lands were bestowed on knights -from all parts of Spain on the condition of their residing permanently -in Seville. Catalans, Galicians, Castilians of all trades and ranks -flocked in, and their influence was bound sooner or later to assert -itself. But the builders and artisan class remained for many years -composed of Moors--sometimes Christianised, but thoroughly imbued -with the artistic traditions of their forebears. Thus came about that -peculiar and graceful blending of the Moorish and Gothic and earlier -Renaissance styles known to Spanish writers as the Mudejar. Its -differentiation from the Arabic naturally became more marked as the -centuries rolled by. - -Moorish architecture was thus accepted by the conquerors of Seville -both from choice and necessity. But certain important modifications -in the structure of buildings became immediately necessary, owing to -the difference of faith and customs. The mosque and the dwelling-house -alike had to undergo some alteration. No _mihrab_ was required, nor -minaret, nor the south-easterly position; in the dwelling-house there -was no need for harem, for retired praying-place, for the baths so dear -to the Andalusian Muslim. - -Probably the first building of importance to be affected by the change -of rulers was the mosque. The outermost naves were divided into -chapels, the names and order of which have been preserved for us by -Zuñiga (quoted by Madrazo). - -The royal chapel occupied the centre of the eastern wall; the other -chapels were: San Pedro, Santiago, Santa Barbara, San Bernardo, San -Sebastian (in this chapel were buried some Moors of the blood royal who -had been baptised and had served King Ferdinand, among them being Don -Fernando Abdelmon, son of Abu Seyt, Amir of Baeza), San Ildefonso, San -Francisco, San Andrés, San Clemente, San Felipe, San Mateo (containing -the sepulchre of the Admiral of Castile, Don Juan de Luna), Don Alonso -Perez de Guzman, San Miguel, San Marcos, San Lucas, San Bernabe, San -Simon, and San Judas, and the Magdalena. In the last-named chapel were -buried the knights who had taken part in the capture of the city. -Attached to it was the altar of Nuestra Señora de Pilar, a reputedly -miraculous shrine which became the objective of pilgrims in after years. - -Chapels were also constructed in the four cloisters of the Patio de -los Naranjos. The cloister of the Caballeros contained eight--one of -which, Santa Lucia, was the place of sepulchre of the Haro family; the -cloister of the Granada contained three; the cloister of San Esteban, -three; the cloister of San Jorge or Del Lagarto, four--in one of -which, San Jorge, reposed that doughty warrior, Garci Perez de Vargas, -who distinguished himself before all his compeers at the assault of -Seville. This cloister was named Del Lagarto from the remains of an -enormous crocodile, a present from the Sultan of Egypt to King Alfonso -el Sabio, which are still suspended from the roof. - -The cathedral--for so we must now call the mosque--was endowed and -richly embellished by St Ferdinand’s son and successor, the bookish -monarch Alfonso el Sabio. He also bestowed upon Seville its existing -coat-of-arms, consisting of the device NO8DO, which frequently appears, -to the bewilderment of strangers, on public buildings, uniforms, and -documents. The knot is in the vernacular _madeja_; the device thus -reads _no madeja do_, or, with an excusable pun, _no me ha dejado_--“it -has not deserted me.” This honourable motto the city won by its loyalty -to Alfonso during the civil wars which distracted the kingdom during -his reign. Seville bears the splendid title of “Most noble, most loyal, -most heroic, and unconquered city” (_muy noble_, _muy leal_, _muy -heroica_, _y invicta_). The surname “most noble” was bestowed upon it -by St Ferdinand; the style “most faithful” it received from Juan II. in -remembrance of its resistance to the Infante Don Enrique; “most heroic” -from Fernando VII. in recognition of its devotion to the national cause -during the War of Independence; and “unconquered” from Isabel II. to -commemorate its defence against the army of Espartero in July 1843. - -The successors of the sainted king made their home in the Alcazar, and -adapted themselves to an environment created by their traditional foes. -The personality which looms largest in the history of the city is that -of Don Pedro I., surnamed the Cruel, or, by his few admirers, ‘the -Justiciary.’ What Harun-al-Rashid is in the story of Bagdad is this -ferocious monarch in the annals of Seville. Countless are the tales, -the ballads, and traditions of which he is the subject. Curiously -enough, Pedro enjoyed a certain measure of popularity in the country -he misgoverned. He was undoubtedly a vigilant protector of the humbler -classes of his subjects against the tyranny of the aristocracy, and -officials, and appears to have combined a grim humour and a strain of -what we should now call Bohemianism, with a tiger-like ferocity. He was -fond of rambling _incognito_ through the poorer quarters of the city; -and no account of Seville can be considered complete without a relation -of one of his most notable adventures in the street called Calle de la -Cabeza de Don Pedro. - -The king had promulgated a decree holding the municipal authorities -answerable with their lives for the preservation of peace and public -order within their jurisdiction. A few nights later, wandering, heavily -cloaked as we may suppose, through a dark alley, a gentleman brushed -rudely against him. A brawl ensued, swords were drawn, and Pedro ran -his subject through the body. Flattering himself that there had been no -witness to the encounter, he stalked away. In the morning the hidalgo’s -body was found, but there appeared to be no clue as to the assassin. -The king summoned the Alcalde and reminded him of the edict. If the -miscreant were not discovered within two days the luckless magistrate -must himself pay the penalty on the scaffold. It was a situation with -precisely the humorous aspect that Pedro relished. - -But presently to the Alcalde came an old lady with a strange but -welcome story. She told how she had seen a fight between two gentlemen, -the previous night, from her bed-chamber window. She witnessed the -fatal termination, and lo! the light of her candle fell full on the -face of the murderer; and as he bent forward, she heard his knee crack. -By his features and by this well-known physical peculiarity, she -recognised, beyond all possibility of a mistake, the king. - -Next day the Alcalde invited his sovereign to attend the execution of -the criminal. Greatly wondering, no doubt, Pedro came. Dangling from a -rope he beheld his own effigy. “It is well,” he said, after an ominous -pause. “Justice has been done. I am satisfied.” - -We may be inclined to disagree with the king’s conception of justice -as evinced on this occasion. More equitable and humorous was his -action when a priest, for murdering a shoemaker, was condemned by his -ecclesiastical superiors to suspension from his sacerdotal functions -for twelve months. Pedro thereupon decreed that any tradesman who slew -a priest should be punished by being restrained from exercising his -trade for the like period! - -The catalogue of this Castilian monarch’s crimes proves interesting -if gloomy reading. He left his wife, Blanche de Bourbon, to perish -in a dungeon; he married Juana de Castro and insultingly repudiated -her within forty-eight hours; he put to death his father’s mistress, -Leonor de Guzman. He threw the young daughter of his brother, Enrique -de Trastamara, naked to the lions, like some Christian virgin-martyr. -But the good-humoured (and possibly well-fed) brutes refused to touch -the proffered prey. Not wishing to be outdone in generosity by a wild -beast, Pedro ever afterwards treated the maiden kindly. She was known, -in remembrance of her terrible experience, as Leonor de los Leones. - -The Jew, Don Simuel Ben Levi, had served Pedro long and only too -faithfully as treasurer and tax-gatherer. It was whispered in his -master’s ear that half the wealth that should fill the royal coffers -was diverted into his own. Ben Levi was seized without warning and -placed on the rack, where the noble Israelite is said to have died, -not of pain, but of pure indignation. Under his house--so the story -has it--was a cavern filled with three piles of gold and silver so -high that a man standing behind any one of them was completely hidden. -“Had Don Simuel given me the third of the least of these three piles,” -exclaimed the king, “I would not have had him tortured. Why would he -rather die than speak?” - -Somewhat more excusable was the treatment meted out to the Red King -of Granada, Abu Saïd; for this prince was himself a usurper, and had -behaved traitorously towards his own sovereign and his suzerain, the -King of Castile. Fearing Pedro’s resentment, he appeared at his court -at Seville with a retinue of three hundred, loaded with presents, among -which was the enormous ruby that now decorates the Crown of England. -He was received in audience by the Spanish king, whom he begged to -arbitrate between him and the deposed King of Granada. Pedro returned -a gracious reply, and entertained the Red King in the Alcazar. Before -many hours had passed the Moors were seized in their apartments and -stripped of their raiment and valuables. Abu Saïd, mounted on a donkey -and ridiculously attired, was taken, with thirty-six of his courtiers, -to a field outside the town. There they were bound to posts. A train of -horsemen appeared, Don Pedro among them, and transfixed the helpless -men with darts, the king shouting as he hurled his missiles at the -luckless Abu Saïd, “This for the treaty you made me conclude with -Aragon!” “This for the castle you lost me!” The Moors met their death -with the stoical resignation of their race. - -That atrocities committed against Jews and infidels, against even -members of the royal family, should be regarded with indifference by -the public of that day need not surprise us. But the people of Seville -tamely suffered the most cruel wrongs to be inflicted by the tyrant on -their own fellow-citizens. After his (or rather the Black Prince’s) -victory over Don Enrique at Najera (1367), the Admiral Bocanegra and -Don Juan Ponce de Leon were beheaded on the Plaza San Francisco. Garci -Jufre Tenorio, the mayor of the city, also suffered death. The property -of Doña Teresa Jufre was confiscated because she had spoken ill of -his Majesty. Doña Urraca Osorio, because her son had taken part with -Don Enrique in the revolt, was burned at the stake on the Alameda. -Her servant, Leonor Dávalos, threw herself into the flames and shared -the fate of her mistress. In consequence of this persecution, Seville -lost several of her most illustrious families, which either became -extinguished or removed themselves to other parts of Spain. - -So much for the picturesque if repugnant personality of Pedro I. With -his sinister memory the Alcazar is so intimately associated, and the -part he took in its reconstruction was so conspicuous that this may be -deemed the proper place to deal with that famous building--one of the -two most important in Seville. - - - - -THE ALCAZAR - - -“The Alcazar,” says Señor Rafaél Contreras, “is not a classic work, nor -does it present to-day that stamp of originality and that ineffaceable -character which distinguish ancient works like the Parthenon and modern -works like the Escorial. In the Alcazar of Yakub Yusuf the influence -of the heroic generation has faded away, and it portrays instead -the daily life of our Christian kings who have enriched it with a -thousand pages of glorious history. The Almohades, who impressed on -the building their African characteristics in 1181, and Jalubi, who -had been a follower of Al-Mehdi in the conquest of Africa, left on its -walls traces of the Roman influences met with in the course of their -movements. St Ferdinand, who conquered it, Don Pedro I., who restored -it, Don Juan II., who reconstructed the most elegant apartments, -the Catholic sovereigns, who built within its precincts chapels and -oratories, Charles V., who added more than a half in the modified -style of that epoch of the Renaissance, Philip III. and Philip V., who -enlarged it still more by building in the adjacent gardens--these, -and other princes who inhabited it during six centuries, have changed -the original structure to such an extent that to-day it is far from -being a monument of oriental art, though we find it covered with fine -arabesques and embellished with mosaics and gilding.” - -Though not a monument of oriental art, the Alcazar seems to us to have -claims to rank as a specimen of Moorish architecture; for the general -character of the structure was determined by the restorations effected -by order of Pedro I., and these were, probably exclusively, the work -of Moorish artisans, not only of Seville, but from Granada, then a -Moorish city. This accounts for the resemblance of this palace to the -more famous Alhambra. But the Alcazar is not to be dismissed as a mere -pseudo-Moorish palace. It remains, to a great extent, the work of -Moorish hands and the conception of Moorish architects. - -In spite of the severe strictures of fastidious observers, the Alcazar -produces a very pleasing impression on northern visitors. Mr W. M. -Gallichan writes: “It is a palace of dreams, encircled by lovely -perfumed gardens. Its courts and salons are redolent of Moorish -days and haunted by the spirits of turbaned sheiks, philosophers, -minstrels, and dark-eyed beauties of the harem.... The nightingales -still sing among the odorous orange bloom, and in the tangles of roses -birds still build their nests. Fountains tinkle beneath gently moving -palms; the savour of orientalism clings to the spot. Here wise men -discussed in the cool of summer nights, when the moon stood high over -the Giralda and white beams fell through the spreading boughs of the -lemon trees, and shivered upon the tiled pavements. - -“In this garden the musicians played and the tawny dancers writhed and -curved their lissome bodies, in dramatic Eastern dances. _Ichabod!_ The -moody potentate, bowed down with the cares of high office, no longer -treads the dim corridor or lingers in the shade of the palm trees, lost -in cogitation. No sound of gaiety reverberates in the deserted courts; -no voice of orator is heard in the Hall of Justice. The green lizards -bask on the deserted benches of the gardens. Rose petals strew the -paved paths. One’s footsteps echo in the gorgeous _patios_, whose walls -have witnessed many a scene of pomp, tragedy, and pathos. The spell of -the past holds one; and before the imagination troops a long procession -of illustrious sovereigns, courtiers, counsellors, and menials.” - -The Alcazar, as we have said, at the time of the reconquest covered a -much larger space than at present; and its area was even greater in -the days of Pedro I. Its strength as a fortress may be gauged by a -glance at the remaining walls, adjacent to the principal entrance. In -the Plaza de Santo Tomas is an octagonal, one-storeyed tower, called -the Torre de Abdalasis, which once formed part of the building, and is -said to have been the spot on which St Ferdinand hoisted his flag on -the fall of Seville. To enter the palace we pass across the Plaza del -Triunfo and enter the Patio de las Banderas, so called either because -a flag was hoisted here when the royal family were in residence or on -account of the trophy displayed over one of the arches, composed of -the Arms of Spain with supporting flags. From this court a colonnade -called the Apeadero leads to the Patio de la Monteria. It was built, -as an inscription over the portal records, by Philip III. in 1607, -and restored and devoted to the purposes of an armoury by the fifth -sovereign of that name in 1729. The Patio de la Monteria derives its -name from the Royal Lifeguards, the Monteros de Espinosa, having their -quarters here. These courts, with the commonplace private houses -which surround them, occupy the site of the old Moorish palace of -the Almohades. Some of the houses exhibit vestiges of fine Musulman -work. The house No. 3 of the Patio de las Banderas formed part, in the -opinion of Gestoso y Perez, of the Stucco Palace (Palacio del Yeso) -mentioned by Ayala as having been built by Pedro I. That potentate, it -is worthy of remark, was accustomed to administer justice, tempered -with ferocity, after the oriental fashion, seated on a stone bench in -a corner of this _patio_. The room in which the Almohade governors -presided over their tribunals still exists. It is surrounded by houses, -and is entered from the Patio de la Monteria. Contreras sees in this -hall (the Sala de Justicia) the traces of a work anterior to the -ninth century. It was, however, restored by Pedro. It is square, and -measures nine metres across. The ceiling is of stucco and adorned with -stars, wreaths, and a painted frieze. Inscriptions in beautiful Cufic -characters constitute the principal decoration of the apartment. Round -the four walls runs a tastefully worked stucco frieze, interrupted -by several right-angled apertures. These were once covered, in the -opinion of Herr Schmidt, by screens of plaster, which kept out the -sun’s heat but admitted the light; or, according to Gestoso y Perez, by -tapestries “which must have made the hall appear a miracle of wealth -and splendour.” Thanks to its isolation, the Sala de Justicia escaped -the “restoration” effected in the middle of the nineteenth century by -order of the Duc de Montpensier. - -It was in this hall (often overlooked by visitors) that Don Pedro -overheard four judges discussing the division of a bribe they had -received. They were beheaded on the spot, and their skulls are still to -be seen in the walls of the king’s bed-chamber. - -From the Patio de la Monteria we pass into the Patio del Leon. In the -fifteenth century, we read, tournaments were often held here. Our -attention is at once directed to the superb façade of the main building -or Alcazar proper--the palace of Don Pedro. It is a splendid work of -art. The columns are of rare marble with elegant Moorish capitals. The -portal is imposing, and was rebuilt by Don Pedro, as the legend in -curious Gothic characters informs us: ‘The most high, the most noble, -the most powerful, and most victorious Don Pedro, King of Castile and -Leon, commanded these palaces, these alcazares, and these entrances -to be made in the year [of Cæsar] one thousand four hundred and two” -(1364). Elsewhere on the façade are the oft-repeated inscriptions in -Cufic characters: “There is no conqueror but Allah,” “Glory to our -lord, the Sultan,” “Eternal glory to Allah,” “Eternal is the dominion -of Allah,” etc. - -This gate, in the opinion of Contreras, is of Arabic origin and in the -Persian style, after which were built most of the entrances to mosques -of the first period. The square opening is often seen in Egypt, and -supplanted the more graceful horse-shoe arch. The pilasters are Arabic -throughout; but the arch balconies, the Byzantine columns, and Roman -capitals are works of Don Pedro’s time. - -The palace of the Alcazar forms an irregular oblong. The Patio de las -Doncellas or Patio Principal occupies the centre, roughly speaking, -and upon it open the various halls and chambers according to the -usual Moorish plan. This _patio_ is absurdly named from its being the -supposed place in which were collected the hundred damsels said to -have been sent by way of annual tribute by Mauregato to the Moors. It -is hardly necessary to say that the damsels would have been sent to -Cordova, which was the capital of the Khalifate, not to Seville, and -that this court was among the restorations of the fourteenth century. - -The court is rectangular, and surrounded by a gallery composed of white -marble columns in pairs, supporting pointed arches. The soffite (or -inner side) of the arch is scalloped or serrated. The central arch -in each side is higher and larger than its fellows, and springs from -square imposts resting on the twin columns. At each angle of the impost -is a graceful little pillar--“a characteristic,” observes Madrazo, -“of the Arabic-Grenadine architecture, such as may often be noticed -in the magnificent Alhambra of the Alhamares.” Over the arches runs a -flowing scroll with Arabic inscriptions, among them being “Glory to -our lord the Sultan Don Pedro; may God lend him His aid and render him -victorious”, and this very remarkable text, “There is but one God; -He is eternal. He was not begotten and does not beget, and He has no -equal.” This is evidently an inscription remaining from Musulman days, -and spared in their ignorance by the Christian owners of the palace. -On the frieze will also be noticed the escutcheons of Don Pedro and -the Catholic sovereigns, and the favourite devices of Charles V.--the -Pillars of Hercules and motto “Plus Oultre.” Behind the central arches -are as many doors with elaborately ornamented arches. On either side of -each door is a double window, framed with broad, ornamental bands, with -conventional floral designs. Round the inner walls of the arcade runs a -high dado of glazed tile mosaic (_azulejo_), brilliantly coloured and -cut with exquisite skill. The combinations and variations of the design -repay examination, and will be seen to extend all round the gallery. -This decoration was probably executed by Moorish workmen in the time -of Pedro I. Finally, above the doors run wide friezes with shuttered -windows, through which the light falls on the gleaming mosaic. The -ceiling of the gallery dates from the time of Ferdinand and Isabella, -but was restored in 1856. - -Three recesses in the _patio_ are pointed out as the spots where Don -Pedro held his audiences; but Contreras is of opinion that they are the -walled-up entrances to former corridors which communicated with the -Harem. That apartment probably faced the Salón de los Embajadores. - -A wide cornice separates the lower part of the court from the upper -gallery. This is composed of balustrades, arches, and columns in -white marble of the Ionic order, and was the work of Don Luis de Vega -(sixteenth century). - -One of the doors opening on to the Patio de las Doncellas gives -access to the Salón de los Embajadores (Hall of the Ambassadors), the -finest apartment in the Alcazar. Its dazzling splendour is produced -by the blending of five distinct styles, the Arabic, Almohade or -true Moorish, Gothic, Grenadine or late Moorish, and Renaissance. -Measuring about thirty-three feet square, it has four entrances, of -which that giving on to the Patio de las Doncellas may be considered -the principal. Here we find folding-doors in the Arabic style of -extraordinary size and beauty. Each wing is 5.30 metres high by -1.97 broad, and adorned with painted inlaid work, varied by Arabic -inscriptions. One of these latter is of great interest. It runs as -follows: “Our Lord and Sultan, the exalted and high Don Pedro, King of -Castile and Leon (may Allah prosper him and his architect), ordered -these doors of carved wood to be made for this apartment (in honour -of the noble and fortunate ambassadors), which is a source of joy -to the happy city, in which the palaces, the alcazares, and these -mansions for my Lord and Master were built, who only showed forth his -splendour. The pious and generous Sultan ordered this to be done in the -city of Seville with the aid of his intercessor [Saint Peter?] with -God. Joy shone in their delightful construction and embellishment. -Artificers from Toledo were employed in the work; and this took place -in the fortunate year 1404 [1364 A.D.]. Like the evening twilight and -the refulgence of the twilight of the aurora is this work. A throne -resplendent in brilliant colours and eminence. Praise be to Allah!” - -The three remaining portals present graceful round arches, enclosing -three lesser arches (forming the actual entrances) of the horse-shoe -type. These last are believed, as we have said elsewhere, to be of -Abbadite origin. The capitals of their supporting columns are fine -examples of the Arab-Byzantine style. Above the horse-shoe arches, and -comprised within the outer arch, are three lattices. The whole space -within the arch is covered with delicate filigree work. - -This hall was once known as the Salón de la Media Naranja (Hall of the -Half Orange) from the elegant shaping of its carved wooden ceiling. -This rests upon a frieze decorated with the Tower and Lion, and -supporting this again are beautiful carved and gilded stalactites or -pendants. On the intervening wall spaces are Cufic inscriptions on a -blue ground, and female heads painted by sixteenth-century vandals. -Then follows another frieze with the devices of Castile and Leon, below -which is a row of fifty-six niches, containing the portraits of the -kings of Spain from Receswinto the Goth to Philip III. The earliest of -these seem to have been painted in the sixteenth century, while the -little columns and trefoil windows that separate them may be ascribed -to the end of the fourteenth. The series is interrupted by four -rectangular spaces, formerly occupied by windows, but now taken up by -elegant balconies in wrought iron, the work of Francisco López (1592). -The decoration of this magnificent chamber is completed by a high dado -of white, blue, and green glazed tiles. It was probably in this hall -that Abu Saïd, “the Red King,” was received by Don Pedro prior to his -murder. - -In an apartment to the right of the Ambassadors’ Hall, a plaster frieze -of Arabic origin, showing figures in silhouette, may be noticed; and -in a room to the left, other silhouettes, apparently referring to the -qualities attributed by his admirers to Pedro I. - -On the north side of the Patio de las Doncellas lies the so-called -Dormitorio de los Reyes Moros (Bed-chamber of the Moorish Kings). The -entrance arch is semicircular, and includes three graceful lattice -windows, richly ornamented. On either side of the door is a beautiful -double-window with columns dating from the Khalifate. The doors -themselves are richly inlaid, and painted with geometrical patterns. -The interior of the chamber is adorned, like all other apartments -in the Alcazar, with plaster friezes, and is so richly decorated -that scarcely a hand’s-breadth (remarks Herr Schmidt) is without -ornamentation. To the right of the entrance lies a small apartment -known as the Sultan’s Alcove. Opposite the entrance from the _patio_ -are three horse-shoe arches belonging to the earliest period of -Spanish-Arabic art, leading to an _Al-Hami_ or alcove. - -From the Dormitorio we may pass into the quaintly named Patio de las -Muñecas, or Puppet’s Court. It is a spot with tragical associations, -for here took place the murder of the Master of Santiago, Don Fadrique -de Trastamara, by his brother, Don Pedro--a fratricide to be avenged -years after by another fratricide at Montiel. The Master, after a -campaign in Murcia, had been graciously received by the king, and -went to pay his respects to the lovely Maria de Padilla in another -part of the palace. It is said that she warned him of his impending -fate; perhaps her manner, if not her words, should have aroused him to -a sense of his danger; but the soldier prince returned to the royal -presence. “Kill the Master of Santiago!” Pedro shouted, so the story -goes. The Master’s sword was entangled in his scarf; he was separated -from his retinue. He fled to this court, where he was struck down. One -of his retainers took refuge in Maria de Padilla’s apartment, where he -tried to screen himself by holding the king’s daughter, Doña Beatriz, -before his breast. Pedro tore the child away, and despatched the -unfortunate man with his own hand. - -The Patio de las Muñecas is in the Grenadine style. It has suffered -severely at the hands of the restorers of 1833 and 1843. The arches -are semicircular and spring from brick pillars, which are supported by -marble columns with rich capitals. The arches, which form an arcade -round the court, are decorated with fine mosaic and trellis (_ajaraca_) -work. The whole is tastefully painted. The arches vary in size, that -looking towards the Ambassadors’ Hall being almost pear-shaped. The -columns are of different colours, and the pillars they uphold are -inscribed with Cufic characters. The upper part of the _patio_ reveals -a not very skilful attempt to imitate the lower. - -“The Ambassadors’ Hall as well as the Puppet’s Court,” says Pedro -de Madrazo, “are surrounded by elegant saloons, commencing at the -principal façade of the Alcazar, running round the north-west angle of -the building, adjoining the galleries of the gardens del Principe, de -la Gruta, and de la Danza, and terminating at the south-eastern angle -of the Patio de las Doncellas. Here is now the chapel, and there it -is believed that the luxurious apartment of the Caracol (inhabited -by Maria de Padilla) stood. This part was, without doubt, that which -was called the Palacio del Yeso, or Stucco Palace, on account of the -plaster decorations in the fashion of Granada; but in which of these -rooms Don Pedro was playing draughts when the Master of Santiago -appeared before him, it is impossible to say with certainty.” - -The Salón del Principe occupies the upper floor of the chief façade, -and receives light through the beautiful _ajimices_ or twin-windows -so noticeable from without. This spacious hall is divided into three -compartments, each of which has a fine ceiling. Two have been restored, -but the third was the work of Juan de Simancas in the year 1543. The -scheme of decoration is Moorish. The columns in this hall and the -adjoinng apartments are of marble, with rich capitals. According to -Zurita (quoted by Madrazo), these columns came from the royal palace at -Valencia, after the defeat of Pedro of Aragon by the King of Castile. - -The oratory was built by order of Ferdinand and Isabella in 1504. It -contains an admirable retablo in blue glazed tiles--probably the finest -work of the kind in Spain--designed by an Italian, Francesco Niculoso. -The centre-piece represents the Visitation. It is believed that some -parts of the work were drawn by Pedro Millán, a sculptor of Seville. - -The oratory is on the upper floor of the palace. On the same storey -is the Comedor, or dining-hall, a long, narrow room with a fine -fifteenth-century ceiling, and good tapestries on the walls. A more -interesting apartment is the bed-chamber of Don Pedro, which has a good -carved roof and dados of _azulejos_ and stucco. Over the door four -heads may be seen painted. They represent the skulls of the corrupt -judges on whom the unjust king executed summary justice. The decoration -of this chamber is of the sixteenth century. - -The royal apartments on this floor contain several important works -of art. In the room of the Infantes is a portrait of Maria Luisa by -Goya. The Salón Azul (Blue Room), so-called from the colour of its -tapestries, contains some fine pastel paintings by Muraton, and some -notable miniatures on ivory. The portraits of the family of Isabel II. -by Bartolomé López are worthy of inspection. - -Returning to the ground floor, we enter the spacious Salón de Carlos -V., occupying one side of the Patio de las Doncellas. Here, it is -asserted, St Ferdinand died; but it is more probable that he expired -in the old Moorish Alcazar. The fine ceiling, decorated with the heads -of warriors and ladies, was built by the Emperor after whom the hall is -named. The stucco and the work are very beautiful. - -An uninteresting apartment was erected by Ferdinand VI. over the famous -Baths of Maria de Padilla, which are approached through an arched -entrance, and, surrounded by thick walls, have more the appearance -of a dungeon than of a resort of Love and Beauty. The pool still -remains where the lovely favourite bathed her fair limbs. In her time -it had no other roof than the blue sky of Andalusia, and no further -protection from prying eyes than that afforded by the orange and -lemon trees. At Pedro’s court it was esteemed a mark of gallantry and -loyalty to drink the waters of the bath, after Maria had performed her -ablutions. Observing that one of his knights refrained from this act -of homage, the king questioned him and elicited the reply, “I dare not -drink of the water, lest, having tasted the sauce, I should covet the -partridge.” These baths were no doubt used by the ladies of the harem -in Moorish days. - -The gardens of the Alcazar form a delicious pleasaunce, where the -orange and the citron diffuse their fragrance, and fairy-like fountains -spring up suddenly beneath the unwary passenger’s feet, sprinkling him -with a cooling and perhaps not unwelcome dew. But this paradise has its -serpent, and that is the truculent shade of the cruel king, which for -ever seems to haunt the Alcazar. Here Pedro prowled one day, when four -candidates for the office of judge presented themselves before him. To -test their fitness for the post, the king pointed to an orange floating -on the surface of a pool close by. He asked each of the lawyers in -succession what the floating object was. The three first replied -without consideration, “An orange, sire.” But the fourth drew the fruit -from the water with his staff, glanced at it, and replied with absolute -accuracy, “_Half_ an orange, sire.” He was appointed to the vacant -magistracy. - -Before leaving the Alcazar, we will briefly summarise the history of -its transformations and reconstructions. As we have seen, the palace -generally may be considered the work of Don Pedro. In the reign of Juan -II., the Salón de los Embajadores was enriched with its fine cupola. A -tablet, discovered in 1843, testifies that the architect was Don Diego -Roiz, and that the artisans employed in the work were made freemen of -the city. - -Various parts of the building were built or reconstructed by order -of Ferdinand and Isabella. The architects were for the most part -Christianised Moors, among whom are mentioned Maestre Mohammed Agudo -(1479), Juan Fernandez (1479), Diego Fernandez (1496), and Francisco -Fernandez. The latter was appointed Master of the Alcazar in 1502, -and previous to his adoption of Catholicism was named Hamet Kubeji. -According to Gestoso y Perez, a surprising number of artificers and -craftsmen were engaged about the Alcazar at this time, a powerful -inducement being exemption from taxes and military service. The names -of Juan and Francisco de Limpias (1479-1540) have been preserved among -the carpenters; and Diego Sanchez (1437), Alfonso Ruiz (1479), and the -two Sanchez de Castro (1500), among the painters. - -Several improvements were carried out under Charles V. and Philip II., -and a great deal of restoration was unfortunately necessitated by -the fires which seemed to break out with increasing frequency during -the sixteenth and seventeenth centuries. Still more disastrous was -the effect of the great earthquake of 1755. Then began the reign of -the vandal, which did more damage to the palace than time, fire, and -earthquake combined. - -In 1762, the minister Wall ordered the Alcazar to be repaired in -“the modern manner.” The ceilings which had been destroyed by fire -were replaced by others much too low, and valuable arabesques were -recklessly sacrificed. In 1805, some director with a genius for -transmogrification whitewashed the fine stucco work in the Salon del -Principe, and altered the main entrance. He also substituted a plaster -ceiling for the bowl-shaped Arab roofing, and made strenuous efforts -to impair the beauty of the Ambassadors’ Hall. In 1833 a reaction took -place. Don Joaquin Cortes and Señor Raso effected an artistic and -sympathetic restoration both of the Prince’s Hall and the Patio de las -Muñecas. A more serious restoration was begun in 1842, at the instance -of the administrator, Don Domingo de Alcega. The artist Becquer -contributed materially to the success of the work. In the ’fifties, the -task of replacing and restoring the stucco ornamentation was completed; -and under Isabel II. the thirty-six arches of the Patio de las -Doncellas were restored. Since that date the reconstructions have not -always displayed good taste; but the revival of interest in her ancient -monuments which has taken place in Spain of late years encourages us -to hope, at least, that the appalling blunders of the early nineteenth -century will never be repeated. - -After the Alcazar, the most noteworthy monument in Seville, dating -from the reign of Don Pedro, is the church of Omnium Sanctorum. This -edifice occupies the site of a Roman temple, and was built by the Cruel -King in 1356. It exhibits a very happy combination of the Moorish and -Gothic styles. It is entered by three ogival doors, and is divided -into three naves. To the left of the façade is a graceful tower, the -first storey of which is Moorish, ornamented somewhat after the style -of the Giralda. On one of the doors is a shield bearing the arms of -Portugal, which, tradition says, commemorates the pious generosity of -Diniz, king of that country, when he visited Alfonso the Wise. If the -Sevillians have writ their annals true, this goes to prove that an -earlier structure than the present must have existed here. This, by the -way, was the parish church of Rioja the poet. - -San Lorenzo exhibits the fusion of the contending styles in an -interesting fashion. It has five naves; and the horseshoe windows in -its tower were converted into ogives at the time of its adaptation to -the Christian cult. The arcades of the naves are ogival in the middle, -and become by degrees semi-circular towards the extremities as the roof -becomes lower. This church contains the miraculous picture of Nuestra -Señora de Rocamadour. Rocamadour, in southern France, was a celebrated -shrine of pilgrims in the thirteenth and fourteenth centuries. - -Several other churches in Seville date from this epoch, and present, to -a greater or less extent, evidences of the conflict between the Moorish -and Gothic styles. In addition to those mentioned, Madrazo names the -following: Santa Marina, San Ildefonso, San Vicente, San Julián, San -Esteban, Santa Catalina, San Andrés, San Miguel, San Nicolas, San -Martin, San Gil, Santa Lucia, San Pedro, and San Isidoro. When a mosque -was converted into a Christian church, the same authority remarks, the -horseshoe arch was pointed, bells were placed in the minaret, and the -orientation was altered from north to south, to east to west. The five -last-named churches were erected in the thirteenth century. Santa Maria -de las Nieves was, until the year 1391, a synagogue. The decoration is -in the plateresco style, and the doors are Gothic. The church contains -a painting by Luis de Vargas, and a picture attributed to Murillo. - -Nearly in the centre of the city is the Convent of Santa Inés, with a -beautiful and tastefully restored chapel. The façade is ancient and -graceful. This church contains the remains (said to be uncorrupted) of -the foundress, Doña Maria Coronel, one of Don Pedro’s numerous victims. -That monarch had conceived a violent passion for her, in the hopes of -gratifying which he put her husband to death in the Torre del Oro. The -widow, far from yielding to his solicitations, took the veil, and at -last, to secure herself from his persecutions, destroyed her beauty -by means of vitriol--a species of self-immolation much applauded by -the devout in the ages of faith. Her sister, Doña Aldonza, was less -successful in resisting the ardent monarch, but died, in the odour of -sanctity, Abbess of Santa Inés. - -Among the secular buildings erected under the Castilian _régime_ was -the existing Tower of Don Fadrique, standing in the gardens of the -Convent of the Poor Clares. It was named after the son of St Ferdinand -and Beatriz of Swabia, who was put to death by Alfonso el Sabio in -1276. The tower is a fine square structure of Roman workmanship, -seemingly, in its lowest floor, and showing a mixture of Moorish and -Gothic architecture in its upper half. It formed part of a sumptuous -palace erected in 1252, and bestowed in 1289 on the Poor Clares by King -Sancho the Brave. - -In the Calle Guzman el Bueno is a mansion called the Casa Olea. It -contains a fine hall, 8½ metres square, the work of Moorish artisans -of the time of Don Pedro. The beautiful inlaid and gilded _artesonado_ -ceiling was removed about a century ago; light is admitted through -windows of the horseshoe pattern, and the decorations consist of the -characteristic stucco-work, latticing, and _ajaraca_ or trellis-work, -as fine as any to be seen at the Lindaraja of Granada. The dado of -coloured tiles has almost completely disappeared. The Palacio de -Montijo, near the church of Omnium Sanctorum, reveals many traces of -Mudejar workmanship, as also does a hall in the _Casa morisca_ of -the Calle de Abades--not to be confounded with the Casa de Abades, -belonging to the Renaissance. - -Seville in the fourteenth and fifteenth centuries possessed no doubt -many palaces and private dwellings of magnificence; but it was in -ecclesiastical architecture that the spirit of the age found its truest -expression and noblest monuments. - - - - -THE CATHEDRAL - - -On the eighth day of July in the year 1401, the Dean and Chapter of -Seville assembled in the Court of the Elms, and solemnly resolved that, -the Cathedral having been practically ruined by recent earthquakes, -a new one should be built so splendid that it should have no equal; -and that, if the revenue of the See should not prove sufficient for -the cost of the undertaking, each one present should contribute from -his own stipend as much as might be necessary. Then uprose a zealous -prebendary, and cried, “Let us build a church so great that those who -come after us may think us mad to have attempted it!” - -Such was the greatness of spirit in which the foundation of the -existing Cathedral of Seville was undertaken. And the result is worthy -of the deep and fervid zeal of those old Catholics of Spain. - -The church took one hundred and twenty years to build. Pity it was that -the noble-hearted priests who decreed the raising of the fane should -never have gazed upon much more than its skeleton! First of all, the -mosque-cathedral of Yakub was demolished, only the Giralda and the -_Patio de los Naranjos_, with the northern, eastern, and western gates, -being spared. The Royal Chapel was pulled down in 1432, by permission -of Juan II. The first stone had been laid in 1402; but, strangely -and sadly enough, the name of the architect who traced the plan has -not been preserved. Some believe him to have been Alonso Martinez; -others, Pero García. Fame, we may well believe, was a prize which the -pious builder esteemed but lightly. His reward lay in the greater -glorification of his faith. - -In 1462, we find Juan Normán directing the works; in 1488, he had -passed from the scene and was succeeded by Juan de Hoz. Then came -Alonso Ruiz and Alonso Rodriguez. The building was practically finished -when, in 1511, the cupola collapsed. In 1519, Juan Gil de Hontañon, -the architect of Salamanca Cathedral, completed the reconstruction, -and the cathedral may be considered as having been finished, though -restorations and remodelling of various parts of the edifice have been -going on ever since, and masons are to this day engaged upon the dome. - -This magnificent church is pre-eminent for size among the cathedrals -of Spain, and ranks third in this respect among the sacred edifices -of the world. St Peter’s covers 230,000 square feet, the Mezquita at -Cordova 160,000, and the Cathedral of Seville 125,000. Our St Paul’s -covers only 84,000 square feet. It follows that this cathedral is the -largest of Gothic temples. - -So stupendous a monument has naturally attracted comment from -distinguished travellers and critics. All have come under the spell of -its majesty and massive nobility. Théophile Gautier expressed himself -as follows: “The most extravagant and most monstrously prodigious -Hindoo pagodas are not to be mentioned in the same century as the -Cathedral of Seville. It is a mountain scooped out, a valley turned -topsy-turvy; Notre Dame de Paris might walk erect in the middle nave, -which is of frightful height; pillars with the girth of towers, and -which appear so slender that they make you shudder, rise out of the -ground or descend from the vaulted roof, like stalactites in a giant’s -grotto.” - -The Italian, De Amicis, is less fantastical in his rhapsodies. “At your -first entrance, you are bewildered, you feel as if you are wandering in -an abyss, and for several moments you can only glance around in this -vast spaciousness, to assure yourself that your eyes do not deceive -you, that your fancy is playing you no trick; you approach one of the -pillars, measure it, and look at those in the distance; though large as -towers, they appear so slender that you tremble to think the building -is resting upon them. You traverse them with a glance from floor to -ceiling, and it seems that you could almost count the moments it would -take for the eye to climb them.... In the central aisle, another -cathedral, with its cupola and bell-tower, could easily stand.” - -Lomas, who is no great admirer of the building, admits that “the first -view of the interior is one of the supreme moments of a lifetime. The -glory and majesty of it are almost terrible. No other building, surely, -is so fortunate as this in what may be called its presence.” - -The Cathedral is oblong in shape, and is 414 feet long by 271 feet -wide. The nave is 100 feet and the dome 121 feet high. - -The principal façade looks west. Here is the principal entrance (Puerta -Mayor), and two side doors, the Puertas de San Miguel and del Bautismo. -Over the central door is a fine relief, representing the Assumption, -by Ricardo Bellver, placed here in 1885. This entrance is elaborately -decorated, and adorned with thirty-two statues in niches. - -The Puertas San Miguel and del Bautismo are decorated with -terra-cotta statues of saints and prelates, the work of Pedro Millan, -a fifteenth-century sculptor. Herr Schmidt thinks very highly of these -fine performances. Each figure has life and distinct personality, and -the treatment of the drapery harmonises wonderfully with the gestures -and physiognomy of the wearers. The upper part of the façade is poor, -and dates only from 1827. - -The southern façade is flanked by sacristies, offices, and courts, -above which appear the graceful flying buttresses, gargoyles, and -windows, and the majestic dome of the main building. In the middle of -this side is a modern entrance, the Puerta de San Cristóbal, added by -Casanova in 1887. In the eastern façade are two entrances--the Puertas -de las Campanillas and de los Palos--both enriched with fine sculpture -by Pedro Millan; the Puerta de los Palos has also a fine Adoration of -the Magi by Miguel Florentin (1520). - -On the northern side of the Cathedral we find the most important -remains of the pre-existing mosque, the Giralda, already described, -and the _Patio de los Naranjos_, with the original fountain at which -the Muslims performed their ablutions. The _patio_ is entered from the -street by the Puerta del Perdón, a richly decorated horseshoe arch -erected by Moorish hands by order of Alfonso XI., to commemorate the -victory of the Salado in the year 1340. In the sixteenth century this -door was restored and adorned with sculptures. The colossal statues -of Saints Peter and Paul, in terra-cotta, are the work of Miguel -Florentin. He was among the earliest of the Renaissance sculptors -to settle in Spain. By him also is the relief of the Expulsion of -the Money-Changers from the Temple, celebrating the substitution of -the Lonja or Bourse for this gate as a rendezvous for merchants. The -plateresco work was executed by Bartolomé López in 1522. The doors date -from Alfonso’s reign, and are faced with bronze plates, on which are -Arabic inscriptions. - -Close to the Puerta del Perdón is a shrine built in the wall with a -Christ on the Cross by Luis de Vargas. - -Entering the _patio_, to the right we find the Sagrario, or parish -church, and to the left (reached by a staircase) the Biblioteca -Colombina or Chapter Library, founded by Fernando Colon, son of -Christopher Columbus. Among the treasures it contains are a manuscript -of the great discoverer’s travels, with notes in his own hand; a -manuscript tract, written by him in prison, to prove that the existence -of America was not contrary to Scripture; the sword of Garcia Perez -de Vargas, the great hero of the conquest of Seville, and a very -interesting thirteenth-century translation of the Bible. - -The northern façade of the Cathedral is entered through three portals, -the westernmost of which, the Puerta del Sagrario, is unfinished. -The Puerta de los Naranjos and the Puerta del Lagarto lead from the -_patio_. The Puerta del Lagarto retains some traces of its Moorish -origin. It is named after the patched and painted stuffed alligator, -which has hung here since about the thirteenth century. Here may also -be seen a huge elephant’s tusk, and a bridle said to have belonged to -the Cid. - -Referring more particularly to the exterior of the Cathedral, Caveda -says: “The general effect is truly majestic. The open-work parapets -which crown the roofs, the graceful lanterns of the eight winding -stairs that ascend in the corners to the vaults and galleries, the -flying buttresses that spring lightly from aisle to nave, as the jets -of a cascade from cliff to cliff, the slender pinnacles that cap them, -the proportions of the arms of the transept and of the buttresses -supporting the side walls, the large pointed windows that open, one -above another, just as the aisles and chapels to which they belong -rise over each other, the pointed portals and entrances--all these -combine in an almost miraculous manner, although lacking the wealth of -detail, the airy grace, and the delicate elegance that characterise the -cathedrals of Léon and Burgos.” - -Entering the church, the gloom renders it difficult for a time to -distinguish its exact configuration. We find it is divided into a -nave and four aisles, the former being fifty feet in width. The fine -marble floor was laid in the years 1787 to 1795. There is little -ornamentation, the interior displaying a noble simplicity, the -beautiful effect being produced mainly by the grandeur and symmetry -of the vaultings, archings, and pillars. The seventy-four exquisite -stained-glass windows, however, form a decorative series of the richest -kind. They are, for the most part, the work of northern artists. Micer -Cristóbal Aleman (Master Christoph the German) began the first--the -first stained-glass window seen in Seville--in 1504, the work being -carried on by the German Heinrich, the Flemings Bernardino of Zeeland -and Juan Bernardino, Carlos of Bruges, and the great master Arnao of -Flanders. The two latter designers are said to have received ninety -thousand ducats for their work. The last window was completed in 1662 -by a Spaniard named Juan Bautista de Léon. The finest windows are -generally considered to be those representing the Ascension, St Mary -Magdalen, Lazarus, and the Entry into Jerusalem, by Arnao the Fleming -and his brother (1525), and the Resurrection, by Carlos of Bruges -(1558). - -Passing up the nave, from the Puerta Mayor, we find midway between that -entrance and the choir the Tomb of Fernando Colon, son of the great -Columbus--“who would have been considered a great man,” says Ford, “had -he been the son of a less great father.” The slab is engraved with -pictures of the discoverer’s vessels, and the inscription, _À Castilla -y á León Mundo nuevo dio Colon_. At this spot, during Holy Week, is set -up the _Monumento_, an enormous wooden temple in the shape of a Greek -cross, in which the Sacrament is enshrined. The structure was made by -Antonio Florentin in 1544. - -Extending to the middle of the nave is the Coro or Choir, open towards -the east or High Altar. The _trascoro_ or choir-screen is faced with -marbles, eight columns of red _breccia_ being especially fine. The -marble reliefs are fine examples of Genoese work. Over the altar is a -fourteenth-century painting of the Madonna, and there is also a picture -by Pacheco, the inquisitor, representing St Ferdinand receiving the -keys of Seville from “Axataf.” The side walls of the choir accommodate -four little chapels, exhibiting a harmonious combination of the Gothic -and plateresco styles in translucent alabaster. The Capilla de la -Concepcion contains one of the finest examples of statuary in the -Cathedral--the Virgin, by Juan Martinez Montañez. Ford says, “This -sweet and dignified model was the favourite of his great pupil, Alonso -Cano.” The choir was severely injured by the collapse of the dome -in 1888. The pillars and baldachino are richly adorned with Gothic -figures and stonework. The fine gilt railing is the work of Sancho -Muñoz (1519). But the chief glory of the choir is its exquisitely -carved stalls, 117 in number, executed between 1475 and 1548, by Nufro -Sanchez, Dancart, and Guillen. Moorish influence may be traced in the -patterns and the coloured inlaid work of the chairbacks. The handsome -lectern bespeaks the skill of Bartolomé Morel. Till the collapse of the -dome, the choir was the repository of a number of priceless missals, -illuminated in the fifteenth, sixteenth, and seventeenth centuries. -The organs are huge but inartistic. As instruments, they are beyond -all praise. The older, dating from 1777, was built by Jorge Bosch, the -other by Valentin Verdalonga in 1817. - -“Between the choir and High Altar is put up during Holy Week the -exquisite bronze candlestick, 25 feet high, called El Tenebrario, -one of the finest specimens of bronze work of the sixteenth century -that exists (it may be seen in the Sacristy), and wrought, in 1562, -by Morel; when the _Miserere_ is sung, it is lighted with thirteen -candles, twelve of which are put out one after another, indicating that -the Apostles deserted Christ; one alone of white wax is left burning, -and is a symbol of the Virgin, true to the last. At Easter, also, the -Ciro Pascual or fount candle, equal to a large marble pillar, 24 feet -high, and weighing seven or eight hundredweight of wax, is placed to -the left of the High Altar” (Ford). - -Facing the choir stands the isolated Capilla Mayor, containing the -High Altar. It is enclosed on three sides by a railing of wrought -iron, and on the fourth by a superb Gothic retablo. Schmidt considers -this work the quintessence of late Gothic sculpture. The middle parts -date from the fifteenth, the outer from the sixteenth century. The -ornamentation is of extraordinary delicacy and richness. It is divided -into forty-five compartments, each containing subjects from the -Scriptures and the lives of the saints in sculpture painted and gilded. -It is crowned by a crucifix and the statues of the Virgin and St John. -This fine altar-piece was begun by the Fleming Dancart in 1479, and was -completed by Spanish artists in 1526. - -Behind the altar is the Sacristy, adorned with terra-cotta statues by -Miguel Florentin, Juan Marin, and others. Here is kept a reliquary -shaped like a triptych, presented to the church by Alfonso the Wise, -and called the Alphonsine Tables. - -Behind the Capilla Mayor, at the eastern extremity of the nave, is the -Capilla Real (Royal Chapel). The building--which, as Ford remarks, is -almost a church by itself--was begun by Gainza in 1514, and finished -in 1566 by his successors, Fernan Ruiz, Diaz de Palacios, and Maeda. -The chapel is of the Renaissance style, and has a lofty dome. There is -a handsome frieze showing the figures of children carrying shields and -lances. The chapel is divided by light pillars into seven compartments, -of which the midmost is occupied by the altar of the Virgin de los -Reyes. This image was the gift of St Louis of France to St Ferdinand. -“It is of great archæological interest,” says Ford; “it is made like a -movable lay-figure; the hair is of spun gold, and the shoes are like -those used in the thirteenth century, ornamented with the lilies of -France and the word “Amor.” In 1873, the fine gold crown belonging to -this image [a sixteenth-century work] was stolen. This image is seated -on a silver throne, thirteenth-century work, embossed with the arms of -Castile and Leon.” The body of St Ferdinand, remarkably well preserved, -is contained in a silver urn, placed on the original sepulchre, which -is engraved with epitaphs in Latin, Spanish, Hebrew, and Arabic. In -the vault beneath is the ivory figure of the Virgin de las Batallas, -which the king always carried with him on his campaigns. It is a fine -piece of Gothic statuary. Ferdinand’s sword is also preserved in this -chapel. Here are the tombs of Alfonso el Sabio, of Beatriz of Swabia, -his mother, of Pedro I., Maria de Padilla, and various Infantes. An -interesting trophy is the flag of the Polish Legion of the French army, -taken by the Spaniards at Bailen. The twelve statues in the entrance -to the Capilla Real are after the designs of Peter Kempener; there is -a Mater Dolorosa by Murillo in the sacristy. Some of the later work -in this chapel exhibits those fantastic and grotesque features which -became common, under the name of _Estilo Monstruoso_, in Seville. - -The entrance to this chapel is flanked by the Capillas de San Pedro -and de la Concepcion Grande. In the south aisle is the chapel of the -Purification or of the Marshal, containing a remarkable altar-piece by -Peter Kempener--exhibiting the portraits of the founder, Marshal Pedro -Caballero, and his family. Adjacent is the Sala Capitular, in fine -Renaissance style, the work of Gainza and Diego de Riaño (1531). The -roof is formed by a fine cupola, supported by Ionic columns, beneath -which is some admirable plateresco work, with escutcheons, triglyphs, -etc. The hall contains a portrait of St Ferdinand by Francisco Pacheco, -the “Conception” and ovals by Murillo, and the “Four Virtues” by Pablo -de Céspedes. Beneath the windows are seen reliefs by Velasco, Cabrera, -and Vazquez. - -The sacristy (Sacristia Mayor) is in the Renaissance style, and lies -south of the Sala Capitular. It was built by Gainza in 1535, after -designs by Riaño, who had died two years earlier. One of the three -altars against the southern wall is adorned by the beautiful “Descent -from the Cross” by Peter Kempener (a native of Brussels, called by the -Spaniards Campaña), before which Murillo used to stand for hours in -rapt contemplation. This priceless work of art was cut in five pieces -by the French, with a view to its removal, and has not been very well -restored. The sacristy contains also three interesting paintings, -dating from the early sixteenth century, by Alejo Fernandez; and the -“San Leandro” and “San Isidore” of Murillo. - -In this chamber is kept the treasury of the Cathedral. In it might be -included the superb silver monstrance by Juan de Arfe (1580-87). It -is twelve feet high, and richly adorned with columns, reliefs, and -statuettes. The treasury likewise contains another monstrance, studded -with 1200 jewels; a rock-crystal cup, said to have belonged to St -Ferdinand; and the keys presented to that sovereign on the surrender -of the city. That given by the Jews is of iron gilt, with the words, -_Melech hammelakim giphthohh Melek kolhaaretz gabo_ (the King of kings -will open, the King of all the earth will enter); the other key is of -silver gilt and was surrendered by Sakkáf. The inscription upon it is -in Arabic, and reads, _May Allah render eternal the dominion of Islam -in this city_. - -Proceeding along the south aisle, towards the main entrance, we first -reach the Capilla de San Andrés, the burying-place of the ancient -family of Guzman. Behind the chapel of Nuestra Señora de las Dolores is -the fine Sacristia de los Calices. It is the work of those who built -the Sacristia Mayor. It contains several fine paintings--the Saints -Justa and Rufina (patrons of Seville) by Goya (among his finest works), -the “Angel de la Guarda” and the “St Dorothy” of Murillo, the “Death -of a Saint” by Zurbarán, the “Trinity of Theotocopuli” (El Greco), -a triptych by Morales, and “The Death of the Virgin”--an old German -picture. This crucifix over the altar is one of the most admirable -productions of Montañez. - -The next chapel (de la Santa Cruz) is adorned by a fine “Descent from -the Cross” by Fernandez de Guadelupe (1527). The Puerta de la Lonja -has a fresco, painted in 1584, of “St Christopher carrying the Infant -Jesus across a River.” A representation of this saint is to be found in -nearly all Spanish cathedrals, owing to a curious superstition that to -look upon it secures the beholder for the rest of that day from an evil -death. This fresco, which measures thirty-two feet high, is opposite -the “Capilla de la Gamba” (or, of the leg--of Adam). Here we find “La -Generacion”--Luis de Vargas’s masterpiece. “The picture,” says Herr -Schmidt, “is wholly in the Italian style, and one of the best examples -of this phase of the Spanish Renaissance.” - -The large chapel of the Antigua contains the fine tomb of Archbishop -Mendoza, by Miguel Florentin, erected in 1509. Here is also a very -ancient mural painting, after the Byzantine style, of the “Madonna and -Child,” which was placed here in 1578, and is of unknown and rather -mysterious origin. The retablo is distinguished by marble statues in -the baroque style by Pedro Duque Cornejo. The small sacristy behind -this chapel contains pictures by Zurbarán, Morales, and others. - -The Capilla de San Hermenegildo has a good statue of the saint by -Montañez, and a fine sepulchral monument to Archbishop Juan de -Cervantes (1453), by Lorenzo Mercadante de Bretaña, the master of Nufro -Sanchez. The Capilla de San José contains “The Espousals of the Virgin” -by Valdés Leal, a “Nativity of Christ” by Antolinez, and an inferior -retablo (“The Massacre of the Innocents”). The Capilla de Santa Ana -possesses a Gothic retablo, dating from about 1450, and divided into -fourteen sections. It comes from the old Mosque-Cathedral. The lower -part of the work, illustrating the life of St Anne, dates from 1504, -the artists having been Hernandez and Barbara Marmolejo. From beneath -the tribune a staircase leads to the Archives, which escaped demolition -at the hands of the French, through having been sent to Cadiz. The -last chapel in the south aisle (San Laureano) is dedicated to a saint, -who, like St Denis of France, having been decapitated, performed the -unusual feat of walking away with his head under his arm. Here is the -tomb of Archbishop de Ejea, who died in 1417. - -On the west side of the Cathedral are five small chapels. The -Nacimiento chapel contains an admirable “Nativity with the Four -Evangelists” by Luis de Vargas, and a “Virgin and St Anne” by Morales. -To the right of the Puerta Mayor is the altar of Nuestra Señora del -Consuelo, with a “Holy Family,” the masterpiece of Alonso Miguel de -Tobar (1678-1738), esteemed the ablest of Murillo’s pupils. Facing this -is the little altar of Santo Angel, with a “Guardian Angel” by Murillo. -The altar of the Visitation has a good retablo by Pedro Villegas de -Marmolejo (1502-1569), and a statue of St Jerome by his namesake, -Geronimo Hernandez. - -Near the north-western corner of the church the Puerta del Sagrario -leads into the Sagrario or Parish Church. This was built between 1618 -and 1662 in the Baroque style by Miguel Zumarraga and Fernandez de -Iglesias. The width of the single arch of which the roof consists is -believed to endanger the safety of the edifice. The rich statues that -adorn the interior are by Dayne and Jose de Arce. There is a notable -retablo by Pedro Roldan which came from a Franciscan convent now -suppressed. The wall of the sacristy is faced with beautiful _azulejos_ -of the Arabian period, and in one of the side-chapels is a noteworthy -statue of the Virgin by Montañez. In the vault beneath this impressive -church the Archbishops of Seville are buried. - -Returning to the Cathedral, we find on the left the Capilla del -Bautisterio or of San Antonio. It is famous for one of Murillo’s finest -works, “St Anthony of Padua’s Vision of the Child Jesus.” This is the -picture which was stolen in 1874, conveyed to New York, sold to a Mr -Schaus for £50, and by him returned to the ecclesiastical authorities. -This chapel is also remarkable for its _pila_ or font, the work of -Antonio Florentin, and Giralda windows. Next to it is the Capilla de -las Escalas, with two pictures by Luca Giordano, “strong in character, -drawing, and colour,” and the sepulchre of Bishop Baltasar del Rio -(about 1500); then comes the Capilla de Santiago, with paintings by -Valdés Leal and Juan de las Roelas, a stained-glass window with the -richest tones, and the tomb of Archbishop Gonzalo de Mena (1401); -and the Capilla de San Francisco, with another fine window, and an -ambitious “Apotheosis of St Francis” by Herrera el Mozo. - -Separated from this chapel by the Puerta de los Naranjos is the -Capilla de la Visitacion (or Doncellas). The Puerta is furnished with -two altars, one, the Altar de la Asunción, the other, the Virgen -de Belén. The former has a painting by Carlo Maratta, the latter a -“Virgin and Child” by Alonso Cano. The Capilla de los Evangelistas -has an altar-piece in nine parts by Hernando de Sturmio (1555), which -shows us the Giralda as it was before the present upper part had been -added. Crossing before the Puerta Lagarto we reach the little chapel -of Nuestra Señora del Pilar, with a notable “Madonna and Child” by -Pedro Millan. The altar-piece of the Capilla de San Pedro, between -this chapel and the Capilla Real, has paintings by Zurbarán, hardly -distinguishable in the dim light. On the other side of the Capilla Real -is the Chapel of la Concepcion Grande, containing pictures relating to -the Immaculate Conception, and a crucifix attributed to Alonso Cano. -Here is also a fine modern monument to Cardinal Cienfuegos. - - - - -OTHER BUILDINGS OF THE FIFTEENTH AND SIXTEENTH CENTURIES - - -Close to the Church of San Marcos is the Convent of Santa Paula with a -chapel dating from about 1475. The house, which is of the religious of -St Augustine, was founded by Doña Ana de Santillan and the Portuguese -Donha Isabel Henriquez, Marqueza de Montemayor. This illustrious lady -and her consort, Dom João, Constable of Portugal, are entombed in the -Capilla Mayor in separate niches. The portal of this church is one of -the richest in Europe. It is magnificently decorated with white and -blue _azulejos_, over the arch being seven medallions representing -the birth of Christ and the life of St Paul, encircled with garlands -of flowers and fruit, and the figures white on a blue ground. In the -tympanum of the arch are displayed the Arms of Spain in white marble -on a field of blue tiles, supported by an eagle, and flanked by the -escutcheons of the Catholic sovereigns. The _azulejo_ work was jointly -executed by Francesco Niculoso of Pisa and Pedro Millan. The interior -of the church is in the sixteenth-century style, and, except for the -tombs of the Marqueses de Montemayor, not specially interesting. - -In 1472 Maese Rodrigo founded a college, which afterwards became the -seat of the University of Seville, and is now a seminary. Attached -to it is a chapel built in the first years of the sixteenth century. -It is a fine example of the late Gothic style. The retablo exhibits -good painting and carving by unknown artists. The front of the altar -displays fine specimens of Andalusian ceramic art. “The students of the -seminary,” says Ford, “wear a scarf of brilliant scarlet upon a black -gown.” - -The most important monument of this period in Seville is the Casa -Pilatos. It illustrates the fusion of the Moorish and Renaissance -styles, almost to the effacement of the former. In the architecture -of this period we usually find an Arabic groundwork nearly obscured -by ornamentation of the newer style. In the schemes of decoration the -conventional floral designs and geometrical patterns remain, while the -inscriptions, which figured so largely in earlier work, disappear. The -stucco and _azulejos_ no longer cover the whole walls, and the windows -and doors become larger and less graceful. As Herr Schmidt remarks, -effect was no longer sought for in the innately elegant but in bold, -monumental compositions. - -Mr Digby Wyatt (“An Architect’s Note-Book in Spain”) indicates as -the two special points of architectural value possessed by the Casa -de Pilatos, “the entirely moresque character of the stucco-work at a -comparatively late date, and the profuse use of _azulejos_ or coloured -tiles. It is ... in and about the splendid staircase that this charming -tile lining, of the use of which we have here of very late years -commenced a very satisfactory revival, asserts its value as a beautiful -mode of introducing clean and permanent polychromatic decoration.” - -The history of this beautiful building is of singular interest. Its -erection was begun in 1500 by the _adelantado_ (governor), Don Per -Enriquez, continued by his son, Don Fadrique Enriquez de Ribera, first -Marqués de Tarifa, after his return from a two years’ pilgrimage in -the Holy Land, and finished by Don Per Afan, first Duque de Alcalá, -and sometime Viceroy of Naples, in 1533. Authorities differ whether -it received its name from its having been modelled on the House of -Pilate, seen by Don Fadrique, or from the relics presented to the Duque -de Alcalá by Pope Pius V. The ex-Viceroy was a liberal patron of the -arts. He enriched his house with priceless works of art and a fine -library--since removed to Madrid. He played the part of Mæcenas to the -Varros of his generation. Here the wits, the savants, and the virtuosi -of Spain were made welcome, and here they met together in a noble -coterie. Among the frequenters of the house may be named Pacheco the -painter, Céspedes, the Herreras, Góngora the poet, Jauregui, Baltasar -de Alcazár, Rioja, Juan de Arguizo, and (probably) Cervantes. Herr -Schmidt tells us that Seville did not stand alone among the cities of -Spain in boasting such a rallying-point for genius: “In Guadalajara, -the palace of the Mendozas, in Alba de Tormes and Abadia, the castles -of the Duque de Alba, in Madrid, the arts were treasured by Antonio -Perez; in Zaragoza by the Duque de Villahermosa, in Plasencia by Don -Luis de Avila, in Burgos by the Velascos. These and other families in -Spain followed the example set by the Medici in Italy.” - -The ground-plan of the Casa de Pilatos is Moorish, with an inner court, -two storeys, guest-chambers, and high outer walls surrounding a garden. -The exterior is plain and dignified. The portal is of marble, and -over the arch is the text, “Nisi Dominus ædificaverit domum, in vanum -laboraverunt qui ædificant eam,” etc. To the left of the door is a -jasper cross fixed in the wall. In October 1521, the Marqués de Tarifa -returned from the Holy Land, and having traversed the path trodden by -Christ on His way from Pilate’s house to Calvary, he placed this cross -on the wall and counted thence the fourteen stations of the cross. The -last fortuitously coincided with the Cruz del Campo, raised near the -Caños de Carmona, in the year 1482. - -The central _patio_ is markedly Moorish in character, and is encircled -with arcades of extraordinary symmetry and beauty. Pedro de Madrazo -calls attention to the harmonious variety and irregularity of the -arches and windows, comparing the effect thus produced to the admired -disorder of the forest and plantation. The decoration of the walls -and arches bears a general resemblance to that of the Alcazar, but -on closer examination the influence of the plateresco, Late Gothic, -and Renaissance styles is revealed. The fountain in the middle of the -_patio_ is adorned with dolphins and four huge statues belonging to -the best period of Roman art. The chapel is in the mixed pointed and -Moorish styles. In the vestibule the _ajaraca_, or trellis-work, the -_azulejos_, and the _ajimeces_, or twin-windows (now converted into -ordinary windows) recall Moorish art; while the ceiling is in the -plateresco style. The arch of the chapel is Gothic, and its walls are -laid with _azulejos_ and stucco. In the middle of the floor stands a -short marble column, a copy of the pillar at which Christ is supposed -to have been scourged, preserved at Rome; it was the gift of Pius V. - -The room called the Prætorium has a fine coffered ceiling and good -tiling. The staircase is magnificent. Its walls are faced with -_azulejos_, and its ceiling is in the cupola or half-orange style -of the Salón de los Embajadores. Another room on the upper floor is -adorned with paintings by Pacheco, the subject being Dædalus and -Icarus. The view from the roof is perhaps the finest in the city. - -The Casa de Pilatos, as might be inferred from the character of its -founder, is a veritable cabinet of antiques and precious objects, -marbles and fragments from Italica figuring largely in the collection. - -A notable private residence, dating probably in its foundations -from the beginning of the fifteenth century, is the Casa de Abades, -sometimes called the Casa de los Pinelos. It passed into the hands of -the Genoese family from which it derives its second name, and thence -to the Cathedral Chapter (composed of _abbés_ or _abades_). In the -sixteenth century it became the property of the Ribera family, the -owners of the Casa de Pilatos. It is described by Madrazo as presenting -a fine example of the Sevillian Renaissance style, which would appear -to be compounded of all pre-existing styles. Mr Digby Wyatt, on the -other hand, thinks the house more Italian than Spanish. But the -beautiful _patio_, the dados of _azulejos_, and the _ajimeces_ looking -on the courtyard are distinctly Andalusian features. There are also -traces of Moorish geometrical ornamentation, covered with repeated -coats of whitewash. - -The Palacio de las Dueñas, more properly the Palace of the Dukes of -Alba, and sometimes called Palacio de las Pinedas, is a vast and once -splendid mansion, partaking of the mixed style of the two buildings -last described. It boasted at one time eleven _patios_, with nine -fountains, and over one hundred marble columns. A fine _patio_ remains, -surrounded by a gallery with graceful columns. The staircase, with its -vaulted roof, recalls that of the Casa de Pilatos. In the lower part is -a chapel of the fifteenth century, which has fared very badly at the -hands of restorers or rather demolishers. This palace was for a time -the residence of Lord Holland, an ardent admirer of Spanish literature, -and the author (1805) of a memoir on Lope de Vega and Guillen de -Castro. - -Other notable residences of the nobility in Seville are the Casa de -Bustos Tavera, and the Palaces of the Dukes of Osuna and Palomares and -the Count of Peñaflor. These all date from what may be loosely called -Mudejar times. - -The Church of the University of Seville is of interest. The university -itself was originally a college of the Society of Jesus, and was built -in the middle of the sixteenth century, after designs ascribed to -Herrera. Madrazo thinks it more likely that these were the work of -the Jesuit Bartolomé de Bustamante. The church forms a Latin cross, a -spacious half-orange dome covering the transept. The Renaissance style -is followed. Here repose the members of the illustrious Ribera family, -their remains having been transported hither on the suppression of the -Cartuja (Carthusian Monastery). The oldest of the tombs is also that -of the oldest Ribera, who died in 1423, aged 105 years. The finest is -that of Doña Catalina (died 1505), the work of a Genoese sculptor. -Other tombs are those of Don Pedro Henriquez, Diego Gomez de Ribera, -Don Perafan de Ribera (1455), and Beatriz Portocarrero (1458). Let into -the pavement is a magnificent bronze slab, to the memory of the Duque -de Alcalá, the owner of the Casa de Pilatos. Among the sepulchres are -those of the founder, Lorenzo Suarez de Figueroa, whose favourite dog -is sculptured at his feet, and Benito Arias Montano, a _savant_ who -died in 1598. Over the altar are three paintings: the “Holy Family,” -the “Adoration of the Magi,” and the “Nativity”; the first by Roelas, -the other two by his pupil, Juan de Varela. These, especially the -first, are among the finest pictures in the city. The statue of St -Ignatius Loyola by Montañez, coloured by Pacheco, is probably the only -faithful likeness of the Saint. In this church are also to be seen two -admirable works of Alonso Cano, “St John the Baptist” and “St John the -Divine.” - -The Renaissance made itself felt in Spain during the reign of Charles -V., and was productive of the plateresco style. Seville contains two -imposing monuments of this type of architecture--the Ayuntamiento -(Town Hall) and Lonja (Exchange). The first-named was begun in 1527 -by Diego de Riaño, and completed under Felipe II., about forty years -later. Madrazo considers the building “somewhat inharmonious through -the variety, a little excessive, of its lines, but admirable for the -richness of the decoration and for fine and delicate execution--a -merit of the first importance in structures of this style, where the -sculptor or stone-cutter ranked with the architect.” - -The lower and older storey has three façades, all elaborately chased -and designed like silversmiths’ work. The central façade, facing the -Calle de Génova, bears the statues of Saints Ferdinand, Leandro, -and Isidoro--symbolical of the temporal and spiritual power. The -right façade is the purest and most regular of the three. The upper -storey, belonging to the reign of Felipe II., appears almost plain -in comparison with the tower. In the vestibule is a noble Latin -inscription relating to justice. The lower Sala Capitular is a -magnificent apartment worthy, as Madrazo remarks, of the Senate of a -great republic. It is adorned with the statues of the Castilian kings -down to Charles V., with a rich frieze designed with genii, masks, and -animals, and with appropriate legends. The upper Sala Capitular has a -magnificent _artesonado_ ceiling. Over the grand staircase are a fine -coffered ceiling and another in the form of a cupola. The archives of -the municipality contain several valuable historical documents, and the -embroidered banner of St Ferdinand. - -The Lonja or Exchange dates from Felipe II.’s reign. The Patio de -los Naranjos was formerly frequented by the merchants and brokers of -Seville for the transaction of business, and this practice interfering -seriously with divine worship in the Cathedral, the Archbishop, -Cristobal de Rojas, petitioned Felipe II. to follow the precedent just -established by Sir Thomas Gresham and to build an Exchange or Casa de -Contratacion. The preparation of the plans was confided to Herrera, and -the building, under the direction of Juan de Minjares, was finished -in 1598--at precisely the time, as Ford remarks, that the commerce of -Seville began to decline. The Lonja in its stern simplicity reflects, -like the Escorial, the temper of Felipe II.--a sovereign, unpopular -though he may have been, in whom it is impossible not to recognise -the elements of greatness. The edifice forms a perfectly regular -quadrangle, and the sobriety of the decoration affords a striking -contrast to the gorgeous profusion of the Ayuntamiento. The inner -court is noble and severe with its gallery of Doric and Ionic columns. -The dignity of the whole has been impaired by later additions and -restorations. Here are deposited the archives of the Indies (_i.e._ -South America), the documents being arranged in handsome mahogany -cases. They have never been thoroughly gone through and examined. -The business men of Seville soon abandoned their Exchange, and it is -chiefly to be remembered as the seat of Murillo’s Academy of Painters, -founded in 1660. - -In connection with the American traffic of Seville it should be -mentioned that in the village of Castilleja la Cuesta, near the city, -is the house where Hernando Cortés died in 1547. The place has been -acquired by the Duc de Montpensier, by whom it has been converted into -a sort of museum. The Conquistador’s bones rest in the country which, -with such intrepidity, he won for the Spanish race. - -The Civil Hospital of Seville, otherwise known by the ghastly -designation of the Hospital de las Cinco Llagas or del Sangre (of the -Five Wounds or of the Blood), was designed in 1540 by Martin Gainza. -It is a massive stone edifice of two storeys, the lower Doric and -the upper Ionic. In the central _patio_ is the chapel in the form of -a Greek cross, the façade exhibiting a tasteful combination of the -three Grecian styles. The altarpiece is by Maeda and Alonzo Vazquez. -The pictures of saints are by Zurbarán, and the “Apotheosis of St -Hermenegild” and the “Descent from the Cross” by Roelas. - - - - -BUILDINGS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES - - -About the middle of the seventeenth century there lived at Seville -a young gallant, Don Miguel de Mañara by name, whose excesses and -escapades horrified even that lax generation. Marriage with the heiress -of the Mendozas did not sober him. Of him, at this period of his life, -this much good may be said, that he patronised and encouraged Murillo. -But one day something happened: quite suddenly the rake changed into -a devotee, an ascetic--a saint in the seventeenth-century acceptation -of the word. The wine-bibber forswore even chocolate as too tempting a -beverage. - -What had happened to produce this startling reformation? Accounts vary. -Some say that Don Miguel, traversing the streets in insensate rage -against some custom-house officials, was suddenly and vividly made -conscious of the enormous wickedness of his life. A more picturesque -version is the following: Returning from a carousal one night, -the Don found himself absolutely unable to discover his house or -the way thither. Wandering desperately up and down distressed, and -in perplexity of mind, he perceived a funeral cortège approaching. -Impelled by irresistible curiosity, he stepped up to the bearers of -the bier and asked whose body they were carrying. Came the reply: “The -corpse of Don Miguel de Mañara.” The horror-stricken prodigal tore -aside the pall, and lo! the face of the dead man was his own. The -vision disappeared, and the same instant the Don found himself at the -door of his own house. He entered it a changed man. - -The church and hospital of La Caridad are the existing fruits of -Don Miguel’s conversion. As far back as 1578, there had existed at -Seville a confraternity, the objects of which were to assist condemned -criminals at their last moments and to provide them with Christian -burial. To this association the reformed rake turned his attention. -He converted the chapel into a hospital for the sick, the poor, and -the pilgrims of all nations, and liberally endowed it out of his ample -resources. - -The edifice is in the decadent Greco-Roman style, and was designed by -Bernardo Simón de Pereda. The Baroque façade is adorned with five -large blue faïence designs on a white ground, the subjects being Faith, -Hope, and Charity, St James, and St George. Tradition has it that these -were made after drawings by Murillo at the _azulejo_ factory of Triana. -The church hardly appears to us to warrant the description “one of the -most elegant in Seville,” applied to it by Sir W. Stirling-Maxwell. -Under the High Altar is buried the founder, Don Miguel. His own wish -was to be buried at the entrance to the church, with the epitaph: _Aqui -yacen los huesos y cenizas del peor hombre que ha habido en el mundo_ -(Here lie the bones and ashes of the worst man that ever lived in -this world). His sword, and his portrait painted by Valdés Leal, are -preserved in the Hospital. - -As a museum of Spanish art, La Caridad possesses great importance. The -altarpiece, “The Descent from the Cross,” is the masterpiece of Pedro -Roldan. The two paintings near the entrance by Juan de Valdés Leal -(1630-1691) are regarded by Herr Schmidt as entitling that artist to -rank as one of the greatest masters of realism of any age. This opinion -is not shared by a recent writer (C. Gasquoine Hartley), who considers -the pictures theatrical, though the execution exhibits a certain -power. “In one of them a hand holds a pair of scales, in which the -sins of the world--represented by bats, peacocks, serpents, and other -objects--are weighed against the emblems of Christ’s Passion; in the -other, which is the finer composition, Death, with a coffin under one -arm, is about to extinguish a taper, which lights a table spread with -crowns, jewels, and all the gewgaws of earthly pomp. The words ‘In Ictu -Oculi’ circle the gleaming light of the taper, while upon the ground -rests an open coffin, dimly revealing the corpse within.” Murillo said -this picture had to be looked at with the nostrils closed. For the two -paintings Valdés received 5740 reals. - -Of the eleven pictures painted by Murillo for this church, only six -remain, the others having been carried off by the French. The subjects -are “Moses striking the Rock,” the “Miracle of the Loaves and Fishes,” -the “Charity of San Juan de Dios,” the “Annunciation,” the “Infant -Jesus,” and “St John.” The first picture, depicting, as it does, the -terrible thirst experienced by the Israelites, is known as _La Sed_ -(Thirst). Some critics think this is one of the finest of the master’s -productions. As is usual in his compositions, the figures are all -those of ordinary Sevillian types. “The personality of Christ in -the ‘Miracle of the Loaves and Fishes,’” says C. Gasquoine Hartley, -“lacks the force of the ancient prophet, and the work as a whole -is inferior to its companion picture.” The “Charity of San Juan de -Dios”--representing the Saint carrying a beggar with the help of an -angel--is the best and most characteristic of the six paintings. The -“Infant Jesus” and the “St John” are also very fine. For the “San -Juan de Dios” and the “St Elizabeth of Hungary”--_El Tiñoso_--(now at -Madrid) together, Murillo was paid 18,840 reals; for the Moses, 13,300 -reals; and for the “Miracle of the Loaves and Fishes,” 15,973 reals. - -The last building which may be said to rank as an architectural -monument erected in Seville is the Palacio de San Telmo, now the -residence of the Duc de Montpensier. In the year 1682 the Naval School -of San Telmo was founded on the site of the former palace of the -Bishops of Morocco and the tribunal of the Holy Office. The present -edifice, begun, after plans by Antonio Rodriguez, in 1734, was not -completed till 1796. The palace adjoins the beautiful gardens of the -Delicias. The façade is exceedingly ornate, the decoration being in -the Plateresco style. The general effect is pleasing, but critics have -been unsparing in their denunciations of the structure. It certainly -reflects the debasing influence of the architect Jose Churriguera -(1665-1725), who has given his name (_Churrigueresque_) to one of the -most tawdry and tasteless styles of architecture. - -The Archiepiscopal Palace, adjacent to the Cathedral, is also in the -bad style of the later seventeenth century. The interior, however, is -worth visiting for the sake of the noble marble staircase, one of the -finest in the city. Here are three paintings by Alejo Fernandez, an -early seventeenth-century artist, whom Lord Leighton considered “the -most conspicuous among the Gothic painters.” - -The Fabrica de Tabacos is a vast building completed in 1757. Apart -from its size, it possesses no architectural interest, and though a -favourite showplace for tourists, does not come within the scope of a -work of this character. - - - - -THE PAINTERS OF SEVILLE - -BY - -ALBERT F. CALVERT AND C. GASQUOINE HARTLEY - - -In Seville, perhaps to a greater extent than in any city, even in -Spain, the country of passionate individualism, art is the reflection -of the life and temper of the people; and to understand Seville we -must know her painters. As we look at the pictures of the Spanish -primitives, at the emphatic canvases of Juan de las Roelas and -Herrera, for instance; at the realism of Zubarán, or, still more, at -the ecstatic visions of Murillo--as we see them in the old Convento -de la Merced, now the Museo Provincial, in the Cathedral, or in one -or another of the numerous churches in the city, we find the special -spirit of Andalusia. - -There is one quality that, at a first glance, impresses us in these -pictures, so different, and yet all having one aim. It is their -profound seriousness. Rarely, indeed, shall we find a picture in which -the idea of beauty, whether it is the beauty of colour or the beauty -of form, has stood first in the painter’s mind; almost in vain shall -we search for any love of landscape, for any passage introduced just -for its own sake. For, let it be remembered, in Andalusia art was -devotional always. “The chief end of art,” says Pacheco, the master of -Velazquez, in his _Arte de la Pintura_, “is to persuade men to piety -and to incline them to God.” Pictures had other purposes to serve -than that of beauty. They were painted for the Church to enforce its -lessons, they were used as warnings, and as a means of recording the -lives of the Saints. In other countries, it is true, painters have -spent their strength in religious art, but almost always we can find as -well as the sacred, some outside motive, some human love of the subject -for itself--for its opportunities of beauty. The intense realism of -these Spanish pictures is a thing apart; these Assumptions, Martyrdoms, -and Saintly Legends were painted with a vivid sense of the reality of -these things by men who felt upon them the hand of God. We know that -Luis de Vargas daily humbled himself by scourging and by wearing a hair -shirt, and Juan Juanes prepared himself for a new picture by communion -and confession. These are two examples chosen out of many. A legend -we read of Don Miguel de Mañara, the founder of the Hospital of La -Caridad, illustrates this dramatic religious sense of Spain. One day -in church Don Miguel saw a beautiful nun, and, forgetful of her habit, -made amorous proposals. She did not speak; instead, she turned to look -at him; whereupon he saw the side of her face which had been hidden -from his eyes: it was eaten away, corrupted by a hideous disease, -so that it seemed more horrible than the face of death. It was such -scenes as this that the Spanish artists chose to paint. But, indeed, it -would be tedious to enumerate the examples which Spain offers of this -curious, often, it would seem to us, corrupted sense of the gloom of -life, carrying with it as one result the passionate responsibility of -art. Always, we feel certain that the Spanish painters felt all that -they express. - -And this overpowering, if mistaken, understanding of the presence of -the divine life gave a profound seriousness to human life. The shadow -of earth was felt, not its light; and emotion expressed itself in -an intense seriousness, that is over-emphatic too often--always, in -fact, when the painter’s idea is not centred in reality. This is the -reason why a Spanish painter had to treat a vision as a real scene. -We have pictures horrible with the sense of human corruption--such, -for instance, are the two gruesome canvases of Valdés Leal, in La -Caridad. Again and again is enforced the Catholic lesson of humility, -expressing itself in acts of charity to the poor, so essential an idea -when this life is held as but a threshold to a divine life. We find a -sort of wild delight in martyrdom; a joy that is perfectly sincere in -the scourging of the body. All the Spanish pictures tell stories. Was -not their aim to translate life?--the life of earth and the, to them, -truer life of heaven--and life itself is a story? Their successes in -art are due to this, their failures to the sacrifice of all endeavours -to this aim; a danger from which, perhaps, no painter except Velazquez -quite escaped. He, faultless in balance, in his exquisite statement of -life, expresses perfectly the truth his predecessors had tried for, -but missed, except indeed now and again, in some unusual triumph over -themselves. We find hardly a painter able to free himself from the -traditions of his subject. Only Velazquez, controlled by the northern -strain that mingles with the passion of his Andalusian temper, was -saved quite from this danger of over-statement. And Velazquez does not -belong to Seville, though he was born in the southern city on June 5, -1599, in the house, No. 8, Calle de Gorgoja; though the first years -of his life were spent there, the time of childhood, the few months -of work with the violent Herrera, the five years in the studio of -Pacheco, his master; though--a fact of greater import--his temper was -Andalusian; and though his early pictures--the _bodégones_, so familiar -to us in England, whither so many have travelled through the fortune -of wars--are entirely Spanish in their direct realism. Velazquez -worked contemporaneously with the Realistic movement that quickened -the arts in Seville in the sixteenth and seventeenth centuries, but he -worked outside it. This explains the silence of his art in Seville. Of -the pictures of his youth, painted while he was there, none remain, -except one in the Archiepiscopal Palace, “The Virgin delivering the -Chasuble to San Ildefonso”; and the authenticity of this picture has -been denied until very recently, a fact explained by the bad condition -of the canvas. To see the wonderful art of Velazquez you must leave -Seville and visit the Museo del Prado at Madrid. Seville is the home -of religious art. The habit of her painters was serious; in their -profound religious sense, in their adherence, almost brutal at times, -to facts, as well as in those interludes of sensuous sweetness that -now and again, as, for instance in the art of Murillo, burst out so -strangely like an exotic bloom, they reflect the temper of Spain. It -is contended sometimes that these pictures in Seville are wanting in -dignity, wanting in beauty. But are we not too apt to confine beauty to -certain forms of accepted expression? Surely any art that has life; has -dignity, has beauty; and no one can deny that life was the inspiration -of the Andalusian painters. - -We must remember these things if we would understand the pictures in -Seville. - -But first we find ourselves carried away from the reality and darkness -of life back to a happy childhood of art, as we look at the three -fourteenth-century frescoes of the Virgin--the “Antigua,” in the chapel -named after it in the Cathedral, “Nuestra Señora del Corral” in San -Ildefonso, and “Señora Maria de Rocamador” in San Lorenzo--an art -when the painter, less conscious of life and of himself, was content -to paint beautiful patterns. In these three pictures--all that are -left to us--we see the last of Byzantine art in Spain. The figures, -with long oval faces all of one type, are placed stiffly against a -background of Gothic gold. Look at “Señora Maria de Rocamador,” as she -sits holding the Child upon her knees; while two little angels kneel, -one upon the left, one on the right. She wears a blue robe, partly -covered with a mantle of deep purple, very beautiful with ornaments -of gold and bordered with gold braid. A bent coronet around her head -stands out against the glowing halo; the background is all of gold -woven into a delicate pattern. It is a picture of pure convention in -which is no effort to carry the mind beyond what is actually seen; -it makes its appeal just as so much decoration. This fresco, as well -as the “Antigua” and “Nuestra Señora del Corral,” have been much -repainted--the ill-fortune of so many early Spanish works. - -But, in the fifteenth century, a new spirit came into art; and with -the work of Juan Sánchez de Castro the school of Seville may be said -to begin. No knowledge has come down to us of his life; we know only -that he was painting in Seville between 1454 and 1516. In his great -fresco of “San Cristóbal,” that covers the wall near to the main door -in the old Church of San Julian--alas! now spoiled by re-painting and -by the subsequent rotting away of the plaster--we find a different, -human, almost playful treatment of a sacred story. And for the first -time in Seville, we see the special Spanish quality, characteristic -of the whole school from this time to the time of Goya, of rendering a -scene just as the painter supposed it might have happened. “A child’s -dream of a picture,” Mr Arthur Symons has called it. San Cristóbal, -many times the size of life, stretching from floor to ceiling, fills -the whole picture; he leans upon a pine-staff as he supports the Child -Christ upon his shoulders, who holds in his hands a globe of the world -upon which the shadow of a cross has fallen. The other figures, the -hermit and two pilgrims with staves and cloaks, are quite small; they -reach just to the Saint’s knees. And this immense grotesque figure is -painted in all seriousness, as a child might picture such a scene. To -understand the sincerity of the Spanish painter, we must compare his -work with that other fresco of “San Cristóbal,” painted, much later, -by Perez de Alesio, which is in the Cathedral. The Italian picture is -an attempt to illustrate a popular miracle, perfectly unconvincing; -De Castro’s Saint compels us to accept and realise what the painter -himself believed in. This is the difference between them. - -In the smaller pictures of Sánchez de Castro that remain to us, such, -for instance, as the panel of the “Madonna with St Peter and St -Jerome,” once in San Julian, but now in the Cathedral, we find him -more bound by convention, less himself. We see the immense debt Spanish -painting owed to Flemish art. And this influence, always so beneficial, -the Northern art being, for reasons of race not possible to state here, -the true affinity of Spain in art, remains, with different and more -certain knowledge, in the “Pietà” of Juan Nuñez, which still hangs -in the Cathedral where it was painted. It meets us again in the fine -and interesting “Entombment” by Pedro Sánchez, a painter of whom we -know nothing, except that his name is given by Cean Bermudez among the -illustrious artists of Spain. The picture may be seen in the collection -of Don José López Cepero, at No. 7 Plaza de Alfaro, the house in which -Murillo is said to have lived. In all three pictures, and in other -work of the same period not possible to mention here, we are face to -face with that special Spanish trait, the pre-occupation with grief, -that is quite absent from the early fourteenth-century Madonnas, as -from the simple child-art of De Castro’s “San Cristóbal.” The shadow -of the Inquisition had fallen; art, the handmaid of the Church, could -express itself no longer in quaint and beautiful symbols. Instead, it -had to force itself to be taken seriously, being occupied wholly with -emphatic statements, its aim an insistence on the relation of human -life to the divine life. - -But the joy of life did not die easily. - -Juan Nuñez, once, at least, in those pictures in the Cathedral in which -he has painted the archangels Michael and Gabriel quite gaily, their -wings bright with peacock’s feathers, returns to the child-humour of -De Castro. And Nuñez carries us forward to Alejo Fernandez, the most -important painter of this early period, much of whose work remains for -us in the Cathedral and in the old churches of Seville. - -Go to the suburb of Triana, and in the Church of Santa Ana there is the -sweetest Madonna and Child, in which we find a new suggestion in the -joy of the Mother in her Babe, a human attitude, making the picture -something more than mere illustration. And we notice a delicate care -for beauty found very rarely in Seville, perhaps never as perfectly as -in the work of this painter. The “Virgen de la Rosa” is the name given -to the picture. The Mother sits enthroned under a canopy of gold, in -a beautiful robe of elaborate pattern, pale gold on brown. She holds -a white rose out to her Child. Typical of Fernandez is this fortunate -use of the flower; typical, too, of his new mood of invention is the -small landscape of rocky and wooded country that fills the distance. -The gracious pose of the Virgin, the beauty in the Child, show an -advance in ease upon earlier pictures. But the other figures, four -angels who guard the Mother, all posed a little awkwardly, suggest -a scheme on whose design the early Byzantine models may have had a -forming influence, though the result is different enough. For Fernandez -understood the very spirit of the Renaissance; he saw life beautifully -and strongly. The attraction of the picture is in its effect of joy, in -the charming way in which it forms a pattern of beautiful colour, and -in its new sense of humanity that carries us beyond the scene itself. - -And there are other pictures of Fernandez in Seville: the great -altar-piece in eight sections--one is a copy--that tells the story of -Joseph, Mary, and the Child, in the old Church of San Julian; and there -is a large “Adoration of the Magi,” the “Birth and Purification of the -Virgin,” and the “Reconciliation of St Joachim and St Anne,” all in the -Cathedral--the first in the Sacristía de los Cálices, and three others -in unfortunate darkness, over the Sacristía altar. And if these larger -pictures have not quite the fresh charm of the “Madonna of Santa Ana,” -in each one we find a real understanding of beauty, and with it the -Spanish gift of presenting the sacred stories as drama, just as the -painter felt it all must have happened. Each figure in these scenes -has life, has character. No lover of Spanish painting can afford to -neglect any picture of Fernandez, and no estimate of the early art of -the country can be true that does not include his work. Of his life we -know nothing, merely that he came with his brother Juan from Cordova -in 1508, called by the Chapter to work in Seville Cathedral. But it -matters little that his life is unrecorded, for the work that he has -left is his best history. - -In these first years of the Sevillian school, when art was sincere and -young, many pictures were painted, all strong work, all interesting, -in lesser or greater measure, to the student, even if not to the art -lover, as showing the growth of a national style. In many cases the -names of the artists are unknown; no painter has left much record of -himself. These pictures, which may be recognised very readily, are -found in the Museo de la Merced, in the Cathedral, and still more in -the churches, the true museums of Seville. - -But fashion in art changes, and the sixteenth century witnessed the -manifestation of a new mood in painting, the advent to Spain of the -Italian influences of the Renaissance. This is not the place to speak -of the blight which fell upon art. The distinctively Italian schools -were only an influence of evil in Spain, and the inauguration of -the new manner was the birth of a period of great artistic poverty. -The main desire of the sixteenth-century painters was, as it were, -to wipe the artistic slate. All pictures painted in the old style -were repudiated as barbarous, cast aside as an out-of-date garment. -The country became overrun by third-rate imitators of the Italian -grand style, of Michael Angelo, of Raphael and his followers. The -decorations, as you can still see them, of the Escorial, may be taken -as typical of Italian art as it was transplanted into Spain. All -national art that was not Italian in its inspiration was looked upon as -worthless. - -Yet, be it remembered, that the Spanish painters, more perhaps than -the painters of any other school, could imitate and absorb the art -of others without degenerating wholly into copyists. The temper of -the nation was strong. Even now it was not so much a _copying_ of -Italian art, rather it was an unfortunate blending of style which -took away for a time the dignity and strength which is the beauty -of Spanish painting. Thus, Peter van Kempeneer, a Flemish painter, -known better in Spain as Pedro Campaña, who, strangely enough, was -the first to bring the Italian influence to Seville, was inspired -alternately by the Northern and Italian styles; and in such a picture -as his famous “Descent from the Cross,” still in the Sacristía Mayor -of the Cathedral, with its crude colour and extravagant action, we -find him--in an effort, it is said, to imitate Michael Angelo--being -more Spanish than the Spaniards. Indeed, this picture, which made -such strong appeal to Murillo that he chose to rest beneath it in -death, gives us a very curious, left-handed fore-vision, as it were, -of the marvellous work of Ribera. In the large altar-piece, of many -compartments, of the Capilla del Mariscal in the Cathedral, the -first picture painted by Campaña, when, in 1548, he came to Seville, -we see him a realist in the portraits of the donors, painted with -admirable truth; but in the “Purification of the Virgin,” the scene -that fills the lower compartment of the altar, he is Italian and -demonstrative--spectacular movement, meaningless gestures, all done for -effect. - -The Italian influence, the _buena manera_ it was called in Seville, -is more insistent in Luis de Vargas, whose painting was contemporary -with that of Campaña. He was the first painter of Seville to submit -himself wholly to Italy, and most often he was inspired by Raphael. -Much of his work has perished; of the once famous frescoes, “his -greatest gift to Seville,” nothing remains except a few colour traces -upon the Giralda Tower. De Vargas, the pupil probably of Perino del -Vagas, brought back as the reward of twenty-eight years of painting in -Italy much craft skill; and his work, as we see it in the “Pietà,” in -Santa Maria la Blanca, in the earlier “Nativity,” and, even more, in -his masterpiece, the popular “La Gamba,” both in the Cathedral, gives -us a borrowed art, academic and emotional. Only in portraiture does -he say what he has to say for himself. The portrait of Fernando de -Contreras, in the Sacristía de los Calices, is a portrait of sincerity -and character, in which is the Spanish insistence on detail, unpleasant -detail even, as in the ill-shaven cheeks rendered with such exact care. -Contrast this portrait with his other pictures, so extravagant, with -such futile gesticulation, to understand how a really capable painter -lost his sincerity, as just then it was lost in all Spanish painting. -In this effort to be Italian, De Vargas’ natural gift of reality, as we -see it, for instance, in the “Christ” of Santa Maria la Blanca, or in -the peasant boy of the Cathedral “Nativity,” was overclouded, mingled -curiously enough with a Raphaelesque sweetness. It was not that this -painter did not realise the scenes that he depicts--yes, and depicts -with passion--do we not know the sincere piety of his life?--but -he used to express them an art that was not his own, an art he was -temperamentally unfitted to understand. - -Contemporary with Campaña and De Vargas, the leaders of the Andalusian -Mannerists, worked a band of painters of second, or even third-rate, -talent. Francisco Frutet, like Campaña a Flemish painter who had learnt -his art in Italy, and who came to Seville about 1548, is typical of -these “improvers,” as Pacheco calls them so mistakenly, of the native -art. His best work is his Triptych in the Museo, in which again we see -the same curious mingling of Flemish and Italian types; the Christ, -for instance, recalling the models of Italy, while Simon of Cyrene, -who bends beneath the Cross, is nearer to the Gothic figures. Pedro -Villegas Marmolejo has more interest. His quiet pleasing pictures--one -is in the Cathedral, one in San Pedro--interpret Italian art with more -charm, but still without originality. - -And Marmolejo leads us quite naturally to Juan de las Roelas, and -in Roelas we have at last a Spanish painter who learnt from Italy -something more than mere technical imitation. And in spite of a -want of concentration--the accustomed insincerity, the result, it -would seem, of a too persistent effort to express his art in the art -of Venice, in which city he is thought to have painted, perhaps in -the studio of some follower of Titian, he does realise his scenes -with something of the old intensity. Roelas anticipates Murillo, not -altogether unworthily, giving us, with less originality, but with much -sweetness, an expression of that mood of religious sensuousness that is -one phase of Spanish painting. Seville is the single home of Roelas;[A] -here we may see his pictures in the Cathedral, in the Museum, and in -many of the churches. His art is unequal in its merit. In his large -compositions often there is confusion--“Santiago destroying the Moors -at the Battle of Clavijo,” his picture in the Cathedral, is one -instance--spaces are left uncared for, the composition is a little -awkward, the brush-work is careless, a fault that is common to much of -his work. The “Martyrdom of St Andrew,” in the Museum, is perhaps his -most original picture. Here Roelas is a realist. And how expressive of -life--Spanish life, are all the powerfully contrasted figures that so -truly take their part in the scene depicted. In some of his pictures -Roelas gives us the brightest visions. Such is “El Transito de San -Isidore,” in the parish church of the saint, a picture in which we see -in the treatment of Christ and Mary and the child-angels a manner that -seems, indeed, to forestall Murillo; such, too, are the “Apotheosis of -San Hermenegildo,” and the “Descent of the Holy Spirit,” both in the -church of the Hospital of La Sangre. All three pictures are difficult -to see: one is hidden behind the altar, the other two hang at a great -height in the church where the light is dim. There are good pictures -by Roelas in the University, a “Holy Child,” the “Adoration of the -Kings,” and the “Presentation of the Child Christ in the Temple”; and -in this last picture, with its soft colour and human gaiety, again we -are reminded of Murillo. But a work of perhaps more interest, certainly -of more strength, is “St Peter freed from Prison by the Angel,” which -is hidden in a side-chapel in the Church of San Pedro. Then, how quiet, -with a repose uncommon enough in Spain, is his “Virgin and Santa Ana,” -in the Museo de la Merced. The figures--the girl Virgin, her mother, -and the angels who crowd the space above them--all have the fairness -Roelas gives to women; the soft glow of their flesh is beautiful. Look -at the cat and dog that play so naturally in the foreground, beside a -work-basket, and what a happy “note” is given by the open drawer, which -shows the linen and lace within. Certainly this picture is more Italian -than Spanish. - -As the years passed, and art in Seville grew older, many painters -trod in the steps worn by these others. It is not possible, nor is it -necessary, to wait to look at their pictures; too often they exaggerate -the faults of the masters they copied, and by a slavish repetition of -accepted ideas--the inevitable fault of the age--they weakened still -further native art. And, when we come to the next century, which -gives us Alonso Cano, sculptor, architect, and painter, described -admirably by Lord Leighton as “an eclectic with a Spanish accent,” -many of whose facile, meaningless pictures may be seen in Seville, to -the much inferior work of the younger Herrera, and to the exaggerated -over-statements of Juan de Valdés Leal, in whose art Sevillian painting -may be said to die, we realise into what degradation pseudo-Italianism -had dragged painting. - -But there is a reverse side to the picture. The spirit of Spain was too -strong to sleep in an art that was borrowed. Already Luis de Morales, -a native of Estremadura, known as “the divine,” on account of the -exclusively religious character of the subjects he painted, and of -the strange intensity with which he impregnated them, had evolved for -himself a sincere expression of Spanish art; already Navarrete, the -mute painter of Navarre, had broken from conventions, and taken for -himself inspiration from the marvellous pictures of Titian which he -had seen at the Escorial; already, Theotócopuli, known better as El -Greco, was painting with wonderful genius in Toledo, pictures, so new, -so personal, that to-day they command the attention of the world. But -Seville does not represent these painters.[B] - -It has been the fashion, since the tradition was started by Cean -Bermudez, to call Herrera _el viejo_ (1576-1656) “the anticipator of -the true Spanish school.” Herrera had a studio in Seville, in which -worked many painters, and among them Velazquez, Antonio Castillo y -Saavedra, and perhaps Alonso Cano; and it seems certain that he owes -his position to-day in large measure to this fact; had he not been for -a few months the master of Velazquez his impossible art would remain -unknown outside Seville. For the truth is Herrera said nothing that -Roelas had not already said better. - -His temper was Spanish enough, but his work is without originality, -if emphatic and personal in a too vehemently Spanish way. Yet it is -worth while to see, yes, and to study, each one of his half-dozen -pictures. Even in Seville, Herrera’s work is rare; the “Apotheosis -of San Hermenegildo,” and the later, more violent “San Basil,” are -in the Museum, where, too, are the less known, but much better, -portrait-pictures of apostles and saints; while the “Final Judgment,” -his most personal work, is still where it was painted in the darkness -of the Parroquina of San Bernado. One quality we may grant to -Herrera; he did resist the popular Italian influence. These pictures, -sensational as they are, with their hot disagreeable colour--“macaroni -in tomato sauce” Mr Ricketts aptly terms it--their mannerism, -extravagant contortions and splash brush-work, have little apart from -this to recommend them. But you will understand better the esteem -Herrera has gained if you will compare his work with the paintings of -his contemporaries; the conscientious, academic Pacheco, for instance, -the last, and, in himself, the most interesting of the Mannerists, -or with Murillo’s master, Juan del Castillo, the worst painter of -Seville, whose pictures fill with formal tedium so many buildings in -the city. This is why Herrera’s pictures claim notice from the student -of Andalusian art to-day: they form a link in the unbroken chain of the -national pictures. - -Now turn to Zurbarán. - -You pass at once into a world of realism, a world in which facts, -obvious facts, are set forth with a downright passion of statement that -for a moment tricks us; we think we have found life, and, instead, -we have the outward form, too monotonously literal, and without -suggestion. Upon Zurbarán lies the weight of the sadness of Spain. It -is something of this that we realise as we see the thirty or forty of -his pictures that are in Seville, gathered together for the most part -in the Museo de la Merced, where the light is so much better than it -is in the Cathedral and in the churches, though there certainly his -pictures seem to be more fittingly at home. Each picture is so true to -life, and yet without life. Look at his Saints, all are portraits, -faces caught in a mirror that seems to sum up the old world of Spain. -Contrast these Saints with the Saints of Murillo. What honesty is -here; what singular striving to record the truth. Note the gravity and -simplicity of the Scriptural scenes; his conception of the Christ; the -intensity of the three renderings of the Crucifixion, in which for once -Zurbarán finds a subject suited exactly to his art; then mark how the -peasants[C] he depicts are almost startling in their outward nearness -to life. - -Look especially at the Carthusian pictures in the Museum, “San Hugo -visiting the Monks in their Refectory,” the “Virgen de las Cuevas,” -and “St Bruno conversing with Pope Urban II.” They are typical of -Zurbarán’s special gift. In the first of these three pictures, which -is the best, the monks clad in the soft white robes of their order are -seated around a table at their mid-day meal. The aged Hugo stands in -the foreground, attended by a boy-page; he has come to reprove them -for dining upon flesh-meat. His purple vestments give a note of colour -in contrast with the white frocks of the brothers. But, as is customary -with Zurbarán, colour counts for very little, and atmosphere for less, -in this picture in which all care is given to formal outline and exact -expression. Once only in the “Apotheosis of St Thomas Aquinas,” also -in the Museo, does he give us some of that warm colour he should have -learnt from Roelas, whose pupil he is said to have been. This is one -reason why his figures, so true to the facts of life, do not live. But -no one has painted ecclesiastics and monks quite as Zurbarán has done. -His sincerity is annoying almost; for he tells us nothing that we could -not have seen for ourselves; we are no nearer than a photograph would -bring us to the character of these men. Zurbarán was hardly consciously -an artist; and with all his sincerity, his vision was ordinary. He was -a recorder and not an interpreter of life, and in gaining reality he -has just missed truth. - -On coming to the work of Murillo it is quite another phase of the -religious sentiment of Spain that we see developed: we gain an -over-statement of sweetness, not an over-statement of facts. The spirit -in which he painted was happier, more trustful, more personal than was -that of Zurbarán; he is more Andalusian and less Spanish, and certainly -better equipped as a painter. - -Murillo forms part of your life while you are in Seville, he is more -or less around you everywhere; and though to some of us, perhaps -not unjustly, he is a painter we have tried in vain to love, he -does express in a special way the very aspect of the southern city -he himself loved with such single devotion. This is why we like him -so much better in Seville than we are able to do anywhere else. His -pictures repeat the full life of Andalusia--its religious emotion, its -splendour, its poverty, its stark contrasts, its rich sense of life; -and his colours are the same colours that we see in the landscape, warm -and deep, the soft, hot light of southern Spain. You don’t visit the -Museum, La Caridad, the Cathedral, and the churches to see his pictures -as a change of amusement from the streets; you go because they renew -the same atmosphere, and offer a reproduction of so much that surrounds -you. - -No one has ever painted ecstasy with quite the facility of Murillo. And -in the Museum, where the Capuchin Series and other famous pictures are -gathered, you can learn all that is essential to his art; his happy -Saints swim before you in mists of luscious colour; cherubs flutter -around as they minister to beggars clad in rags carefully draped; -Virgins, garbed in the conventional blue and white, their feet resting -upon the crescent moon, vanish into luminous vapour, their robes rustle -in the air, and their sun-lighted faces repeat the very complexion of -Seville. Murillo had neither the power nor the desire to idealise his -models. His Saints--St Francis of Assisi, St Felix of Cantalicio, St -Anthony, St Thomas of Villanueva--and how many more? are men such as -may be seen to-day in the streets of Seville; all are alike, the name -alone differs. His Madonnas are peasants whose emotions are purely -human. More perhaps than any painter Murillo’s work is personal--he -translated the divine life and made it his own common human life--the -fault is that his personality is not interesting. And seeing these -pictures, and, even more, his other work--pictures hanging still in the -churches for which they were painted, where they seem to share in the -pervading religious emotion and to take their part in the life of the -building--the “Vision of St Anthony of Padua” in the Baptistery of the -Cathedral, for instance, or the great pictures of La Caridad; you will -understand how Murillo came to be idolised in Spain; how his pictures -held, for a time, the admiration of Europe; and how to-day he has -ceased to interest a world that has grown older and seeks, above all, -the truth. - -Murillo was impelled by a desire for realism. There is much of the -spirit and manner of Zurbarán in his early pictures: “San Leandro -and San Buenaventura,” two early “Virgins and the Child,” and the -“Adoration of the Shepherds,” all in the Museum, are examples. The same -careful characterisation meets us in the much later “Last Supper” of -Santa Maria la Blanca, his most truthful Scriptural scene. Then his -portraits, such as those of SS. Leandro and Isidore in the Sacristia -Mayor of the Cathedral, or that of St Dorothy in the Sacristia de -los Cálices, are serious studies after nature. Once or twice in his -landscapes we find a sincerity that surprises us. But a painter must -be judged by the main output of his art. And the truth is that, with -a natural gift that certainly was great, added to unusual facility, -Murillo’s personality was commonplace. His self-assurance amazes -us. His emotion, neither profound nor simple, but always perfectly -satisfied, perfectly happy, exactly fitted him to give voice to the -common sentiments of his age. He did create a sort of life, but his -compositions are the work of his hand rather than of his soul. All -his Saints, his Madonnas--pose unthinkingly in the subtly interwoven -light he knew so well how to paint, living only in the moment which -their conventionalised attitudes perpetuate. You do not realise them as -personalities greeting you from the canvas like the intense, painful -faces of El Greco, or the wonderful creations of Velazquez; if you -remember them at all it is part of a pleasing picture. This is the -reason why these religious idylls have lost so much of their meaning; -their over-statement of sweetness cloys. Murillo gives us one aspect -of Andalusia; it was left for El Greco, Ribera, Velazquez, and Goya to -interpret Spain to the world. - - - - -THE OLD ROMAN CITY. - - -Moor and Spaniard have, between them, effaced almost all traces of the -ancient Hispalis or Romula, the little Rome; but the sister-city of -Italica, early deserted by man, has been dealt not too harshly with by -time. Its remains--a Spanish league to the north-west of Seville--still -attract the artist and the archæologist. There, where the wretched -hamlet of Santi Ponce now stands, was in the dim past the Iberian -village of Sancios. Scipio the Elder, after his long and victorious -campaign, passed this way, and selected the spot as a place of rest and -refreshment for his war-worn veterans. “Relicto utpote pacata regione -valido præsidio, Scipio milites omnes vulneribus debiles in unam urbem -compulit, quam ab Italia Italicam nominavit,” says Appian. Señor de -Madrazo remarks that this must have been the first Latin-speaking town -founded outside Italy. It was not at first a municipium, but a place -for meeting and council of the Roman citizens. The municipal status it -owed to Augustus. Subsequently, its citizens petitioned to be classed -as a colony of Rome. - -The colony proved not unworthy of the great capital. Hence sprang the -illustrious line of the Ælii, and most of the eminent Roman Spaniards -who conferred such lustre on the early Empire are believed to have -been natives of the place. It is not, therefore, to be wondered at -that the citizens should have preferred a nominal dependence on the -Mother City to the quasi-independence of a provincial municipality. -But Italica never seems to have been a city in the modern sense of -the word. Excavations have revealed extremely few remains of private -habitations or bazaars. The only vestiges are those of great public -monuments--temples, palaces, amphitheatres, baths. The Emperors seem to -have delighted to embellish this small town with ornaments quite out of -proportion to its size and population, and it is clear that it never -was a serious rival to its older neighbour, Hispalis. - -Its downfall, like its history, is mysterious. Leovigild occupied it -while besieging Seville, which was held by his son, Hermenigild. Later -on, the Arabs are said to have demolished it almost completely, and -to have carried off numerous statues, columns, and blocks of masonry -to serve in the construction and adornment of the neighbouring city. -Then Italica disappeared from history. Earthquakes finished the work -of ruin, and the scattered stones went to the making of the miserable -village of Santi Ponce--a name which some derive from that of San -Geroncio, a Bishop of Italica in early times. - -The amphitheatre is now all that remains to attest the erstwhile -splendour of the darling colony of the Ælii. It is a melancholy and -yet a pretty spot, approached through olive plantations. Some of the -walls are still standing, and enable us to determine the dimensions, -which are stated at 291 feet length and 204 feet breadth. You may still -see the Podium or stone platform, whereon the civic dignitaries sate, -and the upper tiers appropriated to the populace. You may pass down -the vomitoria, through which the spectators streamed, glutted with -the sight of blood, and penetrate to the dens and chambers, wherein -gladiators and wild beasts were confined before the combat. Italica is -more a place to muse in than to explore. The place has long since been -rifled of all its treasures. Extensive ruins of what was believed to -have been the palace of Trajan existed down till the great earthquake -of 1755, and all that was spared were three statues preserved in the -Museo Provincial or Picture Gallery. - -Close to the ruins is the convent of San Isidoro del Campo, founded in -1301 by Don Alonso Perez de Guzman, as a place of sepulture for him and -his family. The establishment was peopled first by the Cistercians, -later by the Hermits of St Jerome. The edifice presents the appearance -of a fortified abbey of the Middle Ages, though not without traces of -Mudejar influence. The church is Gothic, and divided into two naves, -united by a transept, and constituting each a distinct church. One of -these structures was built by the hero of Tarifa, Guzman the Good, and -contains his tomb and that of his wife, together with a fine retablo -by Montañes; the other, founded by the hero’s son, Don Juan Alonso -Perez de Guzman, contains his tomb, marked by a fine recumbent figure, -and that of Doña Urraca Osorio, burnt by order of Pedro the Cruel. In -the cloisters of the convent are some mural paintings of the fifteenth -century, which though much damaged repay inspection. - -With the excursion to Italica the traveller should combine a visit -to the Cartuja, more properly called Santa Maria de las Cuevas. It -lies close to the suburb of Triana. The monastery was founded in the -first decade of the fifteenth century, at the instance of the great -Archbishop Gonzalo de Mena, and became the burying-place of the Ribera -family, whose magnificent tombs are now to be seen in the University -Church. Of the original structure only a little antique chapel remains. -The refectory, chapter-hall, and cloisters all date from a restoration -effected by the first Marqués de Tarifa in the sixteenth century. The -building became, in 1839, the seat of the pottery manufacture of the -(then) English firm of Pickman & Co. The establishment has produced -some fine porcelain, and is worth inspection by all those interested -in the ceramic art. Pottery has been associated from time immemorial -with this locality and the adjoining suburb of Triana, and it will be -remembered that the patron saints of Seville, Justa and Rufina, were, -according to tradition, potters by trade. - -[Illustration: PLATE 1. - -General View of Seville from the Giralda Tower, West Side of the City. - -First View.] - -[Illustration: PLATE 2. - -General View of Seville from the Giralda Tower, West Side of the City. - -Second View.] - -[Illustration: PLATE 3. - -General View of Seville from the Giralda Tower, East Side.] - -[Illustration: PLATE 4. - -General View of Seville from the Giralda Tower, Central Part of the -City.] - -[Illustration: PLATE 5. - -General View of Seville from the Giralda Tower, North Side.] - -[Illustration: PLATE 6. - -Procession of the Conception of the Virgin passing through the Plaza de -San Francisco.] - -[Illustration: PLATE 7. - -View of Seville.] - -[Illustration: PLATE 8. - -View of Seville.] - -[Illustration: PLATE 9. - -View of Seville.] - -[Illustration: PLATE 10. - -View of Seville.] - -[Illustration: PLATE 11. - -View of Seville.] - -[Illustration: PLATE 12. - -View of Seville.] - -[Illustration: PLATE 13. - -View of Seville.] - -[Illustration: PLATE 14. - -View of Seville.] - -[Illustration: PLATE 15. - -Bridge over the Guadalquivir.] - -[Illustration: PLATE 16. - -Hercules Avenue.] - -[Illustration: PLATE 17. - -The Plaza Nueva.] - -[Illustration: PLATE 18. - -View of Triana from the Tower of Gold.] - -[Illustration: PLATE 19. - -General View from Triana.] - -[Illustration: PLATE 20. - -General View from Triana.] - -[Illustration: PLATE 21. - -The Tower of Gold from San Telmo.] - -[Illustration: PLATE 22. - -A Street in Seville.] - -[Illustration: PLATE 23. - -The Tower of Gold.] - -[Illustration: PLATE 24. - -Church of San Marcos, from the Palace of the Dueñas.] - -[Illustration: PLATE 25. - -Church of San Marcos.] - -[Illustration: PLATE 26. - -Court of the Hotel de Madrid.] - -[Illustration: PLATE 27. - -Hospital, with the Mosaics painted by Murillo.] - -[Illustration: PLATE 28. - -Portal of the Convent of Santa Paula.] - -[Illustration: PLATE 29. - -Church of Santa Catalina.] - -[Illustration: PLATE 30. - -Church of Todos Santos.] - -[Illustration: PLATE 31. - -The Provincial Museum, with Murillo’s Statue.] - -[Illustration: PLATE 32. - -Statue of Murillo.] - -[Illustration: PLATE 33. - -General View of the Town Hall.] - -[Illustration: PLATE 34. - -The Town Hall, Left Side.] - -[Illustration: PLATE 35. - -The Town Hall, Left Side, Detail of the Interior Angle.] - -[Illustration: PLATE 36. - -Door of the Town Hall.] - -[Illustration: PLATE 37. - -The Town Hall, Detail of the Principal Part.] - -[Illustration: PLATE 38. - -General View of the Town Hall.] - -[Illustration: PLATE 39. - -The Town Hall, Detail of the Façade.] - -[Illustration: PLATE 40. - -The Town Hall, Detail of the Principal Door.] - -[Illustration: PLATE 41. - -Window in the Town Hall.] - -[Illustration: PLATE 42. - -Principal Façade of the Tobacco Factory.] - -[Illustration: PLATE 43. - -The Tobacco Factory.] - -[Illustration: PLATE 44. - -Cigar Makers, Seville.] - -[Illustration: PLATE 45. - -The “Sevillanas” Dance.] - -[Illustration: PLATE 46. - -Sevillian Costumes--A Courtyard.] - -[Illustration: PLATE 47. - -General View of the Exchange.] - -[Illustration: PLATE 48. - -Court in the Exchange.] - -[Illustration: PLATE 49. - -The Aceite Postern and Ancient Ramparts.] - -[Illustration: PLATE 50. - -The Roman Walls near the Gate of the Macarena.] - -[Illustration: PLATE 51. - -The Roman Amphitheatre of Italica.] - -[Illustration: PLATE 52. - -General View of the Palace of San Telmo from the River.] - -[Illustration: PLATE 53. - -Principal Portal of the San Telmo Palace.] - -[Illustration: PLATE 54. - -Interior of the Hall of Columns in the San Telmo Palace.] - -[Illustration: PLATE 55. - -Interior View of the Duke of Montpensier’s Study In San Telmo.] - -[Illustration: PLATE 56. - -Various Objects found in the Sepulchres at San Telmo. - -(In the Palace of San Telmo.)] - -[Illustration: PLATE 57. - -Palms in the Gardens of San Telmo.] - -[Illustration: PLATE 58. - -The Sepulchres of the Victims of Don Juan Tenorio in the Gardens of San -Telmo.] - -[Illustration: PLATE 59. - -The Roman Sepulchres in the Gardens of San Telmo.] - -[Illustration: PLATE 60. - -View in the Gardens of San Telmo.] - -[Illustration: PLATE 61. - -The Aviary in the Gardens of San Telmo.] - -[Illustration: PLATE 62. - -The River in the Gardens of San Telmo.] - -[Illustration: PLATE 63. - -The Cocoa Tree and East Side of San Telmo.] - -[Illustration: PLATE 64. - -The Zapote, a Tree in the Gardens of San Telmo.] - -[Illustration: PLATE 65. - -The Island and River in the Gardens of San Telmo.] - -[Illustration: PLATE 66. - -The Yucca, a rare Tree in the Gardens of San Telmo.] - -[Illustration: PLATE 67. - -General View of the Hospital de la Sangre.] - -[Illustration: PLATE 68. - -Church of the Sagrario, North Side.] - -[Illustration: PLATE 69. - -Principal Façade of the Hospital de la Sangre.] - -[Illustration: PLATE 70. - -Porch of the Church of the Hospital de la Sangre.] - -[Illustration: PLATE 71. - -Bas-relief. Hospital de la Sangre, the Work of Torregiano.] - -[Illustration: PLATE 72. - -General View of the Exterior of the Cathedral.] - -[Illustration: PLATE 73. - -The Giralda, from the Patio de los Naranjos.] - -[Illustration: PLATE 74. - -The Top of the Giralda.] - -[Illustration: PLATE 75. - -The Dancing Choir Boys, Seville Cathedral.] - -[Illustration: PLATE 76. - -Dancing Boys, Seville Cathedral.] - -[Illustration: PLATE 77. - -The Gate of the Archbishop.] - -[Illustration: PLATE 78. - -Plaza de San Francisco, with the Giralda and Cathedral.] - -[Illustration: PLATE 79. - -Plaza del Triunfo, the Cathedral, and the Exchange, from the Gate of -the Lion.] - -[Illustration: PLATE 80. - -The Fête.] - -[Illustration: PLATE 81 - -Gate of San Miguel in the Cathedral.] - -[Illustration: PLATE 82. - -Gate of the Cathedral called de las Campanillas.] - -[Illustration: PLATE 83. - -Gate of the Baptist in the Cathedral.] - -[Illustration: PLATE 84. - -The Gate of the Lizard in the Cathedral.] - -[Illustration: PLATE 85. - -General View of the Cathedral From the Tribune of the Principal Door.] - -[Illustration: PLATE 86. - -Principal Sacristy in the Cathedral.] - -[Illustration: PLATE 87. - -Principal Entrance to the Cathedral.] - -[Illustration: PLATE 88. - -Interior View of the Principal Sacristy in the Cathedral.] - -[Illustration: PLATE 89. - -The Gamba Chapel.] - -[Illustration: PLATE 90. - -The Cathedral. - -The Gamba Chapel and Entrance to that of the Antigua.] - -[Illustration: PLATE 91. - -Chapels of the Conception and the Annunciation in the Cathedral.] - -[Illustration: PLATE 92. - -The Cathedral. - -The Chapel of the Conception.] - -[Illustration: PLATE 93. - -The Cathedral. - -Detail of the High Altar.] - -[Illustration: PLATE 94. - -The Cathedral. - -Retablo, or Altar-piece of the High Altar.] - -[Illustration: PLATE 95. - -Iron Railings of the Lateral Part of the High Altar.] - -[Illustration: PLATE 96. - -The Cathedral. - -Wrought Iron Screen in the Choir.] - -[Illustration: PLATE 97. - -The Cathedral. - -Wrought Iron Screen of the High Altar.] - -[Illustration: PLATE 98. - -St Christopher carrying the Child Jesus, by Mateo Perez Alesio, in the -Cathedral.]. - -[Illustration: PLATE 99. - -San Fernando Square.] - -[Illustration: PLATE 100. - -Gardens of the Alcazar.] - -[Illustration: PLATE 101. - -General View of the Gardens of the Alcazar.] - -[Illustration: PLATE 102. - -View of the Gardens of the Alcazar.] - -[Illustration: PLATE 103. - -General View of the Gardens of the Alcazar.] - -[Illustration: PLATE 104. - -The Gardens of the Alcazar. Lake and Gallery of Don Pedro I. the -Cruel.] - -[Illustration: PLATE 105. - -The Gardens of the Alcazar. View of the Gallery of Don Pedro I., the -Cruel.] - -[Illustration: PLATE 106. - -The Hothouses in the Gardens of the Alcazar.] - -[Illustration: PLATE 107. - -Calle de las Vedras in the Gardens of the Alcazar.] - -[Illustration: PLATE 108. - -The Gardens of the Alcazar. - -Parterre of Doña Maria de Padilla.] - -[Illustration: PLATE 109. - -The Alcazar. Baths of Doña Maria de Padilla.] - -[Illustration: PLATE 110. - -Magnificent Altar in Faience painted in the 15th Century. - -In the Oratory of the Catholic Sovereigns in the Alcazar.] - -[Illustration: PLATE 111. - -Town Hall of Seville. - -Details of Doors and Balconies.] - -[Illustration: PLATE 112. - -Town Hall of Seville. Details.] - -[Illustration: PLATE 113. - -Parish Church of San Marcos.] - -[Illustration: PLATE 114. - -Various Towers of Seville.] - -[Illustration: PLATE 115. - -Details of the Mosaic commonly called El Grande.] - -[Illustration: PLATE 116. - -Sculpture and Details of Ancient Churches.] - -[Illustration: PLATE 117. - -Architectural Parts, Bas-reliefs, and Ceramic Objects.] - -[Illustration: PLATE 118. - -Façade of the Consistorial Houses.] - -[Illustration: PLATE 119. - -Entrance to the Alcazar, Seville.] - -[Illustration: PLATE 120. - -Principal Façade of the Alcazar.] - -[Illustration: PLATE 121. - -Gate of the Principal Entrance, Alcazar.] - -[Illustration: PLATE 122. - -Interior of the Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 123. - -Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 124. - -Interior of the Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 125. - -Interior of the Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 126. - -Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 127. - -Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 128. - -Hall of Ambassadors, Alcazar.] - -[Illustration: PLATE 129. - -Upper Part of the Court of the Dolls, Alcazar.] - -[Illustration: PLATE 130. - -Court of the Dolls from the Room of the Prince, Alcazar.] - -[Illustration: PLATE 131. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 132. - -Angle in the Court of the Dolls, Alcazar.] - -[Illustration: PLATE 133. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 134. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 135. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 136. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 137. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 138. - -Court of the Dolls, Alcazar.] - -[Illustration: PLATE 139. - -Gallery on the Second Storey of the Court of the Dolls, Alcazar.] - -[Illustration: PLATE 140. - -Upper Part of the Court of the Dolls, Alcazar.] - -[Illustration: PLATE 141. - -Upper Part of the Court of the Dolls, Alcazar.] - -[Illustration: PLATE 142. - -Entrance to the Dormitory of the Moorish Kings, Alcazar.] - -[Illustration: PLATE 143. - -Dormitory of the Moorish Kings, Alcazar.] - -[Illustration: PLATE 144. - -Front of the Sleeping Saloon of the Moorish Kings, Alcazar.] - -[Illustration: PLATE 145. - -Sleeping Saloon of the Moorish Kings, Alcazar.] - -[Illustration: PLATE 146. - -Intercolumniation, where Don Fadrique was Assassinated, Alcazar. - -Sultana’s Quarters, Alcazar.] - -[Illustration: PLATE 147. - -Room in which King St Ferdinand Died, Alcazar.] - -[Illustration: PLATE 148. - -Interior of the Hall of St Ferdinand, Alcazar.] - -[Illustration: PLATE 149. - -Front of the Hall of St Ferdinand, Alcazar.] - -[Illustration: PLATE 150. - -Gate of the Hall of St Ferdinand, Alcazar.] - -[Illustration: PLATE 151. - -Gallery of the Hall of St Ferdinand, Alcazar.] - -[Illustration: PLATE 152. - -Throne of Justice, Alcazar.] - -[Illustration: PLATE 153. - -Court of the Hundred Virgins, Alcazar.] - -[Illustration: PLATE 154. - -Court of the Virgins, Alcazar.] - -[Illustration: PLATE 155. - -General View of the Court of the Hundred Virgins, Alcazar.] - -[Illustration: PLATE 156. - -Court of the Virgins, Alcazar.] - -[Illustration: PLATE 157. - -Front of the Dormitory of the Moorish Kings and the Court of the -Virgins, Alcazar.] - -[Illustration: PLATE 158. - -Gallery in the Court of the Virgins, Alcazar.] - -[Illustration: Plate 159. - -The Court of the Virgins. Capital of the Door of the Hall of -Ambassadors, Alcazar.] - -[Illustration: PLATE 160. - -The Alcazar. - -Court of the Virgins. Capital of the Gate of the Hall of Charles V.] - -[Illustration: PLATE 161. - -Palace of the Dueñas. Door of the Chapel.] - -[Illustration: PLATE 162. - -Palace of the Dukes of Alcala, Commonly called Casa de Pilatos.] - -[Illustration: PLATE 163. - -The Court in the House of Pilate.] - -[Illustration: PLATE 164. - -Court of the House of Pilate.] - -[Illustration: PLATE 165. - -Gallery in the Court of the House of Pilate.] - -[Illustration: PLATE 166. - -House of Pilate.] - -[Illustration: PLATE 167. - -Gallery in the Court of the House of Pilate.] - -[Illustration: PLATE 168. - -Angle and Statue in the House of Pilate.] - -[Illustration: PLATE 169. - -House of Pilate. - -Entrance to the Ante-room of the Chapel.] - -[Illustration: PLATE 170. - -The Staircase in the House of Pilate, by Barrera.] - -[Illustration: PLATE 171. - -House of Pilate. - -Entrance Door of the Oratory.] - -[Illustration: PLATE 172. - -House of Pilate. - -Way out to the Flat Roofs in the High Gallery.] - -[Illustration: PLATE 173. - -Staircase in the House of Pilate.] - -[Illustration: PLATE 174. - -House of Pilate. Doors of the Offices in the High Gallery.] - -[Illustration: PLATE 175. - -House of Pilate. - -Window of the Prætor’s Hall leading to the Garden.] - -[Illustration: PLATE 176. - -House of Pilate. - -Barred Window in the Prætor’s Garden.] - -[Illustration: PLATE 177. - -House of Pilate. Bolt on the Prætor’s Gate.] - -[Illustration: PLATE 178. - -House of Pilate. - -Window in the Ante-room of the Chapel.] - -[Illustration: PLATE 179. - -House of Pilate. - -Section of the Ceiling in the Prætor’s Hall.] - -[Illustration: PLATE 180. - -Palace of the Dueñas in Seville.] - -[Illustration: PLATE 181. - -House of Pilate. - -Mosaics in the Hall of the Fountain.] - -[Illustration: PLATE 182. - -Palace of the Dueñas in Seville. - -Glazed Tiles in the Socles of the Chapel and Arches.] - -[Illustration: PLATE 183. - -Mosaic of the Peristyle in the Palace.] - -[Illustration: PLATE 184. - -House of Pilate. - -Mosaic in the Hall of the Fountain.] - -[Illustration: PLATE 185. - -Mosaic in the Court of the House of Pilate.] - -[Illustration: PLATE 186. - -Mosaic in the Court of the House of Pilate.] - -[Illustration: PLATE 187. - -Mosaic in the Court of the House of Pilate.] - -[Illustration: PLATE 188. - -House of Pilate. - -Mosaic in the Chapel.] - -[Illustration: PLATE 189. - -Bartolomé Esteban Murillo. - -BORN IN SEVILLE, 1617.] - -[Illustration: PLATE 190. - -Altar-screen of the La Gamba, by Luis de Vargas. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 191. - -Descent from the Cross, by Pedro Campaña. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 192. - -St Anthony of Padua visited by the Infant Saviour while kneeling at his -Prayers, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 193. - -Our Lord Baptized by St John Baptist, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 194. - -The Guardian Angel, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 195. - -St Leander, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 196. - -St Isidore, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 197. - -St Ferdinand, Crowned and Robed, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 198. - -Madre Francisca Dorotea Villalda, by Murillo. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 199. - -St Anthony with the Infant Saviour, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 200. - -Our Lady of the Immaculate Conception, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 201. - -Our Lady of the Immaculate Conception, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 202. - -Our Lady of the Immaculate Conception, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 203. - -Our Lady of the Immaculate Conception, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 204. - -St Justa and St Rufina, Patron Saints of Seville, holding between them -the Giralda Tower, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 205. - -St Bonaventure and St Leander, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 206. - -St Thomas of Villanueva giving Alms at the Door of his Cathedral, by -Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 207. - -The Annunciation of our Lady, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 208. - -St Felix of Cantalisi restoring to Our Lady the Infant Saviour, whom -she had placed in his Arms, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 209. - -Adoration of the Shepherds of Bethlehem, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 210. - -St Peter Nolasco kneeling before Our Lady of Mercy, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 211. - -The Deposition--St Francis of Assisi supporting the Body of Our Lord -nailed by the Left Hand to the Cross, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 212. - -St Joseph and the Infant Saviour, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 213. - -St John the Baptist in the Desert leaning against a Rock, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 214. - -St Augustine and the Flaming Heart, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 215. - -St Felix of Cantalisi and the Infant Jesus, known as, “San Felix de Las -Arrugas,” by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 216. - -St Anthony with the Infant Saviour, by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 217. - -Deposition from the Cross, by Murillo. - -SEVILLE MUSEUM..] - -[Illustration: PLATE 218. - -Our Lady with the Infant Saviour in her Arms, by Murillo. - -(AN EARLY PICTURE.) - -SEVILLE MUSEUM.] - -[Illustration: PLATE 219. - -Our Lady and the Infant Saviour, known as “La Virgen de la Servilleta,” -by Murillo. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 220. - -Our Lady seated, with the Infant Saviour in her Lap, by Murillo. - -(AN EARLY PICTURE.) - -SEVILLE MUSEUM.] - -[Illustration: PLATE 221. - -St Thomas of Aquin, by, Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 222. - -The Virgin of the Grotto, by Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 223. - -St Bruno talking to the Pope, by Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 224. - -The Day of Judgment, by Martin de Vos. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 225. - -Our Lady of the Immaculate Conception, by J. Valdes Leal. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 226. - -Jesus crowning St Joseph, by Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 227. - -The Devout Punyon, by Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 228. - -Our Lady of the Immaculate Conception. The Virgin surrounded by -Cherubim. By Fr. Pacheco. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 229. - -Our Lord’s Miracle of the Loaves and Fishes, by Murillo. - -SEVILLE HOSPITAL.] - -[Illustration: PLATE 230. - -Moses striking the Rock in Horeb, by Murillo. - -LA CARIDAD, SEVILLE.] - -[Illustration: PLATE 231. - -St John of God, sinking under the Weight of a Sick Man, assisted by an -Angel, by Murillo. - -LA CARIDAD, SEVILLE.] - -[Illustration: PLATE 232. - -The Death of St Hermenigild, by J. de las Roelas. - -HOSPITAL DE LA SANGRE, SEVILLE.] - -[Illustration: PLATE 233. - -The Apostleship, by Juan de las Roelas. - -HOSPITAL DE LA SANGRE, SEVILLE.] - -[Illustration: PLATE 234. - -The End of this World’s Glories, by Valdes Leal. - -LA CARIDAD, SEVILLE.] - -[Illustration: PLATE 235. - -The Pietà, or the Virgin supporting the Dead Body of her Divine Son, -Altar-screen, by Luis de Vargas. - -SANTA MARIA DE LA BLANCA, SEVILLE.] - -[Illustration: PLATE 236. - -St Joseph holding the Infant Saviour in His Arms, by Murillo. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 237. - -Our Lady of the Girdle, by Murillo. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 238. - -Portrait of Ferdinand VII., by Goya. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 239. - -Portrait of Charles IV., by Goya. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 240. - -The Annunciation, by F. Zurbarán. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 241. - -The Death of Laocoön and his Sons at the Siege of Troy, by El Greco. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 242. - -Caton of Utique tearing open his wounds, by Josef Ribera. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 243. - -Pietà. The Virgin holding the Dead Saviour in her Arms, by Morales. - -SAN TELMO, SEVILLE.] - -[Illustration: PLATE 244. - -Portrait of El Greco, by Himself. - -GALLERY OF SAN TELMO, SEVILLE.] - -[Illustration: PLATE 245. - -The Miracle of St Vœu. St Hugo in the Refectory with several Chartreux, -by Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 246. - -The Martyrdom of St Andrew, by J. de las Roelas. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 247. - -The Last Supper, by P. de Cespedes. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 248. - -Christ on the Cross, by Zurbarán. - -SEVILLE MUSEUM.] - -[Illustration: PLATE 249. - -Portrait of the Figure in Pacheco’s Picture at Seville, supposed to -represent Cervantes.] - -[Illustration: PLATE 250. - -The Virgin and the Child Jesus, by Alonso Cano. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 251. - -The Descent from the Cross, by Alejo Fernandez. - -SEVILLE CATHEDRAL.] - -[Illustration: PLATE 252. - -The Cathedral.] - -[Illustration: PLATE 253. - -The Giralda.] - -[Illustration: PLATE 254. - -The Giralda.] - -[Illustration: PLATE 255. - -Cathedral. The Gate of Pardon.] - -[Illustration: PLATE 256. - -Cathedral. Puerta de los Palos.] - -[Illustration: PLATE 257. - -SEVILLE CATHEDRAL - -_Specially drawn for The Spanish Series_] - -[Illustration: PLATE 258. - -Cathedral. View of an Organ.] - -[Illustration: PLATE 259. - -Cathedral. Monument to Columbus.] - -[Illustration: PLATE 260. - -Cathedral. Silver Tabernacle (weighing 45 arrobas).] - -[Illustration: PLATE 261. - -Alcazar Gardens.] - -[Illustration: PLATE 262. - -Alcazar Gardens.] - -[Illustration: PLATE 263. - -Alcazar Gardens.] - -[Illustration: PLATE 264. - -House of Pilate. The Goddess Ceres.] - -[Illustration: PLATE 265. - -House of Pilate. The Goddess Pallas Pacifer.] - -[Illustration: PLATE 266. - -Italica.] - -[Illustration: PLATE 267. - -Roman Walls.] - -[Illustration: PLATE 268. - -Patio de Banderas and the Giralda.] - -[Illustration: PLATE 269. - -Plaza de San Francisco.] - -[Illustration: PLATE 270. - -St Mark’s Church.] - -[Illustration: PLATE 271. - -Plaza de San Fernando.] - -[Illustration: PLATE 272. - -The Town Hall. Details of the Old Part.] - -[Illustration: PLATE 273. - -Façade of the Palace of San Telmo.] - -[Illustration: PLATE 274. - -Statue of Velaquez.] - -[Illustration: PLATE 275. - -Plaza de la Constitución.] - -[Illustration: PLATE 276. - -Plaza de la Constitución.] - -[Illustration: PLATE 277. - -Calle de Sierpes.] - -[Illustration: PLATE 278. - -Calle de Sierpes.] - -[Illustration: PLATE 279. - -A Street in Seville.] - -[Illustration: PLATE 280. - -Hercules Avenue.] - -[Illustration: PLATE 281. - -The Pasadera.] - -[Illustration: PLATE 282. - -Courtyard of La Caridad.] - -[Illustration: PLATE 283. - -Plaza de San Fernando.] - -[Illustration: PLATE 284. - -Plaza de Gavidia.] - -[Illustration: PLATE 285. - -View from the Pasadera.] - -[Illustration: PLATE 286. - -The Drive.] - -[Illustration: PLATE 287. - -Paseo de las Delicias.] - -[Illustration: PLATE 288. - -The Quay.] - -[Illustration: PLATE 289. - -Partial View of Seville.] - -[Illustration: PLATE 290. - -Plaza de Toros.] - -[Illustration: PLATE 291. - -Fields of San Sebastian.] - -[Illustration: PLATE 292. - -Park of Maria Luisa.] - -[Illustration: PLATE 293. - -Railway Station of M.Z.A. Principal Façade.] - -[Illustration: PLATE 294. - -Railway Station of M.Z.A. General View.] - -[Illustration: PLATE 295. - -Triana Bridge.] - -[Illustration: PLATE 296. - -View from Triana Bridge.] - -[Illustration: PLATE 297. - -View from Triana.] - -[Illustration: PLATE 298. - -San Telmo from Triana.] - -[Illustration: PLATE 299. - -The Cathedral. Our Lord Crucified. Sculpture in the Sacristy.] - -[Illustration: PLATE 300. - -SEVILLE - -_Specially drawn for The Spanish Series_] - - -FOOTNOTES: - -[A] There is one picture only by Roelas in the Prado. His work is -hardly known outside Seville. In England we have at least one of his -pictures, a fine example, in a private collection. - -[B] There is a picture by El Greco, the wonderful portrait of himself, -in the Museum. It came quite recently from the Palace of San Telmo, -where also was once the really grand picture, “The Death of Laocoön -and his Sons at the Siege of Troy.” The remarkable and interesting -“Trinity” in the Cathedral, attributed to El Greco, is the work of -his pupil Luis Tristan, a painter neglected too long. Seville has -no picture by Navarrete; the one work of Morales, the triptych in -the Sacristiá de los Calices of the Cathedral, is not typical of his -strange power. - -[C] The most important is the “Adoration of the Shepherds,” until -recently in the Palace of San Telmo; but this work has been removed -with other pictures in the collection of the Infanta Maria Luisa -Fernanda de Bourbon. The really fine picture on the same subject in our -National Gallery is now attributed to Zurbarán; probably to him, too, -belongs the “Dead Warrior,” now assigned to Velazquez. - - - - -*** END OF THE PROJECT GUTENBERG EBOOK SEVILLE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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Calvert</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Seville</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Albert F. Calvert</div> - -<div style='display:block; margin:1em 0'>Release Date: March 24, 2021 [eBook #64914]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK SEVILLE ***</div> -<hr class="full" /> - - -<p class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" -height="550" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#CONTENTS">Contents.</a></p> -<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p> - -<p class="c">THE SPANISH SERIES</p> - - -<p class="c">S E V I L L E -<span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> </p> - -<div class="bxx"> -<p class="c">THE SPANISH SERIES<br /><br /> -<small><i>EDITED BY ALBERT F. CALVERT</i></small></p> - -<table summary=""> -<tr><td> -<span class="smcap">Murillo</span><br /> -<span class="smcap">Spanish Arms and Armour</span><br /> -<span class="smcap">The Escorial</span><br /> -<span class="smcap">Cordova</span><br /> -<span class="smcap">Seville</span><br /> -<span class="smcap">The Prado</span><br /> -</td></tr> -<tr><td><i>In Preparation</i></td></tr> - -<tr><td> -<span class="smcap">Goya</span><br /> -<span class="smcap">Granada and Alhambra</span><br /> -<span class="smcap">Velazquez</span><br /> -<span class="smcap">Toledo</span><br /> -<span class="smcap">Royal Palaces of Spain</span><br /> -<span class="smcap">Madrid</span><br /> -<span class="smcap">Leon, Burgos and Salamanca</span><br /> -<span class="smcap">Valladolid, Oviedo, Segovia,<br /> Zamora, Avila & Zaragoza</span><br /> -</td></tr> -</table> -</div> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span></p> - - -<h1><span class="redd"> -SEVILLE</span></h1> - -<div class="pt"> -<div class="ptt">AN HISTORICAL AND DE-<br />SCRIPTIVE - ACCOUNT OF<br /> -“THE PEARL OF ANDALUSIA”<br /> -BY ALBERT F. CALVERT<br /> -WITH 300 ILLUSTRATIONS<br /> -</div></div> - -<p class="c"><span class="redd">LONDON: JOHN LANE, THE BODLEY HEAD</span><br /> -<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span> -NEW YORK: JOHN LANE COMPANY MCMVII<br /> -<br /><br /><small> -TURNBULL AND SPEARS. PRINTERS, EDINBURGH</small><br /> -<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span> </p> - - -<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2> - - -<p class="nind"><span class="smcap">There</span> is a charm and compelling fascination about Seville which produces -in the traveller visiting the city for the first time a sensation of -physical ecstasy. The spell of the Pearl of Andalusia is instant and -enduring; I have not met a man or woman proof against its witchery. -George Borrow shed tears of rapture as he beheld Seville from the -Cristina Promenade, and “listened to the thrush and the nightingale -piping forth their melodious songs in the woods, and inhaled the breeze -laden with the perfume of its thousand orange gardens.” The Moors left -their beloved capital at the height of its prosperity, in the full -flower of its beauty; change has not affected its material importance, -and time has not staled its infinite variety. A Christian Cathedral now -stands on the foundation of the great mosque of Abu Yakub Yusuf; but the -Moorish Giralda, the most expressive monument of the Mohammedan -occupation, still beckons the distant traveller onwards to the promised -land; the Alcazar breathes the spirit of its Oriental masters; and the -shim<span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>mering Torre del Oro still reflects the light of the setting sun -upon the broad bosom of the rose-coloured river.</p> - -<p>The history of Seville from the time of its subjugation by Musa is a -volume of romance; its pages are illumined by the cold light of flashing -steel and stained with the blood of tyrants, traitors, and innocent men; -but it forms a chronicle which the reader will follow with absorbing -interest. The more exacting student will satisfy his thirst for -knowledge in Dr Dozy’s “History of the Mohammedans of Spain,” in -Gayangos’ translation of El Makkari’s “History of the Mohammedan -Dynasties in Spain,” in Coppee’s “History of the Conquest of Spain,” and -Pedro de Madrazo’s “Sevilla”—to refer to only a few of the many learned -works that have been published on the subject. Many will continue to be -content with the few pages of Notes which appear in the various Spanish -Guides; but a certain section, it is hoped, of the English travelling -public, will find in this book an album, a handbook, and a history which -will supply a long-felt want.</p> - -<p>In my attempt to produce a volume which will appeal both to the artist -and the tourist, to the archæologist as well as the least imaginative -sightseer, I have reproduced a number of illustrations<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span> which may -incline some persons to accuse me of a superabundant regard for detail. -It is true that many pages are devoted to intricacies of decoration -which the general reader may find of small interest, but my object in -multiplying this detail is to satisfy the requirements of those who -would fathom the mystery of Moslem art. When I was first in Granada I -inquired for pictures of the minutiæ of many choice examples of design, -and, failing to obtain anything of the kind, I had to employ a local -artist to make sketches of the detail of the mosaics. That experience -determined me, in treating of these Mohammedan cities of Spain, to -include those reproductions for which I had searched in vain, and to -make my illustrations, as far as possible, the last word on the subject -of Arabian architecture and ornament.</p> - -<p>For the historical portion of the letterpress I have laid under tribute -the authorities already mentioned, and I have also to acknowledge the -assistance received in the compilation from Mr E. B. d’Auvergne.</p> - -<p>A large number of the photographs included here were supplied by Messrs -Rafael Garzon and Senan & Gonzalez of Granada, Hauser & Menet of Madrid, -Ernst Wasmuth of Berlin, publisher of Uhde’s “Baudenkmaeler in Spanien -und Portugal,”<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> and Eugen Twietmayer of Leipzig, publisher of -Junghandel’s “Die Baukunst Spaniens,” and my thanks are due to them for -the courteous permission to reproduce their work in this volume.</p> - -<p>Some of the illustrations are reproductions of pictures which were at -one time in the San Telmo Collection. As that collection has been -distributed I have been unable to trace the originals, but as they were -so closely identified with Seville I make no apology for including them.</p> - -<p class="r"> -A. F. C.<br /> -</p> - -<p class="hang"> -“<span class="smcap">Royston</span>,”<br /> -<span class="smcap">Swiss Cottage</span>,<br /> - N.W.<br /> -<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span></p> - - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td> </td><td><small>PAGE</small></td></tr> -<tr><td valign="top" class="pdd"><a href="#SEVILLE">SEVILLE</a></td><td class="rt"><a href="#page_1">1</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#MOORISH_SEVILLE">MOORISH SEVILLE</a></td><td class="rt"><a href="#page_5">5</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#SEVILLE_UNDER_THE_CASTILIAN_KINGS">SEVILLE UNDER THE CASTILIAN KINGS</a></td><td class="rt"><a href="#page_35">35</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#THE_ALCAZAR">THE ALCAZAR</a></td><td class="rt"><a href="#page_45">45</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#THE_CATHEDRAL">THE CATHEDRAL</a></td><td class="rt"><a href="#page_69">69</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#OTHER_BUILDINGS_OF_THE_FIFTEENTH_AND_SIXTEENTH_CENTURIES">OTHER BUILDINGS OF THE FIFTEENTH AND SIXTEENTH CENTURIES</a></td><td class="rt"><a href="#page_89">89</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#BUILDINGS_OF_THE_SEVENTEENTH_AND_EIGHTEENTH_CENTURIES">BUILDINGS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES</a></td><td class="rt"><a href="#page_101">101</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#THE_PAINTERS_OF_SEVILLE">THE PAINTERS OF SEVILLE</a></td><td class="rt"><a href="#page_107">107</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#THE_OLD_ROMAN_CITY">THE OLD ROMAN CITY</a></td><td class="rt"><a href="#page_135">135</a></td></tr> -</table> - - -<p><span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> </p> - -<p><span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span> </p> - - -<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2> - -<table border="0" cellpadding="2" cellspacing="0" summary="" -style="margin:auto auto;max-width:85%;"> -<tr><td><small>TITLE</small></td> -<td><small>PLATE</small></td></tr> - - -<tr><td class="pdd" valign="top"><a href="#plt_1">General view of Seville from the Giralda Tower, West side of the City. First view</a></td> -<td class="rt" valign="bottom"><a href="#plt_1">1</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_2">General view of Seville from the Giralda Tower, West side of the City. Second view</a></td> -<td class="rt" valign="bottom"><a href="#plt_2">2</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_3">General view of Seville from the Giralda Tower, East side</a></td> -<td class="rt" valign="bottom"><a href="#plt_3">3</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_4">General view of Seville from the Giralda Tower, Central part of the City</a></td> -<td class="rt" valign="bottom"><a href="#plt_4">4</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_5">General view of Seville from the Giralda Tower, North side</a></td> -<td class="rt" valign="bottom"><a href="#plt_5">5</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_6">Procession of the Conception of the Virgin passing through the Plaza de San Francisco</a></td> -<td class="rt" valign="bottom"><a href="#plt_6">6</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_7">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_7">7</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_8">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_8">8</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_9">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_9">9</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_10">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_10">10</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_11">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_11">11</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_12">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_12">12</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_13">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_13">13</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_14">View of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_14">14</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_15">Bridge over the Guadalquivir</a></td> -<td class="rt" valign="bottom"><a href="#plt_15">15</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_16">Hercules Avenue</a></td> -<td class="rt" valign="bottom"><a href="#plt_16">16</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_17">The Plaza Nueva</a></td> -<td class="rt" valign="bottom"><a href="#plt_17">17</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_18">View of Triana from the Tower of Gold</a></td> -<td class="rt" valign="bottom"><a href="#plt_18">18</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_19">View of Seville from Triana</a></td> -<td class="rt" valign="bottom"><a href="#plt_19">19</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_20">View of Seville from Triana</a></td> -<td class="rt" valign="bottom"><a href="#plt_20">20</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_21">The Tower of Gold from San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_21">21</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_22">A street in Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_22">22</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_23">The Tower of Gold</a></td> -<td class="rt" valign="bottom"><a href="#plt_23">23</a><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_24">Church of San Marcos, from the Palace of the Dueñas</a></td> -<td class="rt" valign="bottom"><a href="#plt_24">24</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_25">Church of San Marcos</a></td> -<td class="rt" valign="bottom"><a href="#plt_25">25</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_26">Court of the Hotel de Madrid</a></td> -<td class="rt" valign="bottom"><a href="#plt_26">26</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_27">Hospital, with the Mosaics painted by Murillo</a></td> -<td class="rt" valign="bottom"><a href="#plt_27">27</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_28">Portal of the Convent of Santa Paula</a></td> -<td class="rt" valign="bottom"><a href="#plt_28">28</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_29">Church of Santa Catalina</a></td> -<td class="rt" valign="bottom"><a href="#plt_29">29</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_30">Church of Todos Santos</a></td> -<td class="rt" valign="bottom"><a href="#plt_30">30</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_31">The Provincial Museum, with Murillo’s statue</a></td> -<td class="rt" valign="bottom"><a href="#plt_31">31</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_32">Statue of Murillo</a></td> -<td class="rt" valign="bottom"><a href="#plt_32">32</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_33">General view of the Town Hall</a></td> -<td class="rt" valign="bottom"><a href="#plt_33">33</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_34">The Town Hall, left side</a></td> -<td class="rt" valign="bottom"><a href="#plt_34">34</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_35">The Town Hall, left side, detail of the interior angle</a></td> -<td class="rt" valign="bottom"><a href="#plt_35">35</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_36">Door of the Town Hall</a></td> -<td class="rt" valign="bottom"><a href="#plt_36">36</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_37">The Town Hall, detail of the principal part</a></td> -<td class="rt" valign="bottom"><a href="#plt_37">37</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_38">General view of the Town Hall</a></td> -<td class="rt" valign="bottom"><a href="#plt_38">38</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_39">The Town Hall, detail of the façade</a></td> -<td class="rt" valign="bottom"><a href="#plt_39">39</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_40">The Town Hall, detail of the principal door</a></td> -<td class="rt" valign="bottom"><a href="#plt_40">40</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_41">Window in the Town Hall</a></td> -<td class="rt" valign="bottom"><a href="#plt_41">41</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_42">Principal facade of the Tobacco Factory</a></td> -<td class="rt" valign="bottom"><a href="#plt_42">42</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_43">The Tobacco Factory</a></td> -<td class="rt" valign="bottom"><a href="#plt_43">43</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_44">Cigar makers, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_44">44</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_45">The “Sevillanas” Dance</a></td> -<td class="rt" valign="bottom"><a href="#plt_45">45</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_46">Sevillian Costumes—A Courtyard</a></td> -<td class="rt" valign="bottom"><a href="#plt_46">46</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_47">General view of the Exchange</a></td> -<td class="rt" valign="bottom"><a href="#plt_47">47</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_48">Court in the Exchange</a></td> -<td class="rt" valign="bottom"><a href="#plt_48">48</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_49">The Aceite Postern and ancient ramparts</a></td> -<td class="rt" valign="bottom"><a href="#plt_49">49</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_50">The Roman walls near the gate of the Macarena</a></td> -<td class="rt" valign="bottom"><a href="#plt_50">50</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_51">The Roman Amphitheatre of Italica</a></td> -<td class="rt" valign="bottom"><a href="#plt_51">51</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_52">General view of the Palace of San Telmo from the River</a></td> -<td class="rt" valign="bottom"><a href="#plt_52">52</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_53">Principal Portal of the San Telmo Palace</a></td> -<td class="rt" valign="bottom"><a href="#plt_53">53</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_54">Interior of the Hall of Columns in the San Telmo Palace</a></td> -<td class="rt" valign="bottom"><a href="#plt_54">54</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_55">Interior view of the Duke of Montpensier’s study in San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_55">55</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_56">Various objects found in the sepulchres at San Telmo.<br /> -(In the Palace of San Telmo)</a></td> -<td class="rt" valign="bottom"><a href="#plt_56">56</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_57">Palms in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_57">57</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_58">The sepulchres of the victims of Don Juan Tenorio in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_58">58</a><span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_59">The Roman Sepulchres in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_59">59</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_60">View in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_60">60</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_61">The Aviary in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_61">61</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_62">The River in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_62">62</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_63">The Cocoa Tree and east side of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_63">63</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_64">The Zapote, a tree in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_64">64</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_65">The Island and River in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_65">65</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_66">The Yucca, a rare tree in the Gardens of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_66">66</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_67">General view of the Hospital de la Sangre</a></td> -<td class="rt" valign="bottom"><a href="#plt_67">67</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_68">Church of the Sagrario, north side</a></td> -<td class="rt" valign="bottom"><a href="#plt_68">68</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_69">Principal façade of the Hospital de la Sangre</a></td> -<td class="rt" valign="bottom"><a href="#plt_69">69</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_70">Porch of the Church of the Hospital de la Sangre</a></td> -<td class="rt" valign="bottom"><a href="#plt_70">70</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_71">Bas-relief, Hospital de la Sangre, the work of Torregiano</a></td> -<td class="rt" valign="bottom"><a href="#plt_71">71</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_72">General view of the exterior of the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_72">72</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_73">The Giralda, from the Patio de los Naranjos</a></td> -<td class="rt" valign="bottom"><a href="#plt_73">73</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_74">The top of the Giralda</a></td> -<td class="rt" valign="bottom"><a href="#plt_74">74</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_75">The Dancing Choir-boys, Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_75">75</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_76">Dancing-boys, Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_76">76</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_77">The Gate of the Archbishop</a></td> -<td class="rt" valign="bottom"><a href="#plt_77">77</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_78">Plaza de San Francisco, with the Giralda and Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_78">78</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_79">Plaza del Triunfo, the Cathedral, and the Exchange, from the Gate of the Lion</a></td> -<td class="rt" valign="bottom"><a href="#plt_79">79</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_80">The Fête</a></td> -<td class="rt" valign="bottom"><a href="#plt_80">80</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_81">Gate of San Miguel in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_81">81</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_82">Gate of the Cathedral called de las Campanillas</a></td> -<td class="rt" valign="bottom"><a href="#plt_82">82</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_83">Gate of the Baptist in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_83">83</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_84">The Gate of the Lizard in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_84">84</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_85">General view of the Cathedral from the Tribune of the principal door</a></td> -<td class="rt" valign="bottom"><a href="#plt_85">85</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_86">Principal Sacristy in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_86">86</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_87">Principal Entrance to the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_87">87</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_88">Interior view of the Principal Sacristy in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_88">88</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_89">The Gamba Chapel</a></td> -<td class="rt" valign="bottom"><a href="#plt_89">89</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_90">The Cathedral, the Gamba Chapel, and entrance to that of the Antigua</a></td> -<td class="rt" valign="bottom"><a href="#plt_90">90</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_91">Chapels of the Conception and the Annunciation in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_91">91</a><span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_92">The Cathedral. The Chapel of the Conception</a></td> -<td class="rt" valign="bottom"><a href="#plt_92">92</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_93">The Cathedral. Detail of the High Altar</a></td> -<td class="rt" valign="bottom"><a href="#plt_93">93</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_94">The Cathedral. Retablo, or altar-piece of the High Altar</a></td> -<td class="rt" valign="bottom"><a href="#plt_94">94</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_95">Iron railings of the lateral part of the High Altar</a></td> -<td class="rt" valign="bottom"><a href="#plt_95">95</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_96">The Cathedral. Wrought-iron screen in the Choir</a></td> -<td class="rt" valign="bottom"><a href="#plt_96">96</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_97">The Cathedral. Wrought-iron screen of the High Altar</a></td> -<td class="rt" valign="bottom"><a href="#plt_97">97</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_98">St Christopher carrying the Child Jesus, by Mateo Perez Alesio, in the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_98">98</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_99">San Fernando Square</a></td> -<td class="rt" valign="bottom"><a href="#plt_99">99</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_100">Gardens of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_101">General view of the Gardens of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_102">View of the Gardens of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_103">General view of the Gardens of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_104">The Gardens of the Alcazar. Lake and Gallery of Don Pedro I., the Cruel</a></td> -<td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_105">The Gardens of the Alcazar. View of the Gallery of Don Pedro I., the Cruel</a></td> -<td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_106">The Hothouses in the Gardens of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_107">Calle de las Vedras in the Gardens of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_108">The Gardens of the Alcazar. Parterre of Doña Maria de Padilla</a></td> -<td class="rt" valign="bottom"><a href="#plt_108">108</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_109">The Alcazar. Baths of Doña Maria de Padilla</a></td> -<td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_110">Magnificent altar in faience, painted in the fifteenth century. (In the Oratory of the Catholic Sovereigns in the Alcazar.)</a></td> -<td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_111">Town Hall of Seville. Details of doors and balconies</a></td> -<td class="rt" valign="bottom"><a href="#plt_111">111</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_112">Town Hall of Seville. Details</a></td> -<td class="rt" valign="bottom"><a href="#plt_112">112</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_113">Parish Church of San Marcos</a></td> -<td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_114">Various Towers of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_114">114</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_115">Details of the Mosaic commonly called El Grande</a></td> -<td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_116">Sculpture and details of ancient churches</a></td> -<td class="rt" valign="bottom"><a href="#plt_116">116</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_117">Architectural parts, bas-reliefs, and ceramic objects</a></td> -<td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_118">Façade of the Consistorial houses</a></td> -<td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_119">Entrance to the Alcazar, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_120">Principal Façade of the Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_121">Gate of the principal entrance, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_122">Interior of the Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_123">Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_124">Interior of the Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_124">124</a><span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_125">Interior of the Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_126">Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_127">Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_128">Hall of Ambassadors. Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_129">Upper part of the Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_130">Court of the Dolls from the Room of the Prince, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_131">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_132">Angle in the Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_132">132</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_133">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_133">133</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_134">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_135">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_135">135</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_136">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_137">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_137">137</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_138">Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_139">Gallery on the second storey of the Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_140">Upper part of the Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_141">Upper part of the Court of the Dolls, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_142">Entrance to the Dormitory of the Moorish Kings, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_143">Dormitory of the Moorish Kings, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_143">143</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_144">Front of the sleeping-saloon of the Moorish Kings, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_144">144</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_145">Sleeping-saloon of the Moorish Kings, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_145">145</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_146-a">Intercolumniation, where Don Fadrique was assassinated, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_146-a">146</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_146-b">Sultana’s Quarters, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_146-b">146</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_147">Room in which King St Ferdinand died, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_147">147</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_148">Interior of the Hall of St Ferdinand, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_149">Front of the Hall of St Ferdinand, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_149">149</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_150">Gate of the Hall of St Ferdinand, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_151">Gallery of the Hall of St Ferdinand, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_152">Throne of Justice, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_153">Court of the Hundred Virgins, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_154">Court of the Virgins, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_155">General view of the Court of the Hundred Virgins, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_156">Court of the Virgins, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_157">Front of the Dormitory of the Moorish Kings and the Court of the Virgins, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_157">157</a><span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_158">Gallery in the Court of the Virgins, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_159">The Court of the Virgins, Capital of the door of the Hall of Ambassadors, Alcazar</a></td> -<td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_160">The Alcazar. Court of the Virgins. Capital of the gate of the Hall of Charles V.</a></td> -<td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_161">Palace of the Dueñas, Door of the Chapel</a></td> -<td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_162">Palace of the Dukes of Alcalá, commonly called Casa de Pilatos</a></td> -<td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_163">The Court in the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_164">Court of the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_165">Gallery in the Court of the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_165">165</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_166">House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_166">166</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_167">Gallery in the Court of the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_167">167</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_168">Angle and statue in the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_168">168</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_169">House of Pilate. Entrance to the ante-room of the Chapel</a></td> -<td class="rt" valign="bottom"><a href="#plt_169">169</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_170">The staircase in the House of Pilate, by Barrera</a></td> -<td class="rt" valign="bottom"><a href="#plt_170">170</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_171">House of Pilate. Entrance door of the Oratory</a></td> -<td class="rt" valign="bottom"><a href="#plt_171">171</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_172">House of Pilate. Way out to the flat roofs in the High Gallery</a></td> -<td class="rt" valign="bottom"><a href="#plt_172">172</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_173">Staircase in the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_173">173</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_174">House of Pilate. Doors of the officers in the High Gallery</a></td> -<td class="rt" valign="bottom"><a href="#plt_174">174</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_175">House of Pilate. Window of the Prætor’s Hall leading to the Garden</a></td> -<td class="rt" valign="bottom"><a href="#plt_175">175</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_176">House of Pilate. Barred window in the Prætor’s Garden</a></td> -<td class="rt" valign="bottom"><a href="#plt_176">176</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_177">House of Pilate. Bolt on the Prætor’s Gate</a></td> -<td class="rt" valign="bottom"><a href="#plt_177">177</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_178">House of Pilate. Window in the Ante-room of the Chapel</a></td> -<td class="rt" valign="bottom"><a href="#plt_178">178</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_179">House of Pilate. Section of the ceiling in the Prætor’s Hall</a></td> -<td class="rt" valign="bottom"><a href="#plt_179">179</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_180">Palace of the Dueñas in Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_180">180</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_181">House of Pilate. Mosaics in the Hall of the Fountain</a></td> -<td class="rt" valign="bottom"><a href="#plt_181">181</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_182">Palace of the Dueñas in Seville. Glazed tiles in the socles of the Chapel and arches</a></td> -<td class="rt" valign="bottom"><a href="#plt_182">182</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_183">Mosaic of the Peristyle in the Palace</a></td> -<td class="rt" valign="bottom"><a href="#plt_183">183</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_184">House of Pilate. Mosaic in the Hall of the Fountain</a></td> -<td class="rt" valign="bottom"><a href="#plt_184">184</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_185">Mosaic in the Court of the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_185">185</a><span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_186">Mosaic in the Court of the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_186">186</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_187">Mosaic in the Court of the House of Pilate</a></td> -<td class="rt" valign="bottom"><a href="#plt_187">187</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_188">House of Pilate. Mosaic in the Chapel</a></td> -<td class="rt" valign="bottom"><a href="#plt_188">188</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_189">Bartolomé Esteban Murillo. Born in Seville, 1617</a></td> -<td class="rt" valign="bottom"><a href="#plt_189">189</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_190">Altar-screen of the La Gamba, by Luis de Vargas. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_190">190</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_191">“Descent from the Cross,” by Pedro Campaña, Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_191">191</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_192">“St Anthony of Padua visited by the Infant Saviour while kneeling at his prayers,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_192">192</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_193">“Our Lord baptized by St John Baptist,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_193">193</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_194">“The Guardian Angel,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_194">194</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_195">“St Leander,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_195">195</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_196">“St Isidore,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_196">196</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_197">“St Ferdinand, crowned and robed,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_197">197</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_198">“Madre Francisca Dorotea Villalda,” by Murillo. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_198">198</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_199">“St Anthony with the Infant Saviour,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_199">199</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_200">“Our Lady of the Immaculate Conception,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_200">200</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_201">“Our Lady of the Immaculate Conception,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_201">201</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_202">“Our Lady of the Immaculate Conception,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_202">202</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_203">“Our Lady of the Immaculate Conception,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_203">203</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_204">“St Justa and St Rufina, Patron Saints of Seville, holding between them the Giralda Tower,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_204">204</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_205">“St Bonaventure and St Leander,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_205">205</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_206">“St Thomas of Villanueva, giving alms at the door of his Cathedral,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_206">206</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_207">“The Annunciation of Our Lady,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_207">207</a><span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_208">“St Felix of Cantalisi, restoring to Our Lady the Infant Saviour, whom she had placed in his arms,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_208">208</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_209">“Adoration of the Shepherds of Bethlehem,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_209">209</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_210">“St Peter Nolasco kneeling before Our Lady of Mercy,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_210">210</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_211">“The Deposition,—St Francis of Assisi supporting the body of Our Lord nailed by the left hand to the Cross,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_211">211</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_212">“St Joseph and the Infant Saviour,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_212">212</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_213">“St John the Baptist in the Desert leaning against a rock,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_213">213</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_214">“St Augustine and the Flaming Heart,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_214">214</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_215">“St Felix of Cantalisi and the Infant Jesus,” known as “San Felix de las Arrugas,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_215">215</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_216">“St Anthony with the Infant Saviour,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_216">216</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_217">“Deposition from the Cross,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_217">217</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_218">“Our Lady with the Infant Saviour in her Arms,” by Murillo. (An early picture.) Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_218">218</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_219">“Our Lady and the Infant Saviour,” known as “La Virgen de la Servilleta,” by Murillo. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_219">219</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_220">“Our Lady seated, with the Infant Saviour in her lap,” by Murillo. (An early picture.) Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_220">220</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_221">“St Thomas of Aquin,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_221">221</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_222">“The Virgin of the Grotto,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_222">222</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_223">“St Bruno talking to the Pope,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_223">223</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_224">“The Day of Judgment,” by Martin de Vos. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_224">224</a><span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_225">“Our Lady of the Immaculate Conception,” by J. Valdes Leal. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_225">225</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_226">“Jesus crowning St Joseph,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_226">226</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_227">“The Devout Punyon,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_227">227</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_228">“Our Lady of the Immaculate Conception,” the Virgin surrounded by Cherubim, by Fr. Pacheco. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_228">228</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_229">“Our Lord’s Miracle of the Loaves and Fishes,” by Murillo. Seville Hospital</a></td> -<td class="rt" valign="bottom"><a href="#plt_229">229</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_230">“Moses striking the Rock in Horeb,” by Murillo. La Caridad, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_230">230</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_231">“St John of God, sinking under the weight of a sick man, assisted by an Angel,” by Murillo. La Caridad, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_231">231</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_232">“The Death of St Hermenigild” by J. de las Roelas. Hospital de la Sangre, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_232">232</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_233">“The Apostleship,” by Juan de las Roelas. Hospital de la Sangre, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_233">233</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_234">“The End of this World’s Glories,” by Valdes Leal. La Caridad, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_234">234</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_235">“Pietà, or the Virgin supporting the dead body of her Divine Son,” altar-screen, by Luis de Vargas. Santa Maria la Blanca, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_235">235</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_236">“St Joseph, holding the Infant Saviour in his arms,” by Murillo. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_236">236</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_237">“Our Lady of the Girdle,” by Murillo, San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_237">237</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_238">“Portrait of Ferdinand VII.,” by Goya. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_238">238</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_239">“Portrait of Charles IV.,” by Goya. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_239">239</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_240">“The Annunciation,” by F. Zurbarán. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_240">240</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_241">“The Death of Laocoon and his Sons at the Siege of Troy,” by El Greco. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_241">241</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_242">“Caton of Utique tearing open his wounds,” by Josef Ribera. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_242">242</a><span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_243">“Pietà. The Virgin holding the dead Saviour in her arms,” by Morales. San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_243">243</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_244">“Portrait of El Greco,” by himself. Gallery of San Telmo, Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_244">244</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_245">“The Miracle of St Vœu. St Hugo in the refectory with several Chartreux,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_245">245</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_246">“The Martyrdom of St Andrew,” by J. de las Roelas. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_246">246</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_247">“The Last Supper,” by P. de Cespedes. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_247">247</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_248">“Christ on the Cross,” by Zurbarán. Seville Museum</a></td> -<td class="rt" valign="bottom"><a href="#plt_248">248</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_249">Portrait of the figure in Pacheco’s picture at Seville, supposed to represent Cervantes</a></td> -<td class="rt" valign="bottom"><a href="#plt_249">249</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_250">“The Virgin and the Child Jesus,” by Alonso Cano. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_250">250</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_251">“The Descent from the Cross,” by Alego Fernandez. Seville Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_251">251</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_252">The Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_252">252</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_253">The Giralda</a></td> -<td class="rt" valign="bottom"><a href="#plt_253">253</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_254">The Giralda</a></td> -<td class="rt" valign="bottom"><a href="#plt_254">254</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_255">Cathedral. The Gate of Pardon</a></td> -<td class="rt" valign="bottom"><a href="#plt_255">255</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_256">Cathedral. Puerta de los Palos</a></td> -<td class="rt" valign="bottom"><a href="#plt_256">256</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_257">Plan of the Cathedral</a></td> -<td class="rt" valign="bottom"><a href="#plt_257">257</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_258">Cathedral. View of an organ</a></td> -<td class="rt" valign="bottom"><a href="#plt_258">258</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_259">Cathedral. Monument to Columbus</a></td> -<td class="rt" valign="bottom"><a href="#plt_259">259</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_260">Cathedral. Silver Tabernacle (weighing forty-five arrobas)</a></td> -<td class="rt" valign="bottom"><a href="#plt_260">260</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_261">Alcazar Gardens</a></td> -<td class="rt" valign="bottom"><a href="#plt_261">261</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_262">Alcazar Gardens</a></td> -<td class="rt" valign="bottom"><a href="#plt_262">262</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_263">Alcazar Gardens</a></td> -<td class="rt" valign="bottom"><a href="#plt_263">263</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_264">House of Pilate. The Goddess Ceres</a></td> -<td class="rt" valign="bottom"><a href="#plt_264">264</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_265">House of Pilate. The Goddess Pallas Pacifer</a></td> -<td class="rt" valign="bottom"><a href="#plt_265">265</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_266">Italica</a></td> -<td class="rt" valign="bottom"><a href="#plt_266">266</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_267">Roman Walls</a></td> -<td class="rt" valign="bottom"><a href="#plt_267">267</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_268">Patio de Banderas and the Giralda</a></td> -<td class="rt" valign="bottom"><a href="#plt_268">268</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_269">Plaza de San Francisco</a></td> -<td class="rt" valign="bottom"><a href="#plt_269">269</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_270">St Mark’s Church</a></td> -<td class="rt" valign="bottom"><a href="#plt_270">270</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_271">Plaza de San Fernando</a></td> -<td class="rt" valign="bottom"><a href="#plt_271">271</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_272">The Town Hall. Details of the old part</a></td> -<td class="rt" valign="bottom"><a href="#plt_272">272</a><span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_273">Façade of the Palace of San Telmo</a></td> -<td class="rt" valign="bottom"><a href="#plt_273">273</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_274">Statue of Velazquez</a></td> -<td class="rt" valign="bottom"><a href="#plt_274">274</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_275">Plaza de la Constitución</a></td> -<td class="rt" valign="bottom"><a href="#plt_275">275</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_276">Plaza de la Constitución</a></td> -<td class="rt" valign="bottom"><a href="#plt_276">276</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_277">Calle de Sierpes</a></td> -<td class="rt" valign="bottom"><a href="#plt_277">277</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_278">Calle de Sierpes</a></td> -<td class="rt" valign="bottom"><a href="#plt_278">278</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_279">A street in Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_279">279</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_280">Hercules Avenue</a></td> -<td class="rt" valign="bottom"><a href="#plt_280">280</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_281">The Pasadera</a></td> -<td class="rt" valign="bottom"><a href="#plt_281">281</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_282">Courtyard of La Caridad</a></td> -<td class="rt" valign="bottom"><a href="#plt_282">282</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_283">Plaza de San Fernando</a></td> -<td class="rt" valign="bottom"><a href="#plt_283">283</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_284">Plaza de Gavidia</a></td> -<td class="rt" valign="bottom"><a href="#plt_284">284</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_285">View from the Pasadera</a></td> -<td class="rt" valign="bottom"><a href="#plt_285">285</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_286">The Drive</a></td> -<td class="rt" valign="bottom"><a href="#plt_286">286</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_287">Paseo de las Delicias</a></td> -<td class="rt" valign="bottom"><a href="#plt_287">287</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_288">The Quay</a></td> -<td class="rt" valign="bottom"><a href="#plt_288">288</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_289">Partial view of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_289">289</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_290">Plaza de Toros</a></td> -<td class="rt" valign="bottom"><a href="#plt_290">290</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_291">Fields of San Sebastian</a></td> -<td class="rt" valign="bottom"><a href="#plt_291">291</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_292">Park of Maria Luisa</a></td> -<td class="rt" valign="bottom"><a href="#plt_292">292</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_293">Railway Station of M.Z.A. Principal Façade</a></td> -<td class="rt" valign="bottom"><a href="#plt_293">293</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_294">Railway Station of M.Z.A. General View</a></td> -<td class="rt" valign="bottom"><a href="#plt_294">294</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_295">Triana Bridge</a></td> -<td class="rt" valign="bottom"><a href="#plt_295">295</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_296">View from Triana Bridge</a></td> -<td class="rt" valign="bottom"><a href="#plt_296">296</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_297">View from Triana</a></td> -<td class="rt" valign="bottom"><a href="#plt_297">297</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_298">San Telmo from Triana</a></td> -<td class="rt" valign="bottom"><a href="#plt_298">298</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_299">The Cathedral. Our Lord Crucified. Sculpture in the Sacristy</a></td> -<td class="rt" valign="bottom"><a href="#plt_299">299</a></td></tr> - -<tr><td class="pdd" valign="top"><a href="#plt_300">Plan of Seville</a></td> -<td class="rt" valign="bottom"><a href="#plt_300">300</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span> </p> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span> </p> - - -<h2><a name="SEVILLE" id="SEVILLE"></a>SEVILLE</h2> - - -<p class="nind"><span class="smcap">Seville</span> is the most Spanish of the cities of Spain. On her white walls -the sunlight plays perpetually, the air is laden with the scent of the -orange, the sound of the guitar and castanets is heard continually in -the narrow streets. This is the South of romance, the South of which -northerners dream and towards which so many of them are drawn by an -irresistible fascination. The cities of Leon and Castile are grim and -Gothic. Cordova is Moorish; but Seville is not essentially one nor the -other, but presents that blending of both styles which makes her -typical, which stands for all that Spain means to the average foreigner.</p> - -<p>Seville lives. Cordova is dead, and Granada broods over her past. These -are cemeteries of a vanished civilisation. Alone among the ancient seats -of Moorish dominion, Seville has maintained her prosperity. Her wharves, -as in the days of Al Mansûr, are still the resort of sailors from many -lands. There is still wealth in her palaces and genius in her schools. -To-day she holds the first<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> place in native art, and Garcia y Ramos, -Sanchez Perrier, Jimenez Aranda, and Bilbao not unworthily continue the -traditions of Murillo and Zurbarán.</p> - -<p>The city is Moorish, but informed throughout with the spirit of Spain. -In Cordova the Spaniard seems a stranger; in Seville he has assimilated -and adapted all that was bequeathed by his onetime rulers till you might -think the place had always been his. It is as though the glowing metal -of Andalusian life and temper had been poured into a mould made -expressly by other hands to receive it. Thus Seville has not died nor -decayed like her rivals. Her vitality intoxicates the northerner. Valdés -says, “Seville has ever been for me the symbol of light, the city of -love and joy.”</p> - -<p>In my book, “Moorish Remains in Spain,” I have sketched the history of -the city and briefly referred to its importance under the Roman sway. -With the few monuments remaining from that time I do not purpose dealing -separately—incorporated as they have been, for the most part, with -works of more recent construction. Nor has Roman influence left very -profound traces in Seville, any more than in the rest of Spain. Señor -Rafael Contreras justly remarks that Roman<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> civilisation made no deep -impression on the country or the people. “We have in Spain,” he -continues, “aqueducts, bridges, circuses, baths, roads, vases, urns, -milliaria, statues, and jewellery. Specimens are still found, but, -strictly speaking, art with us has never been either Roman or Greek.” -And Seville, in particular, even during the Roman occupation, was rather -a Punic than a Latin town. As to the successors of the Cæsars—the -Visigoths—to them can only be ascribed a few capitals and stone -ornaments, roughly executed in the Byzantine style. These, like the -Roman remains, were used by the Moors in the construction of those -buildings that have determined the physiognomy of Seville.<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span></p> - - -<h2><a name="MOORISH_SEVILLE" id="MOORISH_SEVILLE"></a>MOORISH SEVILLE</h2> - - -<p class="nind"><span class="smcap">Seville</span> was not among the spoils of Tarik, conqueror at the Guadalete. -That general having directed his march upon Toledo, it was reserved to -his superior officer, Musa Ben Nosseyr, to subdue the proudest city of -Bætica. The citizens held out for a month and then retired upon Beja in -Alemtejo. The Arabian commander left a garrison in the city, -henceforward to be known for five hundred and thirty-six years as -Ishbiliyah, and pushed forward to Merida. The Sevillians took advantage -of his absence to shake off his yoke, assisted by the people of Beja and -Niebla. Their triumph was short lived. Abdelasis, son of Musa, fell upon -them like a thunderbolt, extinguished the rising in blood, and made the -city the seat of government of the newly acquired provinces.</p> - -<p>The interesting personality and tragic fate of Seville’s first Viceroy -have made the site of his residence a question of some importance. It -was formerly believed that he occupied the Acropolis<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> or Citadel, -supposed then to be covered by the Alcazar. The researches of Señores -Gayangos and Madrazo have made it plain, however, that he established -his headquarters in a church which had been dedicated by the sister of -St Isidore to the martyrs Rufina and Justa, now amalgamated with the -convent of La Trinidad. Adjacent to this building Abdelasis erected a -mosque; and it was within its walls, while reciting the first surah of -the Koran, that he was assassinated by the emissaries of the Khalif of -Damascus—death being a not uncommon reward in the Middle Ages for too -brilliant military services rendered to one’s sovereign.</p> - -<p>The seat of government was transferred, soon after the murder of the son -of Musa, to Cordova, and Seville sank for a time to a subsidiary rank. -The various cities of Andalusia were allotted by the governor Abdelmelic -among the different Syrian peoples who had flocked over on the news of -the conquest; and Ishbiliyah, according to Señor de Madrazo, was -assigned to the citizens of Horns, the classic Emesa. Owing to -intermarriage between the conquerors and the natives, the distinction -between the Moslems according to the places of origin of these early -settlers was soon lost in that drawn between the pure-blooded Arabs<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> and -the Muwallads or half-breeds. In the meantime the germs of Arabian -culture had fallen upon a kindly soil, and a new school of art and -letters was in process of formation in Spain. The imposing monuments of -Roman, Greek, and Byzantine civilisation, which the victorious hosts of -Islam found ever in their path, were not without influence upon their -conceptions of the beautiful in form. The fusion of the Hispano-Goths -and Arabs likewise tended to produce a commingling of spirit, and -ultimately to give birth to an art and a culture racy of the soil. -“According to all contemporary writers,” says Señor Rafael Contreras, -“it is beyond all doubt that the style which the artists of the -Renaissance called Moorish (in the sense of originating in Northern -Africa) was never anything of the sort. The details so much admired on -account of their richness, the vaultings and the arched hollows -practised in the walls, the festoons of the arches, the <i>commarajias</i> -and <i>alicates</i>, were Spanish works finer and more delicate than those of -the East. The root was originally in Arabia, but it was happily -transplanted to Spain, where blossomed that beautiful flower which -diffuses its perfume after a lapse of seven centuries.”</p> - -<p>Under the Western Khalifate, Seville flourished<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> in spite of the -assaults and internecine warfare of which it was frequently the theatre. -When in 888 Andalusia became temporarily split up into several nominally -independent states, the city acknowledged the sway of Ibrahim Ibn -Hajjaj. The chronicler Ben Hayán, often quoted by Señor de Madrazo, -describes this prince as keeping up imperial state and riding forth -attended by five hundred horsemen. He ventured to assume the <i>tiraz</i>, -the official garb of the Amirs of Cordova. To his court flocked the -poets, the singers, and the wise men of Islam. Of him it was written, -“In all the West I find no right noble man save Ibrahim, but he is -nobility itself. When one has known the delight of living with him, to -dwell in any other land is misery.” Flattery did not blind the sagacious -Ibn Hajjaj to the insecurity of his position, and he bowed before the -rising star of the new Khalifa, Abd-er-Rahman III. In 913 Ishbiliyah -opened her gates to that powerful ruler and again became subject to -Cordova. The city lost nothing by its timely submission. The generous -and beneficent Khalifa narrowed and deepened the channel of the -Guadalquivir, thus rendering it navigable. He introduced the palm tree -from Africa, planted gardens, and adorned the city with splendid<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> -edifices. Much of the splendour of the Court of Cordova was reflected on -Seville, which certainly rivalled the capital as a seat of learning. -Among its citizens was Abu Omar Ahmed Ben Abdallah, surnamed <i>El Begi</i> -or “the Sage,” the author of an encyclopædia of sciences, which was long -esteemed as a work of marvellous erudition. According to Condé, Abdallah -was frequently consulted by the magistrates, even in his early youth, in -affairs of the gravest import.</p> - -<p>The public edifices of the Pearl of Andalusia were no doubt worthy of -its fame as a home of wisdom and culture. In addition to the mosque -built by Abdelasis, near or on the spot where the convent of La Trinidad -now stands, a notable ornament of the city was the mosque raised on the -site of the basilica of St Vincent—immortalised by several memorable -Councils. “But who,” asks Señor de Madrazo, “would be capable to-day of -describing this edifice? Nothing of it remains except the memory of the -place where it stood. Other structures, ampler and more majestic, -replaced it when, under the Almoravides and Almohades, Seville recovered -its rank as an independent kingdom. Let us content ourselves with -recording that the principal mosque, built at the same time as and on -the model of that of<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> Cordova, although on a smaller and less sumptuous -scale, was situated on the site of the existing Cathedral, and that in -the ninth century it was burnt by the Normans. In consequence it is -impossible to say if the great horseshoe arches which occur in the -cloister of the Cathedral are works earlier or later than that event. It -does not appear probable that in the time of the Khalifs the mosque of -Seville could have had the considerable dimensions suggested by the -northern boundary of the <i>patio de los naranjos</i>. That line is 330 -Castilian feet, which would give the mosque, extending from north to -south, a length about double, the breadth of the atrium -included—unlikely dimensions for a temple which, compared with the Jama -of Cordova, was unquestionably of the second class. No one knows who -ordered the construction of the primitive mosque of Seville.”</p> - -<p>The irruption of the Normans, one of the results of which was the -demolition of this edifice, took place in 859. The pirates were -afterwards defeated off the coast of Murcia by the Moorish squadron, and -made sail for Catalonia. A serious descent had taken place in 844. -Lisbon was the first city to fall a victim to the Northmen, whom we next -hear of at Cadiz and at Sidonia, where<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> they defeated the Khalifa’s -troops in a pitched battle. Fierce fighting took place before the walls -of Ishbiliyah, the invaders being uniformly victorious. Laden with the -richest booty, they at length retired overland to Lisbon, where they -took to their ships. They not only destroyed the mosque of Seville, but -threw down the city walls, which dated from Roman times. These were -repaired by Abd-er-Rahman II., to be partially demolished again by -Abd-er-Rahman III. on his triumphal entry into the amirate of Ibrahim -Ibn Hajjaj.</p> - -<p>The subjection of Seville to the yoke of the Khalifs of Cordova was, -unhappily for the city and for Islam generally, not of long duration. -The mighty Wizir, Al Mansûr, restored the waning power of the Crescent -and drove back the Christians into the mountain fastnesses of the North. -But the collapse of the Western Khalifate had been postponed, not -averted. This Al Mansûr well knew. On his deathbed he reproached his son -for yielding to unmanly tears, saying, “This is to me a signal of the -approaching decay of this empire.” His prediction did not long await -fulfilment. In 1009, seven years after his death, his second son, -Abd-er-Rahman Sanjul, had the audacity to proclaim himself the Khalif -Hisha<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span>m’s heir. The empire became at once resolved into its component -parts. On all sides the kadis and governors revolted. Independent -amirates were set up in all the considerable towns. At Ishbiliyah the -shrewd and powerful kadi, Mohammed Ben Abbad, perceived his opportunity, -but contrived to excuse his ambition by a specious pretence of legality. -An impostor, impersonating the legitimate Khalifa, Hisham, appeared on -the troubled scene. Ben Abbad espoused his cause and pretended to govern -the city in his name. His power firmly established, the kadi announced -that the Khalifa was dead and had designated him as his lawful -successor. For the second time, Seville rose to the dignity of an -independent state.</p> - -<p>The Abbadites were a splendour-loving race. Their Court was extolled by -Arabian writers as rivalling that of the Abbasside sultans. Under their -rule the city waxed every year more beautiful, more prosperous. Patrons -of art and letters, the amirs were vigorous and capable sovereigns, and -in all Musulman Spain no state was more powerful than theirs, except -Toledo. The second monarch of the dynasty, Abu Amru Abbad, better known -as Mo’temid, was a mighty warrior. He reduced Algarve and took Cordova. -When not<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> engaged in martial exploits he took delight in composing -verses, in the society of talented men, and in the contemplation of the -garden of his enemies’ heads, which he had laid out at the door of his -palace. He was succeeded in 1069 by his son Abul-Kasim Mohammed, a -native of Beja.</p> - -<p>The Crescent was waning. All Al Mansûr’s conquests had been recovered by -the Christians. Toledo fell before the arms of Alfonso III. The -Castilians overran Portugal and penetrated into Andalusia. The Amir of -Ishbiliyah took the only course open to him at the moment, and -cultivated the friendship of the Castilian king. He consented to the -removal of the body of St Isidore from Italica to Leon, and gave his -daughter Zayda in a sort of left-handed marriage to Alfonso III. As the -Christian king was already the husband of Queen Constancia, and Zayda’s -dowry consisted of the most valuable conquests of the Amir Mut’adid, -this transaction did not reflect much credit on either party. But it -purchased for Seville a period of peace and security, during which its -inhabitants became hopelessly enervated by luxury and ease.</p> - -<p>The Abbadite sovereigns have left but few traces on the city which they -did so much to<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> embellish and improve. To them, however, may be ascribed -the foundation of the Alcazar. Such at least is the opinion of Señor de -Madrazo. In the horseshoe arches of the Salón de los Embajadores with -their rich Corinthian capitals—on which the names of different Khalifas -are inscribed—we detect a resemblance to the mosque of Cordova, and -recognise the early Saracenic style, unaffected by African, or properly -Moorish, influence. To the same period and school of architecture, Señor -de Madrazo attributes the ornate arcading of the narrow staircase -leading from the entrance court to near the balcony of the chapel; and -the three arches with capitals in the abandoned apartment adjoining the -Salón de los Principes. The ultra-semicircular curve of the arch occurs -very rarely in later or true Moorish architecture.</p> - -<p>The Moslem conquerors had, in the majority of cases, converted to their -use the Christian churches in the cities they occupied. Many of the -mosques that adorned Ishbiliyah during the reign of the race of Abbad -had been adapted in this way, the lines of pillars being readjusted in -most cases to give the structure that south-easterly direction that the -law of Islam required. Traces of these Abbadite mosques remain in the -churches of San<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> Juan Bautista and San Salvador. On the wall of the -former was found an inscription which has been thus translated by Don -Pascual de Gayangos: “In the name of the clement and merciful Allah. May -the blessing of Allah be on Mohammed, the seal of the Prophets. The -Princess and august mother of Er-Rashid Abu-l-hosaya Obayd’ allah, son -of Mut’amid Abu-l-Kasim Mohammed Ben Abbad (may Allah make his empire -and power lasting, as well as the glory of both!), ordered this minaret -to be raised in her mosque (which may Allah preserve!), awaiting the -abundance of His rewards; and the work was finished, with the help of -Allah, by the hand of the Wizir and Katib, the Amir Abu-l-Kasim Ben -Battah (may Allah be propitious to me!), in the moon of Shaaban, in the -year 478.”</p> - -<p>The site of the present collegiate church of San Salvador was occupied -by a mosque, which was used by the Moors for a considerable time after -the Christian conquest, and preserved its form down to the year 1669. An -inscription on white marble relates that a minaret was constructed in -the year 1080, by Mut’amid Ben Abbad, that “the calling to prayer might -not be interrupted.”</p> - -<p>The reign of the Abbadites was brought to a close by the advent of the -Almoravides (a word<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> allied to <i>Marabut</i>), who, at the invitation of the -Andalusian amirs, invaded Spain in the last quarter of the eleventh -century. It was a story common enough in history. The Africans came at -first as the friends and allies of the Spanish Arabs, and effectually -stemmed the tide of Christian successes; but in 1091, Yusuf, the -Almoravide leader, annexed Ishbiliyah and all Andalusia to his vast -empire. The city became a mere provincial centre, the appanage of the -Berber monarch. Mo’temid, loaded with chains, was transported to Africa, -where he died in 1095, having reigned as amir twenty-seven years.</p> - -<p>The Almoravides lived by the sword and perished by the sword. -Perpetually engaged in warfare, among themselves or with the Christians, -they left no deep impress on the character of Seville or of Andalusia -generally. With them the student of the arts in Spain has little -concern. They burst like a tornado over the land, destroying much, -creating nothing. Little more than half-a-century had passed since the -downfall of the Abbadites, when the star of the Almoravides paled before -the rising crescent of the Almohades or Al Muwahedun. The new sectaries, -as fierce as their predecessors, but more indomitable and austere, -wrested all Barbary from the descendants<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> of Tashrin and annexed -Ishbiliyah to their empire in 1146.</p> - -<p>The reign of the Almohades is the most interesting period in the history -of the city. It was marked by the foundation of Seville’s most important -existing edifices, and by the introduction of a new style of -architecture. Hitherto, what is loosely called Moorish art, had been -native Andalusian art, following Saracenic or Syrian ideals. Of this -first period, the Mezquita at Cordova is the finest monument. Seville is -peculiarly the city of the second, or true, Moorish period. Byzantine -and Oriental influences disappeared and were supplanted by the African -or, more properly, Berber, character. The new conquerors of Andalusia -were a rude, hardy race, and we find something virile and coarse in -their architecture. “Beside the Giralda of Seville,” remarks Herr Karl -Eugen Schmidt, “the columns of the mosque of Cordova seem small; the -pretty halls of the Alhambra have something weak and feminine.” The -weakness of the Almohade builders, as is usually the case with -imperfectly civilised peoples, lay in an excessive fondness for -ornamentation. Señor de Madrazo’s criticism, though severe, is, on the -whole, just. While admitting the beauty of certain of their innovations, -such as the stalac<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span>tited dome (afterwards carried out with so much -effect at Granada) and the pointed arch, he goes on to say, “The -Almohade architecture displays that debased taste which is imitative -rather than instinctive, and which creates only by exaggerating forms to -a degree inconsistent with the design—differing from the Mudejar work -of the thirteenth to the fifteenth centuries, which reveals an -instinctive feeling for the beautiful in ornament, which never loses -sight of the graceful, the elegant, and the bold, and which consequently -never betrays any aberration. The Almohade style, in short, at once -manifests the vigour of the barbarian civilised by conquest; the Mudejar -style has the enduring character of the works of a man of taste, wise in -good and evil fortune; both are the faithful expression of the culture -of peoples of different origins and aptitudes.” Elsewhere the same -authority observes, “It is certain that the innovation characteristic of -Musulman architecture in Spain in the eleventh and twelfth centuries, -cannot be explained as a natural mutation from the Arabic art of the -Khalifate, or as a prelude to the art of Granada, because there is very -little similarity between the style called secondary or Moorish and the -Arab-Byzantine and Andalusian; while, on the other hand, it is evident<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> -that the Saracenic monuments of Fez and Morocco, of the reigns of Yusuf -Ben Tashfin, Abdul Ben Ali, Al Mansûr, and Nasr, partake of the -character of the ornamentation introduced by the Almohades into Spain.”</p> - -<p>The most important example of this style is the Giralda, now adjacent to -the magnificent Christian cathedral which was reared in later days on -the foundations of the great mosque. Señor de Madrazo has reconstructed -for us the general form and aspect of the finest monument of Almohade -piety. The mosque replaced that which had been destroyed by the Normans, -and appears to have embodied some part of the original structure, to -judge from the horseshoe arches still to be seen in the Claustro de la -Granada. The work was begun by order of Yusuf, the son of Abd-er-Rahman, -the founder of the dynasty. The mosque formed a rectangle, extending -from north to south, and surrounded by cloisters and courtyards. The -interior was divided into longitudinal naves by a series of marble -columns, which supported an adorned ceiling of carved and painted wood. -The <i>mihrab</i>, or sanctuary, would have been at the southern extremity, -after the Syrian custom, it taking the Spanish Muslims some time to -realise that Mecca lay east rather than<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> south of Andalusia. The mosque -would also have contained a <i>maksurrah</i>, or vestibule, for the imam and -his officials, the <i>nimbar</i>, or pulpit, for the sovereign, and the -tribune for the preacher. In the northern court was the existing -fountain for ablutions, surmounted by a cupola, and surrounded by orange -and palm-trees. The eastern court was known as the Court of the Elms. In -all probability, attached to the sacred edifice, was the <i>turbeh</i>, or -tomb of the founder.</p> - -<p>The Giralda is not only the most important and famous of minarets, but -is among the three or four most remarkable towers in the world. It is -more to Seville than Giotto’s campanile to Florence; it rivals in fame -the now vanished campanile of St Mark’s. Unlike similar edifices in -Egypt and Syria, minarets among the western Moslems were built strong -and massive, rather than slender and elegant. The Giralda,” says Herr -Schmidt, “is one of the strongest buildings in the world, and few of our -Christian church towers could have withstood so successfully the -lightning and the earthquake.”</p> - -<p>The Giralda is quadrangular in section, and covers a space of 13.60 -square metres. The architect—whose name is variously spelt Gever, -Hever, and Djabir—is said to have used quantities of Roman<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> remains and -statuary as a base for the foundations. The thickness of the wall at the -base is nine feet, but it increases with the height, the interior space -narrowing accordingly. The lower part of the tower is of stone, the -upper part of brick. At a height of about 15 metres above the ground -begin those decorations in stone which lend such elegance and beauty to -this stout structure. They consist in vertical series of windows—mostly -<i>ajimeces</i> or twin-windows—some with the horseshoe, others the pointed -arch, flanked on either side by broad vertical bands of beautiful stone -tracery, resembling trellis-work. The windows are enclosed in arches -which exhibit considerable diversity of design. The decoration as a -whole is harmonious and beautiful.</p> - -<p>The Moorish tower only reaches to a height of 70 metres. The remaining -portion, reaching upwards for another 25 metres, is of Christian -workmanship. Before this was added, the tower appears to have been -crowned, like most West African minarets, by a small pinnacle or turret. -This supported four balls or apples of gilded copper, one of which was -so large that the gates of Seville had to be widened that it might be -brought into the city. The iron bar which supported the balls weighed -about ten hundredweights, and<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> the whole was cast by a Sicilian Arab -named Abu Leyth, at a cost of £50,000 sterling. We owe these particulars -to a Mohammedan writer of the period, and his accuracy was confirmed in -1395, when the balls, having been thrown to the ground by an earthquake, -were carefully weighed and examined.</p> - -<p>The upper or newer part of the Giralda was built by Fernando Ruiz in -1568. Despite its Doric and Ionic columns and Renaissance style, it does -not mar the beauty and harmony of the whole building, and is itself a -remarkably graceful work. The entablature of the second stage or storey -bears the words <i>Turris fortissima Nomen Domini</i>. The whole fabric is -surmounted by the bronze statue of Faith, executed by Bartolomé Morel in -1568. It stands fourteen feet high, and weighs twenty-five -hundredweights, yet so wonderful is the workmanship that it turns with -every breath of the wind. Hence the name applied to the whole -tower—Giralda—from <i>que gira</i>, “which turns.” The figure wears a Roman -helmet. The right hand clasps the labarum of Constantine, and the left a -palm branch symbolical of victory.</p> - -<p>The Giralda is ascended by means of thirty-five inclined planes, up -which a horse might be ridden with ease to the very top. The various<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> -<i>cuerpos</i> or stages of the ascent are all named. The Cuerpo de Campanas -is named after its fine peal of bells. The bell named Santa Maria was -hung in 1588 by order of the Archbishop Gonzalo de Mena. It cost ten -thousand ducats, and weighs eighteen tons. The Cuerpo de Azucenas (or of -the lilies) is so named after its urns with floral decorations in -ironwork. El Cuerpo del Reloj (clock tower) contains a clock partly -constructed in 1765 by the monk José Cordero, with pieces of another -placed here in 1400 in the presence of Don Enrique III.—the first -tower-clock set up in Spain. The Cuerpos de Estrellas (stars) and de las -Corambolas (billiard-balls) are named after the predominant devices in -their schemes of decoration.</p> - -<p>The highest platform of the Giralda affords, as might be expected, a -very extensive view. On the whole, the prospect is disappointing. The -neighbourhood of Seville is not beautiful, nor are there any very -notable sites or natural features included within the panorama. Standing -below Morel’s great statue, however, and gazing down upon the city, -interesting considerations naturally present themselves. That the figure -of Christian faith should thus be reared on the summit of a building -specially intended to stimu<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>late the zeal and to excite the devotion of -the followers of Islam is a reflection calculated to give profound -satisfaction to the devout Spaniard. The whimsical philosopher may also -find an appropriateness in the handiwork of the men of the simpler, -cruder faith conducting one upwards to the more refined and complicated -creed. I do not know if Mohammedans ever visit Seville. If so, they -doubtless console themselves for the desecration of their sacred -edifices by thoughts of Hagia Sophia and the onetime Christian churches -of the East. And the Giralda has fared better at the hands of the -Christians than many a church of their own has done. I may instance the -chapel at Mayence, which with practically no alteration in its -architecture and internal arrangements now serves the purpose of a -beer-shop.</p> - -<p>As the Giralda attests the size and beauty of the great mosque, so -several smaller towers exist in Seville to mark the sites of the lesser -Mohammedan temples. The most important of these is the tower or minaret -of San Marcos. It is seventy-five feet high and ten feet broad—the -highest edifice in the city except the Giralda. It is built according to -the pure Almohade style, “without any admixture,” points out Señor de<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> -Madrazo, “of the features taken from the Christian architecture of the -West.” According to Mr Walter M. Gallichan there is a tradition that -Cervantes used to ascend this tower to scan the vicinity in search of a -Sevillian beauty of whom he was enamoured. The church is Gothic, and -dates from 1478, but the beautiful portal exhibits Mudejar workmanship, -and may be ascribed to the days of St Ferdinand or of his immediate -successors.</p> - -<p>The parish churches of San Juan Bautista, Santa Marina, San Esteban, -Santiago, Santa Catalina, San Julián, San Ildefonso, San Andrés, San -Vicente, San Lorenzo, San Bartolomé, Santa Cruz, and Santa Maria de las -Nieves (some of which no longer exist), were all mosques during the -Almohade era. A few continue to preserve their minarets and <i>mihrabs</i>, -generally restored and modified almost beyond recognition.</p> - -<p>While attending by the construction of these numerous places of worship -to the spiritual needs of their subjects, the Almohade rulers neglected -no means of strengthening Ishbiliyah and of promoting its general -prosperity. The city became the most important seat of Mohammedan power -in the West. Trade rapidly increased, and the town became the principal -resort of the<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> weavers, metal-workers, and other prominent Moorish -craftsmen. Abu Yakub Yusuf was the first to throw a bridge of boats -across the Guadalquivir, over which troops first passed on October 11th, -1171. This bridge immensely added to the strength of the city as a -fortified place, as it established permanent communication between it -and its principal source of supplies, the fertile district called the -Ajarafa on the right bank of the river. The charms of this expanse, -otherwise known as the Orchard of Hercules, are rapturously described by -Arab historians. These are the words of the poet Ibn Saffar: “The -Ajarafa surpasseth in beauty and fertility all the lands of the world. -The oil of its olives goeth even to far Alexandria; its farms and -orchards exceed those of other countries in size and convenience; so -white and clean are they, that they appear like so many stars in a sky -of olive gardens.” The Ajarafa is an Arabia Felix without wild beasts, -the Guadalquivir a Nile without crocodiles. El Makkari says it measured -about forty miles in each direction and contained a numerous population. -Those who know the rather dreary country extending westward of the -modern city will realise the melancholy change brought about by time.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<p>The city then, as now, was girdled by strong walls. The gates were -twelve in number. Those not turned towards the river were strongly -fortified with towers and bastions. The farther bank of the Guadalquivir -was defended by castles and redoubts. Upwards of a hundred keeps and -watch-towers studded the adjacent country.</p> - -<p>One of the most vital points in the defensive works was the -poetically-named Torre del Oro (tower of gold), which still exists, and -is familiar to every visitor to the city. The tower is a twelve-sided -polygon of three storeys. It is surmounted by a smaller tower, also of -twelve sides, which in turn supports a small round cupola. This -superstructure was added in the eighteenth century, whereas the main -building was erected by the Almohade governor Abu-l-Ala in the year -1220. The tower was in those days connected with the walls of the city -by what is called in military parlance a curtain, which was pulled down -as late as in 1821. The outwork faced another watch-tower on the -opposite bank of the river, and a great iron chain was drawn from the -one to the other, effectually closing the harbour against hostile -vessels. The assaults of the foeman and the deadlier ravages of time -have stripped this strong and graceful<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> monument of the beautiful tiles -or <i>azulejos</i> with which it was once adorned, and which seemed to have -earned for it its present name. No Danaë, alas! waits in this tower of -gold to-day for tyrant or deliverer. The place is occupied by clerks, -whose pens are ever busy recording the shipments of coal brought by -incoming steamers; and the immediate vicinity is infested by “tramp” -sailors of all nationalities, mostly British, for whose benefit, -presumably, rum, “Old Tom,” and other stimulating but unromantic -beverages are dispensed at kiosks and bars.</p> - -<p>The spot appears to have been the scene of a picturesque episode -recounted by Contreras. It is worth repeating as revealing the polished -character of the dusky amirs who ruled in Ishbiliyah three hundred years -before Charles of Orleans devoted his declining years, in his palace by -the Loire, to the making of ballads, triolets, and rondeaux.</p> - -<p>The Abbadite amir, Mut’adid-billah, was walking one day in the field of -Marchab Afida, on the banks of the Guadalquivir, and observed the breeze -ruffling the surface of the water. He improvised the line—</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“The breeze makes of the water a cuirass”—<br /></span> -</div></div> -</div> - -<p class="nind">and turning to the poet Aben Amr, called upon<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> him to complete the -verse. While the laureate was still in the throes of poetical -parturition, a young girl of the people who happened to be standing by, -anticipated him, and gave utterance to these original lines—</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“A cuirass strong, magnificent for combat,<br /></span> -<span class="i1">As if the water had been frozen truly.”<br /></span> -</div></div> -</div> - -<p>The prince was astonished at this display of the lyrical gift by a woman -of her condition, and ordered one of his eunuchs to conduct her to the -palace. On being questioned, she informed him that she was called -Romikiwa, because she was the slave of Romiya, and was a driver of -mules.</p> - -<p>“Are you married?” asked the prince.</p> - -<p>“No, sire.”</p> - -<p>“It is well, for I shall buy you and marry you.”</p> - -<p>It is to be hoped that Romikiwa’s merits as a wife exceeded her -abilities as a poetess.</p> - -<p>The Alcazar, the palace inhabited by this dilettante amir and his -successors of the race of Abbad, continued to be the principal residence -of the subsequent rulers of Ishbiliyah, both Almoravides and Almohades. -There can be no doubt that the latter restored and reconstructed the -building to an extent that almost effaced the work of the founders. But -the impress of the Berber architects was in its turn almost entirely -lost when<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> the fabric came into the possession of the Christians. Thus -the Alcazar cannot be rightly classed among the monuments of the -Almohade period. It is certain that its extent at this time was greater -than it is now. Its enclosure was bounded by the city wall, which ran -down to the river, and occupied the whole angle formed by the two. The -Alcazar was then primarily a fortress, and its walls were flanked on -every side by watch-towers such as those with which its front is still -furnished. The principal entrance seems to have been at the Torre de la -Plata (silver tower), which was standing as late as 1821. Finally, among -the works of the last Musulman rulers of Seville, we must not omit to -mention the great aqueduct of four hundred and ten arches, called the -Caños de Carmona, constructed in 1172, which ensured the city an -abundant supply of water from the reservoir of Alcalá de Guadaira. The -Almohades had other palaces in the city. The old residence of Abdelasis -yet remained, and we hear of the palaces of St Hermenegildo and of the -Bib Ragel (or northern gate).</p> - -<p>The Almohades kinged it nobly in Andalusia; but these successive -revivals of fervour and activity in Western Islam may be compared to the -last strong spasms of a dying man. Despite<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> these furious inrushes of -Almoravides and Al-Muwahedun, the Christians were slowly but surely -gaining ground. The lieutenants of Abd-ul-Mumin subjugated Granada and -Almeria in the east, Badajoz and Evora in the west. The Moorish amir of -Valencia did homage to Yusuf, Abd-ul-Mumin’s son and successor, at -Ishbiliyah. The third sovereign of the dynasty, Yakub Al Mansûr, dealt -what seemed a crushing blow to the allied Spaniards at Alarcos in 1195. -Had that victory been properly followed up, perhaps to this day a -Mohammedan power might have been seated firmly in the south of Spain, -and the Strait of Gibraltar might have been a western Dardanelles.</p> - -<p>But the Christians rallied. In 1212 was fought the decisive battle of -Las Navas de Tolosa, between the Moorish Khalif An-Nasr and the -Castilian King, Alfonso VIII. The Musulmans were totally defeated. “Six -hundred thousand combatants,” says El Makkari, with perhaps a trace of -Oriental hyperbole, “were led by An-Nasr to the field of battle; all -perished, except a few that did not amount to a thousand. This battle -was a malediction, not only on Andalus but on all the West.”</p> - -<p>Yet the downfall of the Islamite power did not immediately follow. -An-Nasr survived his defeat<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> seven years, and his son, Abu Yusuf Yakub -Al-Mustanser, reigned four more inglorious years. His dying (1223) -without children was the signal for dissensions and disturbances -throughout his still vast empire. While Abd-ul-Wahed was proclaimed -Khalifa in Morocco, Al Adil took up the reins of sovereignty in Murcia. -Both pretenders soon disappeared from the troubled scene, Abd-ul-Wahed -being assassinated, and his rival, after having been defeated in Spain -by the Christians, being forced to take refuge in Morocco, there to -abdicate in favour of An-Nasr’s son, Yahya. Abu-l-Ala, Al Adil’s -brother, who had been left as governor in Ishbiliyah, declared himself -Khalifa on learning the accession of Yahya. He was the last of the race -of Abd-ul-Mumin to rule in the city. He was driven from Spain—to found -a wider empire in Africa—by Mohammed Ben Yusuf, variously styled Ben -Hud and Al Jodhami.</p> - -<p>The storm-clouds were gathering fast over the beautiful city by the -Guadalquivir. Spain’s great national hero, St Ferdinand, now wore the -crown of Castile. He routed the Moors at Jerez, and in 1235 wrested from -them their most ancient and glorious metropolis, Cordova. The discord -and sedition which history shows are the usual prelude to the extinction -of a state, were not<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> wanting at Seville. Ben Hud died in 1238, and his -subjects turned once more in their despair to the African Almohades. But -no new army of Ghazis crossed the strait to do battle with the -Unbeliever. Despite their protestations of allegiance to the Khalifa of -Barbary, the Moors of Seville were left to fight their last fight -unassisted. When the Castilian army appeared before the walls, the -defence was directed, strangely enough for a Mohammedan community, by a -junta of six persons. Their names are worthy of being recorded: Abu -Faris, called by the Spaniards Axataf, Sakkáf, Shoayb, Ben Khaldûn, Ben -Khiyar, and Abu Bekr Ben Sharih.</p> - -<p>The siege of Ishbiliyah lasted fifteen months. Material assistance was -lent to the Spaniards by Musulman auxiliaries, among them the Amirs of -Jaën and Granada. The Castilian fleet under Admiral Ramon Bonifaz -dispersed the Moorish ships, while the Sevillian land forces were driven -to take refuge within the walls. The Admiral succeeded in breaking the -chain stretched across the river, and thus cut off the garrison from -their principal magazines in the suburb of Triana. Only when in the -clutches of famine did the defenders ask for terms. They offered to give -up the city, on the condition that they should be<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> allowed to demolish -the mosque. The Infante Alfonso replied that if a single brick were -displaced, the whole population would be put to the sword. The garrison -finally surrendered on the promise that all inhabitants who desired to -do so should be free to leave the city with their families and property, -and that those who elected to remain should pay the Castilian king the -same tribute they had hitherto paid to the native ruler. The brave Abu -Faris was invited to accept an honourable post under the conqueror, but -he magnanimously declined and retired to Africa. Thither thousands of -his countrymen followed him. Indeed, probably only a few thousand Moors -remained behind in Seville.</p> - -<p>Ferdinand took possession on December 22nd, 1248. He took up his -residence in the Alcazar and allotted houses and territory to his -officers. It is worthy of remark that the first Christian soldier to -ascend the Giralda was a Scotsman named Lawrence Poore. Among the first -duties of the saintly king was the purification of the mosque and its -conversion into a Christian church.</p> - -<p>Seville, after having remained in the hands of the Musulmans five -hundred and thirty-six years, had passed from them for ever.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p> - - -<h2><a name="SEVILLE_UNDER_THE_CASTILIAN_KINGS" id="SEVILLE_UNDER_THE_CASTILIAN_KINGS"></a>SEVILLE UNDER THE CASTILIAN KINGS</h2> - - -<p class="nind"><span class="smcap">The</span> outward transformation of the Moorish Ishbiliyah into Seville, the -Christian capital, proceeded slowly and gradually. The personal devotion -and profound religious fervour of King Ferdinand notwithstanding, even -the war which resulted in the taking of the city cannot be regarded as a -crusade. As we have seen, Mohammedan troops fought under the banners of -the Christian king and contributed to his victory; and in the division -of the spoils these allies were not forgotten. Satisfied with their -triumph, the Castilians showed moderation in their treatment of their -Muslim subjects. The fall of Ishbiliyah was attended by no outburst of -iconoclastic fury. The conquerors were delighted with the beauty and -richness of their prize, and had no desire to impair the handiwork of -their predecessors.</p> - -<p>The transition from the pure Arabic and Almohade styles of architecture -to what is called the Mudejar style was therefore almost imperceptible. -The physiognomy of the city altered but slowly.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> But the alteration was -from the first inevitable. Houses and lands were bestowed on knights -from all parts of Spain on the condition of their residing permanently -in Seville. Catalans, Galicians, Castilians of all trades and ranks -flocked in, and their influence was bound sooner or later to assert -itself. But the builders and artisan class remained for many years -composed of Moors—sometimes Christianised, but thoroughly imbued with -the artistic traditions of their forebears. Thus came about that -peculiar and graceful blending of the Moorish and Gothic and earlier -Renaissance styles known to Spanish writers as the Mudejar. Its -differentiation from the Arabic naturally became more marked as the -centuries rolled by.</p> - -<p>Moorish architecture was thus accepted by the conquerors of Seville both -from choice and necessity. But certain important modifications in the -structure of buildings became immediately necessary, owing to the -difference of faith and customs. The mosque and the dwelling-house alike -had to undergo some alteration. No <i>mihrab</i> was required, nor minaret, -nor the south-easterly position; in the dwelling-house there was no need -for harem, for retired praying-place, for the baths so dear to the -Andalusian Muslim.<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<p>Probably the first building of importance to be affected by the change -of rulers was the mosque. The outermost naves were divided into chapels, -the names and order of which have been preserved for us by Zuñiga -(quoted by Madrazo).</p> - -<p>The royal chapel occupied the centre of the eastern wall; the other -chapels were: San Pedro, Santiago, Santa Barbara, San Bernardo, San -Sebastian (in this chapel were buried some Moors of the blood royal who -had been baptised and had served King Ferdinand, among them being Don -Fernando Abdelmon, son of Abu Seyt, Amir of Baeza), San Ildefonso, San -Francisco, San Andrés, San Clemente, San Felipe, San Mateo (containing -the sepulchre of the Admiral of Castile, Don Juan de Luna), Don Alonso -Perez de Guzman, San Miguel, San Marcos, San Lucas, San Bernabe, San -Simon, and San Judas, and the Magdalena. In the last-named chapel were -buried the knights who had taken part in the capture of the city. -Attached to it was the altar of Nuestra Señora de Pilar, a reputedly -miraculous shrine which became the objective of pilgrims in after years.</p> - -<p>Chapels were also constructed in the four cloisters of the Patio de los -Naranjos. The cloister of the Caballeros contained eight—one of which, -Santa Lucia, was the place of sepulchre of<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> the Haro family; the -cloister of the Granada contained three; the cloister of San Esteban, -three; the cloister of San Jorge or Del Lagarto, four—in one of which, -San Jorge, reposed that doughty warrior, Garci Perez de Vargas, who -distinguished himself before all his compeers at the assault of Seville. -This cloister was named Del Lagarto from the remains of an enormous -crocodile, a present from the Sultan of Egypt to King Alfonso el Sabio, -which are still suspended from the roof.</p> - -<p>The cathedral—for so we must now call the mosque—was endowed and -richly embellished by St Ferdinand’s son and successor, the bookish -monarch Alfonso el Sabio. He also bestowed upon Seville its existing -coat-of-arms, consisting of the device NO8DO, which frequently appears, -to the bewilderment of strangers, on public buildings, uniforms, and -documents. The knot is in the vernacular <i>madeja</i>; the device thus reads -<i>no madeja do</i>, or, with an excusable pun, <i>no me ha dejado</i>—“it has -not deserted me.” This honourable motto the city won by its loyalty to -Alfonso during the civil wars which distracted the kingdom during his -reign. Seville bears the splendid title of “Most noble, most loyal, most -heroic, and unconquered city” (<i>muy noble</i>, <i>muy leal</i>, <i>muy heroica</i>, -<i>y<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> invicta</i>). The surname “most noble” was bestowed upon it by St -Ferdinand; the style “most faithful” it received from Juan II. in -remembrance of its resistance to the Infante Don Enrique; “most heroic” -from Fernando VII. in recognition of its devotion to the national cause -during the War of Independence; and “unconquered” from Isabel II. to -commemorate its defence against the army of Espartero in July 1843.</p> - -<p>The successors of the sainted king made their home in the Alcazar, and -adapted themselves to an environment created by their traditional foes. -The personality which looms largest in the history of the city is that -of Don Pedro I., surnamed the Cruel, or, by his few admirers, ‘the -Justiciary.’ What Harun-al-Rashid is in the story of Bagdad is this -ferocious monarch in the annals of Seville. Countless are the tales, the -ballads, and traditions of which he is the subject. Curiously enough, -Pedro enjoyed a certain measure of popularity in the country he -misgoverned. He was undoubtedly a vigilant protector of the humbler -classes of his subjects against the tyranny of the aristocracy, and -officials, and appears to have combined a grim humour and a strain of -what we should now call Bohemianism, with a tiger-like ferocity. He was -fond of rambling <i>incognito</i> through the poorer<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> quarters of the city; -and no account of Seville can be considered complete without a relation -of one of his most notable adventures in the street called Calle de la -Cabeza de Don Pedro.</p> - -<p>The king had promulgated a decree holding the municipal authorities -answerable with their lives for the preservation of peace and public -order within their jurisdiction. A few nights later, wandering, heavily -cloaked as we may suppose, through a dark alley, a gentleman brushed -rudely against him. A brawl ensued, swords were drawn, and Pedro ran his -subject through the body. Flattering himself that there had been no -witness to the encounter, he stalked away. In the morning the hidalgo’s -body was found, but there appeared to be no clue as to the assassin. The -king summoned the Alcalde and reminded him of the edict. If the -miscreant were not discovered within two days the luckless magistrate -must himself pay the penalty on the scaffold. It was a situation with -precisely the humorous aspect that Pedro relished.</p> - -<p>But presently to the Alcalde came an old lady with a strange but welcome -story. She told how she had seen a fight between two gentlemen, the -previous night, from her bed-chamber window. She witnessed the fatal -termination, and lo! the<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> light of her candle fell full on the face of -the murderer; and as he bent forward, she heard his knee crack. By his -features and by this well-known physical peculiarity, she recognised, -beyond all possibility of a mistake, the king.</p> - -<p>Next day the Alcalde invited his sovereign to attend the execution of -the criminal. Greatly wondering, no doubt, Pedro came. Dangling from a -rope he beheld his own effigy. “It is well,” he said, after an ominous -pause. “Justice has been done. I am satisfied.”</p> - -<p>We may be inclined to disagree with the king’s conception of justice as -evinced on this occasion. More equitable and humorous was his action -when a priest, for murdering a shoemaker, was condemned by his -ecclesiastical superiors to suspension from his sacerdotal functions for -twelve months. Pedro thereupon decreed that any tradesman who slew a -priest should be punished by being restrained from exercising his trade -for the like period!</p> - -<p>The catalogue of this Castilian monarch’s crimes proves interesting if -gloomy reading. He left his wife, Blanche de Bourbon, to perish in a -dungeon; he married Juana de Castro and insultingly repudiated her -within forty-eight hours; he put to death his father’s mistress, Leonor -de<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> Guzman. He threw the young daughter of his brother, Enrique de -Trastamara, naked to the lions, like some Christian virgin-martyr. But -the good-humoured (and possibly well-fed) brutes refused to touch the -proffered prey. Not wishing to be outdone in generosity by a wild beast, -Pedro ever afterwards treated the maiden kindly. She was known, in -remembrance of her terrible experience, as Leonor de los Leones.</p> - -<p>The Jew, Don Simuel Ben Levi, had served Pedro long and only too -faithfully as treasurer and tax-gatherer. It was whispered in his -master’s ear that half the wealth that should fill the royal coffers was -diverted into his own. Ben Levi was seized without warning and placed on -the rack, where the noble Israelite is said to have died, not of pain, -but of pure indignation. Under his house—so the story has it—was a -cavern filled with three piles of gold and silver so high that a man -standing behind any one of them was completely hidden. “Had Don Simuel -given me the third of the least of these three piles,” exclaimed the -king, “I would not have had him tortured. Why would he rather die than -speak?”</p> - -<p>Somewhat more excusable was the treatment meted out to the Red King of -Granada, Abu Saïd; for this prince was himself a usurper, and had<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> -behaved traitorously towards his own sovereign and his suzerain, the -King of Castile. Fearing Pedro’s resentment, he appeared at his court at -Seville with a retinue of three hundred, loaded with presents, among -which was the enormous ruby that now decorates the Crown of England. He -was received in audience by the Spanish king, whom he begged to -arbitrate between him and the deposed King of Granada. Pedro returned a -gracious reply, and entertained the Red King in the Alcazar. Before many -hours had passed the Moors were seized in their apartments and stripped -of their raiment and valuables. Abu Saïd, mounted on a donkey and -ridiculously attired, was taken, with thirty-six of his courtiers, to a -field outside the town. There they were bound to posts. A train of -horsemen appeared, Don Pedro among them, and transfixed the helpless men -with darts, the king shouting as he hurled his missiles at the luckless -Abu Saïd, “This for the treaty you made me conclude with Aragon!” “This -for the castle you lost me!” The Moors met their death with the stoical -resignation of their race.</p> - -<p>That atrocities committed against Jews and infidels, against even -members of the royal family, should be regarded with indifference by the -public<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> of that day need not surprise us. But the people of Seville -tamely suffered the most cruel wrongs to be inflicted by the tyrant on -their own fellow-citizens. After his (or rather the Black Prince’s) -victory over Don Enrique at Najera (1367), the Admiral Bocanegra and Don -Juan Ponce de Leon were beheaded on the Plaza San Francisco. Garci Jufre -Tenorio, the mayor of the city, also suffered death. The property of -Doña Teresa Jufre was confiscated because she had spoken ill of his -Majesty. Doña Urraca Osorio, because her son had taken part with Don -Enrique in the revolt, was burned at the stake on the Alameda. Her -servant, Leonor Dávalos, threw herself into the flames and shared the -fate of her mistress. In consequence of this persecution, Seville lost -several of her most illustrious families, which either became -extinguished or removed themselves to other parts of Spain.</p> - -<p>So much for the picturesque if repugnant personality of Pedro I. With -his sinister memory the Alcazar is so intimately associated, and the -part he took in its reconstruction was so conspicuous that this may be -deemed the proper place to deal with that famous building—one of the -two most important in Seville.<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p> - - -<h2><a name="THE_ALCAZAR" id="THE_ALCAZAR"></a>THE ALCAZAR</h2> - - -<p class="nind">“<span class="smcap">The Alcazar</span>,” says Señor Rafaél Contreras, “is not a classic work, nor -does it present to-day that stamp of originality and that ineffaceable -character which distinguish ancient works like the Parthenon and modern -works like the Escorial. In the Alcazar of Yakub Yusuf the influence of -the heroic generation has faded away, and it portrays instead the daily -life of our Christian kings who have enriched it with a thousand pages -of glorious history. The Almohades, who impressed on the building their -African characteristics in 1181, and Jalubi, who had been a follower of -Al-Mehdi in the conquest of Africa, left on its walls traces of the -Roman influences met with in the course of their movements. St -Ferdinand, who conquered it, Don Pedro I., who restored it, Don Juan -II., who reconstructed the most elegant apartments, the Catholic -sovereigns, who built within its precincts chapels and oratories, -Charles V., who added more than a half in the modified style of that -epoch of the Renaissance, Philip III. and Philip V., who enlarged it -still more by build<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span>ing in the adjacent gardens—these, and other -princes who inhabited it during six centuries, have changed the original -structure to such an extent that to-day it is far from being a monument -of oriental art, though we find it covered with fine arabesques and -embellished with mosaics and gilding.”</p> - -<p>Though not a monument of oriental art, the Alcazar seems to us to have -claims to rank as a specimen of Moorish architecture; for the general -character of the structure was determined by the restorations effected -by order of Pedro I., and these were, probably exclusively, the work of -Moorish artisans, not only of Seville, but from Granada, then a Moorish -city. This accounts for the resemblance of this palace to the more -famous Alhambra. But the Alcazar is not to be dismissed as a mere -pseudo-Moorish palace. It remains, to a great extent, the work of -Moorish hands and the conception of Moorish architects.</p> - -<p>In spite of the severe strictures of fastidious observers, the Alcazar -produces a very pleasing impression on northern visitors. Mr W. M. -Gallichan writes: “It is a palace of dreams, encircled by lovely -perfumed gardens. Its courts and salons are redolent of Moorish days and -haunted by the spirits of turbaned sheiks, philo<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>sophers, minstrels, and -dark-eyed beauties of the harem.... The nightingales still sing among -the odorous orange bloom, and in the tangles of roses birds still build -their nests. Fountains tinkle beneath gently moving palms; the savour of -orientalism clings to the spot. Here wise men discussed in the cool of -summer nights, when the moon stood high over the Giralda and white beams -fell through the spreading boughs of the lemon trees, and shivered upon -the tiled pavements.</p> - -<p>“In this garden the musicians played and the tawny dancers writhed and -curved their lissome bodies, in dramatic Eastern dances. <i>Ichabod!</i> The -moody potentate, bowed down with the cares of high office, no longer -treads the dim corridor or lingers in the shade of the palm trees, lost -in cogitation. No sound of gaiety reverberates in the deserted courts; -no voice of orator is heard in the Hall of Justice. The green lizards -bask on the deserted benches of the gardens. Rose petals strew the paved -paths. One’s footsteps echo in the gorgeous <i>patios</i>, whose walls have -witnessed many a scene of pomp, tragedy, and pathos. The spell of the -past holds one; and before the imagination troops a long procession of -illustrious sovereigns, courtiers, counsellors, and menials.”<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p> - -<p>The Alcazar, as we have said, at the time of the reconquest covered a -much larger space than at present; and its area was even greater in the -days of Pedro I. Its strength as a fortress may be gauged by a glance at -the remaining walls, adjacent to the principal entrance. In the Plaza de -Santo Tomas is an octagonal, one-storeyed tower, called the Torre de -Abdalasis, which once formed part of the building, and is said to have -been the spot on which St Ferdinand hoisted his flag on the fall of -Seville. To enter the palace we pass across the Plaza del Triunfo and -enter the Patio de las Banderas, so called either because a flag was -hoisted here when the royal family were in residence or on account of -the trophy displayed over one of the arches, composed of the Arms of -Spain with supporting flags. From this court a colonnade called the -Apeadero leads to the Patio de la Monteria. It was built, as an -inscription over the portal records, by Philip III. in 1607, and -restored and devoted to the purposes of an armoury by the fifth -sovereign of that name in 1729. The Patio de la Monteria derives its -name from the Royal Lifeguards, the Monteros de Espinosa, having their -quarters here. These courts, with the commonplace private houses which -surround them, occupy the site of the old Moorish palace of the -Almo<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span>hades. Some of the houses exhibit vestiges of fine Musulman work. -The house No. 3 of the Patio de las Banderas formed part, in the opinion -of Gestoso y Perez, of the Stucco Palace (Palacio del Yeso) mentioned by -Ayala as having been built by Pedro I. That potentate, it is worthy of -remark, was accustomed to administer justice, tempered with ferocity, -after the oriental fashion, seated on a stone bench in a corner of this -<i>patio</i>. The room in which the Almohade governors presided over their -tribunals still exists. It is surrounded by houses, and is entered from -the Patio de la Monteria. Contreras sees in this hall (the Sala de -Justicia) the traces of a work anterior to the ninth century. It was, -however, restored by Pedro. It is square, and measures nine metres -across. The ceiling is of stucco and adorned with stars, wreaths, and a -painted frieze. Inscriptions in beautiful Cufic characters constitute -the principal decoration of the apartment. Round the four walls runs a -tastefully worked stucco frieze, interrupted by several right-angled -apertures. These were once covered, in the opinion of Herr Schmidt, by -screens of plaster, which kept out the sun’s heat but admitted the -light; or, according to Gestoso y Perez, by tapestries “which must have -made the hall appear a miracle of wealth and<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> splendour.” Thanks to its -isolation, the Sala de Justicia escaped the “restoration” effected in -the middle of the nineteenth century by order of the Duc de Montpensier.</p> - -<p>It was in this hall (often overlooked by visitors) that Don Pedro -overheard four judges discussing the division of a bribe they had -received. They were beheaded on the spot, and their skulls are still to -be seen in the walls of the king’s bed-chamber.</p> - -<p>From the Patio de la Monteria we pass into the Patio del Leon. In the -fifteenth century, we read, tournaments were often held here. Our -attention is at once directed to the superb façade of the main building -or Alcazar proper—the palace of Don Pedro. It is a splendid work of -art. The columns are of rare marble with elegant Moorish capitals. The -portal is imposing, and was rebuilt by Don Pedro, as the legend in -curious Gothic characters informs us: ‘The most high, the most noble, -the most powerful, and most victorious Don Pedro, King of Castile and -Leon, commanded these palaces, these alcazares, and these entrances to -be made in the year [of Cæsar] one thousand four hundred and two” -(1364). Elsewhere on the façade are the oft-repeated inscriptions in -Cufic characters: “There is no conqueror but Allah,”<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> “Glory to our -lord, the Sultan,” “Eternal glory to Allah,” “Eternal is the dominion of -Allah,” etc.</p> - -<p>This gate, in the opinion of Contreras, is of Arabic origin and in the -Persian style, after which were built most of the entrances to mosques -of the first period. The square opening is often seen in Egypt, and -supplanted the more graceful horse-shoe arch. The pilasters are Arabic -throughout; but the arch balconies, the Byzantine columns, and Roman -capitals are works of Don Pedro’s time.</p> - -<p>The palace of the Alcazar forms an irregular oblong. The Patio de las -Doncellas or Patio Principal occupies the centre, roughly speaking, and -upon it open the various halls and chambers according to the usual -Moorish plan. This <i>patio</i> is absurdly named from its being the supposed -place in which were collected the hundred damsels said to have been sent -by way of annual tribute by Mauregato to the Moors. It is hardly -necessary to say that the damsels would have been sent to Cordova, which -was the capital of the Khalifate, not to Seville, and that this court -was among the restorations of the fourteenth century.</p> - -<p>The court is rectangular, and surrounded by a gallery composed of white -marble columns in pairs, supporting pointed arches. The soffite (or<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> -inner side) of the arch is scalloped or serrated. The central arch in -each side is higher and larger than its fellows, and springs from square -imposts resting on the twin columns. At each angle of the impost is a -graceful little pillar—“a characteristic,” observes Madrazo, “of the -Arabic-Grenadine architecture, such as may often be noticed in the -magnificent Alhambra of the Alhamares.” Over the arches runs a flowing -scroll with Arabic inscriptions, among them being “Glory to our lord the -Sultan Don Pedro; may God lend him His aid and render him victorious”, -and this very remarkable text, “There is but one God; He is eternal. He -was not begotten and does not beget, and He has no equal.” This is -evidently an inscription remaining from Musulman days, and spared in -their ignorance by the Christian owners of the palace. On the frieze -will also be noticed the escutcheons of Don Pedro and the Catholic -sovereigns, and the favourite devices of Charles V.—the Pillars of -Hercules and motto “Plus Oultre.” Behind the central arches are as many -doors with elaborately ornamented arches. On either side of each door is -a double window, framed with broad, ornamental bands, with conventional -floral designs. Round the inner walls of the arcade runs a high dado of<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> -glazed tile mosaic (<i>azulejo</i>), brilliantly coloured and cut with -exquisite skill. The combinations and variations of the design repay -examination, and will be seen to extend all round the gallery. This -decoration was probably executed by Moorish workmen in the time of Pedro -I. Finally, above the doors run wide friezes with shuttered windows, -through which the light falls on the gleaming mosaic. The ceiling of the -gallery dates from the time of Ferdinand and Isabella, but was restored -in 1856.</p> - -<p>Three recesses in the <i>patio</i> are pointed out as the spots where Don -Pedro held his audiences; but Contreras is of opinion that they are the -walled-up entrances to former corridors which communicated with the -Harem. That apartment probably faced the Salón de los Embajadores.</p> - -<p>A wide cornice separates the lower part of the court from the upper -gallery. This is composed of balustrades, arches, and columns in white -marble of the Ionic order, and was the work of Don Luis de Vega -(sixteenth century).</p> - -<p>One of the doors opening on to the Patio de las Doncellas gives access -to the Salón de los Embajadores (Hall of the Ambassadors), the finest -apartment in the Alcazar. Its dazzling splendour is produced by the -blending of five distinct styles,<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> the Arabic, Almohade or true Moorish, -Gothic, Grenadine or late Moorish, and Renaissance. Measuring about -thirty-three feet square, it has four entrances, of which that giving on -to the Patio de las Doncellas may be considered the principal. Here we -find folding-doors in the Arabic style of extraordinary size and beauty. -Each wing is 5.30 metres high by 1.97 broad, and adorned with painted -inlaid work, varied by Arabic inscriptions. One of these latter is of -great interest. It runs as follows: “Our Lord and Sultan, the exalted -and high Don Pedro, King of Castile and Leon (may Allah prosper him and -his architect), ordered these doors of carved wood to be made for this -apartment (in honour of the noble and fortunate ambassadors), which is a -source of joy to the happy city, in which the palaces, the alcazares, -and these mansions for my Lord and Master were built, who only showed -forth his splendour. The pious and generous Sultan ordered this to be -done in the city of Seville with the aid of his intercessor [Saint -Peter?] with God. Joy shone in their delightful construction and -embellishment. Artificers from Toledo were employed in the work; and -this took place in the fortunate year 1404 [1364 <small>A.D.</small>]. Like the evening -twilight and the refulgence of<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> the twilight of the aurora is this work. -A throne resplendent in brilliant colours and eminence. Praise be to -Allah!”</p> - -<p>The three remaining portals present graceful round arches, enclosing -three lesser arches (forming the actual entrances) of the horse-shoe -type. These last are believed, as we have said elsewhere, to be of -Abbadite origin. The capitals of their supporting columns are fine -examples of the Arab-Byzantine style. Above the horse-shoe arches, and -comprised within the outer arch, are three lattices. The whole space -within the arch is covered with delicate filigree work.</p> - -<p>This hall was once known as the Salón de la Media Naranja (Hall of the -Half Orange) from the elegant shaping of its carved wooden ceiling. This -rests upon a frieze decorated with the Tower and Lion, and supporting -this again are beautiful carved and gilded stalactites or pendants. On -the intervening wall spaces are Cufic inscriptions on a blue ground, and -female heads painted by sixteenth-century vandals. Then follows another -frieze with the devices of Castile and Leon, below which is a row of -fifty-six niches, containing the portraits of the kings of Spain from -Receswinto the Goth to Philip III. The earliest of these seem to have -been painted in the sixteenth century,<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> while the little columns and -trefoil windows that separate them may be ascribed to the end of the -fourteenth. The series is interrupted by four rectangular spaces, -formerly occupied by windows, but now taken up by elegant balconies in -wrought iron, the work of Francisco López (1592). The decoration of this -magnificent chamber is completed by a high dado of white, blue, and -green glazed tiles. It was probably in this hall that Abu Saïd, “the Red -King,” was received by Don Pedro prior to his murder.</p> - -<p>In an apartment to the right of the Ambassadors’ Hall, a plaster frieze -of Arabic origin, showing figures in silhouette, may be noticed; and in -a room to the left, other silhouettes, apparently referring to the -qualities attributed by his admirers to Pedro I.</p> - -<p>On the north side of the Patio de las Doncellas lies the so-called -Dormitorio de los Reyes Moros (Bed-chamber of the Moorish Kings). The -entrance arch is semicircular, and includes three graceful lattice -windows, richly ornamented. On either side of the door is a beautiful -double-window with columns dating from the Khalifate. The doors -themselves are richly inlaid, and painted with geometrical patterns. The -interior of the chamber is adorned, like all other apartments in<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> the -Alcazar, with plaster friezes, and is so richly decorated that scarcely -a hand’s-breadth (remarks Herr Schmidt) is without ornamentation. To the -right of the entrance lies a small apartment known as the Sultan’s -Alcove. Opposite the entrance from the <i>patio</i> are three horse-shoe -arches belonging to the earliest period of Spanish-Arabic art, leading -to an <i>Al-Hami</i> or alcove.</p> - -<p>From the Dormitorio we may pass into the quaintly named Patio de las -Muñecas, or Puppet’s Court. It is a spot with tragical associations, for -here took place the murder of the Master of Santiago, Don Fadrique de -Trastamara, by his brother, Don Pedro—a fratricide to be avenged years -after by another fratricide at Montiel. The Master, after a campaign in -Murcia, had been graciously received by the king, and went to pay his -respects to the lovely Maria de Padilla in another part of the palace. -It is said that she warned him of his impending fate; perhaps her -manner, if not her words, should have aroused him to a sense of his -danger; but the soldier prince returned to the royal presence. “Kill the -Master of Santiago!” Pedro shouted, so the story goes. The Master’s -sword was entangled in his scarf; he was separated from his retinue. He -fled to this court, where he was struck down. One of<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> his retainers took -refuge in Maria de Padilla’s apartment, where he tried to screen himself -by holding the king’s daughter, Doña Beatriz, before his breast. Pedro -tore the child away, and despatched the unfortunate man with his own -hand.</p> - -<p>The Patio de las Muñecas is in the Grenadine style. It has suffered -severely at the hands of the restorers of 1833 and 1843. The arches are -semicircular and spring from brick pillars, which are supported by -marble columns with rich capitals. The arches, which form an arcade -round the court, are decorated with fine mosaic and trellis (<i>ajaraca</i>) -work. The whole is tastefully painted. The arches vary in size, that -looking towards the Ambassadors’ Hall being almost pear-shaped. The -columns are of different colours, and the pillars they uphold are -inscribed with Cufic characters. The upper part of the <i>patio</i> reveals a -not very skilful attempt to imitate the lower.</p> - -<p>“The Ambassadors’ Hall as well as the Puppet’s Court,” says Pedro de -Madrazo, “are surrounded by elegant saloons, commencing at the principal -façade of the Alcazar, running round the north-west angle of the -building, adjoining the galleries of the gardens del Principe, de la -Gruta, and de la Danza, and terminating at the south-eastern angle of -the Patio de las Doncellas. Here is now the<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span> chapel, and there it is -believed that the luxurious apartment of the Caracol (inhabited by Maria -de Padilla) stood. This part was, without doubt, that which was called -the Palacio del Yeso, or Stucco Palace, on account of the plaster -decorations in the fashion of Granada; but in which of these rooms Don -Pedro was playing draughts when the Master of Santiago appeared before -him, it is impossible to say with certainty.”</p> - -<p>The Salón del Principe occupies the upper floor of the chief façade, and -receives light through the beautiful <i>ajimices</i> or twin-windows so -noticeable from without. This spacious hall is divided into three -compartments, each of which has a fine ceiling. Two have been restored, -but the third was the work of Juan de Simancas in the year 1543. The -scheme of decoration is Moorish. The columns in this hall and the -adjoinng apartments are of marble, with rich capitals. According to -Zurita (quoted by Madrazo), these columns came from the royal palace at -Valencia, after the defeat of Pedro of Aragon by the King of Castile.</p> - -<p>The oratory was built by order of Ferdinand and Isabella in 1504. It -contains an admirable retablo in blue glazed tiles—probably the finest -work of the kind in Spain—designed by an Italian, Francesco Niculoso. -The centre-piece represents<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> the Visitation. It is believed that some -parts of the work were drawn by Pedro Millán, a sculptor of Seville.</p> - -<p>The oratory is on the upper floor of the palace. On the same storey is -the Comedor, or dining-hall, a long, narrow room with a fine -fifteenth-century ceiling, and good tapestries on the walls. A more -interesting apartment is the bed-chamber of Don Pedro, which has a good -carved roof and dados of <i>azulejos</i> and stucco. Over the door four heads -may be seen painted. They represent the skulls of the corrupt judges on -whom the unjust king executed summary justice. The decoration of this -chamber is of the sixteenth century.</p> - -<p>The royal apartments on this floor contain several important works of -art. In the room of the Infantes is a portrait of Maria Luisa by Goya. -The Salón Azul (Blue Room), so-called from the colour of its tapestries, -contains some fine pastel paintings by Muraton, and some notable -miniatures on ivory. The portraits of the family of Isabel II. by -Bartolomé López are worthy of inspection.</p> - -<p>Returning to the ground floor, we enter the spacious Salón de Carlos V., -occupying one side of the Patio de las Doncellas. Here, it is asserted, -St Ferdinand died; but it is more probable that<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> he expired in the old -Moorish Alcazar. The fine ceiling, decorated with the heads of warriors -and ladies, was built by the Emperor after whom the hall is named. The -stucco and the work are very beautiful.</p> - -<p>An uninteresting apartment was erected by Ferdinand VI. over the famous -Baths of Maria de Padilla, which are approached through an arched -entrance, and, surrounded by thick walls, have more the appearance of a -dungeon than of a resort of Love and Beauty. The pool still remains -where the lovely favourite bathed her fair limbs. In her time it had no -other roof than the blue sky of Andalusia, and no further protection -from prying eyes than that afforded by the orange and lemon trees. At -Pedro’s court it was esteemed a mark of gallantry and loyalty to drink -the waters of the bath, after Maria had performed her ablutions. -Observing that one of his knights refrained from this act of homage, the -king questioned him and elicited the reply, “I dare not drink of the -water, lest, having tasted the sauce, I should covet the partridge.” -These baths were no doubt used by the ladies of the harem in Moorish -days.</p> - -<p>The gardens of the Alcazar form a delicious pleasaunce, where the orange -and the citron diffuse their fragrance, and fairy-like fountains spring -up<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> suddenly beneath the unwary passenger’s feet, sprinkling him with a -cooling and perhaps not unwelcome dew. But this paradise has its -serpent, and that is the truculent shade of the cruel king, which for -ever seems to haunt the Alcazar. Here Pedro prowled one day, when four -candidates for the office of judge presented themselves before him. To -test their fitness for the post, the king pointed to an orange floating -on the surface of a pool close by. He asked each of the lawyers in -succession what the floating object was. The three first replied without -consideration, “An orange, sire.” But the fourth drew the fruit from the -water with his staff, glanced at it, and replied with absolute accuracy, -“<i>Half</i> an orange, sire.” He was appointed to the vacant magistracy.</p> - -<p>Before leaving the Alcazar, we will briefly summarise the history of its -transformations and reconstructions. As we have seen, the palace -generally may be considered the work of Don Pedro. In the reign of Juan -II., the Salón de los Embajadores was enriched with its fine cupola. A -tablet, discovered in 1843, testifies that the architect was Don Diego -Roiz, and that the artisans employed in the work were made freemen of -the city.</p> - -<p>Various parts of the building were built or re<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span>constructed by order of -Ferdinand and Isabella. The architects were for the most part -Christianised Moors, among whom are mentioned Maestre Mohammed Agudo -(1479), Juan Fernandez (1479), Diego Fernandez (1496), and Francisco -Fernandez. The latter was appointed Master of the Alcazar in 1502, and -previous to his adoption of Catholicism was named Hamet Kubeji. -According to Gestoso y Perez, a surprising number of artificers and -craftsmen were engaged about the Alcazar at this time, a powerful -inducement being exemption from taxes and military service. The names of -Juan and Francisco de Limpias (1479-1540) have been preserved among the -carpenters; and Diego Sanchez (1437), Alfonso Ruiz (1479), and the two -Sanchez de Castro (1500), among the painters.</p> - -<p>Several improvements were carried out under Charles V. and Philip II., -and a great deal of restoration was unfortunately necessitated by the -fires which seemed to break out with increasing frequency during the -sixteenth and seventeenth centuries. Still more disastrous was the -effect of the great earthquake of 1755. Then began the reign of the -vandal, which did more damage to the palace than time, fire, and -earthquake combined.</p> - -<p>In 1762, the minister Wall ordered the Alcazar to be repaired in “the -modern manner.” The<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> ceilings which had been destroyed by fire were -replaced by others much too low, and valuable arabesques were recklessly -sacrificed. In 1805, some director with a genius for transmogrification -whitewashed the fine stucco work in the Salon del Principe, and altered -the main entrance. He also substituted a plaster ceiling for the -bowl-shaped Arab roofing, and made strenuous efforts to impair the -beauty of the Ambassadors’ Hall. In 1833 a reaction took place. Don -Joaquin Cortes and Señor Raso effected an artistic and sympathetic -restoration both of the Prince’s Hall and the Patio de las Muñecas. A -more serious restoration was begun in 1842, at the instance of the -administrator, Don Domingo de Alcega. The artist Becquer contributed -materially to the success of the work. In the ’fifties, the task of -replacing and restoring the stucco ornamentation was completed; and -under Isabel II. the thirty-six arches of the Patio de las Doncellas -were restored. Since that date the reconstructions have not always -displayed good taste; but the revival of interest in her ancient -monuments which has taken place in Spain of late years encourages us to -hope, at least, that the appalling blunders of the early nineteenth -century will never be repeated.</p> - -<p>After the Alcazar, the most noteworthy monu<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span>ment in Seville, dating from -the reign of Don Pedro, is the church of Omnium Sanctorum. This edifice -occupies the site of a Roman temple, and was built by the Cruel King in -1356. It exhibits a very happy combination of the Moorish and Gothic -styles. It is entered by three ogival doors, and is divided into three -naves. To the left of the façade is a graceful tower, the first storey -of which is Moorish, ornamented somewhat after the style of the Giralda. -On one of the doors is a shield bearing the arms of Portugal, which, -tradition says, commemorates the pious generosity of Diniz, king of that -country, when he visited Alfonso the Wise. If the Sevillians have writ -their annals true, this goes to prove that an earlier structure than the -present must have existed here. This, by the way, was the parish church -of Rioja the poet.</p> - -<p>San Lorenzo exhibits the fusion of the contending styles in an -interesting fashion. It has five naves; and the horseshoe windows in its -tower were converted into ogives at the time of its adaptation to the -Christian cult. The arcades of the naves are ogival in the middle, and -become by degrees semi-circular towards the extremities as the roof -becomes lower. This church contains <span class="pagenum"><a name="page_66" id="page_66">{66}</a></span>the miraculous picture of Nuestra -Señora de Rocamadour. Rocamadour, in southern France, was a celebrated -shrine of pilgrims in the thirteenth and fourteenth centuries.</p> - -<p>Several other churches in Seville date from this epoch, and present, to -a greater or less extent, evidences of the conflict between the Moorish -and Gothic styles. In addition to those mentioned, Madrazo names the -following: Santa Marina, San Ildefonso, San Vicente, San Julián, San -Esteban, Santa Catalina, San Andrés, San Miguel, San Nicolas, San -Martin, San Gil, Santa Lucia, San Pedro, and San Isidoro. When a mosque -was converted into a Christian church, the same authority remarks, the -horseshoe arch was pointed, bells were placed in the minaret, and the -orientation was altered from north to south, to east to west. The five -last-named churches were erected in the thirteenth century. Santa Maria -de las Nieves was, until the year 1391, a synagogue. The decoration is -in the plateresco style, and the doors are Gothic. The church contains a -painting by Luis de Vargas, and a picture attributed to Murillo.</p> - -<p>Nearly in the centre of the city is the Convent of Santa Inés, with a -beautiful and tastefully restored chapel. The façade is ancient and -graceful. This church contains the remains (said to<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> be uncorrupted) of -the foundress, Doña Maria Coronel, one of Don Pedro’s numerous victims. -That monarch had conceived a violent passion for her, in the hopes of -gratifying which he put her husband to death in the Torre del Oro. The -widow, far from yielding to his solicitations, took the veil, and at -last, to secure herself from his persecutions, destroyed her beauty by -means of vitriol—a species of self-immolation much applauded by the -devout in the ages of faith. Her sister, Doña Aldonza, was less -successful in resisting the ardent monarch, but died, in the odour of -sanctity, Abbess of Santa Inés.</p> - -<p>Among the secular buildings erected under the Castilian <i>régime</i> was the -existing Tower of Don Fadrique, standing in the gardens of the Convent -of the Poor Clares. It was named after the son of St Ferdinand and -Beatriz of Swabia, who was put to death by Alfonso el Sabio in 1276. The -tower is a fine square structure of Roman workmanship, seemingly, in its -lowest floor, and showing a mixture of Moorish and Gothic architecture -in its upper half. It formed part of a sumptuous palace erected in 1252, -and bestowed in 1289 on the Poor Clares by King Sancho the Brave.</p> - -<p>In the Calle Guzman el Bueno is a mansion<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> called the Casa Olea. It -contains a fine hall, 8½ metres square, the work of Moorish artisans of -the time of Don Pedro. The beautiful inlaid and gilded <i>artesonado</i> -ceiling was removed about a century ago; light is admitted through -windows of the horseshoe pattern, and the decorations consist of the -characteristic stucco-work, latticing, and <i>ajaraca</i> or trellis-work, as -fine as any to be seen at the Lindaraja of Granada. The dado of coloured -tiles has almost completely disappeared. The Palacio de Montijo, near -the church of Omnium Sanctorum, reveals many traces of Mudejar -workmanship, as also does a hall in the <i>Casa morisca</i> of the Calle de -Abades—not to be confounded with the Casa de Abades, belonging to the -Renaissance.</p> - -<p>Seville in the fourteenth and fifteenth centuries possessed no doubt -many palaces and private dwellings of magnificence; but it was in -ecclesiastical architecture that the spirit of the age found its truest -expression and noblest monuments.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p> - - -<h2><a name="THE_CATHEDRAL" id="THE_CATHEDRAL"></a>THE CATHEDRAL</h2> - - -<p class="nind"><span class="smcap">On</span> the eighth day of July in the year 1401, the Dean and Chapter of -Seville assembled in the Court of the Elms, and solemnly resolved that, -the Cathedral having been practically ruined by recent earthquakes, a -new one should be built so splendid that it should have no equal; and -that, if the revenue of the See should not prove sufficient for the cost -of the undertaking, each one present should contribute from his own -stipend as much as might be necessary. Then uprose a zealous prebendary, -and cried, “Let us build a church so great that those who come after us -may think us mad to have attempted it!”</p> - -<p>Such was the greatness of spirit in which the foundation of the existing -Cathedral of Seville was undertaken. And the result is worthy of the -deep and fervid zeal of those old Catholics of Spain.</p> - -<p>The church took one hundred and twenty years to build. Pity it was that -the noble-hearted priests who decreed the raising of the fane should -never have gazed upon much more than its skeleton! First of all, the -mosque-cathedral of<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> Yakub was demolished, only the Giralda and the -<i>Patio de los Naranjos</i>, with the northern, eastern, and western gates, -being spared. The Royal Chapel was pulled down in 1432, by permission of -Juan II. The first stone had been laid in 1402; but, strangely and sadly -enough, the name of the architect who traced the plan has not been -preserved. Some believe him to have been Alonso Martinez; others, Pero -García. Fame, we may well believe, was a prize which the pious builder -esteemed but lightly. His reward lay in the greater glorification of his -faith.</p> - -<p>In 1462, we find Juan Normán directing the works; in 1488, he had passed -from the scene and was succeeded by Juan de Hoz. Then came Alonso Ruiz -and Alonso Rodriguez. The building was practically finished when, in -1511, the cupola collapsed. In 1519, Juan Gil de Hontañon, the architect -of Salamanca Cathedral, completed the reconstruction, and the cathedral -may be considered as having been finished, though restorations and -remodelling of various parts of the edifice have been going on ever -since, and masons are to this day engaged upon the dome.</p> - -<p>This magnificent church is pre-eminent for size among the cathedrals of -Spain, and ranks third in this respect among the sacred edifices of the<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> -world. St Peter’s covers 230,000 square feet, the Mezquita at Cordova -160,000, and the Cathedral of Seville 125,000. Our St Paul’s covers only -84,000 square feet. It follows that this cathedral is the largest of -Gothic temples.</p> - -<p>So stupendous a monument has naturally attracted comment from -distinguished travellers and critics. All have come under the spell of -its majesty and massive nobility. Théophile Gautier expressed himself as -follows: “The most extravagant and most monstrously prodigious Hindoo -pagodas are not to be mentioned in the same century as the Cathedral of -Seville. It is a mountain scooped out, a valley turned topsy-turvy; -Notre Dame de Paris might walk erect in the middle nave, which is of -frightful height; pillars with the girth of towers, and which appear so -slender that they make you shudder, rise out of the ground or descend -from the vaulted roof, like stalactites in a giant’s grotto.”</p> - -<p>The Italian, De Amicis, is less fantastical in his rhapsodies. “At your -first entrance, you are bewildered, you feel as if you are wandering in -an abyss, and for several moments you can only glance around in this -vast spaciousness, to assure yourself that your eyes do not deceive you, -that your fancy is playing you no trick; you approach<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> one of the -pillars, measure it, and look at those in the distance; though large as -towers, they appear so slender that you tremble to think the building is -resting upon them. You traverse them with a glance from floor to -ceiling, and it seems that you could almost count the moments it would -take for the eye to climb them.... In the central aisle, another -cathedral, with its cupola and bell-tower, could easily stand.”</p> - -<p>Lomas, who is no great admirer of the building, admits that “the first -view of the interior is one of the supreme moments of a lifetime. The -glory and majesty of it are almost terrible. No other building, surely, -is so fortunate as this in what may be called its presence.”</p> - -<p>The Cathedral is oblong in shape, and is 414 feet long by 271 feet wide. -The nave is 100 feet and the dome 121 feet high.</p> - -<p>The principal façade looks west. Here is the principal entrance (Puerta -Mayor), and two side doors, the Puertas de San Miguel and del Bautismo. -Over the central door is a fine relief, representing the Assumption, by -Ricardo Bellver, placed here in 1885. This entrance is elaborately -decorated, and adorned with thirty-two statues in niches.</p> - -<p>The Puertas San Miguel and del Bautismo are<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> decorated with terra-cotta -statues of saints and prelates, the work of Pedro Millan, a -fifteenth-century sculptor. Herr Schmidt thinks very highly of these -fine performances. Each figure has life and distinct personality, and -the treatment of the drapery harmonises wonderfully with the gestures -and physiognomy of the wearers. The upper part of the façade is poor, -and dates only from 1827.</p> - -<p>The southern façade is flanked by sacristies, offices, and courts, above -which appear the graceful flying buttresses, gargoyles, and windows, and -the majestic dome of the main building. In the middle of this side is a -modern entrance, the Puerta de San Cristóbal, added by Casanova in 1887. -In the eastern façade are two entrances—the Puertas de las Campanillas -and de los Palos—both enriched with fine sculpture by Pedro Millan; the -Puerta de los Palos has also a fine Adoration of the Magi by Miguel -Florentin (1520).</p> - -<p>On the northern side of the Cathedral we find the most important remains -of the pre-existing mosque, the Giralda, already described, and the -<i>Patio de los Naranjos</i>, with the original fountain at which the Muslims -performed their ablutions. The <i>patio</i> is entered from the street by the -Puerta del Perdón, a richly decorated horseshoe arch<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> erected by Moorish -hands by order of Alfonso XI., to commemorate the victory of the Salado -in the year 1340. In the sixteenth century this door was restored and -adorned with sculptures. The colossal statues of Saints Peter and Paul, -in terra-cotta, are the work of Miguel Florentin. He was among the -earliest of the Renaissance sculptors to settle in Spain. By him also is -the relief of the Expulsion of the Money-Changers from the Temple, -celebrating the substitution of the Lonja or Bourse for this gate as a -rendezvous for merchants. The plateresco work was executed by Bartolomé -López in 1522. The doors date from Alfonso’s reign, and are faced with -bronze plates, on which are Arabic inscriptions.</p> - -<p>Close to the Puerta del Perdón is a shrine built in the wall with a -Christ on the Cross by Luis de Vargas.</p> - -<p>Entering the <i>patio</i>, to the right we find the Sagrario, or parish -church, and to the left (reached by a staircase) the Biblioteca -Colombina or Chapter Library, founded by Fernando Colon, son of -Christopher Columbus. Among the treasures it contains are a manuscript -of the great discoverer’s travels, with notes in his own hand; a -manuscript tract, written by him in prison, to prove that the existence -of America was not contrary to Scripture;<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> the sword of Garcia Perez de -Vargas, the great hero of the conquest of Seville, and a very -interesting thirteenth-century translation of the Bible.</p> - -<p>The northern façade of the Cathedral is entered through three portals, -the westernmost of which, the Puerta del Sagrario, is unfinished. The -Puerta de los Naranjos and the Puerta del Lagarto lead from the <i>patio</i>. -The Puerta del Lagarto retains some traces of its Moorish origin. It is -named after the patched and painted stuffed alligator, which has hung -here since about the thirteenth century. Here may also be seen a huge -elephant’s tusk, and a bridle said to have belonged to the Cid.</p> - -<p>Referring more particularly to the exterior of the Cathedral, Caveda -says: “The general effect is truly majestic. The open-work parapets -which crown the roofs, the graceful lanterns of the eight winding stairs -that ascend in the corners to the vaults and galleries, the flying -buttresses that spring lightly from aisle to nave, as the jets of a -cascade from cliff to cliff, the slender pinnacles that cap them, the -proportions of the arms of the transept and of the buttresses supporting -the side walls, the large pointed windows that open, one above another, -just as the aisles and chapels to which they belong rise over each -other, the<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> pointed portals and entrances—all these combine in an -almost miraculous manner, although lacking the wealth of detail, the -airy grace, and the delicate elegance that characterise the cathedrals -of Léon and Burgos.”</p> - -<p>Entering the church, the gloom renders it difficult for a time to -distinguish its exact configuration. We find it is divided into a nave -and four aisles, the former being fifty feet in width. The fine marble -floor was laid in the years 1787 to 1795. There is little ornamentation, -the interior displaying a noble simplicity, the beautiful effect being -produced mainly by the grandeur and symmetry of the vaultings, archings, -and pillars. The seventy-four exquisite stained-glass windows, however, -form a decorative series of the richest kind. They are, for the most -part, the work of northern artists. Micer Cristóbal Aleman (Master -Christoph the German) began the first—the first stained-glass window -seen in Seville—in 1504, the work being carried on by the German -Heinrich, the Flemings Bernardino of Zeeland and Juan Bernardino, Carlos -of Bruges, and the great master Arnao of Flanders. The two latter -designers are said to have received ninety thousand ducats for their -work. The last window was completed in 1662 by a Spaniard named Juan -Bautista de Léon.<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> The finest windows are generally considered to be -those representing the Ascension, St Mary Magdalen, Lazarus, and the -Entry into Jerusalem, by Arnao the Fleming and his brother (1525), and -the Resurrection, by Carlos of Bruges (1558).</p> - -<p>Passing up the nave, from the Puerta Mayor, we find midway between that -entrance and the choir the Tomb of Fernando Colon, son of the great -Columbus—“who would have been considered a great man,” says Ford, “had -he been the son of a less great father.” The slab is engraved with -pictures of the discoverer’s vessels, and the inscription, <i>À Castilla y -á León Mundo nuevo dio Colon</i>. At this spot, during Holy Week, is set up -the <i>Monumento</i>, an enormous wooden temple in the shape of a Greek -cross, in which the Sacrament is enshrined. The structure was made by -Antonio Florentin in 1544.</p> - -<p>Extending to the middle of the nave is the Coro or Choir, open towards -the east or High Altar. The <i>trascoro</i> or choir-screen is faced with -marbles, eight columns of red <i>breccia</i> being especially fine. The -marble reliefs are fine examples of Genoese work. Over the altar is a -fourteenth-century painting of the Madonna, and there is also a picture -by Pacheco, the inquisitor, representing St Ferdinand receiving the keys -of Seville from<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> “Axataf.” The side walls of the choir accommodate four -little chapels, exhibiting a harmonious combination of the Gothic and -plateresco styles in translucent alabaster. The Capilla de la Concepcion -contains one of the finest examples of statuary in the Cathedral—the -Virgin, by Juan Martinez Montañez. Ford says, “This sweet and dignified -model was the favourite of his great pupil, Alonso Cano.” The choir was -severely injured by the collapse of the dome in 1888. The pillars and -baldachino are richly adorned with Gothic figures and stonework. The -fine gilt railing is the work of Sancho Muñoz (1519). But the chief -glory of the choir is its exquisitely carved stalls, 117 in number, -executed between 1475 and 1548, by Nufro Sanchez, Dancart, and Guillen. -Moorish influence may be traced in the patterns and the coloured inlaid -work of the chairbacks. The handsome lectern bespeaks the skill of -Bartolomé Morel. Till the collapse of the dome, the choir was the -repository of a number of priceless missals, illuminated in the -fifteenth, sixteenth, and seventeenth centuries. The organs are huge but -inartistic. As instruments, they are beyond all praise. The older, -dating from 1777, was built by Jorge Bosch, the other by Valentin -Verdalonga in 1817.<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p> - -<p>“Between the choir and High Altar is put up during Holy Week the -exquisite bronze candlestick, 25 feet high, called El Tenebrario, one of -the finest specimens of bronze work of the sixteenth century that exists -(it may be seen in the Sacristy), and wrought, in 1562, by Morel; when -the <i>Miserere</i> is sung, it is lighted with thirteen candles, twelve of -which are put out one after another, indicating that the Apostles -deserted Christ; one alone of white wax is left burning, and is a symbol -of the Virgin, true to the last. At Easter, also, the Ciro Pascual or -fount candle, equal to a large marble pillar, 24 feet high, and weighing -seven or eight hundredweight of wax, is placed to the left of the High -Altar” (Ford).</p> - -<p>Facing the choir stands the isolated Capilla Mayor, containing the High -Altar. It is enclosed on three sides by a railing of wrought iron, and -on the fourth by a superb Gothic retablo. Schmidt considers this work -the quintessence of late Gothic sculpture. The middle parts date from -the fifteenth, the outer from the sixteenth century. The ornamentation -is of extraordinary delicacy and richness. It is divided into forty-five -compartments, each containing subjects from the Scriptures and the lives -of the saints in sculpture painted and gilded. It is crowned by a -crucifix<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> and the statues of the Virgin and St John. This fine -altar-piece was begun by the Fleming Dancart in 1479, and was completed -by Spanish artists in 1526.</p> - -<p>Behind the altar is the Sacristy, adorned with terra-cotta statues by -Miguel Florentin, Juan Marin, and others. Here is kept a reliquary -shaped like a triptych, presented to the church by Alfonso the Wise, and -called the Alphonsine Tables.</p> - -<p>Behind the Capilla Mayor, at the eastern extremity of the nave, is the -Capilla Real (Royal Chapel). The building—which, as Ford remarks, is -almost a church by itself—was begun by Gainza in 1514, and finished in -1566 by his successors, Fernan Ruiz, Diaz de Palacios, and Maeda. The -chapel is of the Renaissance style, and has a lofty dome. There is a -handsome frieze showing the figures of children carrying shields and -lances. The chapel is divided by light pillars into seven compartments, -of which the midmost is occupied by the altar of the Virgin de los -Reyes. This image was the gift of St Louis of France to St Ferdinand. -“It is of great archæological interest,” says Ford; “it is made like a -movable lay-figure; the hair is of spun gold, and the shoes are like -those used in the thirteenth<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> century, ornamented with the lilies of -France and the word “Amor.” In 1873, the fine gold crown belonging to -this image [a sixteenth-century work] was stolen. This image is seated -on a silver throne, thirteenth-century work, embossed with the arms of -Castile and Leon.” The body of St Ferdinand, remarkably well preserved, -is contained in a silver urn, placed on the original sepulchre, which is -engraved with epitaphs in Latin, Spanish, Hebrew, and Arabic. In the -vault beneath is the ivory figure of the Virgin de las Batallas, which -the king always carried with him on his campaigns. It is a fine piece of -Gothic statuary. Ferdinand’s sword is also preserved in this chapel. -Here are the tombs of Alfonso el Sabio, of Beatriz of Swabia, his -mother, of Pedro I., Maria de Padilla, and various Infantes. An -interesting trophy is the flag of the Polish Legion of the French army, -taken by the Spaniards at Bailen. The twelve statues in the entrance to -the Capilla Real are after the designs of Peter Kempener; there is a -Mater Dolorosa by Murillo in the sacristy. Some of the later work in -this chapel exhibits those fantastic and grotesque features which became -common, under the name of <i>Estilo Monstruoso</i>, in Seville.</p> - -<p>The entrance to this chapel is flanked by the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> Capillas de San Pedro and -de la Concepcion Grande. In the south aisle is the chapel of the -Purification or of the Marshal, containing a remarkable altar-piece by -Peter Kempener—exhibiting the portraits of the founder, Marshal Pedro -Caballero, and his family. Adjacent is the Sala Capitular, in fine -Renaissance style, the work of Gainza and Diego de Riaño (1531). The -roof is formed by a fine cupola, supported by Ionic columns, beneath -which is some admirable plateresco work, with escutcheons, triglyphs, -etc. The hall contains a portrait of St Ferdinand by Francisco Pacheco, -the “Conception” and ovals by Murillo, and the “Four Virtues” by Pablo -de Céspedes. Beneath the windows are seen reliefs by Velasco, Cabrera, -and Vazquez.</p> - -<p>The sacristy (Sacristia Mayor) is in the Renaissance style, and lies -south of the Sala Capitular. It was built by Gainza in 1535, after -designs by Riaño, who had died two years earlier. One of the three -altars against the southern wall is adorned by the beautiful “Descent -from the Cross” by Peter Kempener (a native of Brussels, called by the -Spaniards Campaña), before which Murillo used to stand for hours in rapt -contemplation. This priceless work of art was cut in five pieces by the -French, with a view to its<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span> removal, and has not been very well -restored. The sacristy contains also three interesting paintings, dating -from the early sixteenth century, by Alejo Fernandez; and the “San -Leandro” and “San Isidore” of Murillo.</p> - -<p>In this chamber is kept the treasury of the Cathedral. In it might be -included the superb silver monstrance by Juan de Arfe (1580-87). It is -twelve feet high, and richly adorned with columns, reliefs, and -statuettes. The treasury likewise contains another monstrance, studded -with 1200 jewels; a rock-crystal cup, said to have belonged to St -Ferdinand; and the keys presented to that sovereign on the surrender of -the city. That given by the Jews is of iron gilt, with the words, -<i>Melech hammelakim giphthohh Melek kolhaaretz gabo</i> (the King of kings -will open, the King of all the earth will enter); the other key is of -silver gilt and was surrendered by Sakkáf. The inscription upon it is in -Arabic, and reads, <i>May Allah render eternal the dominion of Islam in -this city</i>.</p> - -<p>Proceeding along the south aisle, towards the main entrance, we first -reach the Capilla de San Andrés, the burying-place of the ancient family -of Guzman. Behind the chapel of Nuestra Señora de las Dolores is the -fine Sacristia de los Calices.<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> It is the work of those who built the -Sacristia Mayor. It contains several fine paintings—the Saints Justa -and Rufina (patrons of Seville) by Goya (among his finest works), the -“Angel de la Guarda” and the “St Dorothy” of Murillo, the “Death of a -Saint” by Zurbarán, the “Trinity of Theotocopuli” (El Greco), a triptych -by Morales, and “The Death of the Virgin”—an old German picture. This -crucifix over the altar is one of the most admirable productions of -Montañez.</p> - -<p>The next chapel (de la Santa Cruz) is adorned by a fine “Descent from -the Cross” by Fernandez de Guadelupe (1527). The Puerta de la Lonja has -a fresco, painted in 1584, of “St Christopher carrying the Infant Jesus -across a River.” A representation of this saint is to be found in nearly -all Spanish cathedrals, owing to a curious superstition that to look -upon it secures the beholder for the rest of that day from an evil -death. This fresco, which measures thirty-two feet high, is opposite the -“Capilla de la Gamba” (or, of the leg—of Adam). Here we find “La -Generacion”—Luis de Vargas’s masterpiece. “The picture,” says Herr -Schmidt, “is wholly in the Italian style, and one of the best examples -of this phase of the Spanish Renaissance.”</p> - -<p>The large chapel of the Antigua contains the<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> fine tomb of Archbishop -Mendoza, by Miguel Florentin, erected in 1509. Here is also a very -ancient mural painting, after the Byzantine style, of the “Madonna and -Child,” which was placed here in 1578, and is of unknown and rather -mysterious origin. The retablo is distinguished by marble statues in the -baroque style by Pedro Duque Cornejo. The small sacristy behind this -chapel contains pictures by Zurbarán, Morales, and others.</p> - -<p>The Capilla de San Hermenegildo has a good statue of the saint by -Montañez, and a fine sepulchral monument to Archbishop Juan de Cervantes -(1453), by Lorenzo Mercadante de Bretaña, the master of Nufro Sanchez. -The Capilla de San José contains “The Espousals of the Virgin” by Valdés -Leal, a “Nativity of Christ” by Antolinez, and an inferior retablo (“The -Massacre of the Innocents”). The Capilla de Santa Ana possesses a Gothic -retablo, dating from about 1450, and divided into fourteen sections. It -comes from the old Mosque-Cathedral. The lower part of the work, -illustrating the life of St Anne, dates from 1504, the artists having -been Hernandez and Barbara Marmolejo. From beneath the tribune a -staircase leads to the Archives, which escaped demolition at the hands -of the French, through having been sent to Cadiz. The<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> last chapel in -the south aisle (San Laureano) is dedicated to a saint, who, like St -Denis of France, having been decapitated, performed the unusual feat of -walking away with his head under his arm. Here is the tomb of Archbishop -de Ejea, who died in 1417.</p> - -<p>On the west side of the Cathedral are five small chapels. The Nacimiento -chapel contains an admirable “Nativity with the Four Evangelists” by -Luis de Vargas, and a “Virgin and St Anne” by Morales. To the right of -the Puerta Mayor is the altar of Nuestra Señora del Consuelo, with a -“Holy Family,” the masterpiece of Alonso Miguel de Tobar (1678-1738), -esteemed the ablest of Murillo’s pupils. Facing this is the little altar -of Santo Angel, with a “Guardian Angel” by Murillo. The altar of the -Visitation has a good retablo by Pedro Villegas de Marmolejo -(1502-1569), and a statue of St Jerome by his namesake, Geronimo -Hernandez.</p> - -<p>Near the north-western corner of the church the Puerta del Sagrario -leads into the Sagrario or Parish Church. This was built between 1618 -and 1662 in the Baroque style by Miguel Zumarraga and Fernandez de -Iglesias. The width of the single arch of which the roof consists is -believed to endanger the safety of the edifice. The rich<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> statues that -adorn the interior are by Dayne and Jose de Arce. There is a notable -retablo by Pedro Roldan which came from a Franciscan convent now -suppressed. The wall of the sacristy is faced with beautiful <i>azulejos</i> -of the Arabian period, and in one of the side-chapels is a noteworthy -statue of the Virgin by Montañez. In the vault beneath this impressive -church the Archbishops of Seville are buried.</p> - -<p>Returning to the Cathedral, we find on the left the Capilla del -Bautisterio or of San Antonio. It is famous for one of Murillo’s finest -works, “St Anthony of Padua’s Vision of the Child Jesus.” This is the -picture which was stolen in 1874, conveyed to New York, sold to a Mr -Schaus for £50, and by him returned to the ecclesiastical authorities. -This chapel is also remarkable for its <i>pila</i> or font, the work of -Antonio Florentin, and Giralda windows. Next to it is the Capilla de las -Escalas, with two pictures by Luca Giordano, “strong in character, -drawing, and colour,” and the sepulchre of Bishop Baltasar del Rio -(about 1500); then comes the Capilla de Santiago, with paintings by -Valdés Leal and Juan de las Roelas, a stained-glass window with the -richest tones, and the tomb of Archbishop Gonzalo de Mena (1401); and -the Capilla de San Francisco, with another fine<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> window, and an -ambitious “Apotheosis of St Francis” by Herrera el Mozo.</p> - -<p>Separated from this chapel by the Puerta de los Naranjos is the Capilla -de la Visitacion (or Doncellas). The Puerta is furnished with two -altars, one, the Altar de la Asunción, the other, the Virgen de Belén. -The former has a painting by Carlo Maratta, the latter a “Virgin and -Child” by Alonso Cano. The Capilla de los Evangelistas has an -altar-piece in nine parts by Hernando de Sturmio (1555), which shows us -the Giralda as it was before the present upper part had been added. -Crossing before the Puerta Lagarto we reach the little chapel of Nuestra -Señora del Pilar, with a notable “Madonna and Child” by Pedro Millan. -The altar-piece of the Capilla de San Pedro, between this chapel and the -Capilla Real, has paintings by Zurbarán, hardly distinguishable in the -dim light. On the other side of the Capilla Real is the Chapel of la -Concepcion Grande, containing pictures relating to the Immaculate -Conception, and a crucifix attributed to Alonso Cano. Here is also a -fine modern monument to Cardinal Cienfuegos.<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p> - - -<h2><a name="OTHER_BUILDINGS_OF_THE_FIFTEENTH_AND_SIXTEENTH_CENTURIES" id="OTHER_BUILDINGS_OF_THE_FIFTEENTH_AND_SIXTEENTH_CENTURIES"></a>OTHER BUILDINGS OF THE FIFTEENTH AND SIXTEENTH CENTURIES</h2> - - -<p class="nind"><span class="smcap">Close</span> to the Church of San Marcos is the Convent of Santa Paula with a -chapel dating from about 1475. The house, which is of the religious of -St Augustine, was founded by Doña Ana de Santillan and the Portuguese -Donha Isabel Henriquez, Marqueza de Montemayor. This illustrious lady -and her consort, Dom João, Constable of Portugal, are entombed in the -Capilla Mayor in separate niches. The portal of this church is one of -the richest in Europe. It is magnificently decorated with white and blue -<i>azulejos</i>, over the arch being seven medallions representing the birth -of Christ and the life of St Paul, encircled with garlands of flowers -and fruit, and the figures white on a blue ground. In the tympanum of -the arch are displayed the Arms of Spain in white marble on a field of -blue tiles, supported by an eagle, and flanked by the escutcheons of the -Catholic sovereigns. The <i>azulejo</i> work was jointly executed by -Francesco Niculoso of Pisa and Pedro Millan. The interior of the church -is in the six<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span>teenth-century style, and, except for the tombs of the -Marqueses de Montemayor, not specially interesting.</p> - -<p>In 1472 Maese Rodrigo founded a college, which afterwards became the -seat of the University of Seville, and is now a seminary. Attached to it -is a chapel built in the first years of the sixteenth century. It is a -fine example of the late Gothic style. The retablo exhibits good -painting and carving by unknown artists. The front of the altar displays -fine specimens of Andalusian ceramic art. “The students of the -seminary,” says Ford, “wear a scarf of brilliant scarlet upon a black -gown.”</p> - -<p>The most important monument of this period in Seville is the Casa -Pilatos. It illustrates the fusion of the Moorish and Renaissance -styles, almost to the effacement of the former. In the architecture of -this period we usually find an Arabic groundwork nearly obscured by -ornamentation of the newer style. In the schemes of decoration the -conventional floral designs and geometrical patterns remain, while the -inscriptions, which figured so largely in earlier work, disappear. The -stucco and <i>azulejos</i> no longer cover the whole walls, and the windows -and doors become larger and less graceful. As Herr<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> Schmidt remarks, -effect was no longer sought for in the innately elegant but in bold, -monumental compositions.</p> - -<p>Mr Digby Wyatt (“An Architect’s Note-Book in Spain”) indicates as the -two special points of architectural value possessed by the Casa de -Pilatos, “the entirely moresque character of the stucco-work at a -comparatively late date, and the profuse use of <i>azulejos</i> or coloured -tiles. It is ... in and about the splendid staircase that this charming -tile lining, of the use of which we have here of very late years -commenced a very satisfactory revival, asserts its value as a beautiful -mode of introducing clean and permanent polychromatic decoration.”</p> - -<p>The history of this beautiful building is of singular interest. Its -erection was begun in 1500 by the <i>adelantado</i> (governor), Don Per -Enriquez, continued by his son, Don Fadrique Enriquez de Ribera, first -Marqués de Tarifa, after his return from a two years’ pilgrimage in the -Holy Land, and finished by Don Per Afan, first Duque de Alcalá, and -sometime Viceroy of Naples, in 1533. Authorities differ whether it -received its name from its having been modelled on the House of Pilate, -seen by Don Fadrique, or from the relics presented to the Duque de -Alcalá by Pope Pius V. The ex-Viceroy was a liberal patron of the arts.<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> -He enriched his house with priceless works of art and a fine -library—since removed to Madrid. He played the part of Mæcenas to the -Varros of his generation. Here the wits, the savants, and the virtuosi -of Spain were made welcome, and here they met together in a noble -coterie. Among the frequenters of the house may be named Pacheco the -painter, Céspedes, the Herreras, Góngora the poet, Jauregui, Baltasar de -Alcazár, Rioja, Juan de Arguizo, and (probably) Cervantes. Herr Schmidt -tells us that Seville did not stand alone among the cities of Spain in -boasting such a rallying-point for genius: “In Guadalajara, the palace -of the Mendozas, in Alba de Tormes and Abadia, the castles of the Duque -de Alba, in Madrid, the arts were treasured by Antonio Perez; in -Zaragoza by the Duque de Villahermosa, in Plasencia by Don Luis de -Avila, in Burgos by the Velascos. These and other families in Spain -followed the example set by the Medici in Italy.”</p> - -<p>The ground-plan of the Casa de Pilatos is Moorish, with an inner court, -two storeys, guest-chambers, and high outer walls surrounding a garden. -The exterior is plain and dignified. The portal is of marble, and over -the arch is the text, “Nisi Dominus ædificaverit domum, in vanum -laboraverunt qui ædificant eam,” etc. To the left<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> of the door is a -jasper cross fixed in the wall. In October 1521, the Marqués de Tarifa -returned from the Holy Land, and having traversed the path trodden by -Christ on His way from Pilate’s house to Calvary, he placed this cross -on the wall and counted thence the fourteen stations of the cross. The -last fortuitously coincided with the Cruz del Campo, raised near the -Caños de Carmona, in the year 1482.</p> - -<p>The central <i>patio</i> is markedly Moorish in character, and is encircled -with arcades of extraordinary symmetry and beauty. Pedro de Madrazo -calls attention to the harmonious variety and irregularity of the arches -and windows, comparing the effect thus produced to the admired disorder -of the forest and plantation. The decoration of the walls and arches -bears a general resemblance to that of the Alcazar, but on closer -examination the influence of the plateresco, Late Gothic, and -Renaissance styles is revealed. The fountain in the middle of the -<i>patio</i> is adorned with dolphins and four huge statues belonging to the -best period of Roman art. The chapel is in the mixed pointed and Moorish -styles. In the vestibule the <i>ajaraca</i>, or trellis-work, the <i>azulejos</i>, -and the <i>ajimeces</i>, or twin-windows (now converted into ordinary -windows) recall Moorish art; while the<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> ceiling is in the plateresco -style. The arch of the chapel is Gothic, and its walls are laid with -<i>azulejos</i> and stucco. In the middle of the floor stands a short marble -column, a copy of the pillar at which Christ is supposed to have been -scourged, preserved at Rome; it was the gift of Pius V.</p> - -<p>The room called the Prætorium has a fine coffered ceiling and good -tiling. The staircase is magnificent. Its walls are faced with -<i>azulejos</i>, and its ceiling is in the cupola or half-orange style of the -Salón de los Embajadores. Another room on the upper floor is adorned -with paintings by Pacheco, the subject being Dædalus and Icarus. The -view from the roof is perhaps the finest in the city.</p> - -<p>The Casa de Pilatos, as might be inferred from the character of its -founder, is a veritable cabinet of antiques and precious objects, -marbles and fragments from Italica figuring largely in the collection.</p> - -<p>A notable private residence, dating probably in its foundations from the -beginning of the fifteenth century, is the Casa de Abades, sometimes -called the Casa de los Pinelos. It passed into the hands of the Genoese -family from which it derives its second name, and thence to the -Cathedral Chapter (composed of <i>abbés</i> or <i>abades</i>).<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span> In the sixteenth -century it became the property of the Ribera family, the owners of the -Casa de Pilatos. It is described by Madrazo as presenting a fine example -of the Sevillian Renaissance style, which would appear to be compounded -of all pre-existing styles. Mr Digby Wyatt, on the other hand, thinks -the house more Italian than Spanish. But the beautiful <i>patio</i>, the -dados of <i>azulejos</i>, and the <i>ajimeces</i> looking on the courtyard are -distinctly Andalusian features. There are also traces of Moorish -geometrical ornamentation, covered with repeated coats of whitewash.</p> - -<p>The Palacio de las Dueñas, more properly the Palace of the Dukes of -Alba, and sometimes called Palacio de las Pinedas, is a vast and once -splendid mansion, partaking of the mixed style of the two buildings last -described. It boasted at one time eleven <i>patios</i>, with nine fountains, -and over one hundred marble columns. A fine <i>patio</i> remains, surrounded -by a gallery with graceful columns. The staircase, with its vaulted -roof, recalls that of the Casa de Pilatos. In the lower part is a chapel -of the fifteenth century, which has fared very badly at the hands of -restorers or rather demolishers. This palace was for a time the -residence of Lord Holland, an ardent admirer of Spanish literature, and -the<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> author (1805) of a memoir on Lope de Vega and Guillen de Castro.</p> - -<p>Other notable residences of the nobility in Seville are the Casa de -Bustos Tavera, and the Palaces of the Dukes of Osuna and Palomares and -the Count of Peñaflor. These all date from what may be loosely called -Mudejar times.</p> - -<p>The Church of the University of Seville is of interest. The university -itself was originally a college of the Society of Jesus, and was built -in the middle of the sixteenth century, after designs ascribed to -Herrera. Madrazo thinks it more likely that these were the work of the -Jesuit Bartolomé de Bustamante. The church forms a Latin cross, a -spacious half-orange dome covering the transept. The Renaissance style -is followed. Here repose the members of the illustrious Ribera family, -their remains having been transported hither on the suppression of the -Cartuja (Carthusian Monastery). The oldest of the tombs is also that of -the oldest Ribera, who died in 1423, aged 105 years. The finest is that -of Doña Catalina (died 1505), the work of a Genoese sculptor. Other -tombs are those of Don Pedro Henriquez, Diego Gomez de Ribera, Don -Perafan de Ribera (1455), and Beatriz Portocarrero (1458). Let into the -pavement is<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> a magnificent bronze slab, to the memory of the Duque de -Alcalá, the owner of the Casa de Pilatos. Among the sepulchres are those -of the founder, Lorenzo Suarez de Figueroa, whose favourite dog is -sculptured at his feet, and Benito Arias Montano, a <i>savant</i> who died in -1598. Over the altar are three paintings: the “Holy Family,” the -“Adoration of the Magi,” and the “Nativity”; the first by Roelas, the -other two by his pupil, Juan de Varela. These, especially the first, are -among the finest pictures in the city. The statue of St Ignatius Loyola -by Montañez, coloured by Pacheco, is probably the only faithful likeness -of the Saint. In this church are also to be seen two admirable works of -Alonso Cano, “St John the Baptist” and “St John the Divine.”</p> - -<p>The Renaissance made itself felt in Spain during the reign of Charles -V., and was productive of the plateresco style. Seville contains two -imposing monuments of this type of architecture—the Ayuntamiento (Town -Hall) and Lonja (Exchange). The first-named was begun in 1527 by Diego -de Riaño, and completed under Felipe II., about forty years later. -Madrazo considers the building “somewhat inharmonious through the -variety, a little excessive, of its lines, but admirable for the -richness of the decoration and for fine and delicate<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> execution—a merit -of the first importance in structures of this style, where the sculptor -or stone-cutter ranked with the architect.”</p> - -<p>The lower and older storey has three façades, all elaborately chased and -designed like silversmiths’ work. The central façade, facing the Calle -de Génova, bears the statues of Saints Ferdinand, Leandro, and -Isidoro—symbolical of the temporal and spiritual power. The right -façade is the purest and most regular of the three. The upper storey, -belonging to the reign of Felipe II., appears almost plain in comparison -with the tower. In the vestibule is a noble Latin inscription relating -to justice. The lower Sala Capitular is a magnificent apartment worthy, -as Madrazo remarks, of the Senate of a great republic. It is adorned -with the statues of the Castilian kings down to Charles V., with a rich -frieze designed with genii, masks, and animals, and with appropriate -legends. The upper Sala Capitular has a magnificent <i>artesonado</i> -ceiling. Over the grand staircase are a fine coffered ceiling and -another in the form of a cupola. The archives of the municipality -contain several valuable historical documents, and the embroidered -banner of St Ferdinand.</p> - -<p>The Lonja or Exchange dates from Felipe II.’s<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> reign. The Patio de los -Naranjos was formerly frequented by the merchants and brokers of Seville -for the transaction of business, and this practice interfering seriously -with divine worship in the Cathedral, the Archbishop, Cristobal de -Rojas, petitioned Felipe II. to follow the precedent just established by -Sir Thomas Gresham and to build an Exchange or Casa de Contratacion. The -preparation of the plans was confided to Herrera, and the building, -under the direction of Juan de Minjares, was finished in 1598—at -precisely the time, as Ford remarks, that the commerce of Seville began -to decline. The Lonja in its stern simplicity reflects, like the -Escorial, the temper of Felipe II.—a sovereign, unpopular though he may -have been, in whom it is impossible not to recognise the elements of -greatness. The edifice forms a perfectly regular quadrangle, and the -sobriety of the decoration affords a striking contrast to the gorgeous -profusion of the Ayuntamiento. The inner court is noble and severe with -its gallery of Doric and Ionic columns. The dignity of the whole has -been impaired by later additions and restorations. Here are deposited -the archives of the Indies (<i>i.e.</i> South America), the documents being -arranged in handsome mahogany cases. They have never been<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> thoroughly -gone through and examined. The business men of Seville soon abandoned -their Exchange, and it is chiefly to be remembered as the seat of -Murillo’s Academy of Painters, founded in 1660.</p> - -<p>In connection with the American traffic of Seville it should be -mentioned that in the village of Castilleja la Cuesta, near the city, is -the house where Hernando Cortés died in 1547. The place has been -acquired by the Duc de Montpensier, by whom it has been converted into a -sort of museum. The Conquistador’s bones rest in the country which, with -such intrepidity, he won for the Spanish race.</p> - -<p>The Civil Hospital of Seville, otherwise known by the ghastly -designation of the Hospital de las Cinco Llagas or del Sangre (of the -Five Wounds or of the Blood), was designed in 1540 by Martin Gainza. It -is a massive stone edifice of two storeys, the lower Doric and the upper -Ionic. In the central <i>patio</i> is the chapel in the form of a Greek -cross, the façade exhibiting a tasteful combination of the three Grecian -styles. The altarpiece is by Maeda and Alonzo Vazquez. The pictures of -saints are by Zurbarán, and the “Apotheosis of St Hermenegild” and the -“Descent from the Cross” by Roelas.<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p> - - -<h2><a name="BUILDINGS_OF_THE_SEVENTEENTH_AND_EIGHTEENTH_CENTURIES" id="BUILDINGS_OF_THE_SEVENTEENTH_AND_EIGHTEENTH_CENTURIES"></a>BUILDINGS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES</h2> - - -<p class="nind"><span class="smcap">About</span> the middle of the seventeenth century there lived at Seville a -young gallant, Don Miguel de Mañara by name, whose excesses and -escapades horrified even that lax generation. Marriage with the heiress -of the Mendozas did not sober him. Of him, at this period of his life, -this much good may be said, that he patronised and encouraged Murillo. -But one day something happened: quite suddenly the rake changed into a -devotee, an ascetic—a saint in the seventeenth-century acceptation of -the word. The wine-bibber forswore even chocolate as too tempting a -beverage.</p> - -<p>What had happened to produce this startling reformation? Accounts vary. -Some say that Don Miguel, traversing the streets in insensate rage -against some custom-house officials, was suddenly and vividly made -conscious of the enormous wickedness of his life. A more picturesque -version is the following: Returning from<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> a carousal one night, the Don -found himself absolutely unable to discover his house or the way -thither. Wandering desperately up and down distressed, and in perplexity -of mind, he perceived a funeral cortège approaching. Impelled by -irresistible curiosity, he stepped up to the bearers of the bier and -asked whose body they were carrying. Came the reply: “The corpse of Don -Miguel de Mañara.” The horror-stricken prodigal tore aside the pall, and -lo! the face of the dead man was his own. The vision disappeared, and -the same instant the Don found himself at the door of his own house. He -entered it a changed man.</p> - -<p>The church and hospital of La Caridad are the existing fruits of Don -Miguel’s conversion. As far back as 1578, there had existed at Seville a -confraternity, the objects of which were to assist condemned criminals -at their last moments and to provide them with Christian burial. To this -association the reformed rake turned his attention. He converted the -chapel into a hospital for the sick, the poor, and the pilgrims of all -nations, and liberally endowed it out of his ample resources.</p> - -<p>The edifice is in the decadent Greco-Roman style, and was designed by -Bernardo Simón de<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> Pereda. The Baroque façade is adorned with five large -blue faïence designs on a white ground, the subjects being Faith, Hope, -and Charity, St James, and St George. Tradition has it that these were -made after drawings by Murillo at the <i>azulejo</i> factory of Triana. The -church hardly appears to us to warrant the description “one of the most -elegant in Seville,” applied to it by Sir W. Stirling-Maxwell. Under the -High Altar is buried the founder, Don Miguel. His own wish was to be -buried at the entrance to the church, with the epitaph: <i>Aqui yacen los -huesos y cenizas del peor hombre que ha habido en el mundo</i> (Here lie -the bones and ashes of the worst man that ever lived in this world). His -sword, and his portrait painted by Valdés Leal, are preserved in the -Hospital.</p> - -<p>As a museum of Spanish art, La Caridad possesses great importance. The -altarpiece, “The Descent from the Cross,” is the masterpiece of Pedro -Roldan. The two paintings near the entrance by Juan de Valdés Leal -(1630-1691) are regarded by Herr Schmidt as entitling that artist to -rank as one of the greatest masters of realism of any age. This opinion -is not shared by a recent writer (C. Gasquoine Hartley), who considers -the pictures theatrical, though the exe<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span>cution exhibits a certain power. -“In one of them a hand holds a pair of scales, in which the sins of the -world—represented by bats, peacocks, serpents, and other objects—are -weighed against the emblems of Christ’s Passion; in the other, which is -the finer composition, Death, with a coffin under one arm, is about to -extinguish a taper, which lights a table spread with crowns, jewels, and -all the gewgaws of earthly pomp. The words ‘In Ictu Oculi’ circle the -gleaming light of the taper, while upon the ground rests an open coffin, -dimly revealing the corpse within.” Murillo said this picture had to be -looked at with the nostrils closed. For the two paintings Valdés -received 5740 reals.</p> - -<p>Of the eleven pictures painted by Murillo for this church, only six -remain, the others having been carried off by the French. The subjects -are “Moses striking the Rock,” the “Miracle of the Loaves and Fishes,” -the “Charity of San Juan de Dios,” the “Annunciation,” the “Infant -Jesus,” and “St John.” The first picture, depicting, as it does, the -terrible thirst experienced by the Israelites, is known as <i>La Sed</i> -(Thirst). Some critics think this is one of the finest of the master’s -productions. As is usual in his compositions, the figures are all those -of ordinary Sevillian types.<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> “The personality of Christ in the ‘Miracle -of the Loaves and Fishes,’<span class="lftspc">”</span> says C. Gasquoine Hartley, “lacks the force -of the ancient prophet, and the work as a whole is inferior to its -companion picture.” The “Charity of San Juan de Dios”—representing the -Saint carrying a beggar with the help of an angel—is the best and most -characteristic of the six paintings. The “Infant Jesus” and the “St -John” are also very fine. For the “San Juan de Dios” and the “St -Elizabeth of Hungary”—<i>El Tiñoso</i>—(now at Madrid) together, Murillo -was paid 18,840 reals; for the Moses, 13,300 reals; and for the “Miracle -of the Loaves and Fishes,” 15,973 reals.</p> - -<p>The last building which may be said to rank as an architectural monument -erected in Seville is the Palacio de San Telmo, now the residence of the -Duc de Montpensier. In the year 1682 the Naval School of San Telmo was -founded on the site of the former palace of the Bishops of Morocco and -the tribunal of the Holy Office. The present edifice, begun, after plans -by Antonio Rodriguez, in 1734, was not completed till 1796. The palace -adjoins the beautiful gardens of the Delicias. The façade is exceedingly -ornate, the decoration being in the Plateresco style. The general effect -is pleasing, but critics have been<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> unsparing in their denunciations of -the structure. It certainly reflects the debasing influence of the -architect Jose Churriguera (1665-1725), who has given his name -(<i>Churrigueresque</i>) to one of the most tawdry and tasteless styles of -architecture.</p> - -<p>The Archiepiscopal Palace, adjacent to the Cathedral, is also in the bad -style of the later seventeenth century. The interior, however, is worth -visiting for the sake of the noble marble staircase, one of the finest -in the city. Here are three paintings by Alejo Fernandez, an early -seventeenth-century artist, whom Lord Leighton considered “the most -conspicuous among the Gothic painters.”</p> - -<p>The Fabrica de Tabacos is a vast building completed in 1757. Apart from -its size, it possesses no architectural interest, and though a favourite -showplace for tourists, does not come within the scope of a work of this -character.<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p> - - -<h2><a name="THE_PAINTERS_OF_SEVILLE" id="THE_PAINTERS_OF_SEVILLE"></a>THE PAINTERS OF SEVILLE</h2> - -<p class="c"><span class="smcap">By</span></p> - -<p class="c"><span class="smcap">Albert F. Calvert and C. Gasquoine Hartley</span></p> - - -<p class="nind"><span class="smcap">In</span> Seville, perhaps to a greater extent than in any city, even in Spain, -the country of passionate individualism, art is the reflection of the -life and temper of the people; and to understand Seville we must know -her painters. As we look at the pictures of the Spanish primitives, at -the emphatic canvases of Juan de las Roelas and Herrera, for instance; -at the realism of Zubarán, or, still more, at the ecstatic visions of -Murillo—as we see them in the old Convento de la Merced, now the Museo -Provincial, in the Cathedral, or in one or another of the numerous -churches in the city, we find the special spirit of Andalusia.</p> - -<p>There is one quality that, at a first glance, impresses us in these -pictures, so different, and yet all having one aim. It is their profound -seriousness. Rarely, indeed, shall we find a picture in which the idea -of beauty, whether it is the beauty of colour or the beauty of form, has -stood first in the painter’s mind; almost<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> in vain shall we search for -any love of landscape, for any passage introduced just for its own sake. -For, let it be remembered, in Andalusia art was devotional always. “The -chief end of art,” says Pacheco, the master of Velazquez, in his <i>Arte -de la Pintura</i>, “is to persuade men to piety and to incline them to -God.” Pictures had other purposes to serve than that of beauty. They -were painted for the Church to enforce its lessons, they were used as -warnings, and as a means of recording the lives of the Saints. In other -countries, it is true, painters have spent their strength in religious -art, but almost always we can find as well as the sacred, some outside -motive, some human love of the subject for itself—for its opportunities -of beauty. The intense realism of these Spanish pictures is a thing -apart; these Assumptions, Martyrdoms, and Saintly Legends were painted -with a vivid sense of the reality of these things by men who felt upon -them the hand of God. We know that Luis de Vargas daily humbled himself -by scourging and by wearing a hair shirt, and Juan Juanes prepared -himself for a new picture by communion and confession. These are two -examples chosen out of many. A legend we read of Don Miguel de Mañara, -the founder of the Hospital of La<span class="pagenum"><a name="page_109" id="page_109">{109}</a></span> Caridad, illustrates this dramatic -religious sense of Spain. One day in church Don Miguel saw a beautiful -nun, and, forgetful of her habit, made amorous proposals. She did not -speak; instead, she turned to look at him; whereupon he saw the side of -her face which had been hidden from his eyes: it was eaten away, -corrupted by a hideous disease, so that it seemed more horrible than the -face of death. It was such scenes as this that the Spanish artists chose -to paint. But, indeed, it would be tedious to enumerate the examples -which Spain offers of this curious, often, it would seem to us, -corrupted sense of the gloom of life, carrying with it as one result the -passionate responsibility of art. Always, we feel certain that the -Spanish painters felt all that they express.</p> - -<p>And this overpowering, if mistaken, understanding of the presence of the -divine life gave a profound seriousness to human life. The shadow of -earth was felt, not its light; and emotion expressed itself in an -intense seriousness, that is over-emphatic too often—always, in fact, -when the painter’s idea is not centred in reality. This is the reason -why a Spanish painter had to treat a vision as a real scene. We have -pictures horrible with the sense of human corruption<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span>—such, for -instance, are the two gruesome canvases of Valdés Leal, in La Caridad. -Again and again is enforced the Catholic lesson of humility, expressing -itself in acts of charity to the poor, so essential an idea when this -life is held as but a threshold to a divine life. We find a sort of wild -delight in martyrdom; a joy that is perfectly sincere in the scourging -of the body. All the Spanish pictures tell stories. Was not their aim to -translate life?—the life of earth and the, to them, truer life of -heaven—and life itself is a story? Their successes in art are due to -this, their failures to the sacrifice of all endeavours to this aim; a -danger from which, perhaps, no painter except Velazquez quite escaped. -He, faultless in balance, in his exquisite statement of life, expresses -perfectly the truth his predecessors had tried for, but missed, except -indeed now and again, in some unusual triumph over themselves. We find -hardly a painter able to free himself from the traditions of his -subject. Only Velazquez, controlled by the northern strain that mingles -with the passion of his Andalusian temper, was saved quite from this -danger of over-statement. And Velazquez does not belong to Seville, -though he was born in the southern city on June 5, 1599, in the house, -No. 8, Calle de<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> Gorgoja; though the first years of his life were spent -there, the time of childhood, the few months of work with the violent -Herrera, the five years in the studio of Pacheco, his master; though—a -fact of greater import—his temper was Andalusian; and though his early -pictures—the <i>bodégones</i>, so familiar to us in England, whither so many -have travelled through the fortune of wars—are entirely Spanish in -their direct realism. Velazquez worked contemporaneously with the -Realistic movement that quickened the arts in Seville in the sixteenth -and seventeenth centuries, but he worked outside it. This explains the -silence of his art in Seville. Of the pictures of his youth, painted -while he was there, none remain, except one in the Archiepiscopal -Palace, “The Virgin delivering the Chasuble to San Ildefonso”; and the -authenticity of this picture has been denied until very recently, a fact -explained by the bad condition of the canvas. To see the wonderful art -of Velazquez you must leave Seville and visit the Museo del Prado at -Madrid. Seville is the home of religious art. The habit of her painters -was serious; in their profound religious sense, in their adherence, -almost brutal at times, to facts, as well as in those interludes of -sensuous sweetness that now<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> and again, as, for instance in the art of -Murillo, burst out so strangely like an exotic bloom, they reflect the -temper of Spain. It is contended sometimes that these pictures in -Seville are wanting in dignity, wanting in beauty. But are we not too -apt to confine beauty to certain forms of accepted expression? Surely -any art that has life; has dignity, has beauty; and no one can deny that -life was the inspiration of the Andalusian painters.</p> - -<p>We must remember these things if we would understand the pictures in -Seville.</p> - -<p>But first we find ourselves carried away from the reality and darkness -of life back to a happy childhood of art, as we look at the three -fourteenth-century frescoes of the Virgin—the “Antigua,” in the chapel -named after it in the Cathedral, “Nuestra Señora del Corral” in San -Ildefonso, and “Señora Maria de Rocamador” in San Lorenzo—an art when -the painter, less conscious of life and of himself, was content to paint -beautiful patterns. In these three pictures—all that are left to us—we -see the last of Byzantine art in Spain. The figures, with long oval -faces all of one type, are placed stiffly against a background of Gothic -gold. Look at “Señora Maria de Rocamador,” as she sits holding the<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span> -Child upon her knees; while two little angels kneel, one upon the left, -one on the right. She wears a blue robe, partly covered with a mantle of -deep purple, very beautiful with ornaments of gold and bordered with -gold braid. A bent coronet around her head stands out against the -glowing halo; the background is all of gold woven into a delicate -pattern. It is a picture of pure convention in which is no effort to -carry the mind beyond what is actually seen; it makes its appeal just as -so much decoration. This fresco, as well as the “Antigua” and “Nuestra -Señora del Corral,” have been much repainted—the ill-fortune of so many -early Spanish works.</p> - -<p>But, in the fifteenth century, a new spirit came into art; and with the -work of Juan Sánchez de Castro the school of Seville may be said to -begin. No knowledge has come down to us of his life; we know only that -he was painting in Seville between 1454 and 1516. In his great fresco of -“San Cristóbal,” that covers the wall near to the main door in the old -Church of San Julian—alas! now spoiled by re-painting and by the -subsequent rotting away of the plaster—we find a different, human, -almost playful treatment of a sacred story. And for the first time in -Seville, <span class="pagenum"><a name="page_114" id="page_114">{114}</a></span>we see the special Spanish quality, characteristic of the -whole school from this time to the time of Goya, of rendering a scene -just as the painter supposed it might have happened. “A child’s dream of -a picture,” Mr Arthur Symons has called it. San Cristóbal, many times -the size of life, stretching from floor to ceiling, fills the whole -picture; he leans upon a pine-staff as he supports the Child Christ upon -his shoulders, who holds in his hands a globe of the world upon which -the shadow of a cross has fallen. The other figures, the hermit and two -pilgrims with staves and cloaks, are quite small; they reach just to the -Saint’s knees. And this immense grotesque figure is painted in all -seriousness, as a child might picture such a scene. To understand the -sincerity of the Spanish painter, we must compare his work with that -other fresco of “San Cristóbal,” painted, much later, by Perez de -Alesio, which is in the Cathedral. The Italian picture is an attempt to -illustrate a popular miracle, perfectly unconvincing; De Castro’s Saint -compels us to accept and realise what the painter himself believed in. -This is the difference between them.</p> - -<p>In the smaller pictures of Sánchez de Castro that remain to us, such, -for instance, as the panel of the “Madonna with St Peter and St -Jerome,”<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> once in San Julian, but now in the Cathedral, we find him more -bound by convention, less himself. We see the immense debt Spanish -painting owed to Flemish art. And this influence, always so beneficial, -the Northern art being, for reasons of race not possible to state here, -the true affinity of Spain in art, remains, with different and more -certain knowledge, in the “Pietà” of Juan Nuñez, which still hangs in -the Cathedral where it was painted. It meets us again in the fine and -interesting “Entombment” by Pedro Sánchez, a painter of whom we know -nothing, except that his name is given by Cean Bermudez among the -illustrious artists of Spain. The picture may be seen in the collection -of Don José López Cepero, at No. 7 Plaza de Alfaro, the house in which -Murillo is said to have lived. In all three pictures, and in other work -of the same period not possible to mention here, we are face to face -with that special Spanish trait, the pre-occupation with grief, that is -quite absent from the early fourteenth-century Madonnas, as from the -simple child-art of De Castro’s “San Cristóbal.” The shadow of the -Inquisition had fallen; art, the handmaid of the Church, could express -itself no longer in quaint and beautiful symbols. Instead, it had to -force itself to be taken seriously, being occupied wholly<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> with emphatic -statements, its aim an insistence on the relation of human life to the -divine life.</p> - -<p>But the joy of life did not die easily.</p> - -<p>Juan Nuñez, once, at least, in those pictures in the Cathedral in which -he has painted the archangels Michael and Gabriel quite gaily, their -wings bright with peacock’s feathers, returns to the child-humour of De -Castro. And Nuñez carries us forward to Alejo Fernandez, the most -important painter of this early period, much of whose work remains for -us in the Cathedral and in the old churches of Seville.</p> - -<p>Go to the suburb of Triana, and in the Church of Santa Ana there is the -sweetest Madonna and Child, in which we find a new suggestion in the joy -of the Mother in her Babe, a human attitude, making the picture -something more than mere illustration. And we notice a delicate care for -beauty found very rarely in Seville, perhaps never as perfectly as in -the work of this painter. The “Virgen de la Rosa” is the name given to -the picture. The Mother sits enthroned under a canopy of gold, in a -beautiful robe of elaborate pattern, pale gold on brown. She holds a -white rose out to her Child. Typical of Fernandez is this fortunate use -of the flower; typical, too, of his new mood of invention is the small<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> -landscape of rocky and wooded country that fills the distance. The -gracious pose of the Virgin, the beauty in the Child, show an advance in -ease upon earlier pictures. But the other figures, four angels who guard -the Mother, all posed a little awkwardly, suggest a scheme on whose -design the early Byzantine models may have had a forming influence, -though the result is different enough. For Fernandez understood the very -spirit of the Renaissance; he saw life beautifully and strongly. The -attraction of the picture is in its effect of joy, in the charming way -in which it forms a pattern of beautiful colour, and in its new sense of -humanity that carries us beyond the scene itself.</p> - -<p>And there are other pictures of Fernandez in Seville: the great -altar-piece in eight sections—one is a copy—that tells the story of -Joseph, Mary, and the Child, in the old Church of San Julian; and there -is a large “Adoration of the Magi,” the “Birth and Purification of the -Virgin,” and the “Reconciliation of St Joachim and St Anne,” all in the -Cathedral—the first in the Sacristía de los Cálices, and three others -in unfortunate darkness, over the Sacristía altar. And if these larger -pictures have not quite the fresh charm of the “Madonna of Santa Ana,” -in each one we find a real<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> understanding of beauty, and with it the -Spanish gift of presenting the sacred stories as drama, just as the -painter felt it all must have happened. Each figure in these scenes has -life, has character. No lover of Spanish painting can afford to neglect -any picture of Fernandez, and no estimate of the early art of the -country can be true that does not include his work. Of his life we know -nothing, merely that he came with his brother Juan from Cordova in 1508, -called by the Chapter to work in Seville Cathedral. But it matters -little that his life is unrecorded, for the work that he has left is his -best history.</p> - -<p>In these first years of the Sevillian school, when art was sincere and -young, many pictures were painted, all strong work, all interesting, in -lesser or greater measure, to the student, even if not to the art lover, -as showing the growth of a national style. In many cases the names of -the artists are unknown; no painter has left much record of himself. -These pictures, which may be recognised very readily, are found in the -Museo de la Merced, in the Cathedral, and still more in the churches, -the true museums of Seville.</p> - -<p>But fashion in art changes, and the sixteenth century witnessed the -manifestation of a new mood in painting, the advent to Spain of the<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span> -Italian influences of the Renaissance. This is not the place to speak of -the blight which fell upon art. The distinctively Italian schools were -only an influence of evil in Spain, and the inauguration of the new -manner was the birth of a period of great artistic poverty. The main -desire of the sixteenth-century painters was, as it were, to wipe the -artistic slate. All pictures painted in the old style were repudiated as -barbarous, cast aside as an out-of-date garment. The country became -overrun by third-rate imitators of the Italian grand style, of Michael -Angelo, of Raphael and his followers. The decorations, as you can still -see them, of the Escorial, may be taken as typical of Italian art as it -was transplanted into Spain. All national art that was not Italian in -its inspiration was looked upon as worthless.</p> - -<p>Yet, be it remembered, that the Spanish painters, more perhaps than the -painters of any other school, could imitate and absorb the art of others -without degenerating wholly into copyists. The temper of the nation was -strong. Even now it was not so much a <i>copying</i> of Italian art, rather -it was an unfortunate blending of style which took away for a time the -dignity and strength which is the beauty of Spanish painting. Thus, -Peter van Kempeneer, a Flemish painter, known better in<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> Spain as Pedro -Campaña, who, strangely enough, was the first to bring the Italian -influence to Seville, was inspired alternately by the Northern and -Italian styles; and in such a picture as his famous “Descent from the -Cross,” still in the Sacristía Mayor of the Cathedral, with its crude -colour and extravagant action, we find him—in an effort, it is said, to -imitate Michael Angelo—being more Spanish than the Spaniards. Indeed, -this picture, which made such strong appeal to Murillo that he chose to -rest beneath it in death, gives us a very curious, left-handed -fore-vision, as it were, of the marvellous work of Ribera. In the large -altar-piece, of many compartments, of the Capilla del Mariscal in the -Cathedral, the first picture painted by Campaña, when, in 1548, he came -to Seville, we see him a realist in the portraits of the donors, painted -with admirable truth; but in the “Purification of the Virgin,” the scene -that fills the lower compartment of the altar, he is Italian and -demonstrative—spectacular movement, meaningless gestures, all done for -effect.</p> - -<p>The Italian influence, the <i>buena manera</i> it was called in Seville, is -more insistent in Luis de Vargas, whose painting was contemporary with -that of Campaña. He was the first painter of Seville to submit himself -wholly to Italy, and most often he<span class="pagenum"><a name="page_121" id="page_121">{121}</a></span> was inspired by Raphael. Much of his -work has perished; of the once famous frescoes, “his greatest gift to -Seville,” nothing remains except a few colour traces upon the Giralda -Tower. De Vargas, the pupil probably of Perino del Vagas, brought back -as the reward of twenty-eight years of painting in Italy much craft -skill; and his work, as we see it in the “Pietà,” in Santa Maria la -Blanca, in the earlier “Nativity,” and, even more, in his masterpiece, -the popular “La Gamba,” both in the Cathedral, gives us a borrowed art, -academic and emotional. Only in portraiture does he say what he has to -say for himself. The portrait of Fernando de Contreras, in the Sacristía -de los Calices, is a portrait of sincerity and character, in which is -the Spanish insistence on detail, unpleasant detail even, as in the -ill-shaven cheeks rendered with such exact care. Contrast this portrait -with his other pictures, so extravagant, with such futile gesticulation, -to understand how a really capable painter lost his sincerity, as just -then it was lost in all Spanish painting. In this effort to be Italian, -De Vargas’ natural gift of reality, as we see it, for instance, in the -“Christ” of Santa Maria la Blanca, or in the peasant boy of the -Cathedral “Nativity,” was overclouded, mingled curiously enough with a -Raphael<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span>esque sweetness. It was not that this painter did not realise -the scenes that he depicts—yes, and depicts with passion—do we not -know the sincere piety of his life?—but he used to express them an art -that was not his own, an art he was temperamentally unfitted to -understand.</p> - -<p>Contemporary with Campaña and De Vargas, the leaders of the Andalusian -Mannerists, worked a band of painters of second, or even third-rate, -talent. Francisco Frutet, like Campaña a Flemish painter who had learnt -his art in Italy, and who came to Seville about 1548, is typical of -these “improvers,” as Pacheco calls them so mistakenly, of the native -art. His best work is his Triptych in the Museo, in which again we see -the same curious mingling of Flemish and Italian types; the Christ, for -instance, recalling the models of Italy, while Simon of Cyrene, who -bends beneath the Cross, is nearer to the Gothic figures. Pedro Villegas -Marmolejo has more interest. His quiet pleasing pictures—one is in the -Cathedral, one in San Pedro—interpret Italian art with more charm, but -still without originality.</p> - -<p>And Marmolejo leads us quite naturally to Juan de las Roelas, and in -Roelas we have at last a Spanish painter who learnt from Italy something -more than mere technical imitation. And in spite<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> of a want of -concentration—the accustomed insincerity, the result, it would seem, of -a too persistent effort to express his art in the art of Venice, in -which city he is thought to have painted, perhaps in the studio of some -follower of Titian, he does realise his scenes with something of the old -intensity. Roelas anticipates Murillo, not altogether unworthily, giving -us, with less originality, but with much sweetness, an expression of -that mood of religious sensuousness that is one phase of Spanish -painting. Seville is the single home of Roelas;<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> here we may see his -pictures in the Cathedral, in the Museum, and in many of the churches. -His art is unequal in its merit. In his large compositions often there -is confusion—“Santiago destroying the Moors at the Battle of Clavijo,” -his picture in the Cathedral, is one instance—spaces are left uncared -for, the composition is a little awkward, the brush-work is careless, a -fault that is common to much of his work. The “Martyrdom of St Andrew,” -in the Museum, is perhaps his most original picture. Here Roelas is a -realist. And how expressive of life—Spanish life, are all the -powerfully contrasted figures that so<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> truly take their part in the -scene depicted. In some of his pictures Roelas gives us the brightest -visions. Such is “El Transito de San Isidore,” in the parish church of -the saint, a picture in which we see in the treatment of Christ and Mary -and the child-angels a manner that seems, indeed, to forestall Murillo; -such, too, are the “Apotheosis of San Hermenegildo,” and the “Descent of -the Holy Spirit,” both in the church of the Hospital of La Sangre. All -three pictures are difficult to see: one is hidden behind the altar, the -other two hang at a great height in the church where the light is dim. -There are good pictures by Roelas in the University, a “Holy Child,” the -“Adoration of the Kings,” and the “Presentation of the Child Christ in -the Temple”; and in this last picture, with its soft colour and human -gaiety, again we are reminded of Murillo. But a work of perhaps more -interest, certainly of more strength, is “St Peter freed from Prison by -the Angel,” which is hidden in a side-chapel in the Church of San Pedro. -Then, how quiet, with a repose uncommon enough in Spain, is his “Virgin -and Santa Ana,” in the Museo de la Merced. The figures—the girl Virgin, -her mother, and the angels who crowd the space above them—all have the -fairness Roelas gives to women; the soft glow of their flesh is -beautiful.<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span> Look at the cat and dog that play so naturally in the -foreground, beside a work-basket, and what a happy “note” is given by -the open drawer, which shows the linen and lace within. Certainly this -picture is more Italian than Spanish.</p> - -<p>As the years passed, and art in Seville grew older, many painters trod -in the steps worn by these others. It is not possible, nor is it -necessary, to wait to look at their pictures; too often they exaggerate -the faults of the masters they copied, and by a slavish repetition of -accepted ideas—the inevitable fault of the age—they weakened still -further native art. And, when we come to the next century, which gives -us Alonso Cano, sculptor, architect, and painter, described admirably by -Lord Leighton as “an eclectic with a Spanish accent,” many of whose -facile, meaningless pictures may be seen in Seville, to the much -inferior work of the younger Herrera, and to the exaggerated -over-statements of Juan de Valdés Leal, in whose art Sevillian painting -may be said to die, we realise into what degradation pseudo-Italianism -had dragged painting.</p> - -<p>But there is a reverse side to the picture. The spirit of Spain was too -strong to sleep in an art that was borrowed. Already Luis de Morales, a -native of Estremadura, known as “the divine,” on account<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span> of the -exclusively religious character of the subjects he painted, and of the -strange intensity with which he impregnated them, had evolved for -himself a sincere expression of Spanish art; already Navarrete, the mute -painter of Navarre, had broken from conventions, and taken for himself -inspiration from the marvellous pictures of Titian which he had seen at -the Escorial; already, Theotócopuli, known better as El Greco, was -painting with wonderful genius in Toledo, pictures, so new, so personal, -that to-day they command the attention of the world. But Seville does -not represent these painters.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a></p> - -<p>It has been the fashion, since the tradition was started by Cean -Bermudez, to call Herrera <i>el viejo</i> (1576-1656) “the anticipator of the -true Spanish school.” Herrera had a studio in Seville, in which worked -many painters, and among them Velazquez, Antonio Castillo y<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> Saavedra, -and perhaps Alonso Cano; and it seems certain that he owes his position -to-day in large measure to this fact; had he not been for a few months -the master of Velazquez his impossible art would remain unknown outside -Seville. For the truth is Herrera said nothing that Roelas had not -already said better.</p> - -<p>His temper was Spanish enough, but his work is without originality, if -emphatic and personal in a too vehemently Spanish way. Yet it is worth -while to see, yes, and to study, each one of his half-dozen pictures. -Even in Seville, Herrera’s work is rare; the “Apotheosis of San -Hermenegildo,” and the later, more violent “San Basil,” are in the -Museum, where, too, are the less known, but much better, -portrait-pictures of apostles and saints; while the “Final Judgment,” -his most personal work, is still where it was painted in the darkness of -the Parroquina of San Bernado. One quality we may grant to Herrera; he -did resist the popular Italian influence. These pictures, sensational as -they are, with their hot disagreeable colour—“macaroni in tomato sauce” -Mr Ricketts aptly terms it—their mannerism, extravagant contortions and -splash brush-work, have little apart from this to recommend them. But -you will understand better<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> the esteem Herrera has gained if you will -compare his work with the paintings of his contemporaries; the -conscientious, academic Pacheco, for instance, the last, and, in -himself, the most interesting of the Mannerists, or with Murillo’s -master, Juan del Castillo, the worst painter of Seville, whose pictures -fill with formal tedium so many buildings in the city. This is why -Herrera’s pictures claim notice from the student of Andalusian art -to-day: they form a link in the unbroken chain of the national pictures.</p> - -<p>Now turn to Zurbarán.</p> - -<p>You pass at once into a world of realism, a world in which facts, -obvious facts, are set forth with a downright passion of statement that -for a moment tricks us; we think we have found life, and, instead, we -have the outward form, too monotonously literal, and without suggestion. -Upon Zurbarán lies the weight of the sadness of Spain. It is something -of this that we realise as we see the thirty or forty of his pictures -that are in Seville, gathered together for the most part in the Museo de -la Merced, where the light is so much better than it is in the Cathedral -and in the churches, though there certainly his pictures seem to be more -fittingly at home. Each picture is so true to life, and yet without -life.<span class="pagenum"><a name="page_129" id="page_129">{129}</a></span> Look at his Saints, all are portraits, faces caught in a mirror -that seems to sum up the old world of Spain. Contrast these Saints with -the Saints of Murillo. What honesty is here; what singular striving to -record the truth. Note the gravity and simplicity of the Scriptural -scenes; his conception of the Christ; the intensity of the three -renderings of the Crucifixion, in which for once Zurbarán finds a -subject suited exactly to his art; then mark how the peasants<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> he -depicts are almost startling in their outward nearness to life.</p> - -<p>Look especially at the Carthusian pictures in the Museum, “San Hugo -visiting the Monks in their Refectory,” the “Virgen de las Cuevas,” and -“St Bruno conversing with Pope Urban II.” They are typical of Zurbarán’s -special gift. In the first of these three pictures, which is the best, -the monks clad in the soft white robes of their order are seated around -a table at their mid-day meal. The aged Hugo stands in the foreground, -attended by a boy-page; he has<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> come to reprove them for dining upon -flesh-meat. His purple vestments give a note of colour in contrast with -the white frocks of the brothers. But, as is customary with Zurbarán, -colour counts for very little, and atmosphere for less, in this picture -in which all care is given to formal outline and exact expression. Once -only in the “Apotheosis of St Thomas Aquinas,” also in the Museo, does -he give us some of that warm colour he should have learnt from Roelas, -whose pupil he is said to have been. This is one reason why his figures, -so true to the facts of life, do not live. But no one has painted -ecclesiastics and monks quite as Zurbarán has done. His sincerity is -annoying almost; for he tells us nothing that we could not have seen for -ourselves; we are no nearer than a photograph would bring us to the -character of these men. Zurbarán was hardly consciously an artist; and -with all his sincerity, his vision was ordinary. He was a recorder and -not an interpreter of life, and in gaining reality he has just missed -truth.</p> - -<p>On coming to the work of Murillo it is quite another phase of the -religious sentiment of Spain that we see developed: we gain an -over-statement of sweetness, not an over-statement of facts. The spirit -in which he painted was happier, more<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span> trustful, more personal than was -that of Zurbarán; he is more Andalusian and less Spanish, and certainly -better equipped as a painter.</p> - -<p>Murillo forms part of your life while you are in Seville, he is more or -less around you everywhere; and though to some of us, perhaps not -unjustly, he is a painter we have tried in vain to love, he does express -in a special way the very aspect of the southern city he himself loved -with such single devotion. This is why we like him so much better in -Seville than we are able to do anywhere else. His pictures repeat the -full life of Andalusia—its religious emotion, its splendour, its -poverty, its stark contrasts, its rich sense of life; and his colours -are the same colours that we see in the landscape, warm and deep, the -soft, hot light of southern Spain. You don’t visit the Museum, La -Caridad, the Cathedral, and the churches to see his pictures as a change -of amusement from the streets; you go because they renew the same -atmosphere, and offer a reproduction of so much that surrounds you.</p> - -<p>No one has ever painted ecstasy with quite the facility of Murillo. And -in the Museum, where the Capuchin Series and other famous pictures are -gathered, you can learn all that is essential to his art; his happy -Saints swim before you in mists<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> of luscious colour; cherubs flutter -around as they minister to beggars clad in rags carefully draped; -Virgins, garbed in the conventional blue and white, their feet resting -upon the crescent moon, vanish into luminous vapour, their robes rustle -in the air, and their sun-lighted faces repeat the very complexion of -Seville. Murillo had neither the power nor the desire to idealise his -models. His Saints—St Francis of Assisi, St Felix of Cantalicio, St -Anthony, St Thomas of Villanueva—and how many more? are men such as may -be seen to-day in the streets of Seville; all are alike, the name alone -differs. His Madonnas are peasants whose emotions are purely human. More -perhaps than any painter Murillo’s work is personal—he translated the -divine life and made it his own common human life—the fault is that his -personality is not interesting. And seeing these pictures, and, even -more, his other work—pictures hanging still in the churches for which -they were painted, where they seem to share in the pervading religious -emotion and to take their part in the life of the building—the “Vision -of St Anthony of Padua” in the Baptistery of the Cathedral, for -instance, or the great pictures of La Caridad; you will understand how -Murillo came to be idolised in Spain; how his pictures held, for a time, -the admiration of Europe;<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span> and how to-day he has ceased to interest a -world that has grown older and seeks, above all, the truth.</p> - -<p>Murillo was impelled by a desire for realism. There is much of the -spirit and manner of Zurbarán in his early pictures: “San Leandro and -San Buenaventura,” two early “Virgins and the Child,” and the “Adoration -of the Shepherds,” all in the Museum, are examples. The same careful -characterisation meets us in the much later “Last Supper” of Santa Maria -la Blanca, his most truthful Scriptural scene. Then his portraits, such -as those of SS. Leandro and Isidore in the Sacristia Mayor of the -Cathedral, or that of St Dorothy in the Sacristia de los Cálices, are -serious studies after nature. Once or twice in his landscapes we find a -sincerity that surprises us. But a painter must be judged by the main -output of his art. And the truth is that, with a natural gift that -certainly was great, added to unusual facility, Murillo’s personality -was commonplace. His self-assurance amazes us. His emotion, neither -profound nor simple, but always perfectly satisfied, perfectly happy, -exactly fitted him to give voice to the common sentiments of his age. He -did create a sort of life, but his compositions are the work of his hand -rather than of his soul.<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span> All his Saints, his Madonnas—pose -unthinkingly in the subtly interwoven light he knew so well how to -paint, living only in the moment which their conventionalised attitudes -perpetuate. You do not realise them as personalities greeting you from -the canvas like the intense, painful faces of El Greco, or the wonderful -creations of Velazquez; if you remember them at all it is part of a -pleasing picture. This is the reason why these religious idylls have -lost so much of their meaning; their over-statement of sweetness cloys. -Murillo gives us one aspect of Andalusia; it was left for El Greco, -Ribera, Velazquez, and Goya to interpret Spain to the world.<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p> - - -<h2><a name="THE_OLD_ROMAN_CITY" id="THE_OLD_ROMAN_CITY"></a>THE OLD ROMAN CITY.</h2> - - -<p class="nind"><span class="smcap">Moor</span> and Spaniard have, between them, effaced almost all traces of the -ancient Hispalis or Romula, the little Rome; but the sister-city of -Italica, early deserted by man, has been dealt not too harshly with by -time. Its remains—a Spanish league to the north-west of Seville—still -attract the artist and the archæologist. There, where the wretched -hamlet of Santi Ponce now stands, was in the dim past the Iberian -village of Sancios. Scipio the Elder, after his long and victorious -campaign, passed this way, and selected the spot as a place of rest and -refreshment for his war-worn veterans. “Relicto utpote pacata regione -valido præsidio, Scipio milites omnes vulneribus debiles in unam urbem -compulit, quam ab Italia Italicam nominavit,” says Appian. Señor de -Madrazo remarks that this must have been the first Latin-speaking town -founded outside Italy. It was not at first a municipium, but a place for -meeting and council of the Roman citizens. The municipal status it owed -to Augustus. Subsequently, its citizens petitioned to be classed as a -colony of Rome.<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p> - -<p>The colony proved not unworthy of the great capital. Hence sprang the -illustrious line of the Ælii, and most of the eminent Roman Spaniards -who conferred such lustre on the early Empire are believed to have been -natives of the place. It is not, therefore, to be wondered at that the -citizens should have preferred a nominal dependence on the Mother City -to the quasi-independence of a provincial municipality. But Italica -never seems to have been a city in the modern sense of the word. -Excavations have revealed extremely few remains of private habitations -or bazaars. The only vestiges are those of great public -monuments—temples, palaces, amphitheatres, baths. The Emperors seem to -have delighted to embellish this small town with ornaments quite out of -proportion to its size and population, and it is clear that it never was -a serious rival to its older neighbour, Hispalis.</p> - -<p>Its downfall, like its history, is mysterious. Leovigild occupied it -while besieging Seville, which was held by his son, Hermenigild. Later -on, the Arabs are said to have demolished it almost completely, and to -have carried off numerous statues, columns, and blocks of masonry to -serve in the construction and adornment of the neighbouring city. Then -Italica disappeared from<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span> history. Earthquakes finished the work of -ruin, and the scattered stones went to the making of the miserable -village of Santi Ponce—a name which some derive from that of San -Geroncio, a Bishop of Italica in early times.</p> - -<p>The amphitheatre is now all that remains to attest the erstwhile -splendour of the darling colony of the Ælii. It is a melancholy and yet -a pretty spot, approached through olive plantations. Some of the walls -are still standing, and enable us to determine the dimensions, which are -stated at 291 feet length and 204 feet breadth. You may still see the -Podium or stone platform, whereon the civic dignitaries sate, and the -upper tiers appropriated to the populace. You may pass down the -vomitoria, through which the spectators streamed, glutted with the sight -of blood, and penetrate to the dens and chambers, wherein gladiators and -wild beasts were confined before the combat. Italica is more a place to -muse in than to explore. The place has long since been rifled of all its -treasures. Extensive ruins of what was believed to have been the palace -of Trajan existed down till the great earthquake of 1755, and all that -was spared were three statues preserved in the Museo Provincial or -Picture Gallery.<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p> - -<p>Close to the ruins is the convent of San Isidoro del Campo, founded in -1301 by Don Alonso Perez de Guzman, as a place of sepulture for him and -his family. The establishment was peopled first by the Cistercians, -later by the Hermits of St Jerome. The edifice presents the appearance -of a fortified abbey of the Middle Ages, though not without traces of -Mudejar influence. The church is Gothic, and divided into two naves, -united by a transept, and constituting each a distinct church. One of -these structures was built by the hero of Tarifa, Guzman the Good, and -contains his tomb and that of his wife, together with a fine retablo by -Montañes; the other, founded by the hero’s son, Don Juan Alonso Perez de -Guzman, contains his tomb, marked by a fine recumbent figure, and that -of Doña Urraca Osorio, burnt by order of Pedro the Cruel. In the -cloisters of the convent are some mural paintings of the fifteenth -century, which though much damaged repay inspection.</p> - -<p>With the excursion to Italica the traveller should combine a visit to -the Cartuja, more properly called Santa Maria de las Cuevas. It lies -close to the suburb of Triana. The monastery was founded in the first -decade of the fifteenth century, at the instance of the great -Archbishop<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> Gonzalo de Mena, and became the burying-place of the Ribera -family, whose magnificent tombs are now to be seen in the University -Church. Of the original structure only a little antique chapel remains. -The refectory, chapter-hall, and cloisters all date from a restoration -effected by the first Marqués de Tarifa in the sixteenth century. The -building became, in 1839, the seat of the pottery manufacture of the -(then) English firm of Pickman & Co. The establishment has produced some -fine porcelain, and is worth inspection by all those interested in the -ceramic art. Pottery has been associated from time immemorial with this -locality and the adjoining suburb of Triana, and it will be remembered -that the patron saints of Seville, Justa and Rufina, were, according to -tradition, potters by trade.<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p> - -<div class="figcenter" id="plt_1"> -<p class="plt">PLATE 1</p> -<a href="images/plt_001.jpg"> -<img src="images/plt_001.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of Seville from the Giralda Tower, West Side of the City.</p> - -<p>First View.</p> -</div> - - -<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p> - -<div class="figcenter" id="plt_2"> -<p class="plt">PLATE 2</p> -<a href="images/plt_002.jpg"> -<img src="images/plt_002.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of Seville from the Giralda Tower, West Side of the City.</p> - -<p>Second View.</p> -</div> - - -<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p> - -<div class="figcenter" id="plt_3"> -<p class="plt">PLATE 3</p> -<a href="images/plt_003.jpg"> -<img src="images/plt_003.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of Seville from the Giralda Tower, East Side.</p> -</div> - - -<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p> - -<div class="figcenter" id="plt_4"> -<p class="plt">PLATE 4</p> -<a href="images/plt_004.jpg"> -<img src="images/plt_004.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of Seville from the Giralda Tower, Central Part of the -City.</p> -</div> - - -<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p> - -<div class="figcenter" id="plt_5"> -<p class="plt">PLATE 5</p> -<a href="images/plt_005.jpg"> -<img src="images/plt_005.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of Seville from the Giralda Tower, North Side.</p> -</div> - - -<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p> - -<div class="figcenter" id="plt_6"> -<p class="plt">PLATE 6</p> -<a href="images/plt_006.jpg"> -<img src="images/plt_006.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Procession of the Conception of the Virgin passing through the Plaza de -San Francisco.</p> -</div> - - -<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p> - -<div class="figcenter" id="plt_7"> -<p class="plt">PLATE 7</p> -<a href="images/plt_007.jpg"> -<img src="images/plt_007.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p> - -<div class="figcenter" id="plt_8"> -<p class="plt">PLATE 8</p> -<a href="images/plt_008.jpg"> -<img src="images/plt_008.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p> - -<div class="figcenter" id="plt_9"> -<p class="plt">PLATE 9</p> -<a href="images/plt_009.jpg"> -<img src="images/plt_009.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p> - -<div class="figcenter" id="plt_10"> -<p class="plt">PLATE 10</p> -<a href="images/plt_010.jpg"> -<img src="images/plt_010.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p> - -<div class="figcenter" id="plt_11"> -<p class="plt">PLATE 11</p> -<a href="images/plt_011.jpg"> -<img src="images/plt_011.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p> - -<div class="figcenter" id="plt_12"> -<p class="plt">PLATE 12</p> -<a href="images/plt_012.jpg"> -<img src="images/plt_012.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p> - -<div class="figcenter" id="plt_13"> -<p class="plt">PLATE 13</p> -<a href="images/plt_013.jpg"> -<img src="images/plt_013.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p> - -<div class="figcenter" id="plt_14"> -<p class="plt">PLATE 14</p> -<a href="images/plt_014.jpg"> -<img src="images/plt_014.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p> - -<div class="figcenter" id="plt_15"> -<p class="plt">PLATE 15</p> -<a href="images/plt_015.jpg"> -<img src="images/plt_015.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Bridge over the Guadalquivir.</p> -</div> - - -<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p> - -<div class="figcenter" id="plt_16"> -<p class="plt">PLATE 16</p> -<a href="images/plt_016.jpg"> -<img src="images/plt_016.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hercules Avenue.</p> -</div> - - -<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p> - -<div class="figcenter" id="plt_17"> -<p class="plt">PLATE 17</p> -<a href="images/plt_017.jpg"> -<img src="images/plt_017.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Plaza Nueva.</p> -</div> - - -<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p> - -<div class="figcenter" id="plt_18"> -<p class="plt">PLATE 18</p> -<a href="images/plt_018.jpg"> -<img src="images/plt_018.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of Triana from the Tower of Gold.</p> -</div> - - -<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p> - -<div class="figcenter" id="plt_19"> -<p class="plt">PLATE 19</p> -<a href="images/plt_019.jpg"> -<img src="images/plt_019.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View from Triana.</p> -</div> - - -<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p> - -<div class="figcenter" id="plt_20"> -<p class="plt">PLATE 20</p> -<a href="images/plt_020.jpg"> -<img src="images/plt_020.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View from Triana.</p> -</div> - - -<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p> - -<div class="figcenter" id="plt_21"> -<p class="plt">PLATE 21</p> -<a href="images/plt_021.jpg"> -<img src="images/plt_021.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Tower of Gold from San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p> - -<div class="figcenter" id="plt_22"> -<p class="plt">PLATE 22</p> -<a href="images/plt_022.jpg"> -<img src="images/plt_022.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>A Street in Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p> - -<div class="figcenter" id="plt_23"> -<p class="plt">PLATE 23</p> -<a href="images/plt_023.jpg"> -<img src="images/plt_023.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Tower of Gold.</p> -</div> - - -<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p> - -<div class="figcenter" id="plt_24"> -<p class="plt">PLATE 24</p> -<a href="images/plt_024.jpg"> -<img src="images/plt_024.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Church of San Marcos, from the Palace of the Dueñas.</p> -</div> - - -<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p> - -<div class="figcenter" id="plt_25"> -<p class="plt">PLATE 25</p> -<a href="images/plt_025.jpg"> -<img src="images/plt_025.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Church of San Marcos.</p> -</div> - - -<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p> - -<div class="figcenter" id="plt_26"> -<p class="plt">PLATE 26</p> -<a href="images/plt_026.jpg"> -<img src="images/plt_026.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Hotel de Madrid.</p> -</div> - - -<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p> - -<div class="figcenter" id="plt_27"> -<p class="plt">PLATE 27</p> -<a href="images/plt_027.jpg"> -<img src="images/plt_027.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hospital, with the Mosaics painted by Murillo.</p> -</div> - - -<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p> - -<div class="figcenter" id="plt_28"> -<p class="plt">PLATE 28</p> -<a href="images/plt_028.jpg"> -<img src="images/plt_028.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Portal of the Convent of Santa Paula.</p> -</div> - - -<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p> - -<div class="figcenter" id="plt_29"> -<p class="plt">PLATE 29</p> -<a href="images/plt_029.jpg"> -<img src="images/plt_029.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Church of Santa Catalina.</p> -</div> - - -<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p> - -<div class="figcenter" id="plt_30"> -<p class="plt">PLATE 30</p> -<a href="images/plt_030.jpg"> -<img src="images/plt_030.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Church of Todos Santos.</p> -</div> - - -<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p> - -<div class="figcenter" id="plt_31"> -<p class="plt">PLATE 31</p> -<a href="images/plt_031.jpg"> -<img src="images/plt_031.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Provincial Museum, with Murillo’s Statue.</p> -</div> - - -<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p> - -<div class="figcenter" id="plt_32"> -<p class="plt">PLATE 32</p> -<a href="images/plt_032.jpg"> -<img src="images/plt_032.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Statue of Murillo.</p> -</div> - - -<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p> - -<div class="figcenter" id="plt_33"> -<p class="plt">PLATE 33</p> -<a href="images/plt_033.jpg"> -<img src="images/plt_033.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Town Hall.</p> -</div> - - -<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p> - -<div class="figcenter" id="plt_34"> -<p class="plt">PLATE 34</p> -<a href="images/plt_034.jpg"> -<img src="images/plt_034.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Town Hall, Left Side.</p> -</div> - - -<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p> - -<div class="figcenter" id="plt_35"> -<p class="plt">PLATE 35</p> -<a href="images/plt_035.jpg"> -<img src="images/plt_035.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Town Hall, Left Side, Detail of the Interior Angle.</p> -</div> - - -<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p> - -<div class="figcenter" id="plt_36"> -<p class="plt">PLATE 36</p> -<a href="images/plt_036.jpg"> -<img src="images/plt_036.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Door of the Town Hall.</p> -</div> - - -<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p> - -<div class="figcenter" id="plt_37"> -<p class="plt">PLATE 37</p> -<a href="images/plt_037.jpg"> -<img src="images/plt_037.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Town Hall, Detail of the Principal Part.</p> -</div> - - -<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p> - -<div class="figcenter" id="plt_38"> -<p class="plt">PLATE 38</p> -<a href="images/plt_038.jpg"> -<img src="images/plt_038.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Town Hall.</p> -</div> - - -<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p> - -<div class="figcenter" id="plt_39"> -<p class="plt">PLATE 39</p> -<a href="images/plt_039.jpg"> -<img src="images/plt_039.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Town Hall, Detail of the Façade.</p> -</div> - - -<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p> - -<div class="figcenter" id="plt_40"> -<p class="plt">PLATE 40</p> -<a href="images/plt_040.jpg"> -<img src="images/plt_040.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Town Hall, Detail of the Principal Door.</p> -</div> - - -<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p> - -<div class="figcenter" id="plt_41"> -<p class="plt">PLATE 41</p> -<a href="images/plt_041.jpg"> -<img src="images/plt_041.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Window in the Town Hall.</p> -</div> - - -<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p> - -<div class="figcenter" id="plt_42"> -<p class="plt">PLATE 42</p> -<a href="images/plt_042.jpg"> -<img src="images/plt_042.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Principal Façade of the Tobacco Factory.</p> -</div> - - -<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p> - -<div class="figcenter" id="plt_43"> -<p class="plt">PLATE 43</p> -<a href="images/plt_043.jpg"> -<img src="images/plt_043.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Tobacco Factory.</p> -</div> - - -<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p> - -<div class="figcenter" id="plt_44"> -<p class="plt">PLATE 44</p> -<a href="images/plt_044.jpg"> -<img src="images/plt_044.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Cigar Makers, Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p> - -<div class="figcenter" id="plt_45"> -<p class="plt">PLATE 45</p> -<a href="images/plt_045.jpg"> -<img src="images/plt_045.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The “Sevillanas” Dance.</p> -</div> - - -<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p> - -<div class="figcenter" id="plt_46"> -<p class="plt">PLATE 46</p> -<a href="images/plt_046.jpg"> -<img src="images/plt_046.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Sevillian Costumes—A Courtyard.</p> -</div> - - -<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p> - -<div class="figcenter" id="plt_47"> -<p class="plt">PLATE 47</p> -<a href="images/plt_047.jpg"> -<img src="images/plt_047.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Exchange.</p> -</div> - - -<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p> - -<div class="figcenter" id="plt_48"> -<p class="plt">PLATE 48</p> -<a href="images/plt_048.jpg"> -<img src="images/plt_048.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court in the Exchange.</p> -</div> - - -<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p> - -<div class="figcenter" id="plt_49"> -<p class="plt">PLATE 49</p> -<a href="images/plt_049.jpg"> -<img src="images/plt_049.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Aceite Postern and Ancient Ramparts.</p> -</div> - - -<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p> - -<div class="figcenter" id="plt_50"> -<p class="plt">PLATE 50</p> -<a href="images/plt_050.jpg"> -<img src="images/plt_050.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Roman Walls near the Gate of the Macarena.</p> -</div> - - -<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p> - -<div class="figcenter" id="plt_51"> -<p class="plt">PLATE 51</p> -<a href="images/plt_051.jpg"> -<img src="images/plt_051.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Roman Amphitheatre of Italica.</p> -</div> - - -<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p> - -<div class="figcenter" id="plt_52"> -<p class="plt">PLATE 52</p> -<a href="images/plt_052.jpg"> -<img src="images/plt_052.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Palace of San Telmo from the River.</p> -</div> - - -<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p> - -<div class="figcenter" id="plt_53"> -<p class="plt">PLATE 53</p> -<a href="images/plt_053.jpg"> -<img src="images/plt_053.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Principal Portal of the San Telmo Palace.</p> -</div> - - -<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p> - -<div class="figcenter" id="plt_54"> -<p class="plt">PLATE 54</p> -<a href="images/plt_054.jpg"> -<img src="images/plt_054.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior of the Hall of Columns in the San Telmo Palace.</p> -</div> - - -<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p> - -<div class="figcenter" id="plt_55"> -<p class="plt">PLATE 55</p> -<a href="images/plt_055.jpg"> -<img src="images/plt_055.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior View of the Duke of Montpensier’s Study In San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p> - -<div class="figcenter" id="plt_56"> -<p class="plt">PLATE 56</p> -<a href="images/plt_056.jpg"> -<img src="images/plt_056.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Various Objects found in the Sepulchres at San Telmo.</p> - -<p>(In the Palace of San Telmo.)</p> -</div> - - -<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p> - -<div class="figcenter" id="plt_57"> -<p class="plt">PLATE 57</p> -<a href="images/plt_057.jpg"> -<img src="images/plt_057.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Palms in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p> - -<div class="figcenter" id="plt_58"> -<p class="plt">PLATE 58</p> -<a href="images/plt_058.jpg"> -<img src="images/plt_058.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Sepulchres of the Victims of Don Juan Tenorio in the Gardens of San -Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p> - -<div class="figcenter" id="plt_59"> -<p class="plt">PLATE 59</p> -<a href="images/plt_059.jpg"> -<img src="images/plt_059.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Roman Sepulchres in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p> - -<div class="figcenter" id="plt_60"> -<p class="plt">PLATE 60</p> -<a href="images/plt_060.jpg"> -<img src="images/plt_060.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p> - -<div class="figcenter" id="plt_61"> -<p class="plt">PLATE 61</p> -<a href="images/plt_061.jpg"> -<img src="images/plt_061.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Aviary in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p> - -<div class="figcenter" id="plt_62"> -<p class="plt">PLATE 62</p> -<a href="images/plt_062.jpg"> -<img src="images/plt_062.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The River in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p> - -<div class="figcenter" id="plt_63"> -<p class="plt">PLATE 63</p> -<a href="images/plt_063.jpg"> -<img src="images/plt_063.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cocoa Tree and East Side of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p> - -<div class="figcenter" id="plt_64"> -<p class="plt">PLATE 64</p> -<a href="images/plt_064.jpg"> -<img src="images/plt_064.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Zapote, a Tree in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p> - -<div class="figcenter" id="plt_65"> -<p class="plt">PLATE 65</p> -<a href="images/plt_065.jpg"> -<img src="images/plt_065.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Island and River in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p> - -<div class="figcenter" id="plt_66"> -<p class="plt">PLATE 66</p> -<a href="images/plt_066.jpg"> -<img src="images/plt_066.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Yucca, a rare Tree in the Gardens of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p> - -<div class="figcenter" id="plt_67"> -<p class="plt">PLATE 67</p> -<a href="images/plt_067.jpg"> -<img src="images/plt_067.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Hospital de la Sangre.</p> -</div> - - -<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p> - -<div class="figcenter" id="plt_68"> -<p class="plt">PLATE 68</p> -<a href="images/plt_068.jpg"> -<img src="images/plt_068.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Church of the Sagrario, North Side.</p> -</div> - - -<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p> - -<div class="figcenter" id="plt_69"> -<p class="plt">PLATE 69</p> -<a href="images/plt_069.jpg"> -<img src="images/plt_069.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Principal Façade of the Hospital de la Sangre.</p> -</div> - - -<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p> - -<div class="figcenter" id="plt_70"> -<p class="plt">PLATE 70</p> -<a href="images/plt_070.jpg"> -<img src="images/plt_070.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Porch of the Church of the Hospital de la Sangre.</p> -</div> - - -<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p> - -<div class="figcenter" id="plt_71"> -<p class="plt">PLATE 71</p> -<a href="images/plt_071.jpg"> -<img src="images/plt_071.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Bas-relief. Hospital de la Sangre, the Work of Torregiano.</p> -</div> - - -<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p> - -<div class="figcenter" id="plt_72"> -<p class="plt">PLATE 72</p> -<a href="images/plt_072.jpg"> -<img src="images/plt_072.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Exterior of the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p> - -<div class="figcenter" id="plt_73"> -<p class="plt">PLATE 73</p> -<a href="images/plt_073.jpg"> -<img src="images/plt_073.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Giralda, from the Patio de los Naranjos.</p> -</div> - - -<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p> - -<div class="figcenter" id="plt_74"> -<p class="plt">PLATE 74</p> -<a href="images/plt_074.jpg"> -<img src="images/plt_074.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Top of the Giralda.</p> -</div> - - -<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p> - -<div class="figcenter" id="plt_75"> -<p class="plt">PLATE 75</p> -<a href="images/plt_075.jpg"> -<img src="images/plt_075.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Dancing Choir Boys, Seville Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p> - -<div class="figcenter" id="plt_76"> -<p class="plt">PLATE 76</p> -<a href="images/plt_076.jpg"> -<img src="images/plt_076.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Dancing Boys, Seville Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p> - -<div class="figcenter" id="plt_77"> -<p class="plt">PLATE 77</p> -<a href="images/plt_077.jpg"> -<img src="images/plt_077.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Gate of the Archbishop.</p> -</div> - - -<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p> - -<div class="figcenter" id="plt_78"> -<p class="plt">PLATE 78</p> -<a href="images/plt_078.jpg"> -<img src="images/plt_078.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de San Francisco, with the Giralda and Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p> - -<div class="figcenter" id="plt_79"> -<p class="plt">PLATE 79</p> -<a href="images/plt_079.jpg"> -<img src="images/plt_079.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza del Triunfo, the Cathedral, and the Exchange, from the Gate of the -Lion.</p> -</div> - - -<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p> - -<div class="figcenter" id="plt_80"> -<p class="plt">PLATE 80</p> -<a href="images/plt_080.jpg"> -<img src="images/plt_080.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Fête.</p> -</div> - - -<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p> - -<div class="figcenter" id="plt_81"> -<p class="plt">PLATE 81</p> -<a href="images/plt_081.jpg"> -<img src="images/plt_081.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gate of San Miguel in the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p> - -<div class="figcenter" id="plt_82"> -<p class="plt">PLATE 82</p> -<a href="images/plt_082.jpg"> -<img src="images/plt_082.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gate of the Cathedral called de las Campanillas.</p> -</div> - - -<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p> - -<div class="figcenter" id="plt_83"> -<p class="plt">PLATE 83</p> -<a href="images/plt_083.jpg"> -<img src="images/plt_083.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gate of the Baptist in the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p> - -<div class="figcenter" id="plt_84"> -<p class="plt">PLATE 84</p> -<a href="images/plt_084.jpg"> -<img src="images/plt_084.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Gate of the Lizard in the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p> - -<div class="figcenter" id="plt_85"> -<p class="plt">PLATE 85</p> -<a href="images/plt_085.jpg"> -<img src="images/plt_085.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Cathedral From the Tribune of the Principal Door.</p> -</div> - - -<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p> - -<div class="figcenter" id="plt_86"> -<p class="plt">PLATE 86</p> -<a href="images/plt_086.jpg"> -<img src="images/plt_086.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Principal Sacristy in the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p> - -<div class="figcenter" id="plt_87"> -<p class="plt">PLATE 87</p> -<a href="images/plt_087.jpg"> -<img src="images/plt_087.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Principal Entrance to the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p> - -<div class="figcenter" id="plt_88"> -<p class="plt">PLATE 88</p> -<a href="images/plt_088.jpg"> -<img src="images/plt_088.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior View of the Principal Sacristy in the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p> - -<div class="figcenter" id="plt_89"> -<p class="plt">PLATE 89</p> -<a href="images/plt_089.jpg"> -<img src="images/plt_089.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Gamba Chapel.</p> -</div> - - -<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p> - -<div class="figcenter" id="plt_90"> -<p class="plt">PLATE 90</p> -<a href="images/plt_090.jpg"> -<img src="images/plt_090.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> - -<p>The Gamba Chapel and Entrance to that of the Antigua.</p> -</div> - - -<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p> - -<div class="figcenter" id="plt_91"> -<p class="plt">PLATE 91</p> -<a href="images/plt_091.jpg"> -<img src="images/plt_091.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Chapels of the Conception and the Annunciation in the Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p> - -<div class="figcenter" id="plt_92"> -<p class="plt">PLATE 92</p> -<a href="images/plt_092.jpg"> -<img src="images/plt_092.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> - -<p>The Chapel of the Conception.</p> -</div> - - -<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p> - -<div class="figcenter" id="plt_93"> -<p class="plt">PLATE 93</p> -<a href="images/plt_093.jpg"> -<img src="images/plt_093.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> - -<p>Detail of the High Altar.</p> -</div> - - -<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p> - -<div class="figcenter" id="plt_94"> -<p class="plt">PLATE 94</p> -<a href="images/plt_094.jpg"> -<img src="images/plt_094.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> - -<p>Retablo, or Altar-piece of the High Altar.</p> -</div> - - -<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p> - -<div class="figcenter" id="plt_95"> -<p class="plt">PLATE 95</p> -<a href="images/plt_095.jpg"> -<img src="images/plt_095.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Iron Railings of the Lateral Part of the High Altar.</p> -</div> - - -<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p> - -<div class="figcenter" id="plt_96"> -<p class="plt">PLATE 96</p> -<a href="images/plt_096.jpg"> -<img src="images/plt_096.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> - -<p>Wrought Iron Screen in the Choir.</p> -</div> - - -<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p> - -<div class="figcenter" id="plt_97"> -<p class="plt">PLATE 97</p> -<a href="images/plt_097.jpg"> -<img src="images/plt_097.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> - -<p>Wrought Iron Screen of the High Altar.</p> -</div> - - -<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p> - -<div class="figcenter" id="plt_98"> -<p class="plt">PLATE 98</p> -<a href="images/plt_098.jpg"> -<img src="images/plt_098.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Christopher carrying the Child Jesus, by Mateo Perez Alesio, in the -Cathedral.].<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p> - -<div class="figcenter" id="plt_99"> -<p class="plt">PLATE 99</p> -<a href="images/plt_099.jpg"> -<img src="images/plt_099.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>San Fernando Square.</p> -</div> - - -<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p> - -<div class="figcenter" id="plt_100"> -<p class="plt">PLATE 100</p> -<a href="images/plt_100.jpg"> -<img src="images/plt_100.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gardens of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p> - -<div class="figcenter" id="plt_101"> -<p class="plt">PLATE 101</p> -<a href="images/plt_101.jpg"> -<img src="images/plt_101.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Gardens of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p> - -<div class="figcenter" id="plt_102"> -<p class="plt">PLATE 102</p> -<a href="images/plt_102.jpg"> -<img src="images/plt_102.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View of the Gardens of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p> - -<div class="figcenter" id="plt_103"> -<p class="plt">PLATE 103</p> -<a href="images/plt_103.jpg"> -<img src="images/plt_103.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Gardens of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p> - -<div class="figcenter" id="plt_104"> -<p class="plt">PLATE 104</p> -<a href="images/plt_104.jpg"> -<img src="images/plt_104.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Gardens of the Alcazar. Lake and Gallery of Don Pedro I. the -Cruel.</p> -</div> - - -<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p> - -<div class="figcenter" id="plt_105"> -<p class="plt">PLATE 105</p> -<a href="images/plt_105.jpg"> -<img src="images/plt_105.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Gardens of the Alcazar. View of the Gallery of Don Pedro I., the -Cruel.</p> -</div> - - -<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p> - -<div class="figcenter" id="plt_106"> -<p class="plt">PLATE 106</p> -<a href="images/plt_106.jpg"> -<img src="images/plt_106.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Hothouses in the Gardens of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p> - -<div class="figcenter" id="plt_107"> -<p class="plt">PLATE 107</p> -<a href="images/plt_107.jpg"> -<img src="images/plt_107.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Calle de las Vedras in the Gardens of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p> - -<div class="figcenter" id="plt_108"> -<p class="plt">PLATE 108</p> -<a href="images/plt_108.jpg"> -<img src="images/plt_108.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Gardens of the Alcazar.</p> - -<p>Parterre of Doña Maria de Padilla.</p> -</div> - - -<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p> - -<div class="figcenter" id="plt_109"> -<p class="plt">PLATE 109</p> -<a href="images/plt_109.jpg"> -<img src="images/plt_109.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Alcazar. Baths of Doña Maria de Padilla.</p> -</div> - - -<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p> - -<div class="figcenter" id="plt_110"> -<p class="plt">PLATE 110</p> -<a href="images/plt_110.jpg"> -<img src="images/plt_110.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Magnificent Altar in Faience painted in the 15th Century.</p> - -<p>In the Oratory of the Catholic Sovereigns in the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p> - -<div class="figcenter" id="plt_111"> -<p class="plt">PLATE 111</p> -<a href="images/plt_111.jpg"> -<img src="images/plt_111.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Town Hall of Seville.</p> - -<p>Details of Doors and Balconies.</p> -</div> - - -<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p> - -<div class="figcenter" id="plt_112"> -<p class="plt">PLATE 112</p> -<a href="images/plt_112.jpg"> -<img src="images/plt_112.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Town Hall of Seville. Details.</p> -</div> - - -<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p> - -<div class="figcenter" id="plt_113"> -<p class="plt">PLATE 113</p> -<a href="images/plt_113.jpg"> -<img src="images/plt_113.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Parish Church of San Marcos.</p> -</div> - - -<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p> - -<div class="figcenter" id="plt_114"> -<p class="plt">PLATE 114</p> -<a href="images/plt_114.jpg"> -<img src="images/plt_114.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Various Towers of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p> - -<div class="figcenter" id="plt_115"> -<p class="plt">PLATE 115</p> -<a href="images/plt_115.jpg"> -<img src="images/plt_115.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Details of the Mosaic commonly called El Grande.</p> -</div> - - -<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p> - -<div class="figcenter" id="plt_116"> -<p class="plt">PLATE 116</p> -<a href="images/plt_116.jpg"> -<img src="images/plt_116.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Sculpture and Details of Ancient Churches.</p> -</div> - - -<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p> - -<div class="figcenter" id="plt_117"> -<p class="plt">PLATE 117</p> -<a href="images/plt_117.jpg"> -<img src="images/plt_117.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Architectural Parts, Bas-reliefs, and Ceramic Objects.</p> -</div> - - -<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p> - -<div class="figcenter" id="plt_118"> -<p class="plt">PLATE 118</p> -<a href="images/plt_118.jpg"> -<img src="images/plt_118.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Façade of the Consistorial Houses.</p> -</div> - - -<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p> - -<div class="figcenter" id="plt_119"> -<p class="plt">PLATE 119</p> -<a href="images/plt_119.jpg"> -<img src="images/plt_119.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Entrance to the Alcazar, Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p> - -<div class="figcenter" id="plt_120"> -<p class="plt">PLATE 120</p> -<a href="images/plt_120.jpg"> -<img src="images/plt_120.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Principal Façade of the Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p> - -<div class="figcenter" id="plt_121"> -<p class="plt">PLATE 121</p> -<a href="images/plt_121.jpg"> -<img src="images/plt_121.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gate of the Principal Entrance, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p> - -<div class="figcenter" id="plt_122"> -<p class="plt">PLATE 122</p> -<a href="images/plt_122.jpg"> -<img src="images/plt_122.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior of the Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p> - -<div class="figcenter" id="plt_123"> -<p class="plt">PLATE 123</p> -<a href="images/plt_123.jpg"> -<img src="images/plt_123.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p> - -<div class="figcenter" id="plt_124"> -<p class="plt">PLATE 124</p> -<a href="images/plt_124.jpg"> -<img src="images/plt_124.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior of the Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p> - -<div class="figcenter" id="plt_125"> -<p class="plt">PLATE 125</p> -<a href="images/plt_125.jpg"> -<img src="images/plt_125.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior of the Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p> - -<div class="figcenter" id="plt_126"> -<p class="plt">PLATE 126</p> -<a href="images/plt_126.jpg"> -<img src="images/plt_126.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p> - -<div class="figcenter" id="plt_127"> -<p class="plt">PLATE 127</p> -<a href="images/plt_127.jpg"> -<img src="images/plt_127.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p> - -<div class="figcenter" id="plt_128"> -<p class="plt">PLATE 128</p> -<a href="images/plt_128.jpg"> -<img src="images/plt_128.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hall of Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p> - -<div class="figcenter" id="plt_129"> -<p class="plt">PLATE 129</p> -<a href="images/plt_129.jpg"> -<img src="images/plt_129.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Upper Part of the Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p> - -<div class="figcenter" id="plt_130"> -<p class="plt">PLATE 130</p> -<a href="images/plt_130.jpg"> -<img src="images/plt_130.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls from the Room of the Prince, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p> - -<div class="figcenter" id="plt_131"> -<p class="plt">PLATE 131</p> -<a href="images/plt_131.jpg"> -<img src="images/plt_131.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p> - -<div class="figcenter" id="plt_132"> -<p class="plt">PLATE 132</p> -<a href="images/plt_132.jpg"> -<img src="images/plt_132.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Angle in the Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p> - -<div class="figcenter" id="plt_133"> -<p class="plt">PLATE 133</p> -<a href="images/plt_133.jpg"> -<img src="images/plt_133.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p> - -<div class="figcenter" id="plt_134"> -<p class="plt">PLATE 134</p> -<a href="images/plt_134.jpg"> -<img src="images/plt_134.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p> - -<div class="figcenter" id="plt_135"> -<p class="plt">PLATE 135</p> -<a href="images/plt_135.jpg"> -<img src="images/plt_135.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p> - -<div class="figcenter" id="plt_136"> -<p class="plt">PLATE 136</p> -<a href="images/plt_136.jpg"> -<img src="images/plt_136.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p> - -<div class="figcenter" id="plt_137"> -<p class="plt">PLATE 137</p> -<a href="images/plt_137.jpg"> -<img src="images/plt_137.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p> - -<div class="figcenter" id="plt_138"> -<p class="plt">PLATE 138</p> -<a href="images/plt_138.jpg"> -<img src="images/plt_138.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p> - -<div class="figcenter" id="plt_139"> -<p class="plt">PLATE 139</p> -<a href="images/plt_139.jpg"> -<img src="images/plt_139.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gallery on the Second Storey of the Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p> - -<div class="figcenter" id="plt_140"> -<p class="plt">PLATE 140</p> -<a href="images/plt_140.jpg"> -<img src="images/plt_140.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Upper Part of the Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p> - -<div class="figcenter" id="plt_141"> -<p class="plt">PLATE 141</p> -<a href="images/plt_141.jpg"> -<img src="images/plt_141.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Upper Part of the Court of the Dolls, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p> - -<div class="figcenter" id="plt_142"> -<p class="plt">PLATE 142</p> -<a href="images/plt_142.jpg"> -<img src="images/plt_142.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Entrance to the Dormitory of the Moorish Kings, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p> - -<div class="figcenter" id="plt_143"> -<p class="plt">PLATE 143</p> -<a href="images/plt_143.jpg"> -<img src="images/plt_143.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Dormitory of the Moorish Kings, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p> - -<div class="figcenter" id="plt_144"> -<p class="plt">PLATE 144</p> -<a href="images/plt_144.jpg"> -<img src="images/plt_144.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Front of the Sleeping Saloon of the Moorish Kings, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p> - -<div class="figcenter" id="plt_145"> -<p class="plt">PLATE 145</p> -<a href="images/plt_145.jpg"> -<img src="images/plt_145.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Sleeping Saloon of the Moorish Kings, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p> - -<div class="figcenter" id="plt_146-a"> -<p class="plt">PLATE 146</p> -<a href="images/plt_146-a.jpg"> -<img src="images/plt_146-a.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Intercolumniation, where Don Fadrique was Assassinated, Alcazar.</p> -</div> - -<div class="figcenter" id="plt_146-b"> -<a href="images/plt_146-b.jpg"> -<img src="images/plt_146-b.jpg" -width="70%" -alt="[Image unavailable.]" /></a> -<p>Sultana’s Quarters, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p> - -<div class="figcenter" id="plt_147"> -<p class="plt">PLATE 147</p> -<a href="images/plt_147.jpg"> -<img src="images/plt_147.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Room in which King St Ferdinand Died, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p> - -<div class="figcenter" id="plt_148"> -<p class="plt">PLATE 148</p> -<a href="images/plt_148.jpg"> -<img src="images/plt_148.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Interior of the Hall of St Ferdinand, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p> - -<div class="figcenter" id="plt_149"> -<p class="plt">PLATE 149</p> -<a href="images/plt_149.jpg"> -<img src="images/plt_149.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Front of the Hall of St Ferdinand, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p> - -<div class="figcenter" id="plt_150"> -<p class="plt">PLATE 150</p> -<a href="images/plt_150.jpg"> -<img src="images/plt_150.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gate of the Hall of St Ferdinand, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p> - -<div class="figcenter" id="plt_151"> -<p class="plt">PLATE 151</p> -<a href="images/plt_151.jpg"> -<img src="images/plt_151.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gallery of the Hall of St Ferdinand, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p> - -<div class="figcenter" id="plt_152"> -<p class="plt">PLATE 152</p> -<a href="images/plt_152.jpg"> -<img src="images/plt_152.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Throne of Justice, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p> - -<div class="figcenter" id="plt_153"> -<p class="plt">PLATE 153</p> -<a href="images/plt_153.jpg"> -<img src="images/plt_153.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Hundred Virgins, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p> - -<div class="figcenter" id="plt_154"> -<p class="plt">PLATE 154</p> -<a href="images/plt_154.jpg"> -<img src="images/plt_154.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Virgins, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p> - -<div class="figcenter" id="plt_155"> -<p class="plt">PLATE 155</p> -<a href="images/plt_155.jpg"> -<img src="images/plt_155.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>General View of the Court of the Hundred Virgins, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p> - -<div class="figcenter" id="plt_156"> -<p class="plt">PLATE 156</p> -<a href="images/plt_156.jpg"> -<img src="images/plt_156.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the Virgins, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p> - -<div class="figcenter" id="plt_157"> -<p class="plt">PLATE 157</p> -<a href="images/plt_157.jpg"> -<img src="images/plt_157.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Front of the Dormitory of the Moorish Kings and the Court of the -Virgins, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p> - -<div class="figcenter" id="plt_158"> -<p class="plt">PLATE 158</p> -<a href="images/plt_158.jpg"> -<img src="images/plt_158.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gallery in the Court of the Virgins, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p> - -<div class="figcenter" id="plt_159"> -<p class="plt">PLATE 159</p> -<a href="images/plt_159.jpg"> -<img src="images/plt_159.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Court of the Virgins. Capital of the Door of the Hall of -Ambassadors, Alcazar.</p> -</div> - - -<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p> - -<div class="figcenter" id="plt_160"> -<p class="plt">PLATE 160</p> -<a href="images/plt_160.jpg"> -<img src="images/plt_160.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Alcazar.</p> - -<p>Court of the Virgins. Capital of the Gate of the Hall of Charles V.</p> -</div> - - -<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p> - -<div class="figcenter" id="plt_161"> -<p class="plt">PLATE 161</p> -<a href="images/plt_161.jpg"> -<img src="images/plt_161.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Palace of the Dueñas. Door of the Chapel.</p> -</div> - - -<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p> - -<div class="figcenter" id="plt_162"> -<p class="plt">PLATE 162</p> -<a href="images/plt_162.jpg"> -<img src="images/plt_162.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Palace of the Dukes of Alcala, Commonly called Casa de Pilatos.</p> -</div> - - -<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p> - -<div class="figcenter" id="plt_163"> -<p class="plt">PLATE 163</p> -<a href="images/plt_163.jpg"> -<img src="images/plt_163.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Court in the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p> - -<div class="figcenter" id="plt_164"> -<p class="plt">PLATE 164</p> -<a href="images/plt_164.jpg"> -<img src="images/plt_164.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Court of the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p> - -<div class="figcenter" id="plt_165"> -<p class="plt">PLATE 165</p> -<a href="images/plt_165.jpg"> -<img src="images/plt_165.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gallery in the Court of the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p> - -<div class="figcenter" id="plt_166"> -<p class="plt">PLATE 166</p> -<a href="images/plt_166.jpg"> -<img src="images/plt_166.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p> - -<div class="figcenter" id="plt_167"> -<p class="plt">PLATE 167</p> -<a href="images/plt_167.jpg"> -<img src="images/plt_167.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Gallery in the Court of the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p> - -<div class="figcenter" id="plt_168"> -<p class="plt">PLATE 168</p> -<a href="images/plt_168.jpg"> -<img src="images/plt_168.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Angle and Statue in the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p> - -<div class="figcenter" id="plt_169"> -<p class="plt">PLATE 169</p> -<a href="images/plt_169.jpg"> -<img src="images/plt_169.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Entrance to the Ante-room of the Chapel.</p> -</div> - - -<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p> - -<div class="figcenter" id="plt_170"> -<p class="plt">PLATE 170</p> -<a href="images/plt_170.jpg"> -<img src="images/plt_170.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Staircase in the House of Pilate, by Barrera.</p> -</div> - - -<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p> - -<div class="figcenter" id="plt_171"> -<p class="plt">PLATE 171</p> -<a href="images/plt_171.jpg"> -<img src="images/plt_171.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Entrance Door of the Oratory.</p> -</div> - - -<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p> - -<div class="figcenter" id="plt_172"> -<p class="plt">PLATE 172</p> -<a href="images/plt_172.jpg"> -<img src="images/plt_172.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Way out to the Flat Roofs in the High Gallery.</p> -</div> - - -<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p> - -<div class="figcenter" id="plt_173"> -<p class="plt">PLATE 173</p> -<a href="images/plt_173.jpg"> -<img src="images/plt_173.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Staircase in the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p> - -<div class="figcenter" id="plt_174"> -<p class="plt">PLATE 174</p> -<a href="images/plt_174.jpg"> -<img src="images/plt_174.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate. Doors of the Offices in the High Gallery.</p> -</div> - - -<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p> - -<div class="figcenter" id="plt_175"> -<p class="plt">PLATE 175</p> -<a href="images/plt_175.jpg"> -<img src="images/plt_175.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Window of the Prætor’s Hall leading to the Garden.</p> -</div> - - -<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p> - -<div class="figcenter" id="plt_176"> -<p class="plt">PLATE 176</p> -<a href="images/plt_176.jpg"> -<img src="images/plt_176.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Barred Window in the Prætor’s Garden.</p> -</div> - - -<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p> - -<div class="figcenter" id="plt_177"> -<p class="plt">PLATE 177</p> -<a href="images/plt_177.jpg"> -<img src="images/plt_177.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate. Bolt on the Prætor’s Gate.</p> -</div> - - -<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p> - -<div class="figcenter" id="plt_178"> -<p class="plt">PLATE 178</p> -<a href="images/plt_178.jpg"> -<img src="images/plt_178.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Window in the Ante-room of the Chapel.</p> -</div> - - -<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p> - -<div class="figcenter" id="plt_179"> -<p class="plt">PLATE 179</p> -<a href="images/plt_179.jpg"> -<img src="images/plt_179.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Section of the Ceiling in the Prætor’s Hall.</p> -</div> - - -<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p> - -<div class="figcenter" id="plt_180"> -<p class="plt">PLATE 180</p> -<a href="images/plt_180.jpg"> -<img src="images/plt_180.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Palace of the Dueñas in Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p> - -<div class="figcenter" id="plt_181"> -<p class="plt">PLATE 181</p> -<a href="images/plt_181.jpg"> -<img src="images/plt_181.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Mosaics in the Hall of the Fountain.</p> -</div> - - -<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p> - -<div class="figcenter" id="plt_182"> -<p class="plt">PLATE 182</p> -<a href="images/plt_182.jpg"> -<img src="images/plt_182.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Palace of the Dueñas in Seville.</p> - -<p>Glazed Tiles in the Socles of the Chapel and Arches.</p> -</div> - - -<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p> - -<div class="figcenter" id="plt_183"> -<p class="plt">PLATE 183</p> -<a href="images/plt_183.jpg"> -<img src="images/plt_183.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Mosaic of the Peristyle in the Palace.</p> -</div> - - -<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p> - -<div class="figcenter" id="plt_184"> -<p class="plt">PLATE 184</p> -<a href="images/plt_184.jpg"> -<img src="images/plt_184.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Mosaic in the Hall of the Fountain.</p> -</div> - - -<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p> - -<div class="figcenter" id="plt_185"> -<p class="plt">PLATE 185</p> -<a href="images/plt_185.jpg"> -<img src="images/plt_185.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Mosaic in the Court of the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p> - -<div class="figcenter" id="plt_186"> -<p class="plt">PLATE 186</p> -<a href="images/plt_186.jpg"> -<img src="images/plt_186.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Mosaic in the Court of the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p> - -<div class="figcenter" id="plt_187"> -<p class="plt">PLATE 187</p> -<a href="images/plt_187.jpg"> -<img src="images/plt_187.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Mosaic in the Court of the House of Pilate.</p> -</div> - - -<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p> - -<div class="figcenter" id="plt_188"> -<p class="plt">PLATE 188</p> -<a href="images/plt_188.jpg"> -<img src="images/plt_188.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate.</p> - -<p>Mosaic in the Chapel.</p> -</div> - - -<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p> - -<div class="figcenter" id="plt_189"> -<p class="plt">PLATE 189</p> -<a href="images/plt_189.jpg"> -<img src="images/plt_189.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Bartolomé Esteban Murillo.</p> - -<p>BORN IN SEVILLE, 1617.</p> -</div> - - -<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p> - -<div class="figcenter" id="plt_190"> -<p class="plt">PLATE 190</p> -<a href="images/plt_190.jpg"> -<img src="images/plt_190.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Altar-screen of the La Gamba, by Luis de Vargas.</p> - -<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p><p>SEVILLE CATHEDRAL.</p> -</div> - -<div class="figcenter" id="plt_191"> -<p class="plt">PLATE 191</p> -<a href="images/plt_191.jpg"> -<img src="images/plt_191.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Descent from the Cross, by Pedro Campaña.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p> - -<div class="figcenter" id="plt_192"> -<p class="plt">PLATE 192</p> -<a href="images/plt_192.jpg"> -<img src="images/plt_192.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Anthony of Padua visited by the Infant Saviour while kneeling at his -Prayers, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p> - -<div class="figcenter" id="plt_193"> -<p class="plt">PLATE 193</p> -<a href="images/plt_193.jpg"> -<img src="images/plt_193.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lord Baptized by St John Baptist, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p> - -<div class="figcenter" id="plt_194"> -<p class="plt">PLATE 194</p> -<a href="images/plt_194.jpg"> -<img src="images/plt_194.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Guardian Angel, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p> - -<div class="figcenter" id="plt_195"> -<p class="plt">PLATE 195</p> -<a href="images/plt_195.jpg"> -<img src="images/plt_195.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Leander, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p> - -<div class="figcenter" id="plt_196"> -<p class="plt">PLATE 196</p> -<a href="images/plt_196.jpg"> -<img src="images/plt_196.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Isidore, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p> - -<div class="figcenter" id="plt_197"> -<p class="plt">PLATE 197</p> -<a href="images/plt_197.jpg"> -<img src="images/plt_197.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Ferdinand, Crowned and Robed, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p> - -<div class="figcenter" id="plt_198"> -<p class="plt">PLATE 198</p> -<a href="images/plt_198.jpg"> -<img src="images/plt_198.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Madre Francisca Dorotea Villalda, by Murillo.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p> - -<div class="figcenter" id="plt_199"> -<p class="plt">PLATE 199</p> -<a href="images/plt_199.jpg"> -<img src="images/plt_199.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Anthony with the Infant Saviour, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p> - -<div class="figcenter" id="plt_200"> -<p class="plt">PLATE 200</p> -<a href="images/plt_200.jpg"> -<img src="images/plt_200.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Immaculate Conception, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p> - -<div class="figcenter" id="plt_201"> -<p class="plt">PLATE 201</p> -<a href="images/plt_201.jpg"> -<img src="images/plt_201.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Immaculate Conception, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p> - -<div class="figcenter" id="plt_202"> -<p class="plt">PLATE 202</p> -<a href="images/plt_202.jpg"> -<img src="images/plt_202.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Immaculate Conception, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p> - -<div class="figcenter" id="plt_203"> -<p class="plt">PLATE 203</p> -<a href="images/plt_203.jpg"> -<img src="images/plt_203.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Immaculate Conception, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p> - -<div class="figcenter" id="plt_204"> -<p class="plt">PLATE 204</p> -<a href="images/plt_204.jpg"> -<img src="images/plt_204.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Justa and St Rufina, Patron Saints of Seville, holding between them -the Giralda Tower, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p> - -<div class="figcenter" id="plt_205"> -<p class="plt">PLATE 205</p> -<a href="images/plt_205.jpg"> -<img src="images/plt_205.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Bonaventure and St Leander, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p> - -<div class="figcenter" id="plt_206"> -<p class="plt">PLATE 206</p> -<a href="images/plt_206.jpg"> -<img src="images/plt_206.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Thomas of Villanueva giving Alms at the Door of his Cathedral, by -Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p> - -<div class="figcenter" id="plt_207"> -<p class="plt">PLATE 207</p> -<a href="images/plt_207.jpg"> -<img src="images/plt_207.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Annunciation of our Lady, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p> - -<div class="figcenter" id="plt_208"> -<p class="plt">PLATE 208</p> -<a href="images/plt_208.jpg"> -<img src="images/plt_208.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Felix of Cantalisi restoring to Our Lady the Infant Saviour, whom she -had placed in his Arms, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p> - -<div class="figcenter" id="plt_209"> -<p class="plt">PLATE 209</p> -<a href="images/plt_209.jpg"> -<img src="images/plt_209.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Adoration of the Shepherds of Bethlehem, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p> - -<div class="figcenter" id="plt_210"> -<p class="plt">PLATE 210</p> -<a href="images/plt_210.jpg"> -<img src="images/plt_210.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Peter Nolasco kneeling before Our Lady of Mercy, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p> - -<div class="figcenter" id="plt_211"> -<p class="plt">PLATE 211</p> -<a href="images/plt_211.jpg"> -<img src="images/plt_211.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Deposition—St Francis of Assisi supporting the Body of Our Lord -nailed by the Left Hand to the Cross, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p> - -<div class="figcenter" id="plt_212"> -<p class="plt">PLATE 212</p> -<a href="images/plt_212.jpg"> -<img src="images/plt_212.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Joseph and the Infant Saviour, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p> - -<div class="figcenter" id="plt_213"> -<p class="plt">PLATE 213</p> -<a href="images/plt_213.jpg"> -<img src="images/plt_213.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St John the Baptist in the Desert leaning against a Rock, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p> - -<div class="figcenter" id="plt_214"> -<p class="plt">PLATE 214</p> -<a href="images/plt_214.jpg"> -<img src="images/plt_214.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Augustine and the Flaming Heart, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p> - -<div class="figcenter" id="plt_215"> -<p class="plt">PLATE 215</p> -<a href="images/plt_215.jpg"> -<img src="images/plt_215.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Felix of Cantalisi and the Infant Jesus, known as, “San Felix de Las -Arrugas,” by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p> - -<div class="figcenter" id="plt_216"> -<p class="plt">PLATE 216</p> -<a href="images/plt_216.jpg"> -<img src="images/plt_216.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Anthony with the Infant Saviour, by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p> - -<div class="figcenter" id="plt_217"> -<p class="plt">PLATE 217</p> -<a href="images/plt_217.jpg"> -<img src="images/plt_217.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Deposition from the Cross, by Murillo.</p> - -<p>SEVILLE MUSEUM..</p> -</div> - - -<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p> - -<div class="figcenter" id="plt_218"> -<p class="plt">PLATE 218</p> -<a href="images/plt_218.jpg"> -<img src="images/plt_218.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady with the Infant Saviour in her Arms, by Murillo.</p> - -<p>(AN EARLY PICTURE.)</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p> - -<div class="figcenter" id="plt_219"> -<p class="plt">PLATE 219</p> -<a href="images/plt_219.jpg"> -<img src="images/plt_219.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady and the Infant Saviour, known as “La Virgen de la Servilleta,” -by Murillo.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p> - -<div class="figcenter" id="plt_220"> -<p class="plt">PLATE 220</p> -<a href="images/plt_220.jpg"> -<img src="images/plt_220.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady seated, with the Infant Saviour in her Lap, by Murillo.</p> - -<p>(AN EARLY PICTURE.)</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p> - -<div class="figcenter" id="plt_221"> -<p class="plt">PLATE 221</p> -<a href="images/plt_221.jpg"> -<img src="images/plt_221.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Thomas of Aquin, by, Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p> - -<div class="figcenter" id="plt_222"> -<p class="plt">PLATE 222</p> -<a href="images/plt_222.jpg"> -<img src="images/plt_222.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Virgin of the Grotto, by Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p> - -<div class="figcenter" id="plt_223"> -<p class="plt">PLATE 223</p> -<a href="images/plt_223.jpg"> -<img src="images/plt_223.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Bruno talking to the Pope, by Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p> - -<div class="figcenter" id="plt_224"> -<p class="plt">PLATE 224</p> -<a href="images/plt_224.jpg"> -<img src="images/plt_224.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Day of Judgment, by Martin de Vos.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p> - -<div class="figcenter" id="plt_225"> -<p class="plt">PLATE 225</p> -<a href="images/plt_225.jpg"> -<img src="images/plt_225.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Immaculate Conception, by J. Valdes Leal.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p> - -<div class="figcenter" id="plt_226"> -<p class="plt">PLATE 226</p> -<a href="images/plt_226.jpg"> -<img src="images/plt_226.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Jesus crowning St Joseph, by Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p> - -<div class="figcenter" id="plt_227"> -<p class="plt">PLATE 227</p> -<a href="images/plt_227.jpg"> -<img src="images/plt_227.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Devout Punyon, by Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p> - -<div class="figcenter" id="plt_228"> -<p class="plt">PLATE 228</p> -<a href="images/plt_228.jpg"> -<img src="images/plt_228.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Immaculate Conception. The Virgin surrounded by -Cherubim. By Fr. Pacheco.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p> - -<div class="figcenter" id="plt_229"> -<p class="plt">PLATE 229</p> -<a href="images/plt_229.jpg"> -<img src="images/plt_229.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lord’s Miracle of the Loaves and Fishes, by Murillo.</p> - -<p>SEVILLE HOSPITAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p> - -<div class="figcenter" id="plt_230"> -<p class="plt">PLATE 230</p> -<a href="images/plt_230.jpg"> -<img src="images/plt_230.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Moses striking the Rock in Horeb, by Murillo.</p> - -<p>LA CARIDAD, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p> - -<div class="figcenter" id="plt_231"> -<p class="plt">PLATE 231</p> -<a href="images/plt_231.jpg"> -<img src="images/plt_231.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St John of God, sinking under the Weight of a Sick Man, assisted by an -Angel, by Murillo.</p> - -<p>LA CARIDAD, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p> - -<div class="figcenter" id="plt_232"> -<p class="plt">PLATE 232</p> -<a href="images/plt_232.jpg"> -<img src="images/plt_232.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Death of St Hermenigild, by J. de las Roelas.</p> - -<p>HOSPITAL DE LA SANGRE, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p> - -<div class="figcenter" id="plt_233"> -<p class="plt">PLATE 233</p> -<a href="images/plt_233.jpg"> -<img src="images/plt_233.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Apostleship, by Juan de las Roelas.</p> - -<p>HOSPITAL DE LA SANGRE, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_374" id="page_374">{374}</a></span></p> - -<div class="figcenter" id="plt_234"> -<p class="plt">PLATE 234</p> -<a href="images/plt_234.jpg"> -<img src="images/plt_234.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The End of this World’s Glories, by Valdes Leal.</p> - -<p>LA CARIDAD, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p> - -<div class="figcenter" id="plt_235"> -<p class="plt">PLATE 235</p> -<a href="images/plt_235.jpg"> -<img src="images/plt_235.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Pietà, or the Virgin supporting the Dead Body of her Divine Son, -Altar-screen, by Luis de Vargas.</p> - -<p>SANTA MARIA DE LA BLANCA, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_376" id="page_376">{376}</a></span></p> - -<div class="figcenter" id="plt_236"> -<p class="plt">PLATE 236</p> -<a href="images/plt_236.jpg"> -<img src="images/plt_236.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Joseph holding the Infant Saviour in His Arms, by Murillo.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_377" id="page_377">{377}</a></span></p> - -<div class="figcenter" id="plt_237"> -<p class="plt">PLATE 237</p> -<a href="images/plt_237.jpg"> -<img src="images/plt_237.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Our Lady of the Girdle, by Murillo.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_378" id="page_378">{378}</a></span></p> - -<div class="figcenter" id="plt_238"> -<p class="plt">PLATE 238</p> -<a href="images/plt_238.jpg"> -<img src="images/plt_238.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Portrait of Ferdinand VII., by Goya.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_379" id="page_379">{379}</a></span></p> - -<div class="figcenter" id="plt_239"> -<p class="plt">PLATE 239</p> -<a href="images/plt_239.jpg"> -<img src="images/plt_239.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Portrait of Charles IV., by Goya.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p> - -<div class="figcenter" id="plt_240"> -<p class="plt">PLATE 240</p> -<a href="images/plt_240.jpg"> -<img src="images/plt_240.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Annunciation, by F. Zurbarán.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p> - -<div class="figcenter" id="plt_241"> -<p class="plt">PLATE 241</p> -<a href="images/plt_241.jpg"> -<img src="images/plt_241.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Death of Laocoön and his Sons at the Siege of Troy, by El Greco.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p> - -<div class="figcenter" id="plt_242"> -<p class="plt">PLATE 242</p> -<a href="images/plt_242.jpg"> -<img src="images/plt_242.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Caton of Utique tearing open his wounds, by Josef Ribera.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p> - -<div class="figcenter" id="plt_243"> -<p class="plt">PLATE 243</p> -<a href="images/plt_243.jpg"> -<img src="images/plt_243.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Pietà. The Virgin holding the Dead Saviour in her Arms, by Morales.</p> - -<p>SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_384" id="page_384">{384}</a></span></p> - -<div class="figcenter" id="plt_244"> -<p class="plt">PLATE 244</p> -<a href="images/plt_244.jpg"> -<img src="images/plt_244.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Portrait of El Greco, by Himself.</p> - -<p>GALLERY OF SAN TELMO, SEVILLE.</p> -</div> - - -<p><span class="pagenum"><a name="page_385" id="page_385">{385}</a></span></p> - -<div class="figcenter" id="plt_245"> -<p class="plt">PLATE 245</p> -<a href="images/plt_245.jpg"> -<img src="images/plt_245.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Miracle of St Vœu. St Hugo in the Refectory with several Chartreux, -by Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_386" id="page_386">{386}</a></span></p> - -<div class="figcenter" id="plt_246"> -<p class="plt">PLATE 246</p> -<a href="images/plt_246.jpg"> -<img src="images/plt_246.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Martyrdom of St Andrew, by J. de las Roelas.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p> - -<div class="figcenter" id="plt_247"> -<p class="plt">PLATE 247</p> -<a href="images/plt_247.jpg"> -<img src="images/plt_247.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Last Supper, by P. de Cespedes.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_388" id="page_388">{388}</a></span></p> - -<div class="figcenter" id="plt_248"> -<p class="plt">PLATE 248</p> -<a href="images/plt_248.jpg"> -<img src="images/plt_248.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Christ on the Cross, by Zurbarán.</p> - -<p>SEVILLE MUSEUM.</p> -</div> - - -<p><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p> - -<div class="figcenter" id="plt_249"> -<p class="plt">PLATE 249</p> -<a href="images/plt_249.jpg"> -<img src="images/plt_249.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Portrait of the Figure in Pacheco’s Picture at Seville, supposed to -represent Cervantes.</p> -</div> - - -<p><span class="pagenum"><a name="page_390" id="page_390">{390}</a></span></p> - -<div class="figcenter" id="plt_250"> -<p class="plt">PLATE 250</p> -<a href="images/plt_250.jpg"> -<img src="images/plt_250.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Virgin and the Child Jesus, by Alonso Cano.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_391" id="page_391">{391}</a></span></p> - -<div class="figcenter" id="plt_251"> -<p class="plt">PLATE 251</p> -<a href="images/plt_251.jpg"> -<img src="images/plt_251.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Descent from the Cross, by Alejo Fernandez.</p> - -<p>SEVILLE CATHEDRAL.</p> -</div> - - -<p><span class="pagenum"><a name="page_392" id="page_392">{392}</a></span></p> - -<div class="figcenter" id="plt_252"> -<p class="plt">PLATE 252</p> -<a href="images/plt_252.jpg"> -<img src="images/plt_252.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral.</p> -</div> - - -<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p> - -<div class="figcenter" id="plt_253"> -<p class="plt">PLATE 253</p> -<a href="images/plt_253.jpg"> -<img src="images/plt_253.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Giralda.</p> -</div> - - -<p><span class="pagenum"><a name="page_394" id="page_394">{394}</a></span></p> - -<div class="figcenter" id="plt_254"> -<p class="plt">PLATE 254</p> -<a href="images/plt_254.jpg"> -<img src="images/plt_254.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Giralda.</p> -</div> - - -<p><span class="pagenum"><a name="page_395" id="page_395">{395}</a></span></p> - -<div class="figcenter" id="plt_255"> -<p class="plt">PLATE 255</p> -<a href="images/plt_255.jpg"> -<img src="images/plt_255.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Cathedral. The Gate of Pardon.</p> -</div> - - -<p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p> - -<div class="figcenter" id="plt_256"> -<p class="plt">PLATE 256</p> -<a href="images/plt_256.jpg"> -<img src="images/plt_256.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Cathedral. Puerta de los Palos.</p> -</div> - - -<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p> - -<div class="figcenter" id="plt_257"> -<p class="plt">PLATE 257</p> -<a href="images/plt_257.jpg"> -<img src="images/plt_257.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>SEVILLE CATHEDRAL</p> - -<p><i>Specially drawn for The Spanish Series</i></p> -</div> - - -<p><span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p> - -<div class="figcenter" id="plt_258"> -<p class="plt">PLATE 258</p> -<a href="images/plt_258.jpg"> -<img src="images/plt_258.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Cathedral. View of an Organ.</p> -</div> - - -<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p> - -<div class="figcenter" id="plt_259"> -<p class="plt">PLATE 259</p> -<a href="images/plt_259.jpg"> -<img src="images/plt_259.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Cathedral. Monument to Columbus.</p> -</div> - - -<p><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p> - -<div class="figcenter" id="plt_260"> -<p class="plt">PLATE 260</p> -<a href="images/plt_260.jpg"> -<img src="images/plt_260.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Cathedral. Silver Tabernacle (weighing 45 arrobas).</p> -</div> - - -<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p> - -<div class="figcenter" id="plt_261"> -<p class="plt">PLATE 261</p> -<a href="images/plt_261.jpg"> -<img src="images/plt_261.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Alcazar Gardens.</p> -</div> - - -<p><span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p> - -<div class="figcenter" id="plt_262"> -<p class="plt">PLATE 262</p> -<a href="images/plt_262.jpg"> -<img src="images/plt_262.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Alcazar Gardens.</p> -</div> - - -<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p> - -<div class="figcenter" id="plt_263"> -<p class="plt">PLATE 263</p> -<a href="images/plt_263.jpg"> -<img src="images/plt_263.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Alcazar Gardens.</p> -</div> - - -<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p> - -<div class="figcenter" id="plt_264"> -<p class="plt">PLATE 264</p> -<a href="images/plt_264.jpg"> -<img src="images/plt_264.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate. The Goddess Ceres.</p> -</div> - - -<p><span class="pagenum"><a name="page_405" id="page_405">{405}</a></span></p> - -<div class="figcenter" id="plt_265"> -<p class="plt">PLATE 265</p> -<a href="images/plt_265.jpg"> -<img src="images/plt_265.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>House of Pilate. The Goddess Pallas Pacifer.</p> -</div> - - -<p><span class="pagenum"><a name="page_406" id="page_406">{406}</a></span></p> - -<div class="figcenter" id="plt_266"> -<p class="plt">PLATE 266</p> -<a href="images/plt_266.jpg"> -<img src="images/plt_266.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Italica.</p> -</div> - - -<p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p> - -<div class="figcenter" id="plt_267"> -<p class="plt">PLATE 267</p> -<a href="images/plt_267.jpg"> -<img src="images/plt_267.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Roman Walls.</p> -</div> - - -<p><span class="pagenum"><a name="page_408" id="page_408">{408}</a></span></p> - -<div class="figcenter" id="plt_268"> -<p class="plt">PLATE 268</p> -<a href="images/plt_268.jpg"> -<img src="images/plt_268.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Patio de Banderas and the Giralda.</p> -</div> - - -<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p> - -<div class="figcenter" id="plt_269"> -<p class="plt">PLATE 269</p> -<a href="images/plt_269.jpg"> -<img src="images/plt_269.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de San Francisco.</p> -</div> - - -<p><span class="pagenum"><a name="page_410" id="page_410">{410}</a></span></p> - -<div class="figcenter" id="plt_270"> -<p class="plt">PLATE 270</p> -<a href="images/plt_270.jpg"> -<img src="images/plt_270.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>St Mark’s Church.</p> -</div> - - -<p><span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p> - -<div class="figcenter" id="plt_271"> -<p class="plt">PLATE 271</p> -<a href="images/plt_271.jpg"> -<img src="images/plt_271.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de San Fernando.</p> -</div> - - -<p><span class="pagenum"><a name="page_412" id="page_412">{412}</a></span></p> - -<div class="figcenter" id="plt_272"> -<p class="plt">PLATE 272</p> -<a href="images/plt_272.jpg"> -<img src="images/plt_272.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Town Hall. Details of the Old Part.</p> -</div> - - -<p><span class="pagenum"><a name="page_413" id="page_413">{413}</a></span></p> - -<div class="figcenter" id="plt_273"> -<p class="plt">PLATE 273</p> -<a href="images/plt_273.jpg"> -<img src="images/plt_273.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Façade of the Palace of San Telmo.</p> -</div> - - -<p><span class="pagenum"><a name="page_414" id="page_414">{414}</a></span></p> - -<div class="figcenter" id="plt_274"> -<p class="plt">PLATE 274</p> -<a href="images/plt_274.jpg"> -<img src="images/plt_274.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Statue of Velaquez.</p> -</div> - - -<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p> - -<div class="figcenter" id="plt_275"> -<p class="plt">PLATE 275</p> -<a href="images/plt_275.jpg"> -<img src="images/plt_275.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de la Constitución.</p> -</div> - - -<p><span class="pagenum"><a name="page_416" id="page_416">{416}</a></span></p> - -<div class="figcenter" id="plt_276"> -<p class="plt">PLATE 276</p> -<a href="images/plt_276.jpg"> -<img src="images/plt_276.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de la Constitución.</p> -</div> - - -<p><span class="pagenum"><a name="page_417" id="page_417">{417}</a></span></p> - -<div class="figcenter" id="plt_277"> -<p class="plt">PLATE 277</p> -<a href="images/plt_277.jpg"> -<img src="images/plt_277.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Calle de Sierpes.</p> -</div> - - -<p><span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p> - -<div class="figcenter" id="plt_278"> -<p class="plt">PLATE 278</p> -<a href="images/plt_278.jpg"> -<img src="images/plt_278.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Calle de Sierpes.</p> -</div> - - -<p><span class="pagenum"><a name="page_419" id="page_419">{419}</a></span></p> - -<div class="figcenter" id="plt_279"> -<p class="plt">PLATE 279</p> -<a href="images/plt_279.jpg"> -<img src="images/plt_279.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>A Street in Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_420" id="page_420">{420}</a></span></p> - -<div class="figcenter" id="plt_280"> -<p class="plt">PLATE 280</p> -<a href="images/plt_280.jpg"> -<img src="images/plt_280.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Hercules Avenue.</p> -</div> - - -<p><span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p> - -<div class="figcenter" id="plt_281"> -<p class="plt">PLATE 281</p> -<a href="images/plt_281.jpg"> -<img src="images/plt_281.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Pasadera.</p> -</div> - - -<p><span class="pagenum"><a name="page_422" id="page_422">{422}</a></span></p> - -<div class="figcenter" id="plt_282"> -<p class="plt">PLATE 282</p> -<a href="images/plt_282.jpg"> -<img src="images/plt_282.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Courtyard of La Caridad.</p> -</div> - - -<p><span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p> - -<div class="figcenter" id="plt_283"> -<p class="plt">PLATE 283</p> -<a href="images/plt_283.jpg"> -<img src="images/plt_283.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de San Fernando.</p> -</div> - - -<p><span class="pagenum"><a name="page_424" id="page_424">{424}</a></span></p> - -<div class="figcenter" id="plt_284"> -<p class="plt">PLATE 284</p> -<a href="images/plt_284.jpg"> -<img src="images/plt_284.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de Gavidia.</p> -</div> - - -<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p> - -<div class="figcenter" id="plt_285"> -<p class="plt">PLATE 285</p> -<a href="images/plt_285.jpg"> -<img src="images/plt_285.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View from the Pasadera.</p> -</div> - - -<p><span class="pagenum"><a name="page_426" id="page_426">{426}</a></span></p> - -<div class="figcenter" id="plt_286"> -<p class="plt">PLATE 286</p> -<a href="images/plt_286.jpg"> -<img src="images/plt_286.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Drive.</p> -</div> - - -<p><span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p> - -<div class="figcenter" id="plt_287"> -<p class="plt">PLATE 287</p> -<a href="images/plt_287.jpg"> -<img src="images/plt_287.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Paseo de las Delicias.</p> -</div> - - -<p><span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p> - -<div class="figcenter" id="plt_288"> -<p class="plt">PLATE 288</p> -<a href="images/plt_288.jpg"> -<img src="images/plt_288.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Quay.</p> -</div> - - -<p><span class="pagenum"><a name="page_429" id="page_429">{429}</a></span></p> - -<div class="figcenter" id="plt_289"> -<p class="plt">PLATE 289</p> -<a href="images/plt_289.jpg"> -<img src="images/plt_289.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Partial View of Seville.</p> -</div> - - -<p><span class="pagenum"><a name="page_430" id="page_430">{430}</a></span></p> - -<div class="figcenter" id="plt_290"> -<p class="plt">PLATE 290</p> -<a href="images/plt_290.jpg"> -<img src="images/plt_290.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Plaza de Toros.</p> -</div> - - -<p><span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p> - -<div class="figcenter" id="plt_291"> -<p class="plt">PLATE 291</p> -<a href="images/plt_291.jpg"> -<img src="images/plt_291.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Fields of San Sebastian.</p> -</div> - - -<p><span class="pagenum"><a name="page_432" id="page_432">{432}</a></span></p> - -<div class="figcenter" id="plt_292"> -<p class="plt">PLATE 292</p> -<a href="images/plt_292.jpg"> -<img src="images/plt_292.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Park of Maria Luisa.</p> -</div> - - -<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p> - -<div class="figcenter" id="plt_293"> -<p class="plt">PLATE 293</p> -<a href="images/plt_293.jpg"> -<img src="images/plt_293.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Railway Station of M.Z.A. Principal Façade.</p> -</div> - - -<p><span class="pagenum"><a name="page_434" id="page_434">{434}</a></span></p> - -<div class="figcenter" id="plt_294"> -<p class="plt">PLATE 294</p> -<a href="images/plt_294.jpg"> -<img src="images/plt_294.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Railway Station of M.Z.A. General View.</p> -</div> - - -<p><span class="pagenum"><a name="page_435" id="page_435">{435}</a></span></p> - -<div class="figcenter" id="plt_295"> -<p class="plt">PLATE 295</p> -<a href="images/plt_295.jpg"> -<img src="images/plt_295.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>Triana Bridge.</p> -</div> - - -<p><span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p> - -<div class="figcenter" id="plt_296"> -<p class="plt">PLATE 296</p> -<a href="images/plt_296.jpg"> -<img src="images/plt_296.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View from Triana Bridge.</p> -</div> - - -<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p> - -<div class="figcenter" id="plt_297"> -<p class="plt">PLATE 297</p> -<a href="images/plt_297.jpg"> -<img src="images/plt_297.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>View from Triana.</p> -</div> - - -<p><span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p> - -<div class="figcenter" id="plt_298"> -<p class="plt">PLATE 298</p> -<a href="images/plt_298.jpg"> -<img src="images/plt_298.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>San Telmo from Triana.</p> -</div> - - -<p><span class="pagenum"><a name="page_439" id="page_439">{439}</a></span></p> - -<div class="figcenter" id="plt_299"> -<p class="plt">PLATE 299</p> -<a href="images/plt_299.jpg"> -<img src="images/plt_299.jpg" -width="70%" -alt="[Image unavailable.]" /></a> - -<p>The Cathedral. Our Lord Crucified. Sculpture in the Sacristy.</p> -</div> - - -<p><span class="pagenum"><a name="page_440" id="page_440">{440}</a></span></p> - -<div class="figcenter" id="plt_300"> -<p class="plt">PLATE 300</p> -<a href="images/plt_300.jpg"> -<img src="images/plt_300.jpg" -width="600" -alt="[Image unavailable.]" /></a> - -<p>SEVILLE</p> - -<p><i>Specially drawn for The Spanish Series</i></p> -</div> - - -<div class="footnotes"><p class="cb">FOOTNOTES:</p> - -<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> There is one picture only by Roelas in the Prado. His work -is hardly known outside Seville. In England we have at least one of his -pictures, a fine example, in a private collection.</p></div> - -<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> There is a picture by El Greco, the wonderful portrait of -himself, in the Museum. It came quite recently from the Palace of San -Telmo, where also was once the really grand picture, “The Death of -Laocoön and his Sons at the Siege of Troy.” The remarkable and -interesting “Trinity” in the Cathedral, attributed to El Greco, is the -work of his pupil Luis Tristan, a painter neglected too long. Seville -has no picture by Navarrete; the one work of Morales, the triptych in -the Sacristiá de los Calices of the Cathedral, is not typical of his -strange power.</p></div> - -<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The most important is the “Adoration of the Shepherds,” -until recently in the Palace of San Telmo; but this work has been -removed with other pictures in the collection of the Infanta Maria Luisa -Fernanda de Bourbon. The really fine picture on the same subject in our -National Gallery is now attributed to Zurbarán; probably to him, too, -belongs the “Dead Warrior,” now assigned to Velazquez.</p></div> -</div> -</div> - -<div class="figcenter"> -<img src="images/back.jpg" height="550" alt="" /> -</div> - -<hr class="full" /> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK SEVILLE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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