diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-23 05:54:31 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-23 05:54:31 -0800 |
| commit | e6ffca7db299f23e5cd4452d6771df5fab35f500 (patch) | |
| tree | b0dab1ce80c41fa6d980e06c64c5dfd0e7b94fa1 /old/64914-0.txt | |
| parent | effdc7a229b98adb2c788ce23a40e7c14479ae5a (diff) | |
Diffstat (limited to 'old/64914-0.txt')
| -rw-r--r-- | old/64914-0.txt | 5454 |
1 files changed, 0 insertions, 5454 deletions
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. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |