PLAN OF GRANADA
Reading edition
REFERENCE TO PLAN OF GRANADA BUILDINGS AND PLACES
1.Hospital of San Lázaro.
2. Church of San Juan de Letran.
3. Hermitage of Santo Cristo de Yedra.
4. San Bruno and the Cartuja.
5. The Sacro Monte.
6. The Holy Tomb.
7. Cavalry Barracks, and San Jerónimo.
8. San Juan de Dios.
9. San Juan de Dios (Street).
10. Lunatic Asylum.
11. Bull Ring. (Plaza de Toros.)
12. San Ildefonso, and Avenue del Triunfo.
13. Pay Office.
14. Gate of Elvira.
15. Gate of Monaita.
16. San Andrés.
17. Children’s Hospital.
18. Office for Civil Affairs.
19. Santos Justo and Pastor.
20. Institute of Music.
21. Botanical Garden and Nunnery of Piety.
22. Square of Rull and Godines.
23. Convent of the Incarnation.
24. Santa Paula.
25. Elvira (Street).
26. San Jerónimo.
27. Orlando’s Balcony.
28. San Diego.
29. San Gregorio.
30. San Luis.
31. Arab Ramparts.
32. San Miguel the Greater.
33. Gate of the Standards.
34. El Salvador.
35. San José.
36. Convent of the Angel.
37. Ecclesiastical College.
38. The Cathedral.
39. High School and Palace of the Province of Granada.
40. School of Economics.
41. Market Place, and Palace of the Archbishop.
42. Court of First Instance (Plaza Rib-Rambla).
43. Convent of Augustines and La Magdalena.
44. House of Grace.
45. Puentezuelas (Bridge).
46. Square of Marshal Prim.
47. Town Hall.
48. Santa Teresa.
49. Convent of the Holy Spirit.
50. Military Office.
51. Carmelite Convent.
52. Hospital for Leprosy.
53. Santa Ana.
54. Santa Inés.
55. Convent of the Conception.
56.San Juan de los Reyes.
57.Ex-Convent of The Victory.
58.Watch-tower of the Alhambra (Torre de la Vela).
59.The Alhambra.
60.Gate of Las Granadas.
61.Gate of Judiciary Astrology (Judiciária).
62.The Generalife.
63.Gate of Hierro.
64.San Francisco (formerly Convent of St. Francis).
65.The Chair of the Moor (Silla del Moro).
66.The Tower of the Seven Storeys (Alhambra).
67.The Fountain of Expiation.
68.Gate of the Sun.
69.Convent of Santa Catalina.
70.Ecce Homo.
71.San Cecilio, and Military Hospital.
73.Santa Escolástica.
74.Capuchin Convent and Santa Maria Egipciaca.
75.San Anton.
76.Gas Works.
77.Public Shambles.
78.San Sebastián and Avenue del Violón.
79.Las Angustias.
80.El Salon.
81.Convent of Santiago.
82.Museum of the Academy of Fine Arts.
83.Monument of Mariana.
84.Artillery Barracks.
85.Principal Theatre (Plaza de Bailén).
86.New Square.
87.Zacatín.
88.Fish Market.
89.Church of Santiago.
90.San Nicolás.
91.Convent of Tomasas.
92.Bermeja Towers.
93.Palace of Charles V.
94.Gate of the Mills.
95.San Basil.
96.Recreation Grounds.
97.Cemetery.
98.Convent of San Bernado and Church of San Pedro.
99.San Bartolomé.
100.Avenue of San Basil.
101.San Cristóbal.
102.Hospital of Corpus Christi.
103.Santa Isabel la Real, and San Miguel the Less.
104.Santa Maria (Ancient Mosque of the Alhambra).
105.San Matías.
106.Gate of Fajalanza.
107.Méndez Nuñez (Street).
GRANADA
Plate 1
VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA
Plate 2
GENERAL VIEW OF THE ALHAMBRA
Plate 3
VIEW OF THE ALHAMBRA FROM THE SACROMONTE ROAD
Plate 4
THE ALHAMBRA FROM THE MOOR’S SEAT—LA SILLA DEL MORO
Plate 5
GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS
Plate 6
VIEW OF THE GATE OF ELVIRA
Plate 7
A VIEW OF THE ALHAMBRA FROM THE ALBAICIN (Sketch)
Plate 8
VIEW OF THE CATHEDRAL AND THE ALHAMBRA FROM SAN GERÓNIMO
Plate 9
VIEW OF THE SIERRA NEVADA FROM THE CARRERA DE LAS ANGUSTIAS
Plate 10
VIEW OF THE ROYAL GATE
Plate 11
VIEW FROM THE TOWER IN THE ALHAMBRA
Plate 12
LA PLAZA NUEVA
Plate 13
MONUMENT TO COLUMBUS IN THE PASEO DEL SALON; THE SIERRA NEVADA IN THE DISTANCE
Plate 14
THE STREET OF THE CATHOLIC SOVEREIGNS
Plate 15
ARAB SILK MARKET
Plate 16
LA CASA DE LOS TIROS
Plate 17
CHURCH OF SANTA ANA
Plate 18
LIMOGES ENAMEL TRIPTYCH WHICH BELONGED TO THE GRAN CAPITÁN (PROVINCIAL MUSEUM, GRANADA)
Plate 19
ALTAR IN THE CHURCH OF SAN GERÓNIMO
Plate 20
HOUSE IN THE CALLE DE DARRO THE PALACIO DE JUSTICIA
Plate 21
THE HOUSE OF CASTRIL
Plate 22
TYPICAL GYPSIES AND THEIR QUARTERS
Plate 23
GYPSIES IN FRONT OF THEIR DWELLINGS
Plate 24
GYPSY DWELLINGS IN THE SACROMONTE
Plate 25
GENERAL VIEW OF THE GYPSY QUARTERS
Plate 26
INTERIOR OF A GYPSY’S CAVE
Plate 27
GROUP OF GYPSIES
Plate 28
A GYPSY FAMILY
Plate 29
GYPSIES BIVOUACKING
Plate 30
GYPSIES
Plate 31
GYPSIES CLIPPING A MULE
Plate 32
GYPSIES
Plate 33
GYPSIES
Plate 34
GYPSY DANCE
Plate 35
INTERIOR OF THE SACRISTY OF THE CARTUJA
Plate 36
INTERIOR OF THE CARTUJA. THE SACRISTY
Plate 37
INTERIOR OF THE CARTUJA CHURCH
Plate 38
SAINT BRUNO, BY ALONSO CANO, AT THE CARTHUSIAN MONASTERY OF GRANADA
Plate 39
EXTERIOR OF THE ROYAL CHAPEL
Plate 40
THE GATE OF PARDON AND THE EXTERIOR OF THE CATHEDRAL
Plate 41
FAÇADE OF THE CATHEDRAL
Plate 42
EXTERIOR GATE OF THE ROYAL CHAPEL
Plate 43
DETAIL IN THE ROYAL CHAPEL
Plate 44
ANCIENT GOTHIC ENTRANCE TO THE ROYAL CHAPEL
Plate 45
GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL, UPPER PART
Plate 46
GENERAL EXTERIOR VIEW OF THE ROYAL CHAPEL
Plate 47
EXTERIOR OF THE ROYAL CHAPEL
FAÇADE OF THE CATHEDRAL
Plate 48
GENERAL VIEW OF THE INTERIOR OF THE CATHEDRAL
Plate 49
THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR
Plate 50
THE CATHEDRAL. VIEW OF THE PRINCIPAL NAVE
Plate 51
THE HIGH ALTAR IN THE CATHEDRAL
Plate 52
ALTAR-PIECE IN THE ROYAL CHAPEL, BY F. DE BORGOÑA
Plate 53
THE CATHEDRAL. BOABDIL GIVING UP THE KEYS OF GRANADA TO THE CATHOLIC SOVEREIGNS. FRAGMENT OF THE ALTAR-PIECE IN THE ROYAL CHAPEL
Plate 54
THE INNER CHOIR OF THE CATHEDRAL
Plate 55
THE CATHEDRAL. TOMBS OF THE CATHOLIC SOVEREIGNS IN THE ROYAL CHAPEL
Plate 56
VIEW OF THE ROYAL CHAPEL AND TOMBS OF THE CATHOLIC SOVEREIGNS, BY P. GONZALVO
Plate 57
ROYAL CHAPEL. TOMBS OF FERDINAND AND ISABELLA
Plate 58
VAULT OF THE CATHOLIC SOVEREIGNS AT GRANADA
Plate 59
TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME
Plate 60
TOMBS OF FERDINAND AND ISABELLA, DOÑA JUANA AND PHILIP THE HANDSOME
Plate 61
SCEPTRE, CROWN, SWORD, MASS-BOOK, AND COFFER OF THE CATHOLIC SOVEREIGNS
Plate 62
RELICS OF THE CATHOLIC SOVEREIGNS
Plate 63
ROYAL CHAPEL. STATUE OF QUEEN ISABELLA THE CATHOLIC
Plate 64
STATUE OF ISABELLA THE CATHOLIC
Plate 65
CHAPEL OF SAN MIGUEL IN THE CATHEDRAL, MARBLE SCULPTURE
Plate 66
Plan of the Alhambra Palace at Granada
Plate 67
GENERAL PLAN OF THE ALHAMBRA
Plate 68
GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLÁS
Plate 69
THE RED TOWERS FROM THE RAMPARTS
Plate 70
VIEW OF THE ALHAMBRA FROM THE SACROMONTE
Plate 71
GENERAL VIEW OF THE ALHAMBRA AND ALGIBILLO PROMENADE
Plate 72
VIEW OF THE ALHAMBRA FROM THE CUESTA DEL CHAPIZ
Plate 73
THE RED TOWERS
Plate 74
GENERAL VIEW OF THE ALHAMBRA
Plate 75
THE TOWER OF THE PEAKS
Plate 76
THE INFANTAS’ TOWER AND CAPTIVE’S TOWER
Plate 77
VIEW OF THE WATCH TOWER AND GRANADA
Plate 78
VIEW OF THE RAMPARTS AND THE WATCH TOWER.
Plate 79
THE AQUEDUCT TOWER AND THE AQUEDUCT
Plate 80
THE GATE OF JUSTICE. DETAIL OF A DOOR IN THE COURT OF THE MYRTLES
Plate 81
THE ALHAMBRA AND THE SIERRA NEVADA
Plate 82
GRANADA, FROM THE HOMAGE TOWER
Plate 83
“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRAB TOWER, WITH DISTANT VIEW OF THE GENERALIFE
Plate 84
THE GATE OF JUSTICE, ERECTED BY YUSUF I
Plate 85
THE TOWER OF THE PEAKS
Plate 86
THE CAPTIVE’S TOWER
Plate 87
EXTERIOR OF THE MOSQUE, PRIVATE PROPERTY
Plate 88
TOWER OF THE AQUEDUCT
Plate 89
ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO—LESSER KING HILL
Plate 90
THE LADIES’ TOWER
Plate 91
PART OF THE ALHAMBRA, EXTERIOR
Plate 92
THE HOMAGE TOWER. ANCIENT ARAB RUINS IN THE ALCAZÁBA
Plate 93
GATE OF JUSTICE. THE ALHAMBRA
Plate 94
GATE OF JUSTICE (Sketch)
Plate 95
THE GATE OF JUSTICE
Plate 96
PLAN, HEIGHT AND DETAILS OF THE GATE OF THE LAW COMMONLY CALLED OF JUSTICE
Plate 97
ELEVATION OF THE ANCIENT GATE OF JUSTICE
Plate 98
PORTAL COMMONLY CALLED THE GATE OF THE VINE
Plate 99
PORCH OF THE GATE OF JUDGMENT
Plate 100
ELEVATION OF THE WINE GATE
Plate 101
TRANSVERSE SECTION OF PART OF THE ALHAMBRA
Plate 102
SECTION SHOWING
Plate 103
HEIGHTS OF THE ALHAMBRA
Plate 104
PROMENADES AT THE ENTRANCE TO ALHAMBRA
Plate 105
THE HALL OF JUSTICE AND COURT OF THE LIONS
Plate 106
HALL OF JUSTICE. LEFT SIDE
Plate 107
HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS
Plate 108
SECTION OF THE HALL OF JUSTICE (LOOKING EAST)
Plate 109
SECTION OF THE HALL OF JUSTICE (LOOKING TOWARDS THE COURT OF THE LIONS)
Plate 110
VERTICAL SECTION OF THE HALL OF JUSTICE
Plate 111
DETAILS OF THE HALL OF JUSTICE
Plate 112
PLAN AND WINDOW OF THE HALL OF JUSTICE
Plate 113
PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 1
Plate 114
PAINTING ON THE CEILING OF THE HALL OF JUSTICE. No. 3
Plate 115
PART OF PICTURE IN THE HALL OF JUSTICE—THE MOOR’S RETURN FROM HUNTING
Plate 116
HALL OF JUSTICE—THE DEATH OF THE LION AT THE HANDS OF A CHRISTIAN KNIGHT
Plate 117
PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN KNIGHT RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR WILD-MAN-O’-THE-WOODS. THE CHRISTIAN KNIGHT IS, IN TURN, SLAIN BY A MOORISH WARRIOR
Plate 118
PART OF PICTURE IN HALL OF JUSTICE—MOORISH HUNTSMAN SLAYING THE WILD BOAR
Plate 119
HALL OF JUSTICE—THREE FIGURES FROM THE PICTURE OF THE MOORISH TRIBUNAL
Plate 120
THE MOSQUE AND GENERALIFE
Plate 121
COURT OF THE MOSQUE
Plate 122
FAÇADE OF THE MOSQUE
Plate 123
INTERIOR OF THE MOSQUE IN THE ALHAMBRA
Plate 124
INTERIOR OF THE MOSQUE
Plate 125
ELEVATION OF THE PORTICO ADJACENT TO THE MOSQUE
Plate 126
DETAIL OF THE ENTRANCE DOOR OF THE MOSQUE
Plate 127
AN ARCHED WINDOW OF THE MOSQUE
Plate 128
AN ARCHED WINDOW OF THE MOSQUE
Plate 129
THE KORAN RECESS IN THE MOSQUE, THE SCENE OF YUSUF’S ASSASSINATION
Plate 130
THE MOSQUE FROM KORAN RECESS
Plate 131
DETAILS OF ORNAMENT OF KORAN RECESS NEAR THE ENTRANCE DOOR OF THE MOSQUE
Plate 132
CORNICE AND WINDOW IN THE FAÇADE OF THE MOSQUE
Plate 133
VERTICAL SECTION OF THE MOSQUE
Plate 134
ARAB LAMP IN MOSQUE
Plate 135
DETAILS OF THE FRONT OF THE MOSQUE OF THE HAREM
Plate 136
DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE
Plate 137
DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE
Plate 138
ORNAMENT IN PANELS, COURT OF THE MOSQUE
Plate 139
WINDOW IN THE HALL OF AMBASSADORS
Plate 140
ENTRANCE TO THE HALL OF AMBASSADORS
Plate 141
HALL OF AMBASSADORS
Plate 142
SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF AMBASSADORS
Plate 143
ENCAUSTIC-TILE WORK OF THE HALL OF AMBASSADORS
Plate 144
ORNAMENT IN PANELS, HALL OF AMBASSADORS
Plate 145
INSCRIPTIONS IN THE HALL OF AMBASSADORS
Plate 146
KUFIC INSCRIPTIONS, HALL OF AMBASSADORS
Plate 147
“WA LA GHÁLIB ILA ALÁ!”—THERE IS NO CONQUEROR BUT GOD!—THE FAMOUS MOTTO OF MOHAMMED I. AND HIS SUCCESSORS. AN EXAMPLE FROM THE HALL OF AMBASSADORS
Plate 148
THE COURT OF THE LIONS FROM THE TEMPLETE POMIENTE
Plate 149
ENTRANCE TO THE COURT OF THE LIONS THROUGH THE POMIENTE CORNER
Plate 150
NORTH GALLERY AND FAÇADE OF THE HALL OF THE ABENCERRAGES
Plate 151
THE COURT OF THE LIONS FROM THE POMIENTE CORNER
Plate 152
VIEW IN THE COURT OF THE LIONS
Plate 153
VIEW IN THE COURT OF THE LIONS FROM THE HALL OF JUSTICE
Plate 154
THE COURT OF THE LIONS
Plate 155
GENERAL VIEW OF THE COURT OF THE LIONS
Plate 156
COURT OF THE LIONS
Plate 157
NORTH GALLERY IN THE COURT OF THE LIONS
Plate 158
SECTION, COURT OF THE LIONS
Plate 159
PAVILION IN THE COURT OF THE LIONS
Plate 160
FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS
Plate 161
HALL OF JUSTICE AND COURT OF THE LIONS
Plate 162
ANGLE IN THE HALL OF JUSTICE
Plate 163
HALL OF JUSTICE
Plate 164
CEILING OF THE HALL OF JUSTICE
Plate 165
THE MOSQUE, AND VIEW OF THE GENERALIFE
Plate 166
EXTERIOR OF A WINDOW IN THE MOSQUE
Plate 167
THE MOSQUE, AND VIEW OF THE GENERALIFE
Plate 168
INTERIOR OF THE MOSQUE
Plate 169
COURT OF THE MOSQUE, WEST FAÇADE
Plate 170
INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH
Plate 171
INTERIOR OF THE MOSQUE, CONVERTED INTO A ROMAN CATHOLIC CHURCH
Plate 172
JALOUSIES IN THE COURT OF THE MOSQUE
Plate 173
ENTRANCE TO THE HALL OF AMBASSADORS
Plate 174
BALCONY IN THE HALL OF AMBASSADORS
Plate 175
DETAIL OF THE HALL OF THE ARCHED WINDOWS
Plate 176
DETAIL IN THE HALL OF THE ABENCERRAGES
Plate 177
THE COURT OF THE LIONS
Plate 178
GENERAL VIEW OF THE COURT OF THE LIONS
Plate 179
THE FOUNTAIN AND WEST TEMPLE OF THE COURT OF THE LIONS
Plate 180
ELEVATION OF THE FOUNTAIN OF THE COURT OF THE LIONS
Plate 181
THE FOUNTAIN OF THE COURT OF THE LIONS, WITH DETAILS OF THE ORNAMENT
Plate 182
PLAN OF THE BASIN OF THE FOUNTAIN IN THE COURT OF THE LIONS
Plate 183
SECTION OF THE PAVILION IN THE COURT OF THE LIONS
Plate 184
SECTION OF THE HALL OF THE TWO SISTERS, AND
Plate 185
SECTION OF PART OF THE COURT OF THE LIONS
Plate 186
CAPITAL IN THE COURT OF THE LIONS, WITH A SCALE OF ONE METRE
Plate 187
DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS
Plate 188
FRIEZE OVER COLUMNS, COURT OF THE LIONS
Plate 189
DETAIL OF THE CENTRAL ARCH IN THE COURT OF THE LIONS
Plate 190
THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN OF THE COURT OF THE LIONS
Plate 191
ENTABLATURE IN THE COURT OF THE LIONS
Plate 192
CUPOLA OF THE PAVILION IN THE COURT OF THE LIONS
Plate 193
ENTRANCE TO THE COURT OF THE LIONS LITTLE TEMPLE, THE COURT OF THE LIONS
Plate 194
THE COURT OF THE LIONS
Plate 195
THE LITTLE TEMPLE THE FOUNTAIN
THE COURT OF THE LIONS
Plate 196
THE COURT OF THE LIONS
Plate 197
THE COURT OF THE LIONS, WEST ANGLE
Plate 198
MOROCCO EMBASSY, DECEMBER, 1885
Plate 199
THE COURT OF THE LIONS FROM THE WEST TEMPLE
Plate 200
THE COURT OF THE LIONS FROM THE WEST TEMPLE
Plate 201
WEST GALLERY IN THE COURT OF THE LIONS
Plate 202
THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS
Plate 203
THE COURT OF THE LIONS, LEFT-HAND ANGLE
Plate 204
THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS
Plate 205
THE COURT OF THE LIONS FROM THE ENTRANCE
Plate 206
DETAIL OF THE ENTRANCE TO THE COURT OF THE LIONS
Plate 207
DETAIL IN THE COURT OF THE LIONS
Plate 208
MOSAICS, NORTH SIDE MOSAICS, SOUTH SIDE
THE COURT OF THE LIONS
Plate 209
HALL OF THE ABENCERRAGES
Plate 210
HALL OF THE ABENCERRAGES
Plate 211
HALL OF THE ABENCERRAGES
Plate 212
HALL OF THE ABENCERRAGES
Plate 213
WOODEN DOORS, HALL OF THE ABENCERRAGES
Plate 214
GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 215
COURT OF THE MYRTLES; OR, OF THE FISH-POND. FAÇADE OF THE HALL OF AMBASSADORS
Plate 216
COURT OF THE MYRTLES; OR, OF THE FISH-POND
Plate 217
GENERAL VIEW OF THE COURT OF THE MYRTLES; OR, OF THE FISH-POND
Plate 218
NORTH SIDE OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 219
ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 220
GALLERY IN THE COURT OF THE MYRTLES; OR, OF THE FISH-POND
Plate 221
GENERAL VIEW OF THE COURT OF THE MYRTLES AND COMARES TOWER
Plate 212
COURT OF THE MYRTLES, EAST FAÇADE
Plate 223
DETAIL IN THE COURT OF THE MYRTLES
Plate 224
COURT OF THE MYRTLES, EAST FAÇADE
Plate 225
EXTERIOR OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 226
THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 227
ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 228
COURT OF THE MYRTLES; OR, OF THE FISH-POND FORMED BY YUSÚF I.
Plate 229
THE COURT OF THE FISH-POND; OR, OF THE MYRTLES GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
Plate 230
THE HALL OF THE BATHS
Plate 231
THE SULTAN’S BATH
Plate 232
THE SULTANA’S BATH
Plate 233
THE BATHS, HALL OF REPOSE
Plate 234
CHAMBER OF REPOSE
Plate 235
SECTION OF THE HALL OF THE BATHS
Plate 236
LONGITUDINAL SECTION THROUGH THE BATHS
Plate 237
GROUND PLAN OF THE BATHS IN THE ALHAMBRA
Plate 238
CEILING OF THE HALL OF THE BATHS
Plate 239
PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA
Plate 240
A SECTION OF THE BATHS IN THE ALHAMBRA
Plate 241
CHAMBER OF REPOSE
SULTAN’S BATH CONSTRUCTED BY YUSÚF I.
Plate 242
INTERIOR OF THE INFANTAS’ TOWER
Plate 243
SECTIONS OF THE INFANTAS’ TOWER
Plate 244
INTERIOR OF THE TOWER OF THE INFANTAS, UPPER PART
Plate 245
BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR PLAIN, OF GRANADA
Plate 246
ALCOVE OF THE “CAPTIVE” (ISABEL DE SOLIS)
Plate 247
INTERIOR OF THE TOWER OF THE “CAPTIVE” (ISABEL DE SOLIS)
Plate 248
THE “CAPTIVE’S” TOWER FROM THE ENTRANCE
Plate 249
INTERIOR OF THE MOSQUE
ROOM IN THE “CAPTIVE’S” TOWER
Plate 250
HALL OF JUSTICE BATHS, THE CHAMBER OF REPOSE
Plate 251
BALCONY OF THE FAVOURITE, “LINDARAJA”
Plate 252
ALCOVE IN THE “LINDARAJA” APARTMENTS
Plate 253
GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE BEEN OCCUPIED BY “LINDARAJA” A FAVOURITE SULTANA
Plate 254
DETAIL, INTERIOR OF THE BALCONY OF “LINDARAJA”
Plate 255
DETAIL, LOWER PART OF THE BALCONY OF “LINDARAJA”
Plate 256
DETAIL OF THE CENTRAL PART OF THE BALCONY OF “LINDARAJA”
Plate 257
THE QUEEN’S BOUDOIR AND DISTANT VIEW OF THE GENERALIFE
Plate 258
THE QUEEN’S BOUDOIR AND VIEW OF THE GENERALIFE
Plate 259
THE QUEEN’S BOUDOIR AND OLD ALBAICIN QUARTER
Plate 260
THE QUEEN’S BOUDOIR AND DEFILE OF THE DARRO
Plate 261
LINDARAJA’S GARDEN AND THE APARTMENTS IN WHICH WASHINGTON IRVING STAYED
Plate 262
ANGLE OF THE BALCONY OF LINDARAJA
Plate 263
BALCONY OF THE FAVOURITE LINDARAJA
Plate 264
INTERIOR OF THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS
Plate 265
EXTERIOR OF THE CAPTIVE’S TOWER
Plate 266
THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS
Plate 267
INTERIOR OF THE INFANTAS’ TOWER, UPPER PART
Plate 268
INTERIOR OF THE INFANTAS’ TOWER
Plate 269
DETAIL OF THE UPPER PART OF THE BALCONY OF LINDARAJA
Plate 270
HALL OF THE TWO SISTERS
Plate 271
ENTRANCE TO THE HALL OF THE TWO SISTERS
Plate 272
INTERIOR OF THE HALL OF THE TWO SISTERS
Plate 273
HALL OF THE TWO SISTERS
Plate 274
HALL OF THE TWO SISTERS
Plate 275
TEMPLE AND FAÇADE OF THE HALL OF THE TWO SISTERS
Plate 276
VIEW IN THE HALL OF THE TWO SISTERS
Plate 277
HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I.
Plate 278
UPPER BALCONY OF THE HALL OF THE TWO SISTERS
Plate 279
HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR
Plate 280
CEILING OF THE HALL OF THE TWO SISTERS
Plate 281
DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS
Plate 282
DETAIL OF THE LATERAL WINDOWS OF THE HALL OF THE TWO SISTERS
Plate 283
DETAIL IN THE HALL OF THE TWO SISTERS
Plate 284
PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS
Plate 285
INSCRIPTION IN THE HALL OF THE TWO SISTERS
Plate 286
FRIEZE IN THE HALL OF THE TWO SISTERS
Plate 287
PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS
Plate 288
DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS
Plate 289
BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS
Plate 290
MOSAIC IN DADO OF RECESS
MOSAIC IN DADO OF THE ENTRANCE TO THE HALL OF THE TWO SISTERS
Plate 291
MOSAIC IN DADO OF HALL OF AMBASSADORS
MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS
Plate 292
WINE GATE. WEST FAÇADE
Plate 293
DETAIL OF THE ONLY ANCIENT “JALOUSIE” REMAINING IN THE ALHAMBRA
Plate 294
EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE
Plate 295
EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM OF THE PALACE
Plate 296
AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD UNTIL THE YEAR 1837
Plate 297
SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF BOABDIL”
Plate 298
THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY 2, 1492
Plate 299
GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE ALHAMBRA, WHO REIGNED 1232-1272 A.D.
Plate 300
DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS
Plate 301
THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA, TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492
Plate 302
MOSAIC PAVEMENT IN THE QUEEN’S DRESSING ROOM (TOCADOR DE LA REYNA)
MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA
Plate 303
THE HOUSE OF CARBON
Plate 304
THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON
Plate 305
ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE HOUSE OF THE WEATHERCOCK
Plate 306
COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN
Plate 307
INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN
Plate 308
THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES
(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)
Plate 309
THE AUTHOR IN THE ALHAMBRA
Plate 310
CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE
Plate 311
MISCELLANEOUS ORNAMENT IN THE ALHAMBRA
Plate 312
THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA
Plate 313
BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA
Plate 314
ARABIAN SWORD
Plate 315
CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA
Plate 316
ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO
Plate 317
VARIOUS MOSAICS FROM THE ALHAMBRA
Plate 318
INSCRIPTIONS IN THE ALHAMBRA
Plate 319
PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE ALHAMBRA
Plate 320
GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER
Plate 321
ANCIENT CISTERN. EARLY FOURTEENTH CENTURY
Plate 322
THE ALHAMBRA
Specially drawn for The Spanish Series
Plate 323
PART OF EXTERIOR OF THE PALACE OF CHARLES V.
Plate 324
ELEVATION OF THE PALACE OF CHARLES V.
Plate 325
SECTION OF THE PALACE OF CHARLES V.
Plate 326
FOUNTAIN OF THE EMPEROR CHARLES V.
Plate 327
VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER
Plate 328
INTERIOR OF THE PALACE OF CHARLES V.
Plate 329
DOORWAY OF THE PALACE OF CHARLES V.
Plate 330
BAS-RELIEF IN THE PALACE OF CHARLES V.
Plate 331
PORCH OF THE PALACE OF CHARLES V. FROM THE WEST
Plate 332
ROMAN COURT, PALACE OF CHARLES V.
Plate 333
GROUND PLAN OF THE GENERALIFE AT GRANADA
A. Advanced parts B. The Inner Gallery, commanding a view of the Gardens C, C, C, C. Terraces and Aqueducts D, D, D, E, E. The surrounding country
Plate 334
THE GENERALIFE
Plate 335
THE PRINCIPAL COURT OF THE GENERALIFE
Plate 336
THE COURT OF THE FISH POND IN THE GENERALIFE
Plate 337
PROMENADES AND GARDENS OF THE GENERALIFE
Plate 338
THE GENERALIFE
Plate 339
FRONT VIEW OF THE PORTICO OF THE GENERALIFE
Plate 340
TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE
Plate 341
GALLERY IN THE GENERALIFE
Plate 342
THE GENERALIFE
GALLERY IN THE ACEQUIA COURT
Plate 343
THE GENERALIFE
ENTRANCE TO THE PORTRAIT GALLERY
Plate 344
GARDEN OF THE GENERALIFE
Plate 345
ELEVATION OF THE PORTICO OF THE GENERALIFE
Plate 346
THE ACEQUIA COURT IN THE GENERALIFE
Plate 347
A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE
Plate 348
CYPRESS COURT A CORNER IN THE ACEQUIA COURT
Plate 349
THE CYPRESS OF THE SULTANA IN THE GENERALIFE
Plate 350
A CEILING IN THE GENERALIFE
Plate 351
THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE
Plate 352
THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR
Plate 353
EXTERIOR VIEW OF THE GENERALIFE
Plate 354
ENTRANCE TO THE GENERALIFE
Plate 355
THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS
Plate 356
THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR
Plate 357
SOUTH FAÇADE OF THE PALACE OF CHARLES V.
Plate 358
BAS-RELIEF IN THE PALACE OF CHARLES V.
Plate 359
BAS-RELIEF IN THE PALACE OF CHARLES V.
Plate 360
GATE OF THE GRANADAS
Plate 361
PROMENADES AND HOTELS OF THE ALHAMBRA
Plate 362
THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.
Plate 363
ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.
Plate 364
GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA
Plate 365
GATE OF JUSTICE
Plate 366
GATE OF THE VINE. EAST FAÇADE
Plate 367
ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS
Plate 368
TOWER OF THE PEAKS
Plate 369
GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO
Plate 370
GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS
Plate 371
GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE
Plate 372
VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE
Plate 373
GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS
Plate 374
THE WATCH TOWER, THE CATHEDRAL, AND GRANADA
Plate 375
VILLAS ON THE BANKS OF THE RIVER DARRO
Plate 376
A VIEW OF THE ALHAMBRA
Plate 377
VILLAS ON THE BANKS OF THE RIVER DARRO
Plate 378
THE WATCH TOWER AND CATHEDRAL
Plate 379
THE RED TOWER
Plate 380
THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES
Plate 381
CARRERA DEL RIO DARRO
Plate 382
THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS
Plate 383
WASHING PLACE IN THE PUERTA DEL SOL
Plate 384
COURTYARD OF AN ARAB HOUSE
Plate 385
A MOORISH ARCHWAY
Plate 386
INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO
Plate 387
INTERIOR OF AN OLD HOUSE IN THE ALBAICIN
Plate 388
THE CATHEDRAL AND GENERAL VIEW
Plate 389
GENERAL VIEW OF THE CATHEDRAL
Plate 390
GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL
Plate 391
ENTRANCE TO THE ROYAL CHAPEL
Plate 392
EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS
Plate 393
DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL
Plate 394
EXTERIOR OF THE ROYAL CHAPEL
Plate 395
EXTERIOR OF THE CATHEDRAL
Plate 396
EXTERIOR OF THE ROYAL CHAPEL
Plate 397
EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON
Plate 398
GOTHIC PINNACLE ON THE ROYAL CHAPEL
Plate 399
THE CATHEDRAL, VIEW FROM THE CHOIR
Plate 400
THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR
Plate 401
BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL
Plate 402
GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL
Plate 403
THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS
Plate 404
ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS
Plate 405
THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC
Plate 406
SEPULCHRE OF FERDINAND
Plate 407
SEPULCHRE OF ISABELLA THE CATHOLIC
Plate 408
PORTAL OF THE CHURCH OF SAN JUAN DE DIO
Plate 409
SEPULCHRE OF ALONSO CANO IN SAN GERONIMO
Plate 410
HEAD OF JOHN THE BAPTIST
Plate 411
HEAD OF JOHN THE BAPTIST
Plate 412
HEAD OF JOHN THE BAPTIST
Plate 413
EXTERIOR OF THE CARTUJA MONASTERY
Plate 414
SACRISTY IN THE CARTUJA, LEFT SIDE
Plate 415
SACRISTY IN THE CARTUJA, RIGHT SIDE
Plate 416
CARTUJA. SANTO SANTORUM
Plate 417
CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY
Plate 418
ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE ORDER
Plate 419
CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO
Plate 420
CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO
Plate 421
CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO
Plate 422
CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO
Plate 423
CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN
Plate 424
CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN
Plate 425
CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN
Plate 426
THE CRUCIFIXION OF OUR LORD. BY MORALES
Plate 427
THE CONCEPTION OF OUR LADY. BY MORALES
Plate 428
THE GIPSY QUARTERS. EXTERIOR OF THE CAVES
Plate 429
THE GIPSY QUARTERS. AN “AT HOME”
Plate 430
GIPSY DANCE IN THEIR QUARTERS
Plate 431
GIPSY TYPES AT THE DOORS OF THEIR CAVES
Plate 432
GIPSY DANCE IN THEIR QUARTERS
Plate 433
GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA
Plate 434
BRIDGE OF THE GENIL
Plate 435
GENERAL VIEW
Plate 436
GENERAL VIEW OF THE OLD ALBAICIN
Plate 437
GENERAL VIEW FROM THE WATCH TOWER
Plate 438
OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN
Plate 439
THE OLD TOWN HALL
Plate 440
THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS
Plate 441
MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN
Plate 442
THE RAW SILK MARKET
Plate 443
THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET
Plate 444
EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO
Plate 445
THE COURT OF JUSTICE
Plate 446
CARRERA DEL DARRO
Plate 447
MARKET AND GIPSY FAIR IN THE TRIUNFO
Plate 448
CALLE DE SAN ANTON
Plate 449
ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR”
Plate 450
CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA
Plate 451
PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA
Plate 452
GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL
Plate 453
HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA
Plate 454
VILLAS ON THE BORDERS OF THE RIVER DARRO
Plate 455
DEFILE OF THE DARRO
Plate 456
THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA
Plate 457
VIEW OF THE SIERRA NEVADA
Plate 458
GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL
Plate 459
GRANADA
Specially drawn for The Spanish Series
Plate 460
ARMS OF GRANADA
THE SPANISH SERIES
Edited by ALBERT F. CALVERT
A new and important series of volumes, dealing with Spain in its various aspects, its history, its cities and monuments. Each volume will be complete in itself in a uniform binding, and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued, some volumes having over 300 pages of reproductions of pictures, etc.
Crown 8vo Price 3/6 net
1Goyawith600illustrations
2Toledo”510”
3Madrid”450”
4Seville”300”
5Murillo”165”
6Cordova”160”
7El Greco”140”
8Velazquez”142”
9The Prado”223”
10The Escorial”278”
11Royal Palaces of Spain”200”
12Granada and Alhambra”460”
13Spanish Arms and Armour”386”
14Leon, Burgos and Salamanca”462”
15Valladolid, Oviedo, Segovia, Zamora, Avila and Zaragoza”390”
UNIFORM WITH THIS VOLUME
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
WHILE the names of Murillo and Velazquez are inseparably linked in the history of Art as Spain’s immortal contribution to the small band of world-painters, the great Court-Painter to Philip IV. has ever received the lion’s share of public attention. Many learned and critical works have been written about Murillo, but whereas Velazquez has been familiarised to the general reader by the aid of small, popular biographies, the niche is still empty which it is hoped that this book will fill.
In this volume the attempt has been made to show the painter’s art in its relation to the religious feeling of the age in which he lived, and his own feeling towards his art. Murillo was the product of his religious era, and of his native province, Andalusia. To Europe in his lifetime he signified little or nothing. He painted to the order of the religious houses in his immediate vicinity; his works were immured in local monasteries and cathedrals, and, passing immediately out of circulation, were forgotten or never known.
UNIFORM WITH THIS VOLUME
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
ALTHOUGH several valuable and voluminous catalogues of the Spanish Royal Armoury have, from time to time, been compiled, this “finest collection of armour in the world” has been subjected so often to the disturbing influences of fire, removal, and re-arrangement, that no hand catalogue of the Museum is available, and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures.
The various exhibits with which the writer illustrates his narrative are reproduced to the number of nearly 400 on art paper, and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader, but to present a useful text book for the guidance of artists, sculptors, antiquaries, costumiers, and all who are engaged in the reproduction or representation of European armoury.
UNIFORM WITH THIS VOLUME
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS FROM PICTURES AND PHOTOGRAPHS
THE Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest but most imposing districts in the whole of Spain, was erected to commemorate a victory over the French in 1557. It was occupied and pillaged by the French two and a-half centuries later, and twice it has been greatly diminished by fire; but it remains to-day, not only the incarnate expression of the fanatic religious character and political genius of Philip II., but the greatest mass of wrought granite which exists on earth, the leviathan of architecture, the eighth wonder of the world.
In the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the Escorial, and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable. Both as a review and a pictorial record it is hoped that the work will make a wide appeal among all who are interested in the history, the architecture, and the art of Spain.
UNIFORM WITH THIS VOLUME
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH 510 ILLUSTRATIONS
THE origin of Imperial Toledo, “the crown of Spain, the light of the world, free from the time of the mighty Goths,” is lost in the impenetrable mists of antiquity. Mighty, unchangeable, invincible, the city has been described by Wörmann as “a gigantic open-air museum of the architectural history of early Spain, arranged upon a lofty and conspicuous table of rock.”
But while some writers have declared that Toledo is a theatre with the actors gone and only the scenery left, the author does not share the opinion. He believes that the power and virility upon which Spain built up her greatness is reasserting itself. The machinery of the theatre of Toledo is rusty, the pulleys are jammed from long disuse, but the curtain is rising steadily if slowly, and already can be heard the tuning-up of fiddles in its ancient orchestra.
In this belief the author of this volume has not only set forth the story of Toledo’s former greatness, but has endeavoured to place before his readers a panorama of the city as it appears to-day, and to show cause for his faith in the greatness of the Toledo of the future.
UNIFORM WITH THIS VOLUME
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
SEVILLE, which has its place in mythology as the creation of Hercules, and was more probably founded by the Phœnicians, which became magnificent under the Roman rule, was made the capital of the Goths, became the centre of Moslem power and splendour, and fell before the military prowess of St. Ferdinand, is still the Queen of Andalusia, the foster-mother of Velazquez and Murillo, the city of poets and pageantry and love.
Seville is always gay, and responsive and fascinating to the receptive visitor, and all sorts of people go there with all sorts of motives. The artist repairs to the Andalusian city to fill his portfolio; the lover of art makes the pilgrimage to study Murillo in all his glory. The seasons of the Church attract thousands from reasons of devotion or curiosity. And of all these myriad visitors, who go with their minds full of preconceived notions, not one has yet confessed to being disappointed in Seville.
The author has here attempted to convey in the illustrations an impression of this laughing city where all is gaiety and mirth and ever-blossoming roses, where the people pursue pleasure as the serious business of life in an atmosphere of exhilarating enjoyment.
UNIFORM WITH THIS VOLUME
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
THIS volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a picture gallery which is considered the finest in the world. It has been said that the day one enters the Prado for the first time is an important event like marriage, the birth of a child, or the coming into an inheritance; an experience of which one feels the effects to the day of one’s death.
The excellence of the Madrid gallery is the excellence of exclusion; it is a collection of magnificent gems. Here one becomes conscious of a fresh power in Murillo, and is amazed anew by the astonishing apparition of Velazquez; here is, in truth, a rivalry of miracles of art.
The task of selecting pictures for reproduction from what is perhaps the most splendid gallery of old masters in existence, was one of no little difficulty, but it is believed that the collection is representative, and that the letterpress will form a serviceable companion to the visitor to The Prado.
UNIFORM WITH THIS VOLUME
GRANADA AND THE ALHAMBRA
A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION TO H.I.M. THE EMPRESS EUGÉNIE
THIS volume is the third and abridged edition of a work which the author was inspired to undertake by the surpassing loveliness of the Alhambra, and by his disappointment in the discovery that no such thing as an even moderately adequate illustrated souvenir of “this glorious sanctuary of Spain” was obtainable. Keenly conscious of the want himself, he essayed to supply it, and the result is a volume that has been acclaimed with enthusiasm alike by critics, artists, architects, and archæologists.
In his preface to the first edition, Mr. Calvert wrote: “The Alhambra may be likened to an exquisite opera which can only be appreciated to the full when one is under the spell of its magic influence. But as the witchery of an inspired score can be recalled by the sound of an air whistled in the street, so—it is my hope—the pale ghost of the Moorish fairy-land may live again in the memories of travellers through the medium of this pictorial epitome.”
UNIFORM WITH THIS VOLUME
EL GRECO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140 OF HIS PICTURES
IN a Series such as this, which aims at presenting every aspect of Spain’s eminence in art and in her artists, the work of Domenico Theotocópuli must be allotted a volume to itself. “El Greco,” as he is called, who reflects the impulse, and has been said to constitute the supreme glory of the Venetian era, was a Greek by repute, a Venetian by training, and a Toledan by adoption. His pictures in the Prado are still catalogued among those of the Italian School, but foreigner as he was, in his heart he was more Spanish than the Spaniards.
El Greco is typically, passionately, extravagantly Spanish, and with his advent, Spanish painting laid aside every trace of Provincialism, and stepped forth to compel the interest of the world. Neglected for many centuries, and still often misjudged, his place in art is an assured one. It is impossible to present him as a colourist in a work of this nature, but the author has got together reproductions of no fewer than 140 of his pictures—a greater number than has ever before been published of El Greco’s works.
UNIFORM WITH THIS VOLUME
VELAZQUEZ
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ—“our Velazquez,” as Palomino proudly styles him—has been made the subject of innumerable books in every European language, yet the Editor of this Spanish Series feels that it would not be complete without the inclusion of yet another contribution to the broad gallery of Velazquez literature.
The great Velazquez, the eagle in art—subtle, simple, incomparable—the supreme painter, is still a guiding influence of the art of to-day. This greatest of Spanish artists, a master not only in portrait painting, but in character and animal studies, in landscapes and historical subjects, impressed the grandeur of his superb personality upon all his work. Spain, it has been said, the country whose art was largely borrowed, produced Velazquez, and through him Spanish art became the light of a new artistic life.
The author cannot boast that he has new data to offer, but he has put forward his conclusions with modesty; he has reproduced a great deal that is most representative of the artist’s work; and he has endeavoured to keep always in view his object to present a concise, accurate, and readable life of Velazquez.
UNIFORM WITH THIS VOLUME
ROYAL PALACES OF SPAIN
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF THE SPANISH KINGS. PROFUSELY ILLUSTRATED
SPAIN is beyond question the richest country in the world in the number of its Royal Residences, and while few are without artistic importance, all are rich in historical memories. Thus, from the Alcazar at Seville, which is principally associated with Pedro the Cruel, to the Retiro, built to divert the attention of Philip IV. from his country’s decay; from the Escorial, in which the gloomy mind of Philip II. is perpetuated in stone, to La Granja, which speaks of the anguish and humiliation of Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to Rio Frio, and from El Pardo, darkened by the agony of a good king, to Miramar, to which a widowed Queen retired to mourn: all the history of Spain, from the splendid days of Charles V. to the present time, is crystallised in the Palaces that constitute the patrimony of the Crown.
The Royal Palaces of Spain are open to visitors at stated times, and it is hoped that this volume, with its wealth of illustrations, will serve the visitor both as a guide and a souvenir.
UNIFORM WITH THIS VOLUME
VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS
THE glory of Valladolid has departed, but the skeleton remains, and attached to its ancient stones are the memories that Philip II. was born here, that here Cervantes lived, and Christopher Columbus died. In this one-time capital of Spain, in the Plaza Mayor, the fires of the Great Inquisition were first lighted, and here Charles V. laid the foundation of the Royal Armoury, which was afterwards transferred to Madrid.
More than seven hundred years have passed since Oviedo was the proud capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia, though no longer great, has still all the appurtenances of greatness, and with her granite massiveness and austerity, she remains an aristocrat even among the aristocracy of Spanish cities. Zamora, which has a history dating from time almost without date, was the key of Leon and the centre of the endless wars between the Moors and the Christians, which raged round it from the eighth to the eleventh centuries.
In this volume the author has striven to re-create the ancient greatness of these six cities, and has preserved their memories in a wealth of excellent and interesting illustrations.
UNIFORM WITH THIS VOLUME
LEON, BURGOS AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS
IN Leon, once the capital of the second kingdom in Spain; in Burgos, which boasts one of the most magnificent cathedrals in Spain, and the custodianship of the bones of the Cid; and in Salamanca, with its university, which is one of the oldest in Europe, the author has selected three of the most interesting relics of ancient grandeur in this country of departed greatness.
Leon to-day is nothing but a large agricultural village, torpid, silent, dilapidated; Burgos, which still retains traces of the Gotho-Castilian character, is a gloomy and depleting capital; and Salamanca is a city of magnificent buildings, a broken hulk, spent by the storms that from time to time have devastated her.
Yet apart from the historical interest possessed by these cities, they still make an irresistible appeal to the artist and the antiquary. They are content with their stories of old-time greatness and their cathedrals, and these ancient architectural splendours, undisturbed by the touch of a modernising and renovating spirit, continue to attract the visitor.
UNIFORM WITH THIS VOLUME
MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450 ILLUSTRATIONS
MADRID is at once one of the most interesting and most maligned cities in Europe. It stands at an elevation of 2,500 feet above the sea level, in the centre of an arid, treeless, waterless, and wind-blown plain; but whatever may be thought of the wisdom of selecting a capital in such a situation, one cannot but admire the uniqueness of its position, and the magnificence of its buildings, and one is forced to admit that, having fairly entered the path of progress, Madrid bids fair to become one of the handsomest and most prosperous of European cities.
The splendid promenades, the handsome buildings, and the spacious theatres combine to make Madrid one of the first cities of the world, and the author has endeavoured with the aid of the camera, to place every feature and aspect of the Spanish metropolis before the reader. Some of the illustrations reproduced here have been made familiar to the English public by reason of the interesting and stirring events connected with the Spanish Royal Marriage, but the greater number were either taken by the author, or are the work of photographers specially employed to obtain new views for the purpose of this volume.
UNIFORM WITH THIS VOLUME
GOYA
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS PICTURES
THE last of the old masters and the first of the moderns, as he has been called, Francisco José de Goya y Lucientes is not so familiarised to English readers as his genius deserves. He was born at a time when the tradition of Velazquez was fading, and the condition of Spanish painting was debased almost beyond hope of salvation; he broke through the academic tradition of imitation; “he, next to Velazquez, is to be accounted as the man whom the Impressionists of our time have to thank for their most definite stimulus, their most immediate inspiration.”
The genius of Goya was a robust, imperious, and fulminating genius; his iron temperament was passionate, dramatic, and revolutionary; he painted a picture as he would have fought a battle. He was an athletic, warlike, and indefatigable painter; a naturalist like Velazquez; fantastic like Hogarth; eccentric like Rembrandt; the last flame-coloured flash of Spanish genius.
It is impossible to reproduce his colouring; but in the reproductions of his works the author has endeavoured to convey to the reader some idea of Goya’s boldness of style, his mastery of frightful shadows and mysterious lights, and his genius for expressing all terrible emotions.
UNIFORM WITH THIS VOLUME
CORDOVA
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS
GAY-LOOKING, vivacious in its beauty, silent, ill-provided, depopulated, Cordova was once the pearl of the West, the city of cities, Cordova of the thirty suburbs and three thousand mosques; to-day she is no more than an overgrown village, but she still remains the most Oriental town in Spain.
Cordova, once the centre of European civilisation, under the Moors the Athens of the West, the successful rival of Baghdad and Damascus, the seat of learning and the repository of the arts, has shrunk to the proportions of a third-rate provincial town; but the artist, the antiquary and the lover of the beautiful, will still find in its streets and squares and patios a mysterious spell that cannot be resisted.
BY ALBERT F. CALVERT
LIFE OF CERVANTES
A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”
Size Crown 8vo. 150 pp. Price 3/6 net
PRESS NOTICES
“A popular and accessible account of the career of Cervantes.”—Daily Chronicle.
“A very readable and pleasant account of one of the great writers of all time.”—Morning Leader.
“Mr. Calvert is entitled to the gratitude of book-lovers for his industrious devotion at one of our greatest literary shrines.”—Birmingham Post.
“It is made trebly interesting by the very complete set of Cervantes’ portraits it contains, and by the inclusion of a valuable bibliography.”—Black and White.
“We recommend the book to all those to whom Cervantes is more than a mere name.”—Westminster Gazette.
“A most interesting résumé of all facts up to the present time known.”—El Nervion de Bilbao, Spain.
“The most notable work dedicated to the immortal author of Don Quixote that has been published in England.”—El Graduador, Spain.
“Although the book is written in English no Spaniard could have written it with more conscientiousness and enthusiasm.”—El Defensor de Granada, Spain.
BY ALBERT F. CALVERT
THE ALHAMBRA
OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
Size 10 x 7-1/2. Price £2 2s. net
PRESS NOTICES
“It is hardly too much to say that this is one of the most magnificent books ever issued from the English Press.”—Building World.
“One is really puzzled where to begin and when to stop in praising the illustrations.”—Bookseller.
“The most complete record of this wonder of architecture which has ever been contemplated, much less attempted.”—British Architect.
“A treasure to the student of decorative art.”—Morning Advertiser.
“Mr. Calvert has given us a Book Beautiful.”—Western Daily Press.
“It is the last word on the subject, no praise is too high.”—Nottingham Express.
“May be counted among the more important art books which have been published during recent years.”—The Globe.
“Has a pride of place that is all its own among the books of the month.”—Review of Reviews.
“Has in many respects surpassed any books on the Alhambra which up to the present have appeared in our own country or abroad.”—El Graduador, Spain.
“It is one of the most beautiful books of modern times.”—Ely Gazette.
“One of the most artistic productions of the year.”—Publishers’ Circular.
“The most beautiful book on the Alhambra issued in England.”—Sphere.
“The standard work on a splendid subject.”—Daily Telegraph.
“A remarkable masterpiece of book production.”—Eastern Daily Press.
“A perfect treasure of beauty and delight.”—Keighley News.
“A magnificent work.”—Melbourne Age, Australia.
“Immense collection of fine plates.”—The Times.
“A standard work, the compilation of which would credit a life’s labour.”—Hull Daily Mail.
BY ALBERT F. CALVERT
MOORISH REMAINS IN SPAIN
BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS, ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
Crown 4to. (7-1/2 x 10 ins.) Price £2 2s. net
PRESS NOTICES
“The making of this book must surely have been a veritable labour of love; and love’s labour has certainly not been lost.”—Pall Mall Gazette.
“The best age of Moorish architecture in Spain is shown with remarkable vividness and vitality.”—The Scotsman.
“A most gorgeous book.... We cheerfully admit Mr. Calvert into the ranks of those whom posterity will applaud for delightful yet unprofitable work.”—Outlook.
“A large and sumptuous volume.”—Tribune.
“The illustrations are simply marvels of reproduction.”—Dundee Advertiser.
“One of the books to which a simple literary review cannot pretend to do justice.”—Spectator.
“A special feature of a work of peculiar interest and value are the illustrations.”—Newcastle Chronicle.
“The illustrations are given with a minuteness and faithfulness of detail, and colour, which will be particularly appreciated and acknowledged by those who are most acquainted with the subject themselves.”—Liverpool Post.
“It is impossible to praise too highly the care with which the illustrations have been prepared.”—Birmingham Daily Post.
“It is illustrated with so lavish a richness of colour that to turn its pages gives one at first almost the same impression of splendour as one receives in wandering from hall to hall of the Alcazar of Seville; and this is probably the highest compliment we could pay to the book or its author.”—Academy.
“It is certainly one of the most interesting books of the year.”—Crown.
“The occasional delicacy of design and harmony of colour can scarcely be surpassed ... a valuable and profusely illustrated volume.”—Guardian.
“An excellent piece of work.”—The Times.
“Mr. Calvert has performed a useful work.”—Daily Telegraph.
“A truly sumptuous volume.”—The Speaker.
“Mr. Calvert has given a very complete account of the evolution of Moresco art.”—The Connoisseur.
FOOTNOTES:
