X CAFÉ LIFE OF THE MADRILEÑOS
Reading edition
In every part of Spain the café is a popular resort and the rendezvous of friends. Here all classes foregather to discuss the news, to criticise the new bull-fighter, to extol a favourite dancer, to transact business, to play at dominoes or draughts, to read the journals, to sip coffee, and to smoke cigarettes. Many hours of each day are dedicated by the Madrileño to the café. He goes there as a matter of routine for his morning refresco, and again in the evening for his coffee with a dash of spirit.
The cafés are comfortable, and they provide for different classes of customers. They are never decorated in a resplendent manner; but, as Gautier observed, “this want of splendour is amply compensated by the excellence and variety of the refreshments.” Gautier mentions the Café de Levante among others, and this is still a favourite resort of men-about-town. In the Calle de Alcalá are three representative coffee-houses, the Café de Madrid, the Café Suizo, and the Café de Fornos. The Café Inglés is in the Calle de Sevilla. The houses of refreshment in the Puerta del Sol are the resort of all types of Madrid character, from the diplomat to the professional swindler. From nine o’clock in the evening until two in the morning these cafés are thronged. The customary beverage is café con leche (coffee with milk) or black coffee, with a drop of cognac. Light wines and spirits are also provided, but these are used sparingly by the majority of the Madrileños, for, whatever may be the faults of the Spaniard, immoderation in the use of alcohol is certainly not one of them.
To attract the attention of the waiters at the cafés, you clap your hands, or make a hissing sound between your closed teeth. The coffee is usually excellent, and the spirit is brought to you in a bottle marked with measures. The crowds in the Madrid cafés lack the picturesqueness of those in some of the smaller towns of Castile, Murcia, and Andalusia, where the dress of the provinces is still worn. You will see no majas in the capital; the grisettes of Madrid cannot be distinguished from the rest of the female population. The capa is, however, still worn by men of almost all ranks, and these, and the broad-brimmed hats, give a touch of the romantic to the throngs in the coffee-houses of the Puerta del Sol.
There are wine-shops and taverns in Madrid, but the seats are not luxurious, and there is no display of carved mahogany and engraved glass, and no separation of the classes. The “accommodation” may be somewhat rude; still the wine is good and cheap, and the tone and atmosphere of the posada are more wholesome than those of the London public-house. A glass of the wine of the country can be bought for a penny in these taverns, and the finest wines cost only a few pence the glass. Immense wine-barrels flank the walls, and there is an array of spirit and fruit syrup bottles behind the counter.
The chief hotels of Madrid are the Hotel de la Paz, Hotel del Universo, the Roma, and the Hotel de Paris. They are centrally situated, and fairly well appointed. The meals are almuerzo and comida, corresponding to luncheon and dinner. There is no meal in Spain resembling the hearty English breakfast. The Spaniard takes a cup of chocolate and a dry roll upon rising, and goes about his business or his pleasure until eleven or twelve o’clock, when almuerzo, the first real meal of the day, is served.
Some of the Spanish dishes are only palatable to English people after a taste for them has been sedulously cultivated. Many of the viands are flavoured with garlic. The menu for comida consists of soup, fish, an egg dish, meat, sometimes a puchero or stew, and cakes and fruit. Table wine is usually provided free of charge. Every man smokes in the dining-room, both during and after meals.
Among the best restaurants are the Fornos, the Italiano and the Inglés.
PRINTED BY TURNBULL AND SPEARS EDINBURGH
PLATE 1
PLATE 1.
MADRID
Specially drawn for The Spanish Series
PLATE 2
PLATE 2.
ARMS OF MADRID
PLATE 3
PLATE 3.
General View of Madrid.
PLATE 4
PLATE 4.
View of Madrid from the Teja.
PLATE 5
PLATE 5.
General View of Madrid.
PLATE 6
PLATE 6.
View of Madrid from San Isidro.
PLATE 7
PLATE 7.
The Fountain of Cybele and Calle de Alcalá.
PLATE 8
PLATE 8.
The Northern Railway Station and Royal Palace.
PLATE 9
PLATE 9.
Puerta del Sol.
PLATE 10
PLATE 10.
Puerta del Sol.
PLATE 11
PLATE 11.
Calle de Alcalá.
PLATE 12
PLATE 12.
Calle de Alcalá.
PLATE 13
PLATE 13.
Calle de Alcalá.
PLATE 14
PLATE 14.
Calle de Alcalá.
PLATE 15
PLATE 15.
Carrera de San Jerónimo.
PLATE 16
PLATE 16.
Calle de Alcalá.
PLATE 17
PLATE 17.
Calle de Sevilla.
PLATE 18
PLATE 18.
Calle de Alcalá.
PLATE 19
PLATE 19.
Plaza de Castelar.
PLATE 20
PLATE 20.
Calle de Toledo.
PLATE 21
PLATE 21.
In Old Madrid.
PLATE 22
PLATE 22.
Paseo de Recoletos.
PLATE 23
PLATE 23.
Paseo de Recoletos.
PLATE 24
PLATE 24.
Paseo de Recoletos.
PLATE 25
PLATE 25.
Paseo de Recoletos.
PLATE 26
PLATE 26.
Calle de Alcalá and Statue of Aguirre.
PLATE 27
PLATE 27.
Paseo de la Castellana.
PLATE 28
PLATE 28.
Plaza de Isabel II.
PLATE 29
PLATE 29.
Plaza de Oriente.
PLATE 30
PLATE 30.
Plaza Mayor.
PLATE 31
PLATE 31.
Plaza Mayor.
PLATE 32
PLATE 32.
Plaza Mayor and Statue of Philip III.
PLATE 33
PLATE 33.
Calle de Serrano.
PLATE 34
PLATE 34.
Calle de la Princesa on Good Friday.
PLATE 35
PLATE 35.
Entrance to the Park of Alfonso XIII.
PLATE 36
PLATE 36.
Casa de Campo. The Lake.
PLATE 37
PLATE 37.
Toledo Bridge.
PLATE 38
PLATE 38.
Toledo Bridge.
PLATE 39
PLATE 39.
Toledo Bridge.
PLATE 40
PLATE 40.
Segovia Bridge.
PLATE 41
PLATE 41.
Entrance to the Retiro.
PLATE 42
PLATE 42.
Entrance to the Retiro.
PLATE 43
PLATE 43.
Principal Entrance to the Retiro.
PLATE 44
PLATE 44.
Retiro. The Parterre.
PLATE 45
PLATE 45.
Retiro. The Lake.
PLATE 46
PLATE 46.
Retiro. The Crystal Palace.
PLATE 47
PLATE 47.
Retiro. Arab Pavilion.
PLATE 48
PLATE 48.
Retiro. Arab Temple.
PLATE 49
PLATE 49.
Gate of Alcalá.
PLATE 50
PLATE 50.
Gate of Hierro.
PLATE 51
PLATE 51.
Gate of Toledo.
PLATE 52
PLATE 52.
Chamber of Deputies.
PLATE 53
PLATE 53.
The Cortes. Two Bronze Lions in front of the Palace.
PLATE 54
PLATE 54.
Interior of the Chamber of Deputies.
PLATE 55
PLATE 55.
Interior of the Chamber of Deputies.
PLATE 56
PLATE 56.
Reception Room at the Chamber of Deputies. Decorated by Don A. Mélida.
PLATE 57
PLATE 57.
Reception Room at the Chamber of Deputies. Decorated by Don A. Mélida.
PLATE 58
PLATE 58.
Façade of the Hospital. Calle Fuencarral.
PLATE 59
PLATE 59.
La Latina.
PLATE 60
PLATE 60.
Portal of the Hospital of the Conception or “La Latina” in the Calle de Toledo.
PLATE 61
PLATE 61.
Staircase of la Latina.
PLATE 62
PLATE 62.
Portal and Staircase of the Hospital de la Latina.
PLATE 63
PLATE 63.
Arabian Palace of the Prado.
PLATE 64
PLATE 64.
Arabian Palace of the Prado.
PLATE 65
PLATE 65.
Lujanes Tower.
PLATE 66
PLATE 66.
The Aguirre School.
PLATE 67
PLATE 67.
The Spanish Theatre.
PLATE 68
PLATE 68.
The Royal Theatre.
PLATE 69
PLATE 69.
The Treasury Office in the Calle de Alcalá.
PLATE 70
PLATE 70.
Palace of the Marqués de Portugalete.
PLATE 71
PLATE 71.
Palace of the Marqués de Linares.
PLATE 72
PLATE 72.
The Bank of Spain.
PLATE 73
PLATE 73.
The War Office.
PLATE 74
PLATE 74.
Southern Façade of the Museum and the Statue of Murillo.
PLATE 75
PLATE 75.
The Prado Gallery. North Façade.
PLATE 76
PLATE 76.
The Prado Gallery.
PLATE 77
PLATE 77.
The New Exchange.
PLATE 78
PLATE 78.
The Town Hall.
PLATE 79
PLATE 79.
The Northern Railway Station.
PLATE 80
PLATE 80.
Círculo de Contribuyentes.
PLATE 81
PLATE 81.
The Senate House.
PLATE 82
PLATE 82.
Hispano-American Bank.
PLATE 83
PLATE 83.
The Spanish Academy.
PLATE 84
PLATE 84.
The Atocha Station.
PLATE 85
PLATE 85.
National Library.
PLATE 86
PLATE 86.
The National Library and Museum.
PLATE 87
PLATE 87.
National Library. Detail of the Façade.
PLATE 88
PLATE 88.
National Library and Museum. East Façade.
PLATE 89
PLATE 89.
National Library. Sphinx.
PLATE 90
PLATE 90.
The Equitable Buildings in the Calle de Alcalá.
PLATE 91
PLATE 91.
Statue of María Cristina and Museum of Reproductions.
PLATE 92
PLATE 92.
Interior of the New Exchange.
PLATE 93
PLATE 93.
The Home Office.
PLATE 94
PLATE 94.
Astronomical Observatory.
PLATE 95
PLATE 95.
The Exchange.
PLATE 96
PLATE 96.
The War Office.
PLATE 97
PLATE 97.
The Town Hall.
PLATE 98
PLATE 98.
Ministerio de Fomento.
PLATE 99
PLATE 99.
Hermitage of San Isidro.
PLATE 100
PLATE 100.
Refuge of Our Lady of Mercy.
PLATE 101
PLATE 101.
Church of San Francisco el Grande.
PLATE 102
PLATE 102.
San Francisco el Grande.
General View from the Choir.
PLATE 103
PLATE 103.
San Francisco el Grande. The Concession of the Jubilee of the Porciúncula.
PLATE 104
PLATE 104.
San Francisco el Grande. Left Side of the Cupola.
PLATE 105
PLATE 105.
Crypt in the Almudena Cathedral.
PLATE 106
PLATE 106.
The Cathedral. Partial View of the Crypt.
PLATE 107
PLATE 107.
Church of Las Calatravas.
PLATE 108
PLATE 108.
Las Calatravas.
PLATE 109
PLATE 109.
Church of El Buen Suceso.
PLATE 110
PLATE 110.
General View of the Church El Buen Suceso.
PLATE 111
PLATE 111.
Church of San José.
PLATE 112
PLATE 112.
Church of San Isidro el Real.
PLATE 113
PLATE 113.
Interior of the Church of San Isidro.
PLATE 114
PLATE 114.
Church of La Virgen del Puerto.
PLATE 115
PLATE 115.
Church of Las Salesas. The Suffering Christ.
PLATE 116
PLATE 116.
Church of San Cayetano.
PLATE 117
PLATE 117.
Altar Piece in the Bishop’s Chapel.
PLATE 118
PLATE 118.
Door in the Bishop’s Chapel.
PLATE 119
PLATE 119.
The Bishop’s Chapel. Left Side of the Door.
PLATE 120
PLATE 120.
The Bishop’s Chapel. Right Side of the Door.
PLATE 121
PLATE 121.
The Bishop’s Chapel. Upper Part of the Door.
PLATE 122
PLATE 122.
The Bishop’s Chapel. Sepulchre of the Bishop of Plasencia.
PLATE 123
PLATE 123.
The Bishop’s Chapel. Sepulchre of Don Francesco de Vargas.
PLATE 124
PLATE 124.
The Bishop’s Chapel. Sepulchre of Doña Ines de Carvajal.
PLATE 125
PLATE 125.
Parish Church of St Andrew. Sepulchre of San Isidro Ploughman, Patron Saint of Madrid.
PLATE 126
PLATE 126.
Interior of the Church of San Jerónimo.
FROM A PICTURE IN THE PRADO OF THE PRINCE OF THE ASTURIAS (FERDINAND VII.) TAKING THE OATH OF ALLEGIANCE IN 1789.
PLATE 127
PLATE 127.
View of the Interior of the Church of San Jerónimo.
PLATE 128
PLATE 128.
San Antonio de la Florida.
PLATE 129
PLATE 129.
Church of San Antonio de la Florida.
PLATE 130
PLATE 130.
Interior of the Church of San Antonio de la Florida.
PLATE 131
PLATE 131.
Fresco in San Antonio de la Florida, by Goya.
PLATE 132
PLATE 132.
Fresco in San Antonio de la Florida, by Goya.
PLATE 133
PLATE 133.
Fresco in San Antonio de la Florida, by Goya.
PLATE 134
PLATE 134.
Fresco in San Antonio de la Florida, by Goya.
PLATE 135
Plate 135.
Group of Angels in San Antonio de la Florida, by Goya.
PLATE 136
PLATE 136.
Group of Angels in San Antonio de la Florida, by Goya.
PLATE 137
PLATE 137.
Interior of the Church of San Antonio de la Florida.
PLATE 138
PLATE 138.
San Antonio de la Florida. Painting in the Principal Chapel, by Goya.
PLATE 139
PLATE 139.
San Antonio de la Florida. Paintings on the Centres of the Intrados of the Choir and Principal Chapel Arches, by Goya.
PLATE 140
PLATE 140.
San Antonio de la Florida. Paintings on the Springings of the Intrados of the Principal Chapel Arches, by Goya.
PLATE 141
PLATE 141.
San Antonio de la Florida. Paintings on the Springings of the Intrados of the Choir Arches, by Goya.
PLATE 142
PLATE 142.
San Antonio de la Florida. Paintings on the Intrados of the Chapel Arch, Left Side, by Goya.
PLATE 143
PLATE 143.
San Antonio de la Florida. Paintings on the Intrados of the Chapel Arch, Right Side, by Goya.
PLATE 144
PLATE 144.
San Antonio de la Florida. Triangles Formed by the Dome Adjoining the Principal Chapel, by Goya.
PLATE 145
PLATE 145.
San Antonio de la Florida. Triangles Formed by the Dome Adjoining the Choir, by Goya.
PLATE 146
PLATE 146.
San Antonio de la Florida. Paintings at the Left Sides of the Windows of the Dome, by Goya.
PLATE 147
PLATE 147.
San Antonio de la Florida. Paintings at the Right Sides of the Windows of the Dome, by Goya.
PLATE 148
PLATE 148.
San Antonio de la Florida. First Group on the Cupola to the Left of the Centre, by Goya.
PLATE 149
PLATE 149.
San Antonio de la Florida. Second Group on the Cupola to the Left of the Centre, by Goya.
PLATE 150
PLATE 150.
San Antonio de la Florida. Centre of the Composition on the Cupola facing the Entrance, by Goya.
PLATE 151
PLATE 151.
San Antonio de la Florida. First Group on the Cupola to the Right of the Centre, by Goya.
PLATE 152
PLATE 152.
San Antonio de la Florida. Second Group on the Cupola to the Right of the Centre, by Goya.
PLATE 153
PLATE 153.
The Prado.
PLATE 154
PLATE 154.
The Prado.
PLATE 155
PLATE 155.
The Prado Gallery.
PLATE 156
PLATE 156.
The Prado. The Velazquez Gallery.
PLATE 157
PLATE 157.
MADRID PICTURE GALLERY
PLATE 158
PLATE 158.
MADRID PICTURE GALLERY.
PLATE 159
PLATE 159.
Scene in the Life of Santo Domingo de Guzman, by Pedro Berruguete.
PRADO.
PLATE 160
PLATE 160.
Ecce Homo, by Luis de Morales.
PRADO.
PLATE 161
PLATE 161.
The Baptism of Christ, by Navarrete.
PRADO.
PLATE 162
PLATE 162.
Portrait of Don Carlos, Son of Philip II., by Alonso Sánchez Coello.
PRADO.
PLATE 163
PLATE 163.
The Infantas Isabel Clara Eugenia and Catalina Micaela, Daughters of Philip II., by Alonso Sánchez Coello.
PRADO.
PLATE 164
PLATE 164.
Jacob Receiving the Blessing of his Father Isaac, by Ribera.
PRADO.
PLATE 165
PLATE 165.
Vision of St Peter the Apostle to St Peter Nolasco, by Zurbarán.
PRADO.
PLATE 166
PLATE 166.
Los Borrachos, by Velazquez.
PRADO.
PLATE 167
PLATE 167.
The Forge of Vulcan, by Velazquez.
PRADO.
PLATE 168
PLATE 168.
The Surrender of Breda, by Velazquez.
PRADO.
PLATE 169
PLATE 169.
Philip IV., by Velazquez.
PRADO.
PLATE 170
PLATE 170.
Queen Isabel of Bourbon, by Velazquez.
PRADO.
PLATE 171
PLATE 171.
Don Baltasar Carlos, by Velazquez.
PRADO.
PLATE 172
PLATE 172.
Philip IV. in Hunting Costume, by Velazquez.
PRADO.
PLATE 173
PLATE 173.
Don Baltasar Carlos in Hunting Costume, by Velazquez.
PRADO.
PLATE 174
PLATE 174.
Duke of Olivares, by Velazquez.
PRADO.
PLATE 175
PLATE 175.
Æsop, by Velazquez.
PRADO.
PLATE 176
PLATE 176.
St Antony Abbot Visiting St Paul, by Velazquez.
PRADO.
PLATE 177
PLATE 177.
Las Hilanderas, by Velazquez.
PRADO.
PLATE 178
PLATE 178.
Las Meninas, by Velazquez.
PRADO.
PLATE 179
PLATE 179.
Our Lady of the Immaculate Conception, by Murillo. PRADO.
PLATE 180
PLATE 180.
El Tiñoso: St Elizabeth of Hungary Tending the Sick in her Hospital, by Murillo.
PRADO.
PLATE 181
PLATE 181.
Father Cabanillas, by Murillo.
PRADO.
PLATE 182
PLATE 182.
The Child Jesus as Shepherd, by Murillo.
PRADO.
PLATE 183
PLATE 183.
Detail of Plate 179, by Murillo.
PRADO.
PLATE 184
PLATE 184.
The Vision of St Bernard, by Murillo.
PRADO.
PLATE 185
PLATE 185.
The Virgin of the Rosary, by Murillo.
PRADO.
PLATE 186
PLATE 186.
The Child St John, by Murillo.
PRADO.
PLATE 187
PLATE 187.
The Children, Jesus and St John, Known by the Name of “Los Niños de la Concha,” by Murillo.
PRADO.
PLATE 188
PLATE 188.
The Holy Family and the Bird, by Murillo.
PRADO.
PLATE 189
PLATE 189.
Head of the Holy Shepherd (Fragment), by Murillo.
PRADO.
PLATE 190
PLATE 190.
La Porciúncula (the Vision of St Francis), by Murillo.
PRADO.
PLATE 191
PLATE 191.
The Martyrdom of St Andrew the Apostle at Patras, by Murillo.
PRADO.
PLATE 192
PLATE 192.
The Dream of the Roman Senator and his Wife, Which Produced the Church of St Maria Maggiore at Rome, by Murillo.
PLATE 193
PLATE 193.
The Roman Senator and his Wife telling their Dream to Pope Liberius, by Murillo.
PLATE 194
PLATE 194.
The Annunciation, by El Greco,
PRADO.
PLATE 195
PLATE 195.
The Holy Family, by El Greco.
PRADO.
PLATE 196
PLATE 196.
The Crucifixion, by El Greco.
PRADO.
PLATE 197
PLATE 197.
The Dead Christ in the Arms of God the Father, by El Greco.
PRADO.
PLATE 198
PLATE 198.
Charles IV., by Goya.
PRADO.
PLATE 199
PLATE 199.
Queen Maria Luisa, by Goya.
PRADO.
PLATE 200
PLATE 200.
The Nude Maja, by Goya.
PRADO.
PLATE 201
PLATE 201.
The Draped Maja, by Goya.
PRADO.
PLATE 202
PLATE 202.
The Family of Charles IV., by Goya.
PRADO.
PLATE 203
PLATE 203.
Goya at the Age of 80, by V. López.
PRADO.
PLATE 204
PLATE 204.
Jesus and Mary Magdalene, by Correggio.
PRADO.
PLATE 205
PLATE 205.
The Holy Family and the Lamb, by Rafael.
PRADO.
PLATE 206
PLATE 206.
A Cardinal, by Rafael.
PRADO.
PLATE 207
PLATE 207.
Madonna and Child, with St Bridget and St Hulpus, by Titian.
PRADO.
PLATE 208
PLATE 208.
The Crown of Thorns, by Domingo Tiepolo.
PRADO.
PLATE 209
PLATE 209.
Portrait of Albrecht Dürer, by Himself.
PRADO.
PLATE 210
PLATE 210.
Queen Artemisia, by Rembrandt.
PRADO.
PLATE 211
PLATE 211.
Village Fête, by Teniers.
PRADO.
PLATE 212
PLATE 212.
Gallery of the Archduke Leopold in Brussels, by Teniers.
PRADO.
PLATE 213
PLATE 213.
The Three Graces, by Rubens.
PRADO.
PLATE 214
PLATE 214.
The Holy Family, by Rubens.
PRADO.
PLATE 215
PLATE 215.
Van Dyck and Count Bristol, by Van Dyck.
PRADO.
PLATE 216
PLATE 216.
The Last Supper, by Juan de Juanes.
PRADO.
PLATE 217
PLATE 217.
The Catholic Sovereigns adoring the Virgin, by Juan de Borgoña. PRADO.
PLATE 218
PLATE 218.
A Gothic King, by Alonso Cano.
PRADO.
PLATE 219
PLATE 219.
The Water from the Rock, by Juan de las Roelas, El Clérigo.
PRADO.
PLATE 220
PLATE 220.
A Soul in Pain, by Ribalta.
PRADO.
PLATE 221
PLATE 221.
Portrait of Philip II., by Pantoja de la Cruz.
PRADO.
PLATE 222
PLATE 222.
Portrait of Pedro Berruguete. 15th Century.
COLLECTION OF DON JOSÉ DE LAZARO GALDEANO.
PLATE 223
PLATE 223.
Architecture, Painting, and Sculpture, by G. Suñol.
ALLEGORIC GROUP INTENDED FOR THE FAÇADE OF THE PRADO.
PLATE 224
PLATE 224.
The Emperor Charles V.
PRADO MUSEUM.
PLATE 225
PLATE 225.
The Empress Isabel of Portugal, Wife of Charles V.
The prado.
PLATE 226
PLATE 226.
A Satyr and Children Dancing.
The prado.
PLATE 227
PLATE 227.
Marble Relief. Life-size Figures.
The prado.
PLATE 228
PLATE 228.
Marble Relief. Bacchantes. Life-size Figures.
The prado.
PLATE 229
PLATE 229.
Bronze Heads.
The prado.
PLATE 230
PLATE 230.
Tapestry. The Baptist taking Leave of his Parents to devote himself to Penitence.
PLATE 231
PLATE 231.
Tapestry. The Virgin Enthroned, Gideon showing the Lamb’s Skin, and other Scenes.
PLATE 232
PLATE 232.
Effigy of St Ferdinand, King of Spain.
Chapel Royal.
PLATE 233
PLATE 233.
(1 TO 5) Crowns and Votive Crosses of Guarrazar.
(6) Remains of St Ferdinand’s Robe.
(7) Moorish Spurs of St Ferdinand.
ROYAL ARMOURY.
PLATE 234
PLATE 234.
C 1. Spanish Man-at-Arms, 15th Century.
ROYAL ARMOURY.
PLATE 235
PLATE 235.
C 4. Spanish Crossbowman, 15th Century.
ROYAL ARMOURY.
PLATE 236
PLATE 236.
C 2. Spanish Halberdier, 15th Century.
ROYAL ARMOURY.
PLATE 237
PLATE 237.
Mace-Bearer of the 16TH Century with Surcoat displaying the Arms of Castile and Leon.
PLATE 238
PLATE 238.
A 26. Tilting Harness of Charles V.
ROYAL ARMOURY.
PLATE 239
PLATE 239.
A 112. Armour presented to Charles V. by the Duke of Mantua.
ROYAL ARMOURY.
PLATE 240
PLATE 240.
Armour of Charles V. made by Desiderio Colman.
(1849 CATALOGUE.)
ROYAL ARMOURY.
PLATE 241
PLATE 241.
A 231. Armour made for Prince Philip (II.) by Wolf of Landshut (1550).
ROYAL ARMOURY.
PLATE 242
PLATE 242.
Armour of Charles V., Augsburg or Nuremberg Make.
(1849 CATALOGUE.)
ROYAL ARMOURY.
PLATE 243
PLATE 243.
A 37. Tilting Harness of Charles V. made by Desiderio Colman, Helmschmied.
ROYAL ARMOURY.
PLATE 244
PLATE 244.
A 65. Tilting Harness of Charles V.
ROYAL ARMOURY.
PLATE 245
PLATE 245.
A 149. Armour of Charles V. (1541).
ROYAL ARMOURY.
PLATE 246
PLATE 246.
A 243. Equestrian Armour of Philip II. made by Sigmund Wolf of Landshut.
ROYAL ARMOURY.
PLATE 247
PLATE 247.
Armour of King Philip II.
ROYAL ARMOURY.
PLATE 248
PLATE 248.
Armour of Philip II., engraved with the Royal Arms of England.
ROYAL ARMOURY.
PLATE 249
PLATE 249.
A 290. Armour of King Sebastian of Portugal.
ROYAL ARMOURY.
PLATE 250
PLATE 250.
A 290. Armour of King Sebastian, Back Plate (Details).
ROYAL ARMOURY.
PLATE 251
PLATE 251.
A 291. Armour of Philip III. made by Lucio Picinino of Milan.
ROYAL ARMOURY.
PLATE 252
PLATE 252.
Armour made at Pamplona for the Duke of Savoy (1620).
ROYAL ARMOURY.
PLATE 253
PLATE 253.
Half Armour of Philip IV.
ROYAL ARMOURY.
PLATE 254
PLATE 254.
Milanese Brigantine which belonged to Charles V.
ROYAL ARMOURY.
PLATE 255
PLATE 255.
B 1. Boy’s Half Armour made in Italy for the Infante, afterwards Philip III.
ROYAL ARMOURY.
PLATE 256
PLATE 256.
D 1. Boy’s Half Armour made for the Infante, afterwards Philip III. (Second View.)
ROYAL ARMOURY.
PLATE 257
PLATE 257.
B 4. Half Armour Presented to the Infante, afterwards Philip III., by the Duke of Terranova.
ROYAL ARMOURY.
PLATE 258
PLATE 258.
B 18. Boy’s Half Armour made for the Infante Fernando, Son of Philip III.
ROYAL ARMOURY.
PLATE 259
PLATE 259.
Half Armour belonging to Prince Philip, afterwards Philip IV.
ROYAL ARMOURY.
PLATE 260
PLATE 260.
A 434. Gorget. Subject: The Siege of Ostend, 1601.
ROYAL ARMOURY.
PLATE 261
PLATE 261.
A 434. Gorget of Philip II.
Subject: The Battle of Nieuport.
ROYAL ARMOURY.
PLATE 262
PLATE 262.
Helmet of Philip II. made at Augsburg in 1549.
ROYAL ARMOURY.
PLATE 263
PLATE 263.
A 243. Helmet of Philip II. made by Wolf of Landshut in 1554.
ROYAL ARMOURY.
PLATE 264
PLATE 264.
A 290. Burgonet of King Sebastian of Portugal.
ROYAL ARMOURY.
PLATE 265
PLATE 265.
A 292. Burgonet made for Philip III. by Lucio Picinino.
ROYAL ARMOURY.
PLATE 266
PLATE 266.
A 350. Helmet for the Duke of Savoy (Side View).
ROYAL ARMOURY.
PLATE 267
PLATE 267.
D 3. Burgonet of Charles V. designed by Giulio Romano.
ROYAL ARMOURY.
PLATE 268
PLATE 268.
M 5. Helmet of Francis I. of France, taken at the Battle of Pavia.
ROYAL ARMOURY.
PLATE 269
PLATE 269.
1511. Satin and Velvet Turban found in the Palace of Mustafa, Bey of Oran, in 1722.
1533. Steel Turban of Ali Pasha, Turkish Admiral at Lepanto.
ROYAL ARMOURY.
PLATE 270
PLATE 270.
D 63. The “Plus Ultra” Shield Designed by Giulio Romano. D 10. Shield, Early 17th Century. Design: Warriors in Combat.
ROYAL ARMOURY.
PLATE 271
PLATE 271.
D 69. Italian Shield, 16th Century. Design: The Triumph of Love. D 68. Shield of Augsburg Make, 16th Century.
ROYAL ARMOURY.
PLATE 272
PLATE 272.
D 79. Shield Presented to Philip III. by the Duke of Savoy in 1603.
ROYAL ARMOURY.
PLATE 273
PLATE 273.
D 86. Moorish Leather Shield, End of 15th Century.
ROYAL ARMOURY.
PLATE 274
PLATE 274.
M 6. Shield and Sword of Francis I. of France, taken at the Battle of Pavia. Design: The Gallic Cock attacking a Warrior and putting him to Flight.
ROYAL ARMOURY.
PLATE 275
PLATE 275.
A 242. Pommel and Cantle of Saddle of Philip II.
ROYAL ARMOURY.
PLATE 276
PLATE 276.
A 291. Cantle-Plates of Saddle made by Lucio Picinino.
ROYAL ARMOURY.
PLATE 277
PLATE 277.
Turkish Saddle given to Charles III.
ROYAL ARMOURY.
PLATE 278
PLATE 278.
Trophy formed of several Pieces of Armour of Philip II.
ROYAL ARMOURY.
PLATE 279
PLATE 279.
Armour of a Greyhound.
ROYAL ARMOURY.
PLATE 280
PLATE 280.
1987, 1992. Spanish Arquebuses, End of 16th Century.
1955. Petronel, 16th Century.
1961. Spanish Arquebus, with Octagonal Barrel inlaid with Mother of Pearl and Ivory, 16th Century.
1972, 1977, 1946. Keys or Cranks to cock the Arquebuses.
ROYAL ARMOURY.
PLATE 281
PLATE 281.
Double Breech-Loading Cannon, in Bronze, used in Spain at the End of the 15th Century.
ROYAL ARMOURY.
PLATE 282
PLATE 282.
Sedan Chair of Philip V.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 283
PLATE 283.
Sedan Chair of Ferdinand VI.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 284
PLATE 284.
Sedan Chair of Charles IV.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 285
PLATE 285.
Sedan Chair of Philip V.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 286
PLATE 286.
Sedan Chair of Charles III.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 287
PLATE 287.
Campaign Litter of the Emperor Charles V.
ROYAL ARMOURY.
PLATE 288
PLATE 288.
Carriage Given by Napoleon I. To Charles IV.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 289
PLATE 289.
The Crown Coach.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.
PLATE 290
PLATE 290.
General View of the Interior of the Old Armoury.
PLATE 291
PLATE 291.
General View of the Interior of the Old Armoury.
PLATE 292
PLATE 292.
General View of the Interior of the Old Armoury.
PLATE 293
PLATE 293.
Royal Academy of History.
Exterior of the Triptych-Reliquary from the Stone Monastery in Aragon.
PLATE 294
PLATE 294.
Royal Academy of History.
Part of the Triptych-Reliquary from the Stone Monastery in Aragon.
PLATE 295
PLATE 295.
Royal Academy of History.
Paintings on the Exterior of the Triptych-Reliquary from the Stone Monastery in Aragon.
PLATE 296
PLATE 296.
Statue of Philip III. in the Plaza Mayor.
PLATE 297
PLATE 297.
Statue of Philip Iv. in the Plaza de Oriente.
PLATE 298
PLATE 298.
Statue of Espartero the Peace-maker.
PLATE 299
PLATE 299.
Statue of General Concha, Marqués del Duero.
PLATE 300
PLATE 300.
Statue of Velazquez.
PLATE 301
PLATE 301.
Statue of Murillo.
PLATE 302
PLATE 302.
Retiro. Statue of Goya.
PLATE 303
PLATE 303.
Statue of Cervantes.
PLATE 304
PLATE 304.
Cervantes.
PLATE 305
PLATE 305.
Statue of Calderón de la Barca.
(THE WORK OF J. FIGUERAS.)
PLATE 306
PLATE 306.
Isabel the Catholic. Bronze Group in the Castellana.
(THE WORK OF OMS.)
PLATE 307
PLATE 307.
Monument to the Memory of Columbus in the Paseo de Recoletos.
PLATE 308
PLATE 308.
Monument to the Memory of Columbus in the Paseo de Recoletos.
PLATE 309
PLATE 309.
Monument to the Memory of Columbus in the Paseo de Recoletos.
PLATE 310
PLATE 310.
Monument to the Memory of Columbus in the Paseo de Recoletos.
PLATE 311
PLATE 311.
Monument to the Memory of Columbus in the Paseo de Recoletos.
PLATE 312
PLATE 312.
Monument to Commemorate the 2nd of May.
PLATE 313
PLATE 313.
Fountain of Neptune in the Prado.
PLATE 314
PLATE 314.
The Fountain of Cybele.
PLATE 315
PLATE 315.
The Prado, with the Fountain of the Four Seasons.
PLATE 316
PLATE 316.
The Royal Palace from the Casa de Campo.
PLATE 317
PLATE 317.
Royal Palace. The Changing of the Guard (Halberdiers).
PLATE 318
PLATE 318.
The Palace.
PLATE 319
PLATE 319.
The Palace from the Plaza de Oriente.
PLATE 320
PLATE 320.
The Royal Palace.
PLATE 321
PLATE 321.
Façade of Palace.
PLATE 322
PLATE 322.
Palace and Plaza de la Armeria.
PLATE 323
PLATE 323.
The Queen Mother leaving the Palace.
PLATE 324
PLATE 324.
Principal Staircase.
PLATE 325
PLATE 325.
Detail of Throne Room.
PLATE 326
PLATE 326.
General View of Throne Room.
PLATE 327
PLATE 327.
The Throne.
PLATE 328
PLATE 328.
Room of Charles III.
PLATE 329
PLATE 329.
The Queen’s Room.
PLATE 330
PLATE 330.
Room of Mirrors.
PLATE 331
PLATE 331.
Gasparini Room of Charles III.
PLATE 332
PLATE 332.
Hall of Columns.
PLATE 333
PLATE 333.
The Wedding.
The King and Queen leaving the Church and entering the Royal Coach.
PLATE 334
PLATE 334.
A Battle of Flowers.
PLATE 335
PLATE 335.
His Majesty the King of Spain.
PLATE 336
PLATE 336.
H.M. Queen Victoria of Spain.
PLATE 337
PLATE 337.
The King and Queen of Spain.
PLATE 338
PLATE 338.
H.M. Queen Victoria.
PLATE 339
PLATE 339.
Her Majesty the Queen Mother.
PLATE 340
PLATE 340.
Don Carlos of Bourbon.
PLATE 341
PLATE 341.
Medal struck in Honour of the Royal Marriage.
PLATE 342
PLATE 342.
A Lady with a Mantilla.
PLATE 343
PLATE 343.
Mantillas.
PLATE 344
PLATE 344.
An Out-door Pelota Court, with Six Players, Three against Three.
A Pelota Court.
PLATE 345
PLATE 345.
A Tartaña.
The Harvest Cart.
PLATE 346
PLATE 346.
Sketches in Spain.
PLATE 347
PLATE 347.
Sketches in Spain.
PLATE 348
PLATE 348.
A Dancer. An Orange Seller.
PLATE 349
PLATE 349.
The Counsellor of the Village. Full List of Lottery Results.
PLATE 350
PLATE 350.
Bull-fighters at the Tavern. A Spanish Girl.
PLATE 351
PLATE 351.
View of the Monastery of the Escorial.
PLATE 352
PLATE 352.
View of the Monastery (East Side).
PLATE 353
PLATE 353.
The Colonnade of the Monastery.
PLATE 354
PLATE 354.
Upper Cloister of the Monastery.
PLATE 355
PLATE 355.
Lower Cloister of the Monastery.
PLATE 356
PLATE 356.
The Evangelists’ Court.
PLATE 357
PLATE 357.
Principal Staircase of the Monastery.
PLATE 358
PLATE 358.
Interior of the Church.
PLATE 359
PLATE 359.
Panteon of the Kings.
PLATE 360
PLATE 360.
Panteon of the Infantes.
PLATE 361
PLATE 361.
Chapter Room. (Monastery.)
PLATE 362
PLATE 362.
Sacristy. (Monastery.)
PLATE 363
PLATE 363.
Altar-piece of the Santa Forma, Painted by Claudio Coello.
(Sacristy of the Monastery.)
PLATE 364
PLATE 364.
Retablo at the High Altar.
(Basilica of the Monastery.)
PLATE 365
PLATE 365.
Left Side of the High Altar: Interment of the Emperor Charles V.
PLATE 366
PLATE 366.
The Tabernacle in the Escorial Church.
PLATE 367
PLATE 367.
Choir Stalls. (Basilica of the Monastery.)
PLATE 368
PLATE 368.
Library of the Monastery.
PLATE 369
PLATE 369.
Apollo and Mercury, by Peregrino Tibaldi.
(Fresco on the Arch of the Escorial Library.)
PLATE 370
PLATE 370.
Reception Hall. (Palace.)
PLATE 371
PLATE 371.
Hall of Ambassadors. (Palace.)
PLATE 372
PLATE 372.
Dining-Hall. (Palace.)
PLATE 373
PLATE 373.
Pompeian Hall. (Palace.)
PLATE 374
PLATE 374.
“Casa del Principe” or Lower Lodge.
PLATE 375
PLATE 375.
Coffee-Room. (Casa del Principe.)
PLATE 376
PLATE 376.
The Last Supper, by Titian. (The Escorial.)
PLATE 377
PLATE 377.
The Holy Family, by Rafael.
(Casa del Principe at the Escorial.)
PLATE 378
PLATE 378.
St Maurice and other Martyrs, by El Greco.
(Chapter Hall of the Escorial.)
PLATE 379
PLATE 379.
The Dream of Philip II., by El Greco.
(Chapter Hall of the Escorial.)
PLATE 380
PLATE 380.
Country Dance, by Goya.
PLATE 381
PLATE 381.
The Washerwomen, by Goya.
(Tapestry in the Escorial Palace.)
PLATE 382
PLATE 382.
The China Merchant, by Goya.
(Tapestry in the Escorial Palace.)
PLATE 383
PLATE 383.
The Grape-Sellers, by Goya.
(Tapestry in the Escorial Palace.)
PLATE 384
PLATE 384.
Children picking Fruit, by Goya.
(Tapestry in the Escorial Palace.)
PLATE 385
PLATE 385.
The Kite, by Goya.
(Tapestry in the Escorial Palace.)
PLATE 386
PLATE 386.
A Smoker, by Teniers.
(Casa del Principe at the Escorial.)
PLATE 387
PLATE 387.
The Story of the Passion.
Diptych, in Ivory, of the 13th Century.
(FROM THE CAMARÍN OF ST THERESA.)
PLATE 388
PLATE 388.
Egyptian Bronzes. Amon-Ra and Isis.
NATIONAL ARCHÆOLOGICAL MUSEUM.
PLATE 389
PLATE 389.
Egyptian Bronzes. Osiris and Osor-Api.
NATIONAL ARCHÆOLOGICAL MUSEUM.
PLATE 390
PLATE 390.
Alcalá de Henares. Paseo de Cervantes.
PLATE 391
PLATE 391.
Alcalá de Henares. General Central Archives.
PLATE 392
PLATE 392.
Alcalá de Henares. General Central Archives.
PLATE 393
PLATE 393.
Alcalá de Henares. Façade of the Archives.
PLATE 394
PLATE 394.
Court of the Alcalá de Henares. General Central Archives.
PLATE 395
PLATE 395.
Alcalá de Henares.
Chapel of the “Oidor.” Actual State of the North Wall.
PLATE 396
PLATE 396.
Alcalá de Henares. Actual State of the South Wall.
PLATE 397
PLATE 397.
Alcalá de Henares.
Chapel of the “oidor.” Actual State of the Frieze round the North Wall.
PLATE 398
PLATE 398.
Alcalá de Henares. The University.
PLATE 399
PLATE 399.
Alcalá de Henares. Façade of the University.
PLATE 400
PLATE 400.
Alcalá de Henares.
Longitudinal Section of the Chapel of San Ildefonso in the University.
PLATE 401
PLATE 401.
Alcalá de Henares.
Details of the Façade of the University.
PLATE 402
PLATE 402.
Alcalá de Henares. Details of the Façade of the University.
PLATE 403
PLATE 403.
Alcalá de Henares.
Paseo de la Estación.
PLATE 404
PLATE 404.
Alcalá de Henares.
Moorish Palace.
PLATE 405
PLATE 405.
Alcalá de Henares.
Interior of the Cathedral.
PLATE 406
PLATE 406.
Alcalá de Henares.
Interior of the Cathedral.
PLATE 407
PLATE 407.
Alcalá de Henares.
The Cathedral. Nave.
PLATE 408
PLATE 408.
Alcalá de Henares.
Sepulchre of Don Alonso Carrillo, Archbishop of Toledo.
PLATE 409
PLATE 409.
Alcalá de Henares.
Sepulchre of Cardinal Francisco Ximénez de Cisneros.
PLATE 410
PLATE 410.
Alcalá de Henares.
Sepulchre of the Archbishop of Toledo, Don Alfonso Carrillo de Acuña.
PLATE 411
PLATE 411.
Alcalá de Henares.
Details of the Sepulchre of Cardinal Francisco Ximénez de Cisneros.
PLATE 412
PLATE 412.
Alcalá de Henares.
Chapel of Santiago in the Church of Santa María.
PLATE 413
PLATE 413.
Alcalá de Henares.
Chapel of Santiago in the Church of Santa María.
PLATE 414
PLATE 414.
Alcalá de Henares. Staircase in the Archbishop’s Palace.
PLATE 415
PLATE 415.
Alcalá de Henares.
Details of the Western Court and Entrance Court, Archbishop’s Palace.
PLATE 416
PLATE 416.
Alcalá de Henares.
Longitudinal Section and Details of the Archbishop’s Palace.
PLATE 417
PLATE 417.
Alcalá de Henares.
Frontispiece of a Book called “Vita Cristi Cartuxano.”
PLATE 418
PLATE 418.
Muñoza Bulls, the Property of the Duke of Veragua, by Joaquín Díez.
PLATE 419
PLATE 419.
Testing a “Becerro,” or Young Bull, at Tablada, near Seville, by Joaquín Díez.
PLATE 420
PLATE 420.
Selecting Bulls from the herd of the Duke of Veragua at “La Muñoza,” by Joaquín Díez.
PLATE 421
PLATE 421.
The Toilet of the Toreador before the Bull-fight, by V. Esquivel.
PLATE 422
PLATE 422.
Before the Bull-fight by B. Ferrandiz.
PLATE 423
PLATE 423.
Toreadors preparing to enter the Arena, by J. Agrasot.
PLATE 424
PLATE 424.
Entertaining the Bull-fighter, by Alarcón.
PLATE 425
PLATE 425.
“Here comes the Bull!” by P. Francés.
NATIONAL EXHIBITION OF BEAUX-ARTS, 1887.
PLATE 426
PLATE 426.
“The Uninvited Guest,” by E. Mélida.
PLATE 427
PLATE 427.
Head of a Bull, by Joaquín Díez.
PLATE 428
PLATE 428.
Principal Façade of the New Plaza de Toros.
PLATE 429
PLATE 429.
Principal Entrance to the New Plaza de Toros.
PLATE 430
PLATE 430.
Interior of the New Plaza de Toros.
PLATE 431
PLATE 431.
Bull-fight. Entrance of the “Cuadrilla.”
PLATE 432
PLATE 432.
Bull-fight. A Picador inciting the Bull.
PLATE 433
PLATE 433.
Bull-fight. The Picador.
PLATE 434
PLATE 434.
Bull-fight. The Picador.
PLATE 435
PLATE 435.
Bull-fight. A “Quite.”
PLATE 436
PLATE 436.
Bull-fight. A “Quite” of El Gallo.
PLATE 437
PLATE 437.
Bull-fight. Lagartijo after a “Recorte.”
PLATE 438
PLATE 438.
Bull-fight. The Banderillas.
PLATE 439
PLATE 439.
Bull-fight.
Frascuelo irritating the Bull with a Cloak before killing Him.
PLATE 440
PLATE 440.
Bull-fight. Lagartijo irritating the Bull with a Cloak before killing Him.
PLATE 441
PLATE 441.
Bull-fight. The Bull being dragged out of the Arena.
PLATE 442
PLATE 442.
Ladies at the Bull-fight.
PLATE 443
PLATE 443.
The Procession.
Entrance of the Bull.
PLATE 444
PLATE 444.
The Picador.
At Close Quarters.
PLATE 445
PLATE 445.
A Turn with his Back to the Bull.
Fixing the Banderillas.
PLATE 446
PLATE 446.
The Matador.
The Final Stroke.
PLATE 447
PLATE 447.
Bull-fight. Leap over the Bull’s Neck.
PLATE 448
PLATE 448.
Bull-fight. Leap with the Pole.
PLATE 449
PLATE 449.
Bull-fight. Banderillas.
PLATE 450
PLATE 450.
Toreador wounded during a Bull-fight, by Lizcano.
PLATE 451
PLATE 451.
Guerrita. Banderillero. Antonio Fuentes.
PLATE 452
PLATE 452.
Luis Mazzantini and Cuadrilla.
PLATE 453
PLATE 453.
Bull-fight.
Last Moments of a Toreador after being attacked in the Arena, by R. Novas.
THE SPANISH SERIES
Crown 8vo. Gilt Top. Price 3/6 net.
“Mr. A. Calvert’s Spanish Series will be heartily welcomed by all students of Spanish art, for it is not too much to say that never before has an attempt been made to present to the public so vast a number of reproductions from quite acceptable photographs of Spanish works of art at so low a price.”—The World.
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“Every volume in the Spanish Series has taught us to expect a high standard of excellence.”—Daily News.
Goyawith612 illustrations
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Madrid”453”
Galicia——
Seville”300”
Murillo”165”
Cordova”160”
El Greco”136”
Velazquez”136”
The Prado”220”
The Escorial”278”
Sculpture in Spain”140”
Valencia and Murcia”300”
Royal Palaces of Spain”164”
Vizcaya and Santander——
Spanish Arms and Armour”386”
Granada and the Alhambra”460”
Leon, Burgos and Salamanca”462”
Catalonia and Balearic Islands”250”
The Royal Tapestries at Madrid”200”
Valladolid, Oviedo, Segovia,”413”
Zamora, Avila and Zaragoza”413”
UNIFORM WITH THIS VOLUME
EL GRECO
A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
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 alloted 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.
VELAZQUEZ
A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
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. The 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 PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. WITH 220 PLATES
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 the miracles of art.
UNIFORM WITH THIS VOLUME
VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 413 PLATES
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 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 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.
VALENCIA AND MURCIA
A GLANCE AT AFRICAN SPAIN, WITH 300 ILLUSTRATIONS
Every traveller to the fertile Provinces which form the subject of this volume has been forcibly impressed by their outward resemblance to the more favoured parts of Northern Africa. And here, only to a degree less than in Andalusia, the Moors made themselves very much at home, and have left behind them ineffaceable impressions.
In this delightful region the dusky invaders established themselves at Valencia, which they dubbed the City of Mirth. The history of the land is alike a fevered dream of mediævalism. Across its pages flit the shadowy forms of Theodomir, and the Cid and Jaime lo Conqueridor, standing out against a back-ground of serried hosts and flaming cities. The people to-day are true children of the sun, passionate, vivacious, physically well proportioned. The country is a terrestrial paradise, where the flowers ever blossom and the sun ever shines. To-day the Valencian supplements the bounty of Nature by enterprise and industry. His ports pulsate with traffic, and side by side with memorials of the life of a thousand years ago, modern social Spain may be studied at Alicante and El Cabanal, the Brighton and Trouville of the Peninsula.
UNIFORM WITH THIS VOLUME
THE ROYAL TAPESTRIES
AT MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE COLLECTION OF BEAUTIFUL TAPESTRIES IN THE ROYAL PALACE AT MADRID. WITH OVER 200 PLATES
The Royal Palace at Madrid contains the most valuable and interesting collection of Tapestries in Europe. These were for the most part woven in Flanders, some in the early fifteenth century, at a time when the industry in that country had reached its zenith. At a later period the work of the Flemish artists was imitated in Spain itself with no little success. Among the designers of these superb works of art were Quentin Matsys, Pieter Breughel, and the Divine Raphael himself. Not artistically only but historically the collection is of rare interest.
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. WITH 386 PLATES
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 rearrangement, 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.
GRANADA AND THE ALHAMBRA
WITH AN ACCOUNT OF THE MOSLEM RULE IN SPAIN AND OF THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, AND 460 PLATES
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.
UNIFORM WITH THIS VOLUME
LEON, BURGOS AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 PLATES
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.
CATALONIA AND THE BALEARIC ISLANDS
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 250 PLATES
Catalonia is the Spain of to-day and of the future. There are those who believe that Catalonia contains all the elements essential to the complete regeneration of Spain, and that she will raise the whole country to her industrial level. But the old county of Barcelona has a glorious and stirring past, as well as a promising future. Her history goes back to the days of Charlemagne, and has to tell of merchant princes and of hazardous commercial enterprise reminding one of the Italian maritime republics. The Balearic Islands, one of which (Minorca) was long an English possession, constitute one of the most flourishing provinces of the Kingdom. Delightful as a place of sojourn or residence, Majorca and her sister isles reveal many and conspicuous traces of that prehistoric race which once offered bloody sacrifices to the Sun on all the shores of the Inland Sea.
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. WITH PLANS AND 278 PLATES
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest and most impossible 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.
UNIFORM WITH THIS VOLUME
GALICIA
THE LAND AND THE PEOPLE. A HISTORICAL AND DESCRIPTIVE ACCOUNT. ILLUSTRATED
The old kingdom of Galicia may not inaptly be termed the Wales of Spain. Its people approximate closely to the old Celtic type, with a large admixture of the Teutonic blood of that strange forgotten tribe, the Suevi, who held sway here for two centuries. Though every traveller in Spain has met the sturdy patient Gallegos in the capacity of porters, servants, and workers, few trouble to visit their country, a pleasant land of green hills, deep valleys smiling lakes, brawling streams and long fjords like gulfs.
ROYAL PALACES OF SPAIN
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF THE SPANISH KINGS. WITH 164 PLATES.
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 Aranjuez to Rio Frio, and from El Prado, 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.
VIZCAYA AND SANTANDER
SOME ACCOUNT OF THE CANTABRIAN LAND AND OF SPANISH NAVARRE. BY ALBERT F. CALVERT
Whether or not the Basques be the aboriginal inhabitants of the Peninsula, they are at least the oldest of its peoples, and among the most interesting. Their language, their customs their fueros of local code, above all their mysterious origin, have been the themes of discussion and speculation among the learned for centuries—and are likely to continue so. Meanwhile they flourish exceedingly, and their towns, or at least their sea-ports hum with life and energy.