THE OLD ROMAN CITY.
Reading edition
Moor and Spaniard have, between them, effaced almost all traces of the ancient Hispalis or Romula, the little Rome; but the sister-city of Italica, early deserted by man, has been dealt not too harshly with by time. Its remains—a Spanish league to the north-west of Seville—still attract the artist and the archæologist. There, where the wretched hamlet of Santi Ponce now stands, was in the dim past the Iberian village of Sancios. Scipio the Elder, after his long and victorious campaign, passed this way, and selected the spot as a place of rest and refreshment for his war-worn veterans. “Relicto utpote pacata regione valido præsidio, Scipio milites omnes vulneribus debiles in unam urbem compulit, quam ab Italia Italicam nominavit,” says Appian. Señor de Madrazo remarks that this must have been the first Latin-speaking town founded outside Italy. It was not at first a municipium, but a place for meeting and council of the Roman citizens. The municipal status it owed to Augustus. Subsequently, its citizens petitioned to be classed as a colony of Rome.
The colony proved not unworthy of the great capital. Hence sprang the illustrious line of the Ælii, and most of the eminent Roman Spaniards who conferred such lustre on the early Empire are believed to have been natives of the place. It is not, therefore, to be wondered at that the citizens should have preferred a nominal dependence on the Mother City to the quasi-independence of a provincial municipality. But Italica never seems to have been a city in the modern sense of the word. Excavations have revealed extremely few remains of private habitations or bazaars. The only vestiges are those of great public monuments—temples, palaces, amphitheatres, baths. The Emperors seem to have delighted to embellish this small town with ornaments quite out of proportion to its size and population, and it is clear that it never was a serious rival to its older neighbour, Hispalis.
Its downfall, like its history, is mysterious. Leovigild occupied it while besieging Seville, which was held by his son, Hermenigild. Later on, the Arabs are said to have demolished it almost completely, and to have carried off numerous statues, columns, and blocks of masonry to serve in the construction and adornment of the neighbouring city. Then Italica disappeared from history. Earthquakes finished the work of ruin, and the scattered stones went to the making of the miserable village of Santi Ponce—a name which some derive from that of San Geroncio, a Bishop of Italica in early times.
The amphitheatre is now all that remains to attest the erstwhile splendour of the darling colony of the Ælii. It is a melancholy and yet a pretty spot, approached through olive plantations. Some of the walls are still standing, and enable us to determine the dimensions, which are stated at 291 feet length and 204 feet breadth. You may still see the Podium or stone platform, whereon the civic dignitaries sate, and the upper tiers appropriated to the populace. You may pass down the vomitoria, through which the spectators streamed, glutted with the sight of blood, and penetrate to the dens and chambers, wherein gladiators and wild beasts were confined before the combat. Italica is more a place to muse in than to explore. The place has long since been rifled of all its treasures. Extensive ruins of what was believed to have been the palace of Trajan existed down till the great earthquake of 1755, and all that was spared were three statues preserved in the Museo Provincial or Picture Gallery.
Close to the ruins is the convent of San Isidoro del Campo, founded in 1301 by Don Alonso Perez de Guzman, as a place of sepulture for him and his family. The establishment was peopled first by the Cistercians, later by the Hermits of St Jerome. The edifice presents the appearance of a fortified abbey of the Middle Ages, though not without traces of Mudejar influence. The church is Gothic, and divided into two naves, united by a transept, and constituting each a distinct church. One of these structures was built by the hero of Tarifa, Guzman the Good, and contains his tomb and that of his wife, together with a fine retablo by Montañes; the other, founded by the hero’s son, Don Juan Alonso Perez de Guzman, contains his tomb, marked by a fine recumbent figure, and that of Doña Urraca Osorio, burnt by order of Pedro the Cruel. In the cloisters of the convent are some mural paintings of the fifteenth century, which though much damaged repay inspection.
With the excursion to Italica the traveller should combine a visit to the Cartuja, more properly called Santa Maria de las Cuevas. It lies close to the suburb of Triana. The monastery was founded in the first decade of the fifteenth century, at the instance of the great Archbishop Gonzalo de Mena, and became the burying-place of the Ribera family, whose magnificent tombs are now to be seen in the University Church. Of the original structure only a little antique chapel remains. The refectory, chapter-hall, and cloisters all date from a restoration effected by the first Marqués de Tarifa in the sixteenth century. The building became, in 1839, the seat of the pottery manufacture of the (then) English firm of Pickman & Co. The establishment has produced some fine porcelain, and is worth inspection by all those interested in the ceramic art. Pottery has been associated from time immemorial with this locality and the adjoining suburb of Triana, and it will be remembered that the patron saints of Seville, Justa and Rufina, were, according to tradition, potters by trade.
PLATE 1
General View of Seville from the Giralda Tower, West Side of the City.
First View.
PLATE 2
General View of Seville from the Giralda Tower, West Side of the City.
Second View.
PLATE 3
General View of Seville from the Giralda Tower, East Side.
PLATE 4
General View of Seville from the Giralda Tower, Central Part of the City.
PLATE 5
General View of Seville from the Giralda Tower, North Side.
PLATE 6
Procession of the Conception of the Virgin passing through the Plaza de San Francisco.
PLATE 7
View of Seville.
PLATE 8
View of Seville.
PLATE 9
View of Seville.
PLATE 10
View of Seville.
PLATE 11
View of Seville.
PLATE 12
View of Seville.
PLATE 13
View of Seville.
PLATE 14
View of Seville.
PLATE 15
Bridge over the Guadalquivir.
PLATE 16
Hercules Avenue.
PLATE 17
The Plaza Nueva.
PLATE 18
View of Triana from the Tower of Gold.
PLATE 19
General View from Triana.
PLATE 20
General View from Triana.
PLATE 21
The Tower of Gold from San Telmo.
PLATE 22
A Street in Seville.
PLATE 23
The Tower of Gold.
PLATE 24
Church of San Marcos, from the Palace of the Dueñas.
PLATE 25
Church of San Marcos.
PLATE 26
Court of the Hotel de Madrid.
PLATE 27
Hospital, with the Mosaics painted by Murillo.
PLATE 28
Portal of the Convent of Santa Paula.
PLATE 29
Church of Santa Catalina.
PLATE 30
Church of Todos Santos.
PLATE 31
The Provincial Museum, with Murillo’s Statue.
PLATE 32
Statue of Murillo.
PLATE 33
General View of the Town Hall.
PLATE 34
The Town Hall, Left Side.
PLATE 35
The Town Hall, Left Side, Detail of the Interior Angle.
PLATE 36
Door of the Town Hall.
PLATE 37
The Town Hall, Detail of the Principal Part.
PLATE 38
General View of the Town Hall.
PLATE 39
The Town Hall, Detail of the Façade.
PLATE 40
The Town Hall, Detail of the Principal Door.
PLATE 41
Window in the Town Hall.
PLATE 42
Principal Façade of the Tobacco Factory.
PLATE 43
The Tobacco Factory.
PLATE 44
Cigar Makers, Seville.
PLATE 45
The “Sevillanas” Dance.
PLATE 46
Sevillian Costumes—A Courtyard.
PLATE 47
General View of the Exchange.
PLATE 48
Court in the Exchange.
PLATE 49
The Aceite Postern and Ancient Ramparts.
PLATE 50
The Roman Walls near the Gate of the Macarena.
PLATE 51
The Roman Amphitheatre of Italica.
PLATE 52
General View of the Palace of San Telmo from the River.
PLATE 53
Principal Portal of the San Telmo Palace.
PLATE 54
Interior of the Hall of Columns in the San Telmo Palace.
PLATE 55
Interior View of the Duke of Montpensier’s Study In San Telmo.
PLATE 56
Various Objects found in the Sepulchres at San Telmo.
(In the Palace of San Telmo.)
PLATE 57
Palms in the Gardens of San Telmo.
PLATE 58
The Sepulchres of the Victims of Don Juan Tenorio in the Gardens of San Telmo.
PLATE 59
The Roman Sepulchres in the Gardens of San Telmo.
PLATE 60
View in the Gardens of San Telmo.
PLATE 61
The Aviary in the Gardens of San Telmo.
PLATE 62
The River in the Gardens of San Telmo.
PLATE 63
The Cocoa Tree and East Side of San Telmo.
PLATE 64
The Zapote, a Tree in the Gardens of San Telmo.
PLATE 65
The Island and River in the Gardens of San Telmo.
PLATE 66
The Yucca, a rare Tree in the Gardens of San Telmo.
PLATE 67
General View of the Hospital de la Sangre.
PLATE 68
Church of the Sagrario, North Side.
PLATE 69
Principal Façade of the Hospital de la Sangre.
PLATE 70
Porch of the Church of the Hospital de la Sangre.
PLATE 71
Bas-relief. Hospital de la Sangre, the Work of Torregiano.
PLATE 72
General View of the Exterior of the Cathedral.
PLATE 73
The Giralda, from the Patio de los Naranjos.
PLATE 74
The Top of the Giralda.
PLATE 75
The Dancing Choir Boys, Seville Cathedral.
PLATE 76
Dancing Boys, Seville Cathedral.
PLATE 77
The Gate of the Archbishop.
PLATE 78
Plaza de San Francisco, with the Giralda and Cathedral.
PLATE 79
Plaza del Triunfo, the Cathedral, and the Exchange, from the Gate of the Lion.
PLATE 80
The Fête.
PLATE 81
Gate of San Miguel in the Cathedral.
PLATE 82
Gate of the Cathedral called de las Campanillas.
PLATE 83
Gate of the Baptist in the Cathedral.
PLATE 84
The Gate of the Lizard in the Cathedral.
PLATE 85
General View of the Cathedral From the Tribune of the Principal Door.
PLATE 86
Principal Sacristy in the Cathedral.
PLATE 87
Principal Entrance to the Cathedral.
PLATE 88
Interior View of the Principal Sacristy in the Cathedral.
PLATE 89
The Gamba Chapel.
PLATE 90
The Cathedral.
The Gamba Chapel and Entrance to that of the Antigua.
PLATE 91
Chapels of the Conception and the Annunciation in the Cathedral.
PLATE 92
The Cathedral.
The Chapel of the Conception.
PLATE 93
The Cathedral.
Detail of the High Altar.
PLATE 94
The Cathedral.
Retablo, or Altar-piece of the High Altar.
PLATE 95
Iron Railings of the Lateral Part of the High Altar.
PLATE 96
The Cathedral.
Wrought Iron Screen in the Choir.
PLATE 97
The Cathedral.
Wrought Iron Screen of the High Altar.
PLATE 98
St Christopher carrying the Child Jesus, by Mateo Perez Alesio, in the Cathedral.].
PLATE 99
San Fernando Square.
PLATE 100
Gardens of the Alcazar.
PLATE 101
General View of the Gardens of the Alcazar.
PLATE 102
View of the Gardens of the Alcazar.
PLATE 103
General View of the Gardens of the Alcazar.
PLATE 104
The Gardens of the Alcazar. Lake and Gallery of Don Pedro I. the Cruel.
PLATE 105
The Gardens of the Alcazar. View of the Gallery of Don Pedro I., the Cruel.
PLATE 106
The Hothouses in the Gardens of the Alcazar.
PLATE 107
Calle de las Vedras in the Gardens of the Alcazar.
PLATE 108
The Gardens of the Alcazar.
Parterre of Doña Maria de Padilla.
PLATE 109
The Alcazar. Baths of Doña Maria de Padilla.
PLATE 110
Magnificent Altar in Faience painted in the 15th Century.
In the Oratory of the Catholic Sovereigns in the Alcazar.
PLATE 111
Town Hall of Seville.
Details of Doors and Balconies.
PLATE 112
Town Hall of Seville. Details.
PLATE 113
Parish Church of San Marcos.
PLATE 114
Various Towers of Seville.
PLATE 115
Details of the Mosaic commonly called El Grande.
PLATE 116
Sculpture and Details of Ancient Churches.
PLATE 117
Architectural Parts, Bas-reliefs, and Ceramic Objects.
PLATE 118
Façade of the Consistorial Houses.
PLATE 119
Entrance to the Alcazar, Seville.
PLATE 120
Principal Façade of the Alcazar.
PLATE 121
Gate of the Principal Entrance, Alcazar.
PLATE 122
Interior of the Hall of Ambassadors, Alcazar.
PLATE 123
Hall of Ambassadors, Alcazar.
PLATE 124
Interior of the Hall of Ambassadors, Alcazar.
PLATE 125
Interior of the Hall of Ambassadors, Alcazar.
PLATE 126
Hall of Ambassadors, Alcazar.
PLATE 127
Hall of Ambassadors, Alcazar.
PLATE 128
Hall of Ambassadors, Alcazar.
PLATE 129
Upper Part of the Court of the Dolls, Alcazar.
PLATE 130
Court of the Dolls from the Room of the Prince, Alcazar.
PLATE 131
Court of the Dolls, Alcazar.
PLATE 132
Angle in the Court of the Dolls, Alcazar.
PLATE 133
Court of the Dolls, Alcazar.
PLATE 134
Court of the Dolls, Alcazar.
PLATE 135
Court of the Dolls, Alcazar.
PLATE 136
Court of the Dolls, Alcazar.
PLATE 137
Court of the Dolls, Alcazar.
PLATE 138
Court of the Dolls, Alcazar.
PLATE 139
Gallery on the Second Storey of the Court of the Dolls, Alcazar.
PLATE 140
Upper Part of the Court of the Dolls, Alcazar.
PLATE 141
Upper Part of the Court of the Dolls, Alcazar.
PLATE 142
Entrance to the Dormitory of the Moorish Kings, Alcazar.
PLATE 143
Dormitory of the Moorish Kings, Alcazar.
PLATE 144
Front of the Sleeping Saloon of the Moorish Kings, Alcazar.
PLATE 145
Sleeping Saloon of the Moorish Kings, Alcazar.
PLATE 146
Intercolumniation, where Don Fadrique was Assassinated, Alcazar.
Sultana’s Quarters, Alcazar.
PLATE 147
Room in which King St Ferdinand Died, Alcazar.
PLATE 148
Interior of the Hall of St Ferdinand, Alcazar.
PLATE 149
Front of the Hall of St Ferdinand, Alcazar.
PLATE 150
Gate of the Hall of St Ferdinand, Alcazar.
PLATE 151
Gallery of the Hall of St Ferdinand, Alcazar.
PLATE 152
Throne of Justice, Alcazar.
PLATE 153
Court of the Hundred Virgins, Alcazar.
PLATE 154
Court of the Virgins, Alcazar.
PLATE 155
General View of the Court of the Hundred Virgins, Alcazar.
PLATE 156
Court of the Virgins, Alcazar.
PLATE 157
Front of the Dormitory of the Moorish Kings and the Court of the Virgins, Alcazar.
PLATE 158
Gallery in the Court of the Virgins, Alcazar.
PLATE 159
The Court of the Virgins. Capital of the Door of the Hall of Ambassadors, Alcazar.
PLATE 160
The Alcazar.
Court of the Virgins. Capital of the Gate of the Hall of Charles V.
PLATE 161
Palace of the Dueñas. Door of the Chapel.
PLATE 162
Palace of the Dukes of Alcala, Commonly called Casa de Pilatos.
PLATE 163
The Court in the House of Pilate.
PLATE 164
Court of the House of Pilate.
PLATE 165
Gallery in the Court of the House of Pilate.
PLATE 166
House of Pilate.
PLATE 167
Gallery in the Court of the House of Pilate.
PLATE 168
Angle and Statue in the House of Pilate.
PLATE 169
House of Pilate.
Entrance to the Ante-room of the Chapel.
PLATE 170
The Staircase in the House of Pilate, by Barrera.
PLATE 171
House of Pilate.
Entrance Door of the Oratory.
PLATE 172
House of Pilate.
Way out to the Flat Roofs in the High Gallery.
PLATE 173
Staircase in the House of Pilate.
PLATE 174
House of Pilate. Doors of the Offices in the High Gallery.
PLATE 175
House of Pilate.
Window of the Prætor’s Hall leading to the Garden.
PLATE 176
House of Pilate.
Barred Window in the Prætor’s Garden.
PLATE 177
House of Pilate. Bolt on the Prætor’s Gate.
PLATE 178
House of Pilate.
Window in the Ante-room of the Chapel.
PLATE 179
House of Pilate.
Section of the Ceiling in the Prætor’s Hall.
PLATE 180
Palace of the Dueñas in Seville.
PLATE 181
House of Pilate.
Mosaics in the Hall of the Fountain.
PLATE 182
Palace of the Dueñas in Seville.
Glazed Tiles in the Socles of the Chapel and Arches.
PLATE 183
Mosaic of the Peristyle in the Palace.
PLATE 184
House of Pilate.
Mosaic in the Hall of the Fountain.
PLATE 185
Mosaic in the Court of the House of Pilate.
PLATE 186
Mosaic in the Court of the House of Pilate.
PLATE 187
Mosaic in the Court of the House of Pilate.
PLATE 188
House of Pilate.
Mosaic in the Chapel.
PLATE 189
Bartolomé Esteban Murillo.
BORN IN SEVILLE, 1617.
PLATE 190
Altar-screen of the La Gamba, by Luis de Vargas.
SEVILLE CATHEDRAL.
PLATE 191
Descent from the Cross, by Pedro Campaña.
SEVILLE CATHEDRAL.
PLATE 192
St Anthony of Padua visited by the Infant Saviour while kneeling at his Prayers, by Murillo.
SEVILLE CATHEDRAL.
PLATE 193
Our Lord Baptized by St John Baptist, by Murillo.
SEVILLE CATHEDRAL.
PLATE 194
The Guardian Angel, by Murillo.
SEVILLE CATHEDRAL.
PLATE 195
St Leander, by Murillo.
SEVILLE CATHEDRAL.
PLATE 196
St Isidore, by Murillo.
SEVILLE CATHEDRAL.
PLATE 197
St Ferdinand, Crowned and Robed, by Murillo.
SEVILLE CATHEDRAL.
PLATE 198
Madre Francisca Dorotea Villalda, by Murillo.
SEVILLE CATHEDRAL.
PLATE 199
St Anthony with the Infant Saviour, by Murillo.
SEVILLE MUSEUM.
PLATE 200
Our Lady of the Immaculate Conception, by Murillo.
SEVILLE MUSEUM.
PLATE 201
Our Lady of the Immaculate Conception, by Murillo.
SEVILLE MUSEUM.
PLATE 202
Our Lady of the Immaculate Conception, by Murillo.
SEVILLE MUSEUM.
PLATE 203
Our Lady of the Immaculate Conception, by Murillo.
SEVILLE MUSEUM.
PLATE 204
St Justa and St Rufina, Patron Saints of Seville, holding between them the Giralda Tower, by Murillo.
SEVILLE MUSEUM.
PLATE 205
St Bonaventure and St Leander, by Murillo.
SEVILLE MUSEUM.
PLATE 206
St Thomas of Villanueva giving Alms at the Door of his Cathedral, by Murillo.
SEVILLE MUSEUM.
PLATE 207
The Annunciation of our Lady, by Murillo.
SEVILLE MUSEUM.
PLATE 208
St Felix of Cantalisi restoring to Our Lady the Infant Saviour, whom she had placed in his Arms, by Murillo.
SEVILLE MUSEUM.
PLATE 209
Adoration of the Shepherds of Bethlehem, by Murillo.
SEVILLE MUSEUM.
PLATE 210
St Peter Nolasco kneeling before Our Lady of Mercy, by Murillo.
SEVILLE MUSEUM.
PLATE 211
The Deposition—St Francis of Assisi supporting the Body of Our Lord nailed by the Left Hand to the Cross, by Murillo.
SEVILLE MUSEUM.
PLATE 212
St Joseph and the Infant Saviour, by Murillo.
SEVILLE MUSEUM.
PLATE 213
St John the Baptist in the Desert leaning against a Rock, by Murillo.
SEVILLE MUSEUM.
PLATE 214
St Augustine and the Flaming Heart, by Murillo.
SEVILLE MUSEUM.
PLATE 215
St Felix of Cantalisi and the Infant Jesus, known as, “San Felix de Las Arrugas,” by Murillo.
SEVILLE MUSEUM.
PLATE 216
St Anthony with the Infant Saviour, by Murillo.
SEVILLE MUSEUM.
PLATE 217
Deposition from the Cross, by Murillo.
SEVILLE MUSEUM..
PLATE 218
Our Lady with the Infant Saviour in her Arms, by Murillo.
(AN EARLY PICTURE.)
SEVILLE MUSEUM.
PLATE 219
Our Lady and the Infant Saviour, known as “La Virgen de la Servilleta,” by Murillo.
SEVILLE MUSEUM.
PLATE 220
Our Lady seated, with the Infant Saviour in her Lap, by Murillo.
(AN EARLY PICTURE.)
SEVILLE MUSEUM.
PLATE 221
St Thomas of Aquin, by, Zurbarán.
SEVILLE MUSEUM.
PLATE 222
The Virgin of the Grotto, by Zurbarán.
SEVILLE MUSEUM.
PLATE 223
St Bruno talking to the Pope, by Zurbarán.
SEVILLE MUSEUM.
PLATE 224
The Day of Judgment, by Martin de Vos.
SEVILLE MUSEUM.
PLATE 225
Our Lady of the Immaculate Conception, by J. Valdes Leal.
SEVILLE MUSEUM.
PLATE 226
Jesus crowning St Joseph, by Zurbarán.
SEVILLE MUSEUM.
PLATE 227
The Devout Punyon, by Zurbarán.
SEVILLE MUSEUM.
PLATE 228
Our Lady of the Immaculate Conception. The Virgin surrounded by Cherubim. By Fr. Pacheco.
SEVILLE MUSEUM.
PLATE 229
Our Lord’s Miracle of the Loaves and Fishes, by Murillo.
SEVILLE HOSPITAL.
PLATE 230
Moses striking the Rock in Horeb, by Murillo.
LA CARIDAD, SEVILLE.
PLATE 231
St John of God, sinking under the Weight of a Sick Man, assisted by an Angel, by Murillo.
LA CARIDAD, SEVILLE.
PLATE 232
The Death of St Hermenigild, by J. de las Roelas.
HOSPITAL DE LA SANGRE, SEVILLE.
PLATE 233
The Apostleship, by Juan de las Roelas.
HOSPITAL DE LA SANGRE, SEVILLE.
PLATE 234
The End of this World’s Glories, by Valdes Leal.
LA CARIDAD, SEVILLE.
PLATE 235
The Pietà, or the Virgin supporting the Dead Body of her Divine Son, Altar-screen, by Luis de Vargas.
SANTA MARIA DE LA BLANCA, SEVILLE.
PLATE 236
St Joseph holding the Infant Saviour in His Arms, by Murillo.
SAN TELMO, SEVILLE.
PLATE 237
Our Lady of the Girdle, by Murillo.
SAN TELMO, SEVILLE.
PLATE 238
Portrait of Ferdinand VII., by Goya.
SAN TELMO, SEVILLE.
PLATE 239
Portrait of Charles IV., by Goya.
SAN TELMO, SEVILLE.
PLATE 240
The Annunciation, by F. Zurbarán.
SAN TELMO, SEVILLE.
PLATE 241
The Death of Laocoön and his Sons at the Siege of Troy, by El Greco.
SAN TELMO, SEVILLE.
PLATE 242
Caton of Utique tearing open his wounds, by Josef Ribera.
SAN TELMO, SEVILLE.
PLATE 243
Pietà. The Virgin holding the Dead Saviour in her Arms, by Morales.
SAN TELMO, SEVILLE.
PLATE 244
Portrait of El Greco, by Himself.
GALLERY OF SAN TELMO, SEVILLE.
PLATE 245
The Miracle of St Vœu. St Hugo in the Refectory with several Chartreux, by Zurbarán.
SEVILLE MUSEUM.
PLATE 246
The Martyrdom of St Andrew, by J. de las Roelas.
SEVILLE MUSEUM.
PLATE 247
The Last Supper, by P. de Cespedes.
SEVILLE MUSEUM.
PLATE 248
Christ on the Cross, by Zurbarán.
SEVILLE MUSEUM.
PLATE 249
Portrait of the Figure in Pacheco’s Picture at Seville, supposed to represent Cervantes.
PLATE 250
The Virgin and the Child Jesus, by Alonso Cano.
SEVILLE CATHEDRAL.
PLATE 251
The Descent from the Cross, by Alejo Fernandez.
SEVILLE CATHEDRAL.
PLATE 252
The Cathedral.
PLATE 253
The Giralda.
PLATE 254
The Giralda.
PLATE 255
Cathedral. The Gate of Pardon.
PLATE 256
Cathedral. Puerta de los Palos.
PLATE 257
SEVILLE CATHEDRAL
Specially drawn for The Spanish Series
PLATE 258
Cathedral. View of an Organ.
PLATE 259
Cathedral. Monument to Columbus.
PLATE 260
Cathedral. Silver Tabernacle (weighing 45 arrobas).
PLATE 261
Alcazar Gardens.
PLATE 262
Alcazar Gardens.
PLATE 263
Alcazar Gardens.
PLATE 264
House of Pilate. The Goddess Ceres.
PLATE 265
House of Pilate. The Goddess Pallas Pacifer.
PLATE 266
Italica.
PLATE 267
Roman Walls.
PLATE 268
Patio de Banderas and the Giralda.
PLATE 269
Plaza de San Francisco.
PLATE 270
St Mark’s Church.
PLATE 271
Plaza de San Fernando.
PLATE 272
The Town Hall. Details of the Old Part.
PLATE 273
Façade of the Palace of San Telmo.
PLATE 274
Statue of Velaquez.
PLATE 275
Plaza de la Constitución.
PLATE 276
Plaza de la Constitución.
PLATE 277
Calle de Sierpes.
PLATE 278
Calle de Sierpes.
PLATE 279
A Street in Seville.
PLATE 280
Hercules Avenue.
PLATE 281
The Pasadera.
PLATE 282
Courtyard of La Caridad.
PLATE 283
Plaza de San Fernando.
PLATE 284
Plaza de Gavidia.
PLATE 285
View from the Pasadera.
PLATE 286
The Drive.
PLATE 287
Paseo de las Delicias.
PLATE 288
The Quay.
PLATE 289
Partial View of Seville.
PLATE 290
Plaza de Toros.
PLATE 291
Fields of San Sebastian.
PLATE 292
Park of Maria Luisa.
PLATE 293
Railway Station of M.Z.A. Principal Façade.
PLATE 294
Railway Station of M.Z.A. General View.
PLATE 295
Triana Bridge.
PLATE 296
View from Triana Bridge.
PLATE 297
View from Triana.
PLATE 298
San Telmo from Triana.
PLATE 299
The Cathedral. Our Lord Crucified. Sculpture in the Sacristy.
PLATE 300
SEVILLE
Specially drawn for The Spanish Series
FOOTNOTES:
