APPENDIX II LIST OF THE PRINCIPAL PAINTERS WHOSE WORKS ARE IN THE ESCORIAL
Reading edition
ARTIST. SUBJECT. SITUATION.
Cano.Virgin and Infant Christ.Apartments of Princess.
Carducci.Portraits of Saints.Relicario of Church.
Arts and Sciences (fresco).Library.
Coello.Altarpieces.In Chapels.
Father Sigüenza.Upper Prior’s Chamber.
El Greco.St. Maurice.The Old Church.
Giordano.Life of David.Ceiling of Choir of Church.
Eight Frescoes.Dome of Church.
San Juan.Ante-Sacristy.
Frescoes.Staircase of Monastery.
Goya.Frescoes of Spanish Customs.Palace.
Holbein.San Geronimo.Lecture Hall.
Juanes.Virgin and Infant.Apartments of the Queen.
NavarreteOur Lady and San Juan.In Church near Prior’s Seat.
(El Mudo).Crucifixion.Library of Church.
Abraham and Angels.Salas de los Capitulos.
San Geronimo.”
Birth of Christ.Upper Gallery of Cloisters.
Appearance of Jesus.”
Burial of San Lorenzo.Lecture Hall.
Pantoja.Various.Oratories of Church.
Carlos V.Lower Prior’s Chamber.
Philip II.Library.
Philip III.Apartments of Princess.
Reni.Scriptural.Sacristy of Church.
Ribera.San Geronimo.Ante-Sacristy of Church.
Birth of Christ.Salas de los Capitulos.
Philip II.Apartments of the Prince.
San Antonio.Workroom of Palace.
Teniers.Various Frescoes.Palace.
Tibaldi.Birth of Christ.
Adoration of the Magi.Altar Screen of Church.
Elias.
Old Testament Scenes.In Chapels.
Altarpieces.”
Frescoes of Sciences.Library.
Tintoretto.Entombment.Prior’s Hall.
Washing the Apostles’ Feet.Sacristy of Church.
Titian.San Geronimo.
Agony in the Garden.Salas de los Capitulos.
Last Supper.”
Prayer in the Garden.”
Our Lady of Sorrows.”
Adoration of the Magi.”
Ecce Homo.”
Velazquez.Sons of Jacob.Sacristy of Church.
Zuccaro.The Flagellation.Altar Screen of Church.
Birth of Christ.Old Church.
Zurbarán.Sons of Jacob.Sacristy of Church.
A Portrait.Reading-Room.
PLATE 1
PLAN OF THE MONASTERY.
PLATE 2
VIEW OF THE MONASTERY.
PLATE 3
VIEW OF THE MONASTERY FROM THE ORCHARD.
PLATE 4
VIEW OF THE MONASTERY FROM THE ENTRANCE OF THE ‘REAL SITIO.’
PLATE 5
VIEW OF THE MONASTERY FROM THE ROMERAL.
PLATE 6
VIEW OF THE MONASTERY (EAST SIDE).
PLATE 7
PRINCIPAL FAÇADE OF THE COURT OF THE KINGS.
PLATE 8
VIEW OF THE COURT OF THE KINGS.
PLATE 9
BALCONY IN THE COURT OF ‘LA COMPAÑA.’
PLATE 10
VIEW OF THE ‘CASA DEL PRINCIPE,’ OR LOWER LODGE.
PLATE 11
ASCENT TO THE SILLA DEL REY, THE CHAIR OF PHILIP II.
PLATE 12
THE SILLA DEL REY, THE CHAIR OF PHILIP II.
PLATE 13
THE HORCA CROSS, NEAR THE ESCORIAL.
PLATE 14
GARDEN OF THE CASITA DE ABAJO.
(Escorial.)
PLATE 15
SOURCE OF THE SEMINARIO.
PLATE 16
SOURCE OF THE SEMINARIO.
(Escorial.)
PLATE 17
THE COLONNADE OF THE MONASTERY.
PLATE 18
VIEW OF THE UPPER CLOISTER OF THE MONASTERY.
PLATE 19
VIEW OF THE UPPER CLOISTER OF THE MONASTERY.
PLATE 20
LOWER CLOISTER OF THE MONASTERY.
PLATE 21
VIEW OF THE LOWER CLOISTER OF THE MONASTERY.
PLATE 22
SNOW-PIT AND POND OF ‘CONVALESCENTS.’
PLATE 23
‘CONVALESCENTS’ GALLERY.
PLATE 24
THE MONKS’ WALK AND ‘CONVALESCENTS’ GALLERY.
(Escorial.)
PLATE 25
‘CONVALESCENTS’ GALLERY.
PLATE 26
THE EVANGELISTS’ COURT.
PLATE 27
COURT WITH THE SPRINGS OF THE EVANGELISTS.
PLATE 28
SHIELD OF THE EMPEROR CHARLES V.
PLATE 29
COURT OF THE EVANGELISTS.
PLATE 30
INTERIOR OF THE CHURCH.
PLATE 31
DOOR-KNOCKER OF THE CHURCH AT THE ESCORIAL.
PLATE 32
CHOIR STALLS.
(Basilica of the Monastery.)
PLATE 33
INTERIOR VIEW FROM THE CHOIR.
(Basilica of the Monastery.)
PLATE 34
INTERIOR VIEW.
(Basilica of the Monastery.)
PLATE 35
RETABLO AT THE HIGH ALTAR.
(Basilica of the Monastery.)
PLATE 36
INTERIOR VIEW FROM THE HIGH ALTAR.
(Basilica of the Monastery.)
PLATE 37
ALTAR-PIECE AT THE HIGH ALTAR.
PLATE 38
ST. HIERONYMUS AND ST. AUGUSTINE.
(Statues of the Altar-piece.)
PLATE 39
ST. MATTHEW AND ST. MARK.
(Statues of the Altar-piece.)
PLATE 40
ST. PAUL.
(Statue of the Altar-piece.)
PLATE 41
ST. GREGORY AND ST. AMBROSE.
(Statues of the Altar-piece.)
PLATE 42
ST. PETER.
(Statue of the Altar-piece.)
PLATE 43
ST. JOHN AND ST. LUKE.
(Statues of the Altar-piece.)
PLATE 44
LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.
PLATE 45
MARBLE STATUE OF ST. LAURENT AT THE ENTRANCE OF THE CHOIR.
PLATE 46
INTERIOR VIEW OF THE CHAPEL.
PLATE 47
THE TABERNACLE.
(Escorial.)
PLATE 48
PANTEON OF THE KINGS.
(Entrance Gate.)
PLATE 49
BEAUTIFUL ROCK CRYSTAL CANDELABRUM IN THE CHOIR OF THE ESCORIAL.
PLATE 50
CASKET IN MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH BEAUTIFUL ENGRAVED ROCK CRYSTAL.
(Reliquary of the Escorial.)
PLATE 51
VIEW OF THE PANTEON OF THE KINGS.
Escorial.
PLATE 52
PANTEON OF THE INFANTES (INTERIOR).
PLATE 53
PANTEON OF THE INFANTES (INTERIOR).
PLATE 54
TOMB OF CHARLOTTE OF BOURBON.
(Panteon of the Infantes.)
PLATE 55
TOMB OF DON JOHN OF AUSTRIA.
(Panteon of the Infantes.)
PLATE 56
VIEW OF THE PRINCIPAL STAIRCASE OF THE MONASTERY.
PLATE 57
LIBRARY OF THE MONASTERY.
PLATE 58
LIBRARY OF THE MONASTERY.
PLATE 59
LIBRARY OF THE MONASTERY.
PLATE 60
LIBRARY OF THE MONASTERY.
PLATE 61
GOLDEN MS. (10TH CENTURY).
(Library of the Monastery.)
PLATE 62
PRAYER-BOOK OF ISABELLA THE CATHOLIC.
(Library of the Monastery.)
PLATE 63
SONGS OF ST. MARY. MS. BELONGING TO ALFONSO THE WISE (13TH CENTURY).
(Library of the Monastery.)
PLATE 64
LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.
(Library of the Monastery.)
PLATE 65
MASS-BOOK OF PHILIP II.
(Library of the Monastery.)
PLATE 66
BREVIARY OF CHARLES V.
(Library of the Monastery.)
PLATE 67
PSALTER OF THE EMPEROR CHARLES V.
(Library of the Escorial.)
PLATE 68
NATURAL HISTORY OF PLINY THE YOUNGER. ITALIAN MS. OF THE 16TH CENTURY.
(Library of the Escorial.)
PLATE 69
PAGE 238 OF THE MASS-BOOK OF ISABELLA THE CATHOLIC: MS. OF THE 15TH CENTURY, THE VIGNETTE OF WHICH CONTAINS THE NAME OF THE QUEEN.
(Library of the Escorial.)
PLATE 70
FIRST PAGE OF A HEBREW BIBLE: PRECIOUS MSS. OF THE END OF THE 14TH CENTURY.
(Library of the Escorial.)
PLATE 71
PERSIAN MS., THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH CENTURY.
(Library of the Escorial.)
PLATE 72
MANUSCRIPT OF THE YEAR 1050.
(Library of the Escorial.)
PLATE 73
VIRGIL’S POEMS: MS. OF THE 15TH CENTURY, WRITTEN IN SPAIN.
(Library of the Escorial.)
PLATE 74
VIRGIL: MANUSCRIPT OF THE YEAR 966.
(Library of the Escorial.)
PLATE 75
VIRGIL: MANUSCRIPT OF THE YEAR 966.
(Library of the Escorial.)
PLATE 76
THE APOCALYPSE OF ST. JOHN: MANUSCRIPT OF THE 15TH CENTURY.
(Library of the Escorial.)
PLATE 77
TWO PAGES OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.
(Library of the Escorial.)
PLATE 78
THE TREE OF LOVE, WRITTEN IN 1288.
(Library of the Escorial.)
PLATE 79
PERSIAN MANUSCRIPT, THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH CENTURY.
(Library of the Monastery.)
PLATE 80
MASS-BOOK OF ISABEL THE CATHOLIC, MANUSCRIPT OF THE 15TH CENTURY.
(Library of the Escorial.)
PLATE 81
FRONTISPIECE OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.
(Library of the Escorial.)
PLATE 82
MASS-BOOK OF THE EMPRESS ISABEL, MOTHER OF PHILIP II.
(Library of the Escorial.)
PLATE 83
MASS-BOOK OF PHILIP III. AND QUEEN MARGARITA.
(Library of the Escorial.)
PLATE 84
GREEK MANUSCRIPT OF THE END OF THE 14TH CENTURY.
(Library of the Escorial.)
PLATE 85
BREVIARY OF PHILIP II. (16TH CENTURY).
(Library of the Monastery.)
PLATE 86
MASS-BOOK AND HOLY OFFICE OF PHILIP II.
(Library of the Monastery.)
PLATE 87
LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.
(Library of the Monastery.)
PLATE 88
ARABIAN MANUSCRIPT (NATURAL HISTORY).
(Library of the Monastery.)
PLATE 89
READING DESK IN THE CHOIR.
(Escorial.)
PLATE 90
SACRISTY (MONASTERY).
PLATE 91
PARANYMPH OF THE COLLEGE (MONASTERY).
PLATE 92
OUR LORD CRUCIFIED, SCULPTURED IN MARBLE (MONASTERY).
PLATE 93
INTERMENT OF PHILIP II. (MONASTERY).
PLATE 94
CHAPTER ROOM (MONASTERY).
PLATE 95
CHAPTER ROOM (MONASTERY).
PLATE 96
CHAPTER HALL (MONASTERY).
PLATE 97
PRESENTATION OF THE VIRGIN AT THE TEMPLE, ATTRIBUTED TO VAN EYCK (MONASTERY).
PLATE 98
ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.
(Sacristy of the Monastery.)
PLATE 99
EMBROIDERED ALTAR-CLOTHS.
(From the Sacristy.)
PLATE 100
EMBROIDERED COPES.
(Sacristy of the Escorial.)
PLATE 101
CASKET OF MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH ENGRAVED ROCK CRYSTAL.
(Relicario of the Escorial.)
PLATE 102
CHRIST ON THE CROSS, IN WROUGHT COPPER.
(Relicario of the Escorial.)
PLATE 103
BRONZE LECTERN REPRESENTING AN EAGLE, MADE AT ANTWERP IN 1571.
(Chapter Hall of the Escorial.)
PLATE 104
BRONZE LECTERN REPRESENTING AN ANGEL, MADE AT ANTWERP IN 1571, BY JEAN SIMON.
(Chapter Hall of the Escorial.)
PLATE 105
ST. MICHAEL OVERCOMING THE DEVIL, BY PEDRO ROLDAN,
(Chapter Hall of the Escorial.)
PLATE 106
CHRIST, WITH THE VIRGIN AND ST. JOHN: STATUES IN MARBLE.
(The Escorial.)
PLATE 107
GATE OF THE SANTA FORMA.
(Sacristy of the Monastery.)
PLATE 108
MIRROR IN ROCK CRYSTAL.
(Sacristy of the Escorial.)
PLATE 109
ALTAR-PIECE OF CHARLES V., IN WROUGHT COPPER.
(From the Camarin of St. Theresa at the Escorial.)
PLATE 110
ALABASTER STATUE OF ST. JOHN BAPTIST.
(From the Camarin of St. Theresa at the Escorial.)
PLATE 111
INSIDE COVER OF A RELIQUARY WHICH BELONGED TO PIUS V. 1566-1572.
(From the Camarin of St. Theresa.)
PLATE 112
RELIQUARY OF ROCK CRYSTAL.
(From the Camarin of St. Theresa.)
PLATE 113
BONE RELIQUARY OF THE END OF THE 12TH CENTURY.
(Camarin of St. Theresa.)
PLATE 114
RELIQUARY OF WROUGHT IRON, INLAID.
(Relicario of the Escorial.)
PLATE 115
RELIQUARY OF WROUGHT IRON, INLAID.
(Relicario of the Escorial.)
PLATE 116
RECEPTION HALL.
(Palace.)
PLATE 117
RECEPTION HALL.
(Palace.)
PLATE 118
VIEW OF THE DINING HALL.
(Palace.)
PLATE 119
VIEW OF THE DINING HALL.
(Palace.)
PLATE 120
ANTE-ROOM.
(Casa del Principe.)
PLATE 121
HALL OF AMBASSADORS.
(Palace.)
PLATE 122
A ROOM OF PHILIP II.
(Palace.)
PLATE 123
MEMORIAL OF KING PHILIP II.
(Escorial.)
PLATE 124
CHAIRS OF PHILIP IV.
(Palace.)
PLATE 125
ESCUTCHEON OF KING PHILIP II.
(The Escorial.)
PLATE 126
BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD.
(The Hall of China of the Casa del Principe at the Escorial.)
PLATE 127
BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD PANELS.
(Casa del Principe.)
PLATE 128
VIEW OF THE DINING HALL.
(Casa del Principe.)
PLATE 129
THE JUDGMENT OF SOLOMON (IVORY).
(Casa del Principe.)
PLATE 130
THE FISHERMAN CAUGHT IN THE NETS (IVORY).
(Casa del Principe.)
PLATE 131
SCULPTURE IN IVORY CALLED ‘PRINCESA DE SAN SEVERO.’
(Casa del Principe.)
PLATE 132
THE ADORATION OF THE SHEPHERDS (IVORY).
(Casa del Principe.)
PLATE 133
ROUND TABLE WITH A TRAY OF SÈVRES PORCELAIN.
(Casa del Principe at the Escorial.)
PLATE 134
TABLE, CHAIR, AND PORCELAIN FROM THE ROYAL WORKS AT BUEN RETIRO.
(Casa del Principe at the Escorial.)
PLATE 135
MARY MAGDALENE: FROM THE ROYAL WORKS AT BUEN RETIRO.
(Casa del Principe.)
PLATE 136
BUEN RETIRO PORCELAIN: IMITATION OF WEDGWOOD.
(Casa del Principe.)
PLATE 137
TOP OF A ROUND TABLE IN SÈVRES PORCELAIN.
(Casa del Principe.)
PLATE 138
THE DESCENT FROM THE CROSS: SCULPTURE IN IVORY.
(Palace.)
PLATE 139
ANTE-ROOM OF CHOICE WOODS.
(Palace.)
PLATE 140
CHAIR OF THE EMPEROR CHARLES V.
(Palace.)
PLATE 141
THE EMPEROR CHARLES V., THE EMPRESS ISABEL, HIS DAUGHTER MARIA, HIS SISTERS ELEONORA, QUEEN OF FRANCE, AND MARIA, QUEEN OF HUNGARY.
(Escorial.)
PLATE 142
POMPEIAN HALL.
(Palace.)
PLATE 143
ORATORY OF CHOICE WOODS IN THE ANTE-CHAMBER.
(Palace.)
PLATE 144
EXPEDITION TO THE AZORES.
(Hall of Battles.)
PLATE 145
BATTLE OF HIGUERUELA, 1431 (1ST SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 146
BATTLE OF HIGUERUELA, 1431 (2ND SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 147
BATTLE OF HIGUERUELA, 1431 (3RD SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 148
BATTLE OF HIGUERUELA, 1431 (4TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 149
BATTLE OF HIGUERUELA, 1431 (5TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 150
BATTLE OF HIGUERUELA, 1431 (6TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 151
BATTLE OF HIGUERUELA, 1431 (7TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 152
BATTLE OF HIGUERUELA, 1431 (8TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 153
BATTLE OF HIGUERUELA, 1431 (9TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 154
BATTLE OF HIGUERUELA, 1431 (10TH SECTION OF THE SERIES OF DRAWINGS).
(Hall of Battles.)
PLATE 155
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(Hall of Battles in the Escorial.)
PLATE 156
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(Hall of Battles in the Escorial.)
PLATE 157
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(Hall of Battles in the Escorial.)
PLATE 158
SURRENDER OF THE CHATELET FORT.
(Hall of Battles.)
PLATE 159
THE SIEGE OF HAN AND SURRENDER OF ITS CASTLE.
(Hall of Battles.)
PLATE 160
BATTLE OF GRAVELINAS.
(Hall of Battles.)
PLATE 161
PREPARATIONS FOR THE BATTLE OF GRAVELINAS.
(Hall of Battles.)
PLATE 162
TAKING OF ST. QUINTIN BY THE SPANISH INFANTRY REGIMENTS.
(Hall of Battles.)
PLATE 163
BATTLE BEFORE ST. QUINTIN.
(Hall of Battles.)
PLATE 164
PREPARATIONS FOR THE SIEGE OF ST. QUINTIN.
(Hall of Battles.)
PLATE 165
DEPARTURE OF THE SPANISH ARMY FROM THE FORTIFIED PLACE OF ST. QUINTIN.
(Hall of Battles.)
PLATE 166
THE DUKE OF ALBA REVIEWING HIS TROOPS AT CANTILLANA.
(Hall of Battles.)
PLATE 167
EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE GOTHS, UNTIL PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.
(Library of the Escorial.)
PLATE 168
PLUTO AND PROSERPINA, BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 169
ALLEGORY OF AFRICA, BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 170
PHAETON STRUCK BY JUPITER’S THUNDERBOLT.
(Casa del Principe at the Escorial.)
PLATE 171
THE BATTLE OF LEPANTO, BY L. GIORDANO.
(Reproduced from the Fresco in the Escorial.)
PLATE 172
EXPEDITION TO THE TERCEIRE ISLE (AZORES).
(Fragment of a Fresco Painting in the Hall of Battles.)
PLATE 173
APOLLO AND MERCURY, BY PEREGRINO TIBALDI.
(Fresco on the Arch of the Library of the Escorial.)
PLATE 174
A SWEET SINGER, BY WATTEAU.
(Museum of the Escorial.)
PLATE 175
A LOVE SCENE, BY WATTEAU.
(Museum of the Escorial.)
PLATE 176
PHILIP II. RECEIVING A DEPUTATION FROM THE LOW COUNTRIES IN THE ESCORIAL, BY SANT ARCOS.
PLATE 177
PORTRAIT OF PHILIP II. AT THE AGE OF 71, BY ANTONIO MORO.
(Library of the Escorial.)
PLATE 178
SECOND SET OF EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE GOTHS, UNTIL PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.
(Library of the Escorial.)
PLATE 179
ST. ISIDORE, BY CORRADO.
(In the Museum at the Escorial.)
PLATE 180
PAN AND MISENUS, BY PEREGRINO TIBALDI.
(Fresco of the Arch in the Library of the Escorial.)
PLATE 181
HOMER AND VIRGIL, BY PEREGRINO TIBALDI.
(Fresco of the Arch in the Library of the Escorial.)
PLATE 182
SOLOMON AND THE QUEEN OF SHEBA, BY V. CARDUCCI.
(Fresco of the Arch in the Library of the Escorial.)
PLATE 183
PINDAR AND HORACE, BY PEREGRINO TIBALDI.
(Fresco of the Arch in the Library of the Escorial.)
PLATE 184
THE VISITATION, BY PEREGRINO TIBALDI.
(Fresco in the Cloister of the Escorial.)
PLATE 185
THE MARRIAGE OF THE VIRGIN, BY PEREGRINO TIBALDI.
(Fresco in the Cloister of the Escorial.)
PLATE 186
THE ANNUNCIATION, BY LUCAS CANGIAGI.
(Fresco in the Cloister of the Escorial.)
PLATE 187
TRIPTYCH, WITH PAINTINGS ON VELLUM.
(Camarin of St. Theresa.)
PLATE 188
THE SEVEN CAPITAL SINS, BY JEROME BOSCH, ON WOOD.
(In the Room of Philip II. at the Escorial.)
PLATE 189
THE STORY OF THE PASSION: DIPTYCH, IN IVORY, OF THE 13TH CENTURY.
(From the Camarin of St. Theresa.)
PLATE 190
FRIEZE OF THE STAIRCASE IN THE MONASTERY, REPRESENTING THE BATTLE, SIEGE, AND CAPTURE OF ST. QUINTIN, AND THE FOUNDATION OF THE MONASTERY, BY L. GIORDANO.
PLATE 191
‘LA SANTA FORMA.’ THE MASTERPIECE OF CLAUDE COELLO.
(Sacristy of the Escorial.)
PLATE 192
THE RESURRECTION, BY PEREGRINO TIBALDI.
(The Cloister of the Escorial.)
PLATE 193
THE INTERMENT OF CHRIST, BY TINTORETTO.
(Chapter Hall of the Escorial.)
PLATE 194
JESUS AT THE PHARISEE’S HOUSE, BY TINTORETTO.
(Chapter Hall of the Escorial.)
PLATE 195
THE RESURRECTION OF OUR LORD: FLORENTINE SCHOOL, GREY PAINTING.
(Chapter Hall of the Escorial.)
PLATE 196
THE BIRTH OF OUR LORD, BY TINTORETTO.
(Chapter Room of the Escorial.)
PLATE 197
THE ANNUNCIATION, BY PAUL VERONESE.
(Chapter Room of the Escorial.)
PLATE 198
PORUS BROUGHT BEFORE ALEXANDER THE GREAT, BY CARLOS VAN LOO.
(Monastery of the Escorial.)
PLATE 199
THE CROWN OF THORNS, BY JEROME BOSCH, ON WOOD.
(Chapter Hall of the Escorial.)
PLATE 200
TRIPTYCH, BY JEROME BOSCH.
(Chapter Hall of the Escorial.)
PLATE 201
TRIPTYCH, REPRESENTING THE TERRESTRIAL DELIGHTS, AND THE PUNISHMENT OF SIN IN HELL, BY JEROME BOSCH.
(Chapter Hall of the Escorial.)
PLATE 202
PORTRAIT OF CHARLES V. AT THE AGE OF 47, BY JUAN PANTOJA.
(Chapter Hall of the Escorial.)
PLATE 203
CHRIST BRINGING FORTH THE SOULS OF THE SAINTS: FLORENTINE SCHOOL.
(Chapter Hall of the Escorial.)
PLATE 204
THE WASHING OF FEET, BY TINTORETTO.
(Chapter Hall of the Escorial.)
PLATE 205
THE NATIVITY, BY JOSEF RIBERA.
(Chapter Hall of the Escorial.)
PLATE 206
THE LAST SUPPER, BY TITIAN.
(The Escorial.)
PLATE 207
ST. CHRISTOPHER (ON WOOD), BY J. PATENIER.
(Chapter Hall of the Escorial.)
PLATE 208
JACOB RECEIVING JOSEPH’S COAT, BY VELAZQUEZ.
(Chapter Hall of the Escorial.)
PLATE 209
THE PENITENT MAGDALENE, BY L. GIORDANO.
(Chapter Hall of the Escorial.)
PLATE 210
MUMMY OF CHARLES V., BY V. PALMAROLI.
(The Escorial.)
PLATE 211
JACOB GUARDING THE FLOCKS OF LABAN, BY J. RIBERA.
(Chapter Hall of the Escorial.)
PLATE 212
THE SATYR MARSYAS FLAYED ALIVE BY APOLLO, BY L. GIORDANO.
(Chapter Hall of the Escorial.)
PLATE 213
LOT AND HIS FAMILY, BY A. VACCARO.
(Chapter Hall of the Escorial.)
PLATE 214
THE ADORATION OF THE MAGI, BY VERONESE.
(Chapter Hall of the Escorial.)
PLATE 215
THE CHASTISEMENT OF ARACHNE, BY L. GIORDANO.
(Chapter Hall of the Escorial.)
PLATE 216
ALEXANDER CONQUERING DARIUS, BY F. SOLIMENA.
(Monastery.)
PLATE 217
ST. MAURICE AND OTHER MARTYRS, BY EL GRECO.
(Chapter Hall of the Escorial.)
PLATE 218
QUEEN ESTHER, BY TINTORETTO.
(Chapter Hall of the Escorial.)
PLATE 219
THE ANNUNCIATION, AND THE BIRTH OF CHRIST. BY COXCIS.
(Chapter Hall of the Escorial.)
PLATE 220
THE HOLY TRINITY, BY J. RIBERA.
(Chapter Hall of the Escorial.)
PLATE 221
VISION OF JESUS TO HIS MOTHER, BY P. VERONÈSE.
(Chapter Hall of the Escorial.)
PLATE 221
THE CARNATION GARDENER, BY F. BAYEU.
(Tapestry in the Palace.)
PLATE 223
THE WATER-SELLER, BY F. BAYEU.
(Tapestry in the Palace.)
PLATE 224
THE YOUNG BULL AT CARABANCHEL DE ABAJO, BY F. BAYEU
(Tapestry in the Palace.)
PLATE 225
PROMENADE OF LAS DELICIAS, BY F. BAYEU.
(Tapestry in the Palace.)
PLATE 226
THE PORK MERCHANT, BY F. BAYEU.
(Tapestry in the Palace.)
PLATE 227
DEPARTURE FOR THE HUNT, AFTER P. WOUWERMAN, BY GINES DE AGUIRRE.
(Tapestry in the Palace.)
PLATE 228
DESCENT FROM THE CROSS (R. van Der Weyden).
PLATE 229
CHILD RIDING A SHEEP, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 230
A LADY AND HER CAVALIER, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 231
COUNTRY DANCE, BY F. GOYA.
(Tapestry in the Dining Hall of the Palace.)
PLATE 232
CASTING OF BULLETS IN A FOREST, BY GOYA.
(Casa del Principe, Escorial.)
PLATE 233
THE KITE, BY F. GOYA.
(Tapestry in the Escorial Palace.)
PLATE 234
THE WASHERWOMEN, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 235
YOUNG MAN WITH A BIRD, AND A BAGPIPER, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 236
A PROMENADE IN ANDALUSIA, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 237
THE CHINA MERCHANT, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 238
DOGS IN A LEASH, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 239
THE LITTLE GIANTS, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 240
THE GRAPE-SELLERS, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 241
THE CARD-PLAYERS, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 242
THE WOOD-CUTTERS, BY F. GOYA.
(Tapestry in the Dining Hall of the Palace.)
PLATE 243
CHILDREN PICKING FRUIT, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 244
CHILDREN CLIMBING A TREE, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 245
THE SEE-SAW, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 246
THE REAPERS, BY F. GOYA.
(Tapestry in the Palace.)
PLATE 247
TAPESTRY AFTER THE POMPEIAN STYLE.
(In the Palace.)
PLATE 248
STORY OF TELEMACHUS: THE DANCE OF THE NYMPHS.
(Gobelin Tapestry in the Palace.)
PLATE 249
STORY OF TELEMACHUS: NEPTUNE WRECKING ULYSSES’ VESSEL.
(Gobelin Tapestry in the Palace.)
PLATE 250
STORY OF TELEMACHUS: CALYPSO.
(Gobelin Tapestry in the Palace.)
PLATE 251
STORY OF TELEMACHUS: YOUNG TELEMACHUS.
(Gobelin Tapestry in the Palace.)
PLATE 252
CHILDREN PLAYING AT BULL-FIGHTING, BY F. BAYEU.
(Tapestry in the Escorial Palace.)
PLATE 253
THE GARDENS OF BUEN RETIRO.
(Tapestry in the Palace.)
PLATE 254
ST. JOSEPH AND THE CHILD JESUS.
(Casa del Principe, Escorial.)
PLATE 255
THE JUDGMENT OF SOLOMON, BY F. DE URBINA.
(Ceiling in the Prior’s Cell in the Monastery.)
PLATE 256
THE VIRGIN, BY CORRADO.
(Casa del Principe, Escorial.)
PLATE 257
WOMAN READING A LETTER, BY D. TENIERS.
(Casa del Principe at the Escorial.)
PLATE 258
THE CONVERSION OF ST. PAUL, BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 259
APOLLO GRIEVING OVER THE DEATH OF HIS SON PHAETON: BUEN-RETIRO CHINA.
(Casa del Principe.)
PLATE 260
THE FALL AND DEATH OF JULIAN THE APOSTATE, BY L. GIORDANO.
(Casa del Principe.)
PLATE 261
THE BAGPIPER, BY D. TENIERS.
(Casa del Principe.)
PLATE 262
ST. JOHN THE BAPTIST, BY ANNIBALE CARACCI.
(Casa del Principe.)
PLATE 263
A SMOKER, BY D. TENIERS.
(Casa del Principe at the Escorial.)
PLATE 264
THE HELIADES, DAUGHTERS OF THE SUN, CHANGED INTO POPLARS, AFTER THE DEATH OF THEIR BROTHER PHAETON: BUEN-RETIRO CHINA.
(Casa del Principe.)
PLATE 265
THE CONCEPTION OF THE VIRGIN, BY AN UNKNOWN ARTIST.
(Casa del Principe at the Escorial.)
PLATE 266
THE HOLY FAMILY, BY RAPHAEL.
(Casa del Principe at the Escorial.)
PLATE 267
SEMIRAMIS FIGHTING THE ENEMY. BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 268
THE RAPE OF THE SABINES, BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 269
ALLEGORY OF AMERICA, BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 270
ALLEGORY OF ASIA, BY L. GIORDANO.
(Casa del Principe at the Escorial.)
PLATE 271
THE DREAM OF PHILIP II., BY EL GRECO.
(Chapter Hall of the Escorial.)
PLATE 272
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.
PLATE 273
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.
PLATE 274
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.
PLATE 275
THE PRINCE’S ROOM.
(Escorial.)
PLATE 276
POMPEIAN ROOM.
(Escorial.)
PLATE 277
TOWER ROOM (CASITA DE ABAJO)
(Escorial.)
PLATE 278
THE ROYAL PALACE AND MONASTERY: PLAN AND SECTION.
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 an 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
MURILLO. A Biography and Appreciation. Illustrated by over 165 reproductions from photographs of his most celebrated pictures.
SPANISH ARMS AND ARMOUR. A Historical and Descriptive Account of the Royal Armoury at Madrid. Illustrated with 386 reproductions from photographs.
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.
CORDOVA. A Historical and Descriptive Account of the Ancient City which the Carthaginians styled the “Gem of the South.” With over 155 Illustrations.
SEVILLE. A Historical and Descriptive Account. With 300 Illustrations.
THE PRADO. A Guide and Handbook to the Royal Picture Gallery of Madrid. Illustrated with 221 reproductions from photographs of Old Masters.
IN PREPARATION
Goya Granada Velazquez Toledo Royal Palaces Madrid Leon, Burgos, &c. Valladolid, Segovia, &c.
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 of 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
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 over 300 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 of European armoury for the guidance of artists, sculptors, antiquaries, costumiers, and all who have practical interest in historical accuracy.
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
CORDOVA
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH OVER 155 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, is now no more than 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.
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, was the centre of Moslem power and splendour, and fell before the military prowess of St. Ferdinand, is still the Queen of Andalusia, the Spanish Athens, 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 with 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
THIS volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a 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, 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
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH OVER 480 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
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 OVER 450 ILLUSTRATIONS
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
VELAZQUEZ
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ—“our Velasquez,” as Palomino proudly styles him—has been made the subject of innumerable books in every European language, yet the General 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 magnet 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
MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH OVER 300 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 AN 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
LEON, BURGOS AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH OVER 350 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 was 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
VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH OVER 325 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 four cities, and has preserved their memories in a wealth of excellent and interesting illustrations.
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 Frió, 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.
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)
Size 10 x 7½ 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.
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. (7½ 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.
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.
“We recommend the book to all those to whom Cervantes is more than a mere name.”
Westminster Gazette.
“Nothing could be more useful than this careful and authoritative book.”
Vanity Fair.
“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.
“Nothing better could be desired.”
Literary World.
“A capital and most interesting little book.”
The Queen.
“Excellent little volume.”
The Graphic.
“A book full of information and of convenient compass.”
Onlooker.
“A handy, compendious life, with good Quixotic pictures.”
Rapid Review.
“Can be heartily recommended to all who want to know something of the life of Cervantes.”
Nottingham Express.
“Mr. Calvert is entitled to the gratitude of book-lovers for his industrious devotion at one of our greatest literary shrines.”
Birmingham Post.
“Should be greatly appreciated by all lovers of the chivalrous Knight.”
Dublin Express.
“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.
