Toledo

EL GRECO

Reading edition

Albert F. Calvert and C. Gasquoine Hartley

Domeniko Theotokopuli,[A] known to us to-day as El Greco, was the first great painter of Spain, and in his strange and fascinating art, the Spanish School compels for the first time the attention of the world. And El Greco was not Spanish. He was born in Crete, it would seem about the year 1548, and died at Toledo in 1614. Learning his art in Venice, in his early manner he is a pure Venetian, owing much to the work of the Bassani, and more to the inspiration of Tintoretto, but in Toledo he became Spanish and himself, developing there a manner in which the special temper of the race finds an expression passionate enough, not equalled again, indeed, until the advent of Goya.

There will always be some men imaginative, entirely personal, who, like El Greco, seek to express themselves, and in so doing, quite unwittingly probably, express the life of their age. Having the interpretative—creative would perhaps be the truer word—genius, their work becomes, as it were, a mirror, which reflects not the man alone, but the circumstances that have formed his life. For, after all, what the artist does is to use up what he has seen.

This is why El Greco seems to chronicle for us our impressions of Toledo, and of Spain.

Surely no other painter has lived in a city in such strong agreement with his spirit. Think of the place—wind-swept, heat-dried, extraordinarily austere, yet flushed with colour, ochre-red shading to unusual greens; heaped upon its rocky throne above the yellow flowing Tagus, its rugged silhouette straight cut against a sky hard and clear as enamel; and, beyond, the sierra like a great brown sea in which it all stands as an island starting from the waves. A suggestion of strenuousness seems to linger everywhere, a spirit, personal and keen, cruel almost as the sword-blades the city fashions. The very buildings, placed upon the crags beneath the great hulk of the Alcazar, repeat this impression, they rise in sharp upward and downward lines like an arrangement of swords, and make their appeal by the strange strength of their aspect. The streets are a tortuous net of steep-rising passage-ways. A city strongly itself that has suffered no change, fantastic as a city seen in a dream.

Yes, to those who know Toledo, the impression of the character of the city upon El Greco will bring no surprise. His art corresponds perfectly with its setting. Everywhere his work is around you, for El Greco is one of those painters who has but a single home. He built churches and other buildings—the classic façade of the Ayuntamiento, for instance, was modelled on his design; he carved statues, he painted pictures, there are canvases of his in the museum, in the cathedral, and in many of the churches. And in all this mass of work, it is the living force behind it that is the first impression that you gain; a kind of driving power that fascinates you, just as Toledo fascinates you, by reason of its power. El Greco was a painter able to create—that is the secret of it all. And, be it remembered, the artist does not find his matter straight from the springs of his brain, what he is able to see he sets down, and that is all. His art is great in exact measure as it is able to transfer this vision from him to us. In this way El Greco, to whom vision seems to have been the whole of life, does in his pictures transfer to us the entire impression of Toledo, so that it is difficult to speak of his art without making Toledo the refrain.

And as we wait with his pictures and note, after the first surprise has left us, the qualities of the work, throughout they confirm this. The very form of his composition is moulded upon Toledo. Just as its buildings cluster around the Alcazar, almost as bees swarming about their queen, so he groups everything around a central figure. Never, after he came to Toledo, did El Greco use Italian backgrounds. And in his long, lithe figures, so fantastic in their hard outlines, sometimes we catch that suggestion of the sword that haunts Toledo. Then when we come to more tangible things, we find to-day El Greco’s models in the dark peasants of Toledo. Nowhere else can we quite believe in the reality of those coldly fervent, self-absorbed, ecstatic men, who greet us with such fascination from his canvases, their lean, long profiles suggesting again that aspect of a sword.

Then, El Greco’s colour was drawn from the landscape around him. And colour, if we may credit the truth of the conversation recounted by Pacheco, was to him the one quality in painting, form, drawing, all else, being of secondary significance. This, too, was learnt in Toledo, where colour has an allurement—illusive and insistent. Toledo it was showed him the existence of cold tones, and the fascination of its greys and livid greens led him to anticipate modern colour, at a time when every one else was painting warm tonalities. In the Convent of San Juan de los Reyes, now the Museo Provincial, is that ‘Bird’s-Eye View of Toledo,’ the picture in which we have a portrait of George Manuel Theotokopuli, El Greco’s son. At first you will be astonished, it is the strangest landscape in the world. But wait with the picture—always the danger with El Greco is that you will not linger enough. The painter who sees for himself must be studied, not dismissed as he who but sets down the common vision of things. And El Greco does give us the real Toledo in this fantastic landscape. Do you doubt this? Then go when night falls upon the city to some such vantage-point as the Puerta del Cambón, where beneath the dome of the evening sky you will see Toledo, heaped roof against roof, tower against tower. You will forget the strangeness of the picture’s statement, as you come to see that it is just this effect that El Greco has caught. Now you will recognise the reality of those bluish whites, those tones of green that surprised you, and, in gladness, you will yield to the truth, the beauty—are not the two the same?—of the painter’s vision, and avow how much he has taught you to see.

Always El Greco’s pictures leave an impression of their own upon the spectator; and this is the test of vital work. It is personality that counts in art. Whether he paints the visible truth of outward things, as in his portraits—that wonderful series in the Prado, for instance, in which he startles us with his revelation of his model—or pure fancies of the mind, as ‘The Vision of Philip II.,’ in the Escorial, a picture that would seem to have no conscious reference to things seen, one feels that he had something definite to express. And although his style at first may have been formed largely on that of the great Venetian painters, of Tintoretto especially—a “sort of shorthand of the Venetian,” Mr. Ricketts calls it—in all his pictures there is but one personality—that of himself. At the back of his art was a force of passionate character—unbalanced? Yes! capricious and arbitrary; a tyrannical need that compelled expression. But in spite of his singular conventions and, from a theorist’s point of view, the strangeness and exaggeration of his qualities, he does convey his meaning, splendidly effective, if not the best. And because of this intensity of vision we have those pictures of exaggerated statement that give credit to the fable of the painter’s madness, such as the ‘St. John the Baptist,’ in the Hospital San Juan Bautista, a picture which many have found ugly, while the few see in its new conception a striving for personal utterance, and find many things in its suggestion.

El Greco stumbled in his methods maybe, never in his purpose, which was, it would seem to us, the significance of movement. All his strange skill, the power of his imagination, his new knowledge of colour and light, are used in this service, to bring home to us the vision of movement that everywhere he saw. Even in his portraits it is this that holds us. There is something more in them than the outward likeness; there is a power of reaching to and showing us the unquiet spirit within. He makes his portraits live and speak. This quality is present in all his work. Every picture is built up by its effect; and this effect is movement—life. By concentrating on a particular passage, by a contempt for detail and peddling accuracy, he directs our minds to this principal thing. His interest, as it were, compels ours; he realises his vision and makes us share in his imagination.

But it may be said that in many of these pictures the effect is forced; in the ‘St. Maurice,’ the rejected altar-piece of the Escorial, for instance, in the ‘Baptism of Christ’ and the ‘Descent of the Holy Spirit,’ in the Prado, and in many pictures in Toledo, easily recognised, in which realities are replaced by a series of conventions. It is not necessary to wait to particularise examples. Certainly one does not see in the pictures of other painters those greens, those ashen whites and crimsons, those livid blacks; El Greco’s use of colour is unusual and his own. Light is not used as he uses it, as a quantity for emotional appeal; those faces, so elongated or contracted, and with such extravagant expressions, those figures with hard anatomical outlines, do not correspond with life as we see it. Yes, this is true. But look longer at these pictures.... Well, would it be possible to gain their effects without the defects? If things are forced out of harmony it is for the sake of “telling strongly.” All this search for expression is done quite consciously. El Greco throughout was strong enough to be true to himself and to his imagination. He knew that no system of art is final, that the achievements of artists are, in truth, the stones wherewith the Temple of Art is built. Imagination does not see commonplaces. And we recall the statement of Blake—he, too, a painter of visions of the mind: “He who does not imagine in stronger and better lineaments, and in stronger and better light, than his perishing mortal eye can see, does not imagine at all.”

El Greco might have said these words.

And the man? There is a portrait Domeniko Theotokopuli has left of himself now in the Museum of Seville. In it we see the long, striking profile, with its large, strong nose, restless eyes and straight mouth, cruel slightly, framed by the great white ruff that forms such fitting setting to the fine head. The forehead is high, the dark hair scant upon the temples. We may read in the face, and still more in the perfectly shaped hands—the left holds a square palette upon which are the five primary colours, white, black, yellow-ochre, vermilion, and lake, the colours he used most frequently—the fastidiousness of the artist, the instinct for beauty; we may read a peculiar suggestion of mysticism and ardour; self-assertion, too, and impatience—both wait in those long, nervous fingers. It is a face of genius, but of a kind restless, unbalanced, decadent perhaps. And we understand the driving energy that burned to fever, so that at times the balance was lost between the painter’s aim and the result, and we realise that the work of such a man must be introspective, experimental, neurotic.

We know nothing almost of El Greco’s life, and if external happenings were all, the most original painter of Spain would remain an unexplained personality. His very name is uncertain, and contemporary writers, disregarding the Theotokopuli, speak of him as Domeniko Greco. We do not know the year in which he was born, for the information given by Palomino in “El Museo” must certainly be questioned, no register of his birth as yet having been found among the Cretan archives, or in the parochial books of the Greek colony in Venice, the city in which it seems certain that he lived—a pupil, we may well think, of Tintoretto, rather than of Titian; and this in spite of the letter of his friend and compatriot the miniature-painter, Clovio,[B] in which Clovio speaks of the young Greek painter’s skill, tells of his coming to Rome, and, after commending him to the patronage of the Cardinal Nepote Farnese, refers to his having learnt his art from the greatest Venetian. But the testimony of his work gives more truth than this statement; his early pictures, their authorship so long unknown, again and again have been attributed to Tintoretto, to Bassano, to Veronese even, never to Titian.

That El Greco was a Cretan we know by his signature, always in Greek, on many pictures, Λομήνικος Θεοτοκόπουλος Κρήσεποίει—the ‘San Maurice,’ in the Escorial, is one. And again, when called, in 1582, by the Tribunal of the Inquisition to act as interpreter in the case of a Cretan accused of being a Morisco, he describes himself as “Domeniko Theotokopuli, native of Candia, painter, resident in Toledo,” as we learn from a document discovered by Señor Cossio, to whose research, and to that of Señor Foradada and of Señor de Beruete, we owe the few discovered facts of El Greco’s life.

We know that Domeniko Greco came to Toledo some time before 1577, and in that year he was at work in the convent of Santo Domingo el Antigua, where the Church was built and its statues carved by him, and where he painted the screens of the fine retablo; that further, he would seem never to have left Toledo; that he married there, and had a son, George Manuel, who was architect and sculptor to the cathedral from 1628 to his death in 1631, and also a daughter, whose portrait figures in several pictures—in ‘Christ Despoiled of his Vestments,’ in the cathedral, for one; that he died in Toledo, and was buried in Santo Domingo el Antigua on April 7, 1614[C] —and that is about all. We have record of much work—Toledo still has more than fifty Grecos—and there were pictures painted for the small town of Illescas, and also for Madrid. We read of two lawsuits, one undertaken to compel the Cathedral Chapter to pay in full for the ‘Expolio,’[D] the second to vindicate the painter’s right to sell his pictures without paying the tax levied upon merchandise. These lawsuits, his pictures, with their dates and signatures, certain contracts and receipts, are the few facts to be reported.

It would seem that this strange, self-contained life wished to be silent; for it is perhaps not too fanciful to read this meaning into that answer given by El Greco when asked, in connection with the writ served on him for the ‘Expolio,’ whether he had been brought to Toledo to paint the retablo of Santo Domingo: “I am neither bound to say why I came to this city nor to answer the other questions put to me.” Here we gain hints of certain very real traits of character.

And, if the facts of his life are meagre enough, we can find suggestions of this same temper, silent, yet passionate, in that visit of Pacheco to the Toledan painter when he was old, in 1611, of which we have spoken before. Pacheco tells us that El Greco was a student of many things, a writer on art, a great philosopher given to witty sayings, a sculptor and architect as well as a painter. He writes of much work that he saw, and speaks in particular of a cupboard in which were models in clay of each picture El Greco had finished. The two painters talked on many subjects, of colour and its supreme quality in painting, of Michael Angelo and his failure as a colourist. But in all the account of Pacheco, always so minutely laborious, it is significant to note in one sentence the impression he formed of Domeniko Greco: “He was in all things as singular as in his painting.”

Nor will it do to overlook the testimony of Giuseppe Martinez, whose “Practical Letters on the Art of Painting,” though not printed until 1866, were written a century before. He too speaks of Domeniko Greco as of extravagant disposition, and in proof recounts that he engaged musicians to play to him that he might “enjoy an additional luxury during meals.” The prudent Aragonese condemns this “too much ostentation,” but we capture again some fresh clues and hints of this strangely effective personality—a fanatic of life, a fanatic of painting.

But we have not settled the account of genius when we have called it unusual, fanatic, or decadent. It is the solution of the dull that genius is extravagant consciously. El Greco can have had no desire, no power, to repeat the easy, the commonplace. If strange, exaggerated even, his art is without a trace of affectation. When he painted a vision he felt it natural to symbolise his idea in the way that he did. In colour, in form, he painted only what his imagination saw, gaining in colour fresh harmonies for himself, and a new suggestion of movement in his imaginative compositions, to which our imagination must find answer.

El Greco understood all nature as a Living Presence; his art was a series of experiments to express this. And every one must be struck with the peculiar development of this special personality in his art from stage to stage—stages that with sufficient accuracy may be divided into three periods.

The first is the pupil’s search for truth; the Venetian stage, in which we find a consciousness of tradition, showing itself in the still-fettered design, in the attitudes of the figures, in the use of warm colour, in a flowing quality in the paint, and, especially perhaps, in the landscape backgrounds, so Venetian with palaces and marble-paved piazzas; yet mingled with all this tradition is an emphatic personality, an ardour of expression, very difficult to define, seen in such early pictures as ‘The Blind Man,’ in the Parma Gallery, or ‘The Cardinal,’ in the National Gallery, both painted before 1577. Over the whole Venetian period the influence of Tintoretto is obvious; while the portraits of these years recall in their method the work of the Bassani; and of the pre-Spanish pictures, as, for instance, the ‘Cleansing of the Temple,’[E] now in the possession of the Countess of Yarborough, and the replica of the same subject on a small scale, in the Cook collection at Richmond, Surrey, a picture of real beauty that testifies to El Greco’s skill in miniature—these, and many other works, were thought until quite recently to be the work of the Venetians, the first being attributed to Paul Veronese, the latter to Tintoretto, and this in spite of their marked character.

And the Venetian influence remained in the first years in Toledo. It is seen in the beautiful Virgin in the early ‘Assumption,’ painted for the central altar-screen of Santo Domingo el Antigua, but now in the Prado.[F] But the chief work of this period is the ‘Christ Despoiled of His Vestments,’ still in the sacristy of the cathedral in Toledo, for which it was painted in 1577. Here, perhaps, in the fine simplicity of the grouping, in the dignity of the inspired head of the Saviour, in the rich and strong colour and in the vivid light and shade, we have the best results of all El Greco learnt in Venice. But even in this beautiful picture we see the development, or rather the co-existence, of his two styles: on the one hand carefully and thoroughly worked-out qualities, a balanced art remembered from Venice, but with it all a power that was his own, that seized the elements in the picture and gave them life—his life. And again, we have in the excessive height of the Christ, in the hands of many of the figures in this picture and in the ‘Assumption,’ first hints of the special conventions with which the name of El Greco is certainly most associated.

We come to the second stage, in which the painter, forgetting tradition, seeks to set down his vision in his own way; it is the period of experiment, as we see it first in the ‘St. Maurice,’[G] painted in 1581, that strange picture, rejected, as we may so well believe, by Philip II., who, misunderstanding, as many have done since, the intensity of feeling that animates the work, attributed its exaggerated expression to madness. Here, and in other pictures of this time, in the seizing ‘Vision of Philip II.’ and in the ‘St. John the Baptist’ in particular, we have splendid examples of imaginative work. Maybe the details are impossible, perhaps absurd—many have found them so—but for others the inspiration of the painter triumphs, and the longer they gaze at these visions the more they are impelled. For, be it remembered, the idea should be the starting-point in all imaginative pictures, and should control both the design and its treatment, and these Greco’s are splendid in this respect. Whether the imagination is exaggerated and perverted in wilful experiment, whether from an uncertain technical equipment, or whether it is, as we would think, the natural and true expression of intense dramatic vision, it is not easy to say. Who shall decide whether to call these mad pictures or visions that breathe the sublime? That is a question hard to answer in much of El Greco’s characteristic work. Perhaps the truth is that we dislike too readily what we do not easily understand. El Greco goes back to first principles and speaks in symbols with which we are not familiar. Those spectres of human kind that surprise us in so many of his pictures in Toledo, in those in the Prado, as well as in these two in the Escorial, do not suggest life as we see it; but they are inspired—they do convey his meaning. This painter’s method is a real enigma; he essayed surprising effects by separating colour into its original values; he used light as a means of emotional appeal, giving us sometimes most delicate harmonies, sometimes discordant contrasts. Domeniko Greco had to teach his world to see what he saw, and in this way he came, it may seem to some, to over-emphasise what to him was truth.

And his third stage was a fevered expression of his imaginative vision. We have entered a new world of extraordinary restlessness, the restlessness that must exist when spirit struggles from the bonds of the flesh. Toledo, the ardent arid city, burnt fiercely in El Greco’s blood, and, more and more, he seems to have felt that it was not enough to record facts; to have cared less to give æsthetic pleasure; but that the object of his art should be to clothe abstract ideas with life. It is something of all this that we find in his later pictures. In each there is emphasis—or, if you like, exaggeration—of statement; in the ‘Coronation of the Virgin’ in San José, for instance, a picture that in a strange, left-handed way carries us forward to the picture by Velazquez[H] on the same subject. The exaggeration is equally visible in the ‘Assumption’ in San Vicente, more beautiful, and the most interesting of these rare visions, a picture in which we have movement—the very sensation of a figure passing through the air as we have, perhaps, in no other picture. It is even stronger in the group of pictures in Madrid, the ‘Baptism,’ the ‘Descent of the Holy Spirit,’ the ‘Resurrection,’ and the ‘Christ Dead in the Arms of God’; it meets us again in the ‘St. Joseph with the Child Jesus,’ and in the ‘Virgin and Child with Saints Justa and Gertrude,’[I] both in San José, the church that is the museum of so much of the master’s work—pictures all similar in their intense sentiment; while emphasis burns to a white flame of ardent expression in the famed ‘St. John the Baptist,’ the wonderful picture of which we have spoken already. It is there, too, in the ‘Christ Crucified,’ one in the Prado, one in San Nicolas, surely the most terrible realisation possible of that scene of sacrifice, in which the agony of spirit so outweighs the agony of the flesh, and sky and earth seem to take their share in the struggle.

It is impossible to translate the effect of these animated religious pictures into words. El Greco was not content to embody the old myths in fresh forms, but he gave fresh forms to the ideas that are, as it were, the soul of each myth—that which lives when the form of the stories change. Even in his pictures with few figures, such for instance, as the ‘Mary and Jesus,’ in San Vicente, the ‘St. Francis,’ of which there are four replicas in Toledo, or that earlier picture, a beautiful rendering of a difficult theme, ‘La Veronica,’ one of the series painted for the Santo Domingo el Antigua in 1575-76, we have this exaggeration. Then, sometimes, exaggeration, which in each picture, after all, only emphasises the idea, disappears altogether, and we are given figures of singular beauty, as the ‘San Martin,’ in San José, or the really fine Madonnas—dark, oval-faced angels that surprise us at times with a beauty of type we hardly expect from El Greco. But, as a rule, in the pictures of this period, roughly marked by the painting of that experimental picture the ‘St. Maurice,’ there is this intensity of expression; and especially we find a new, and often strange, use of colour; colour, as well as form, being used as a means of dramatic statement, with a result that to many is exaggeration. For El Greco learnt first, perhaps, from the Venetians, and afterwards certainly in Toledo, many new possibilities of colour—that it has a quality that speaks, and further that the appeal of a picture depends first of all on the tone of its colour. It is for this reason he used colour as a means of emotional appeal; it was another quality by which to convey his idea to the world. For El Greco held truly that the province of art is to interpret, not to imitate. Every development of his art seems to have come from his own mind, hardly at all from the work of other painters; from the first he was true to his ideals. And always his pictures seem to be more the work of his soul than of his hand; which, in other words, is to say that he was greater as an artist than as a painter.

Domeniko Greco, like so many of the painters of Spain, was great in portraiture; and some of his portraits, such as those of Antonio Covarrubias and of Juan de Alava, in the Museo de San Juan de Los Reyes, that of Cardinal Tavera, in the Hospital de Afuera, the whole series in the Prado, and many others not possible to name, are as fine portraits as have ever been done in the world. In his earliest portraits even, in that of Julio Clovio, in the Museum of Naples, or that of ‘A Student,’ a portrait, it well may be, of the young painter himself, we have the qualities of his later work; always it is the spirit of his model that he seeks.

And this inward interpretation of life is seen, too, in that picture which is accounted rightly the most interesting, though not perhaps the most typical, of his work, ‘The Burial of Gonzalo Ruiz, Count of Orgaz,’ still in the Church of Santo Tomé, where it was painted in 1584. Look at this gallery of living portraits, all the life of Toledo—the life of Spain—is reflected back from those ardent faces. In St. Augustine, splendid in ecclesiastical robes, is the magnificent opulence of the Catholic Church; in the livid face of the dead count, in the cowled monk and two priests is the fervid piety of a people who have felt themselves in mystical communion with God; in the young, warm beauty of St. Stephen and the lovely acolyte is the full joy and rich colour of Spain; and lastly, in the long line of mourners who stand behind the group of the principal figures, and where the painter’s own nervous face is the sixth portrait counting from the right side, you have types unchanged in Castile to-day. And how individual is the rendering of the upper section of the picture in which Christ awaits in the heavens the spirit of the dead saint. Yes, this picture is one of the greatest pictures in Spain; it is always interesting.

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TOLEDO

Specially drawn for The Spanish Series

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GENERAL VIEW OF TOLEDO FROM THE SOUTH-EAST

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VIEW OF TOLEDO FROM THE SOUTH-EAST

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GENERAL VIEW OF TOLEDO

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VIEW OF TOLEDO FROM THE CAMPO DEL REY

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GENERAL VIEW OF TOLEDO

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STATE OF THE RUINS OF THE CIRCO MAXIMO IN THE YEAR 1848, ACCORDING TO THE “ALBUM ARTISTICO”

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THE RIVER TAGUS

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ALCANTARA BRIDGE

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PERSPECTIVE OF ST. MARTIN’S BRIDGE AND THE DIRECTION OF THE FORTIFIED LINES

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PERSPECTIVE VIEW OF THE SITE OF THE AQUEDUCT

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ENVIRONS OF TOLEDO

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PLAZA DE ZOCODOVER

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THE TOWN HALL

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THE MARKET-PLACE

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THE MARKET-PLACE

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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VISAGRA GATE

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A STREET IN TOLEDO

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A STREET IN TOLEDO

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BRIDGE OF ALCANTARA

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ALCANTARA GATE

ALCANTARA PORTAL AND BRIDGE

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EXTERIOR OF THE NORTHERN CITY WALLS

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FORTIFICATIONS OF THE OLD BRIDGE OF BOATS, REPLACED BY THE BRIDGE OF ST. MARTIN

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REMAINS OF THE CITY WALLS OF “AL-HIZÉM,” FROM THE GATE OF THE DOCE CANTOS TO THE “PLAZA DE ARMAS” OF THE BRIDGE OF ALCANTARA

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REMAINS OF THE CITY WALLS, SOUTH-WEST, REBUILT AT THE TIME OF THE RECONQUEST

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REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY

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REMAINS OF THE ROMAN RAMPART OF THE FIRST ENCLOSURE OF THE CITY. (PLAZA DE ARMAS DEL PUENTE DE ALCANTARA)

VISIGOTH CAPITAL TRANSFORMED INTO A FOUNTAIN BASIN. (No. 9 CALLEJON DE LA LAMPARILLA)

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PRINCIPAL ENTRANCE TO THE HOUSE OF THE BATHS OF ABEN-YA-YIX BAJADA AL COLEGIO DEL INFANTES

SEPULCHRAL ARCH OF THE INFANTE DON FERNANDO PEREZ IN THE BELEN CHAPEL IN THE CONVENT OF THE COMENDADORA DE SANTIAGO

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RUINS OF POLAN CASTLE. FOURTEENTH CENTURY

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GUADAMAR CASTLE

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REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY

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THE EXTERIOR WALLS

REMAINS OF THE FORTIFICATIONS IN THE JEWISH SUBURB

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GATE OF THE “ALMOFALA” (BIB-AL-MOJADHA) REBUILT IN THE FOURTEENTH CENTURY

“THE ABBOT’S TOWER” IN THE NORTHERN WALLS

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RUINS OF THE AQUARIA TOWER, COMMONLY CALLED “HORNO DEL VIDRIO”

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REMAINS OF THE AQUEDUCT (LEFT BANK OF THE RIVER)

REMAINS OF THE AQUEDUCT (RIGHT BANK OF THE RIVER)

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REMAINS OF THE ROMAN CONSTRUCTION IN THE TOWER OF THE PLAZA DE ARMAS OF THE BRIDGE OF ALCANTARA

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BRIDGE OF ALCANTARA

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EAST SIDE OF THE BRIDGE OF ALCANTARA

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POSTERIOR FAÇADE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA

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DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA. ANTERIOR FAÇADE

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ALCANTARA GATE

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COMMEMORATIVE INSCRIPTION IN THE AVENUE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA

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COAT OF ARMS OF THE CATHOLIC SOVEREIGNS IN FRONT OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA

“THE KHALIF’S CAPITALS” AT No. 13 CALLE DEL COLISEO

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PERSPECTIVE OF THE BRIDGE OF ALCANTARA

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ST. MARTIN’S BRIDGE

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ST. MARTIN’S BRIDGE

FAÇADE OF SANTA CRUZ

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DEFENSIVE TOWERS AT THE ENTRANCE OF ST. MARTIN’S BRIDGE AND THE TOWN

RESTORED POSTERIOR FAÇADE OF THE ARCH DE LA SANGRE

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REMAINS OF THE AQUEDUCT (RIGHT BANK)

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EAST SIDE OF ST. MARTIN’S BRIDGE

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DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE BRIDGE

DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE HIGHWAY

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MALBARDÓN GATE. ELEVENTH CENTURY

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VISAGRA GATE

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UPPER PART OF THE VISAGRA GATE. BUILT IN 1550

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TOWER IN THE CITY WALLS OF “THE SUBURB OF SAN ISIDORO,” NEAR THE NEW BRIDGE OF VISAGRA

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HYDRAULIC MACHINE AND REMAINS OF THE WALLS IN THE QUARTER OF THE CURTIDORES, NEAR THE RIVER

WALLS OF THE SUBURB OF SAN ISIDORO

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ANCIENT GATE OF VISAGRA

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ANCIENT GATE OF VISAGRA. THE SIDE WHICH JOINS THE WALL AND THE SIDE DEFENSIVE TOWER

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ANCIENT GATE OF VISAGRA. DEFENSIVE AND SIDE TOWER

Plate

ANCIENT GATE OF VISAGRA. REMAINS OF THE EASTERN FAÇADE

Plate

DETAIL OF THE PRINCIPAL FAÇADE OF THE OLD GATE OF VISAGRA

INTERIOR OF THE OLD GATE OF VISAGRA

Plate

ANCIENT GATE OF VISAGRA

Plate

THE TOWER CALLED “PUERTA BAJA DE LA HERRERIA,” NOW “GATE OF THE SUN”

Plate

CASTLE OF SAN SERVANDO

Plate

CASTLE OF SAN SERVANDO. ANCIENT ENTRANCE IN THE WEST FAÇADE

CASTLE OF SAN SERVANDO. SOUTH-EAST ANGLE

Plate

DOOR OF THE CASTLE IN SAN SERVANDO

Plate

GATE OF VALMADRON

Plate

GATE OF CAMBRÓN

Plate

BAÑO DE LA CAVA

Plate

ENTRANCE TO CAVA BATHS

Plate

RUINS OF THE TOWER OF THE OLD BRIDGE OF BOATS, CALLED “BAÑO DE LA CAVA”

Plate

DETAILS OF THE CONVENT OF SANTA FE.

ELEVENTH CENTURY

Plate

WEST PORTAL IN THE OLD HERMITAGE, NOW THE INN OF SANTA ANA, ON THE SISLA ROAD

Plate

ALTAR-PIECE OF SAN JUSTO

Plate

DETAIL OF THE CHURCH OF SAN JUSTO.

FIFTEENTH CENTURY

Plate

DETAIL OF THE CHAPEL OF SANTOS JUSTO AND PASTOR

Plate

EFFIGIES OF JUAN GUAS, ARCHITECT OF SAN JUAN DE LOS REYES, AND OF HIS SON. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO

Plate

EFFIGIES OF MARI ALVARES, WIFE OF JUAN GUAS, AND OF HER DAUGHTER. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO

Plate

MOSQUE OF THE TORNERIAS. EXTERIOR OF THE SOUTH FAÇADE, SOUTH-WEST ANGLE

Plate

INTERIOR OF THE MOSQUE DE LAS TORNERIAS

Plate

ARCH OF THE “KIBLÁH” IN THE MOSQUE DE LAS TORNERIAS

Plate

MOSQUE OF THE TORNERIAS. TREFOIL ARCHED WINDOW

MOSQUE OF THE TORNERIAS. HORSE-SHOE WINDOW

Plate

MOSQUE OF THE TORNERIAS. ARCHED WINDOW

MOSQUE OF THE TORNERIAS. RECTANGULAR WINDOW

Plate

MOSQUE DE LAS TORNERIAS

Plate

MOSQUE OF THE TORNERIAS, BUILT OVER ROMAN REMAINS

Plate

SUPPOSED ELEVATION OF THE MOSQUE OF BIB-AL-MARDÓM

Plate

SUPPOSED PLAN OF THE MOSQUE OF BIB-AL-MARDÓM

Plate

ACTUAL SITUATION OF THE NORTH-EAST FAÇADE OF THE ANCIENT MOSQUE OF BIB-AL-MARDÓM, A TRANSEPT AND MUDEJAR APSIS OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ

Plate

THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO AND LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (RIGHT SIDE)

Plate

THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO OF LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (LEFT SIDE)

Plate

PRINCIPAL NAVE IN THE MOSQUE OF BIB-AL-MARDÓM

Plate

ARCH IN THE SOUTHERN INTERIOR OF THE MOSQUE OF BIB-AL-MARDÓM

ACTUAL ENTRANCE TO THE CASTLE

Plate

100

MOSQUE OF BIB-AL-MARDÓM. ARCH IN THE INTERIOR WALL, SOUTH-WEST ANGLE

DETAIL OF THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM

Plate

101

BIB-AL-MARDÓM. “ARCH OF THE CROSS”

INTERIOR FAÇADE

EXTERIOR FAÇADE

Plate

102

MOSQUE OF BIB-AL-MARDÓM

Plate

103

NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), DISCOVERED IN FEBRUARY 1899

Plate

104

THE EPIGRAPHIC MEDALLION ON THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), REBUILT IN THE YEAR 370 AFTER THE HEGIRA (A.D. 980)

Plate

105

VISIGOTH CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN

VISIGOTH BASE WHICH SERVES AS A CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN

Plate

106

SANTO CRISTO DE LA LUZ

Plate

107

THE HERMITAGE OF SANTO CRISTO DE LA LUZ

Plate

108

WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ

Plate

109

CHURCH OF SANTO CRISTO DE LA LUZ

Plate

110

WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ

Plate

111

ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ

Plate

112

EXTERIOR OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ, AND TOWERS OF VARIOUS CHURCHES

Plate

113

DETAIL OF THE TRANSITO (SYNAGOGUE), BUILT IN 1360 AT THE EXPENSE OF SAMUEL LEVI

Plate

114

DETAILS OF THE INTERIOR DECORATION OF THE CHURCH OF THE TRANSITO (ANCIENT SYNAGOGUE)

Plate

115

DETAILS OF THE INTERIOR DECORATION OE THE CHURCH OF THE TRANSITO (ANCIENT SYNAGOGUE)

Plate

116

DETAILS OF THE TRANSITO (SYNAGOGUE)

Plate

117

DETAILS OF THE TRANSITO (SYNAGOGUE)

Plate

118

DETAILS OF THE TRANSITO (SYNAGOGUE)

Plate

119

ENTRANCE ARCH IN THE BUILDING CALLED TALLER DEL MORO

Plate

120

DETAIL OF DECORATION IN THE MOORISH WORKSHOP

Plate

121

DETAILS OF THE PALACE OF THE AYALAS

Plate

122

DETAILS OF THE PALACE OF THE AYALAS

Plate

123

EXTERIOR OF THE CHAPEL OF SANTO CRISTO DE LA VEGA

Plate

124

DOOR AND EXTERIOR OF SANTA MARIA LA BLANCA

Plate

125

SECTIONS AND DETAILS OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA MARIA LA BLANCA

Plate

126

PART OF THE LONGITUDINAL SECTION OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA MARIA LA BLANCA

Plate

127

INTERIOR OF SANTA MARIA LA BLANCA

Plate

128

INTERIOR OF SANTA MARIA LA BLANCA

Plate

129

INTERIOR OF SANTA MARIA LA BLANCA

Plate

130

CÁRCEL DE SANTA HERMANDAD

Plate

131

A GOTHIC DOORWAY

Plate

132

A DOORWAY

Plate

133

ST. MICHAEL’S TOWER. FOURTEENTH CENTURY

Plate

134

HOUSE OF THE TOLEDOS

Plate

135

DETAILS OF A COURTYARD

Plate

136

DETAILS OF A COURTYARD

Plate

137

DETAILS OF A COURTYARD

Plate

138

DETAILS OF A COURTYARD

Plate

139

DETAILS OF A COURTYARD

Plate

140

THE FOUNTAIN OF CALERAHIGO

Plate

141

ARAB DETAILS

Plate

142

VISIGOTH CROWNS AND CROSSES OF GUARRAZAR

Plate

143

VISIGOTH CROWNS AND CROSSES OF GUARRAZAR

Plate

144

VISIGOTH CROWNS AND CROSSES FOUND AT TOLEDO AND NOW IN THE ROYAL ARMOURY AT MADRID

Plate

145

SAN PEDRO MARTIN

CALLE DE SANTO TOMÉ

Plate

146

ALCAZAR ROYAL PALACE. REPRODUCTION OF THE ENGRAVING MADE IN 1566 FOR BRAUN’S “CIVITATES ORBI TERRARUM”

Plate

147

PERSPECTIVE OF THE ALCAZAR IN 1845. EAST AND NORTH FAÇADES. REPRODUCTION OF AN ENGRAVING IN THE WORK “TOLEDO PINTORESCA”

Plate

148

THE ALCAZAR. TAKEN FROM THE PLAZA DE ZOCODOVER

Plate

149

SOUTH FAÇADE OF THE ALCAZAR

Plate

150

THE ALCAZAR. WEST FAÇADE AFTER THE LATEST RESTORATION

Plate

151

THE ALCAZAR

Plate

152

ALCAZAR. PRINCIPAL FAÇADE ON THE NORTH

Plate

153

THE ALCAZAR. EAST FAÇADE, AFTER THE LATEST RESTORATION

Plate

154

GENERAL VIEW OF THE ALCAZAR

Plate

155

THE ALCAZAR. THE PRINCIPAL STAIRCASE

Plate

156

THE ALCAZAR. PRINCIPAL NORTH PORTAL

Plate

157

THE ALCAZAR. COURT AND PLAN

Plate

158

COURT OF THE ALCAZAR

Plate

159

COURT IN THE ALCAZAR. AFTER THE LATEST RESTORATION

Plate

160

THE ALCAZAR. PLAN AND DETAILS. NORTH FAÇADE

Plate

161

DETAILS OF THE NORTH FAÇADE OF THE ALCAZAR

Plate

162

DOOR OF THE HALL OF THE HOUSE OF MESA

Plate

163

DETAILS OF THE HOUSE OF MESA

Plate

164

DETAILS OF THE HOUSE OF MESA

Plate

165

DETAILS OF THE HOUSE OF MESA

Plate

166

DETAILS OF THE HALL OF THE HOUSE OF MESA

Plate

167

DETAILS OF THE HALL OF THE HOUSE OF MESA

Plate

168

DETAILS OF THE HALL OF THE HOUSE OF MESA

Plate

169

DETAILS OF THE HOUSE OF MESA

Plate

170

DOORWAY OF THE COLLEGE OF THE INFANTES. SIXTEENTH CENTURY

Plate

171

DOORWAY OF THE PALACE OF THE MARTINEZ

Plate

172

ROMAN TOWER OF SAN JUAN DE LOS REYES

CLOISTERS OF SAN JUAN DE LOS REYES

Plate

173

EXTERIOR OF SAN JUAN DE LOS REYES

Plate

174

SAN JUAN DE LOS REYES

Plate

175

PLAN OF THE CHURCH AND PROCESSIONAL CLOISTER OF SAN JUAN DE LOS REYES

Plate

176

DOORWAY IN SAN JUAN DE LOS REYES

Plate

177

GOTHIC DOORWAY IN SAN JUAN DE LOS REYES

Plate

178

EXTERIOR OF THE ARCH OF SAN JUAN DE LOS REYES

Plate

179

INTERIOR OF SAN JUAN DE LOS REYES

Plate

180

INTERIOR OF SAN JUAN DE LOS REYES

Plate

181

INTERIOR OF SAN JUAN DE LOS REYES

Plate

182

LONGITUDINAL SECTION OF THE CHURCH OF SAN JUAN DE LOS REYES

Plate

183

INTERIOR, SAN JUAN DE LOS REYES

RETABLO, SAN JUAN DE LOS REYES

Plate

184

GALLERY IN SAN JUAN DE LOS REYES

Plate

185

GALLERY IN SAN JUAN DE LOS REYES

Plate

186

DETAILS OF SAN JUAN DE LOS REYES

Plate

187

DETAILS OF GALLERY IN SAN JUAN DE LOS REYES

Plate

188

DETAILS OF SAN JUAN DE LOS REYES

Plate

189

SAN JUAN DE LOS REYES. WALL IN THE PRESBYTERY

Plate

190

INTERIOR OF SAN JUAN DE LOS REYES

Plate

191

INTERIOR OF SAN JUAN DE LOS REYES

Plate

192

INTERIOR OF SAN JUAN DE LOS REYES

Plate

193

SAN JUAN DE LOS REYES. DECORATION IN THE TRANSVERSE NAVE

Plate

194

SAN JUAN DE LOS REYES. DETAILS OF THE ARMS OF ISABELLA THE CATHOLIC

Plate

195

DETAILS OF THE TRANSEPT OF THE CHURCH OF SAN JUAN DE LOS REYES

Plate

196

SAN JUAN DE LOS REYES. INTERIOR

Plate

197

A DOME IN SAN JUAN DE LOS REYES

Plate

198

REMAINS OF WINDOWS OF SAN JUAN DE LOS REYES

Plate

199

DETAILS OF THE CROSS-AISLE IN THE CHURCH OF SAN JUAN DE LOS REYES

Plate

200

ALTAR OF SAN JUAN DE LOS REYES

Plate

201

DETAILS OF THE ALTAR-PIECE IN SAN JUAN DE LOS REYES

Plate

202

COPY OF THE ORIGINAL DRAWING OF THE ARCH AND CROSS-AISLE OF SAN JUAN DE LOS REYES

Plate

203

LONGITUDINAL SECTION OF THE CLOISTER OF SAN JUAN DE LOS REYES

Plate

204

CLOISTERS OF SAN JUAN DE LOS REYES

Plate

205

SAN JUAN DE LOS REYES. THE CLOISTERS

Plate

206

CLOISTERS OF SAN JUAN DE LOS REYES

Plate

207

CLOISTERS OF SAN JUAN DE LOS REYES

Plate

208

DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES

Plate

209

COMPARTMENT OF THE CLOISTERS OF SAN JUAN DE LOS REYES

Plate

210

SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS

Plate

211

DETAILS OF THE CLOISTERS OF SAN JUAN DE LOS REYES

Plate

212

SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS

Plate

213

SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS

Plate

214

SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS

Plate

215

SAN JUAN DE LOS REYES. DETAILS OF THE CLOISTERS

Plate

216

CHURCH OF SAN JUAN DE LOS REYES. COURTYARD

Plate

217

COURT IN SAN JUAN DE LOS REYES

Plate

218

DOORWAY OF THE MUSEUM OF SAN JUAN DE LOS REYES

Plate

219

SAN JUAN DE LOS REYES. DETAILS ABOVE DOOR OF MUSEUM

Plate

220

PALACE OF DON PEDRO THE CRUEL

Plate

221

DETAILS OF THE PALACE OF DON PEDRO THE CRUEL

Plate

222

FAÇADE OF THE PALACE OF DON PEDRO THE CRUEL

Plate

223

DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL

Plate

224

DOORWAY OF THE PALACE OF DON PEDRO THE CRUEL

Plate

225

THE CATHEDRAL

Plate

226

GENERAL VIEW OF THE CATHEDRAL

Plate

227

THE CATHEDRAL

Plate

228

SECTION OF THE CATHEDRAL

Plate

229

LONGITUDINAL SECTION OF THE CATHEDRAL

Plate

230

TRANSVERSE SECTION OF THE CATHEDRAL

Plate

231

PRINCIPAL FAÇADE OF THE CATHEDRAL AND TOWER

Plate

232

THE CATHEDRAL. DETAIL OF THE EXTERIOR

Plate

233

THE CATHEDRAL. PORTAL OF THE PRINCIPAL FAÇADE

Plate

234

THE CATHEDRAL. PRINCIPAL GATE

Plate

235

THE CATHEDRAL. THE GATE OF THE LIONS

Plate

236

THE CATHEDRAL. PORCH OF THE PRINCIPAL FAÇADE

Plate

237

THE CATHEDRAL

THE LION DOOR

Plate

238

DOOR OF THE CATHEDRAL

Plate

239

THE CATHEDRAL. DOOR OF THE LOST CHILD

Plate

240

THE CATHEDRAL. DETAILS OF THE PUERTA DE LA FERIA

Plate

241

CATHEDRAL. GATE OF THE CONCEPTION

Plate

242

THE CATHEDRAL. ORNAMENTAL DETAILS OF THE GATES

Plate

243

THE CATHEDRAL

CENTRAL NAVE

TOMB OF ALONSO DE CARRILLO

Plate

244

THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR

Plate

245

THE CATHEDRAL. GENERAL VIEW OF THE INTERIOR

Plate

246

THE CATHEDRAL. INTERIOR

Plate

247

THE CATHEDRAL. INTERIOR

Plate

248

WINDOWS IN THE PRINCIPAL NAVE OF THE CATHEDRAL

Plate

249

THE CATHEDRAL. GRATING OF THE PRINCIPAL CHAPEL. SIXTEENTH CENTURY

Plate

250

THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL

Plate

251

THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL

Plate

252

THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL

Plate

253

THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL

Plate

254

THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL

Plate

255

THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL

Plate

256

THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL

Plate

257

THE CATHEDRAL. DETAILS OF THE PRINCIPAL CHAPEL

Plate

258

THE CATHEDRAL. ALTAR-PIECE OF THE PRINCIPAL CHAPEL

Plate

259

THE CATHEDRAL. DETAIL OF THE ALTAR-PIECE OF THE PRINCIPAL CHAPEL

Plate

260

THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR

Plate

261

THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR

Plate

262

THE CATHEDRAL. EXTERIOR OF THE HIGH ALTAR

Plate

263

THE CATHEDRAL. DETAILS OF THE ALTAR-PIECE

Plate

264

THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY

Plate

265

THE CATHEDRAL. FRONTAL OF THE HIGH ALTAR. FIFTEENTH CENTURY

Plate

266

THE CATHEDRAL. DETAIL OF THE FRONTAL OF THE HIGH ALTAR

Plate

267

THE CATHEDRAL. EXTERIOR OF THE PRINCIPAL CHAPEL

Plate

268

THE CATHEDRAL. SEPULCHRE OF CARDINAL MENDOZA IN THE PRINCIPAL CHAPEL

Plate

269

THE CATHEDRAL. DOME OF THE PRINCIPAL CHAPEL

Plate

270

THE CATHEDRAL. EXTERIOR OF THE CHOIR

Plate

271

THE CATHEDRAL. EXTERIOR OF THE CHOIR

Plate

272

THE CATHEDRAL. DETAILS OF THE EXTERIOR OF THE CHOIR

Plate

273

THE CATHEDRAL. EXTERIOR OF THE CHOIR

Plate

274

THE CATHEDRAL. CHOIR STALLS

Plate

275

THE CATHEDRAL. CHOIR STALLS

Plate

276

THE CATHEDRAL. CHOIR STALLS

Plate

277

THE CATHEDRAL. DETAILS OF THE CHOIR STALLS, REPRESENTING THE RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

278

THE CATHEDRAL. INTERIOR OF THE CHOIR

Plate

279

THE CATHEDRAL. DETAILS OF THE CHOIR

Plate

280

THE CATHEDRAL. DETAILS OF THE CHOIR

Plate

281

THE CATHEDRAL. THE ARCHBISHOP’S THRONE, REPRESENTING THE TRANSFIGURATION. BY BERRUGUETE

Plate

282

THE CATHEDRAL. VIRGIN OF THE LANEROS

Plate

283

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

284

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

285

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

286

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

287

THE CATHEDRAL. DETAIL OF CHOIR STALLS. THE CAPTURE OF ALHAMA BY FERDINAND AND ISABELLA, 1482. RE-CONQUEST OF GRANADA

Plate

288

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

289

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

290

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

291

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

292

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

293

THE CATHEDRAL. DETAIL OF THE CHOIR STALLS. RE-CONQUEST OF GRANADA BY FERDINAND AND ISABELLA

Plate

294

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

295

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

296

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

297

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

298

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

299

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

300

THE CATHEDRAL. UPPER PART OF THE CHOIR STALLS, CARVED BY BERRUGUETE AND BORGOÑA. SIXTEENTH CENTURY

Plate

301

THE CATHEDRAL. MASONRY IN THE CHOIR

Plate

302

THE CATHEDRAL. EXTERIOR OF THE PRESBYTERY

Plate

303

THE CATHEDRAL. INTERIOR OF THE CHAPEL OF THE NEW KINGS WITH THE SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE

Plate

304

THE CATHEDRAL. SEPULCHRES OF DON HENRY THE BASTARD AND HIS WIFE IN THE CHAPEL OF THE NEW KINGS

Plate

305

THE CATHEDRAL. SEPULCHRE OF CARDINAL TAVERA IN THE CHAPEL OF THE NEW KINGS

Plate

306

THE CATHEDRAL. SEPULCHRE OF DON JUAN I. IN THE CHAPEL OF THE NEW KINGS

Plate

307

THE CATHEDRAL. SEPULCHRE OF DOÑA LEONOR, WIFE OF DON JUAN I., IN THE CHAPEL OF THE NEW KINGS

Plate

308

THE CATHEDRAL. CHAPEL OF THE DESCENT OF THE VIRGIN

Plate

309

THE CATHEDRAL. MUZARABIC CHAPEL

Plate

310

THE CATHEDRAL. DETAILS OF THE CHAPEL OF THE VIRGEN DE LA ANTIGUA

Plate

311

THE CATHEDRAL. CHAPEL OF THE VIRGEN DE LA ANTIGUA. FOURTEENTH CENTURY

Plate

312

THE CATHEDRAL. DOORWAY OF THE CHAPEL OF THE CANONS

Plate

313

ALTAR-PIECE OF SANTA ISABEL

ALTAR-PIECE OF SANTA CATALINA

Plate

314

ALTAR-PIECE OF SANTA CATALINA

Plate

315

ALTAR-PIECE OF SANTA CATALINA

Plate

316

ALTAR-PIECE OF SANTA CATALINA

Plate

317

CHAPEL OF SANTA CATALINA. FOUNDED BY THE COUNTS OF CEDILLO

Plate

318

THE CATHEDRAL. CHAPEL OF SANTIAGO, CONTAINING THE SEPULCHRES OF DON ALVARO DE LUNA AND THAT OF HIS WIFE DOÑA JUANA. FIFTEENTH CENTURY

Plate

319

THE CATHEDRAL. SEPULCHRE OF DON JUAN DE ZEREZUELA IN THE CHAPEL OF SANTIAGO. FIFTEENTH CENTURY

Plate

320

CUPOLA OF THE CHAPEL “DE LOS REYES NUEVOS” IN THE CATHEDRAL

CUPOLA OF THE “CAPILLA DE SANTIAGO,” CALLED “DE DON ALVARO DE LUNA” IN THE CATHEDRAL

Plate

321

THE CATHEDRAL. SEPULCHRE OF DON GIL CARRILLO DE ALBORNOZ IN THE CHAPEL OF SAN ILDEFONSO

Plate

322

THE CATHEDRAL. SEPULCHRE OF GIL DE ALBORNOZ IN THE CHAPEL OF SAN ILDEFONSO

Plate

323

THE CATHEDRAL. ENTRANCE TO THE CHAPTER ROOM. SIXTEENTH CENTURY

Plate

324

THE CATHEDRAL. CHAPTER ROOM

Plate

325

THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS

Plate

326

THE CATHEDRAL. VARIOUS PORTRAITS OF CARDINALS

Plate

327

THE CATHEDRAL. DETAILS IN THE CHAPTER ROOM

Plate

328

THE CATHEDRAL. CHAPTER ROOM

Plate

329

THE CATHEDRAL. DOORWAY OF THE CHAPTER ROOM

Plate

330

THE CATHEDRAL. DETAIL OF A DOORWAY IN THE CHAPTER ROOM

Plate

331

THE CATHEDRAL. CUPBOARD MADE BY GREGORIO PARDO (1549-1551), FOR THE ANTECHAMBER OF THE CHAPTER HOUSE

Plate

332

CUPBOARD IN THE CATHEDRAL

Plate

333

THE CATHEDRAL. A RICH AND GOSSAMER CARVED CEILING IN THE CHAPTER HALL SIXTEENTH CENTURY

Plate

334

THE CATHEDRAL. CEILING IN THE CHAPTER HALL

Plate

335

THE CATHEDRAL. A CEILING IN THE ANTE-ROOM

Plate

336

THE CATHEDRAL CLOISTERS

Plate

337

THE CATHEDRAL CLOISTERS

Plate

338

PRESENTATION PORTAL IN THE CLOISTER OF THE CATHEDRAL

Plate

339

EXTERIOR, BY THE CLOISTERS OF THE CHAPEL, OF THE PLACE OF SEPULTURE BUILT BY HENRY II. FOR HIS TOMB

Plate

340

THE CATHEDRAL. PICTURE BY BAYEU IN THE CLOISTERS

Plate

341

PORTAL OF ST. CATHARINE IN THE CLOISTER OF THE CATHEDRAL

Plate

342

THE CATHEDRAL. DETAILS OF THE GATE OF THE PRESENTATION IN THE CLOISTER

Plate

343

THE CATHEDRAL. RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO

Plate

344

THE CATHEDRAL. DETAIL OF THE RELIQUARY OF SAN SEBASTIAN IN THE OCTAVO

Plate

345

THE CATHEDRAL. A BYZANTINE RELIQUARY

Plate

346

SEPULCHRES IN THE CATHEDRAL

Plate

347

SCULPTURE IN THE CATHEDRAL

Plate

348

THE CATHEDRAL. BRONZE LECTERN AND BOOKS OF HOLY OFFICE

Plate

349

THE CATHEDRAL. A BRONZE PULPIT

Plate

350

THE CATHEDRAL. DETAIL OF A PULPIT

Plate

351

PULPIT IN THE CATHEDRAL

Plate

352

CATHEDRAL BELLS WHICH RING WHEN THE HOST IS ELEVATED

Plate

353

THE CATHEDRAL. STATUE OF DON JUAN II. FIFTEENTH CENTURY

Plate

354

THE CATHEDRAL. ST. FRANCIS OF ASSISI

Plate

355

THE CATHEDRAL. A PICTURE BY BAYEU

Plate

356

DETAILS IN THE CATHEDRAL

Plate

357

THE CATHEDRAL. COVER OF A MISSAL

Plate

358

THE CATHEDRAL. SILVER SALVER, “THE ABDUCTION OF THE SABINE WOMEN” BY BENVENUTO CELLINI

Plate

359

THE CATHEDRAL. CHALICE AND PATEN

Plate

360

THE CATHEDRAL. A SHIP THAT BELONGED TO QUEEN JUANA LA LOCA

Plate

361

MONSTRANCE IN THE CATHEDRAL

Plate

362

THE CATHEDRAL. SWORD OF ALFONSO VI.

Plate

363

THE CATHEDRAL. THE ADORATION OF THE KINGS (SILK)

Plate

364

THE CATHEDRAL. THE VEIL OF SANTA LEOCADIA (SILK)

Plate

365

THE CATHEDRAL. THE ASSUMPTION (SILK)

Plate

366

THE CATHEDRAL. THE BEHEADING OF SAN EUGENIO (SILK)

Plate

367

KUFIC ENTABLATURE IN THE CATHEDRAL

Plate

368

THE CATHEDRAL. A DALMATIC EMBROIDERED IN GOLD AND SILK. SIXTEENTH CENTURY

Plate

369

THE CATHEDRAL. A CHASUBLE EMBROIDERED IN GOLD AND SILK. SIXTEENTH CENTURY

Plate

370

THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ

Plate

371

THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ

Plate

372

THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ

Plate

373

THE CATHEDRAL. DETAILS OF THE PUERTA DEL RELOJ

Plate

374

EFFIGIES OF JUAN GUAS (ARCHITECT OF SAN JUAN DE LOS REYES), HIS WIFE, AND CHILDREN

Plate

375

SCULPTURE IN SAN ANDRES

Plate

376

BANNER OF THE SALADO

Plate

377

ST. PETER NATANO AND ST. THERESA SCULPTURED IN WOOD

Plate

378

PLAN OF THE SANTA IGLESIA PRIMADA

Plate

379

SANTA ISABEL. SIDE ALTAR-PIECE

Plate

380

SANTA ISABEL. DETAIL OF AN ALTAR-PIECE

Plate

381

PARISH CHURCH OF SANTIAGO

Plate

382

EXTERIOR OF SANTIAGO DEL ARRABAL. THIRTEENTH CENTURY

Plate

383

PULPIT IN THE CHURCH OF SANTIAGO DEL ARRABAL, FROM WHICH SAN VICENTE DE FERRER PREACHED AGAINST THE JEWS

Plate

384

PAROCHIAL CHURCH OF SANTIAGO DEL ARRABAL

Plate

385

CHURCH OF SAN TOMÉ

Plate

386

DETAIL OF AN ALTAR-PIECE IN THE CHURCH OF THE TRINITY

Plate

387

SEPULCHRES IN THE CHURCH OF ST. PETER THE MARTYR

Plate

388

DETAILS OF A SEPULCHRE IN THE CHURCH OF ST. PETER THE MARTYR

Plate

389

CHURCH OF ST. PETER THE MARTYR. STATUE OF A KNEELING CANON

Plate

390

CHAPEL IN SAN JUAN DE LA PENITENCIA

Plate

391

CHAPEL IN SAN JUAN DE LA PENITENCIA

Plate

392

DETAILS OF SAN JUAN DE LA PENITENCIA

Plate

393

SEPULCHRE IN SAN JUAN DE LA PENITENCIA

Plate

394

SEPULCHRE IN SAN JUAN DE LA PENITENCIA

Plate

395

DETAIL OF THE CONVENT OF SAN JUAN DE LA PENITENCIA

Plate

396

DETAILS OF THE CONVENT OF SAN JUAN DE LA PENITENCIA

Plate

397

CONVENT OF SANTO DOMINGO

Plate

398

CONVENT OF SANTO DOMINGO

Plate

399

CONVENT OF SANTO DOMINGO

Plate

400

ANCIENT SEPULCHRE IN THE CONVENT OF SANTO DOMINGO

Plate

401

SANTO DOMINGO EL REAL, PRINCIPAL ALTAR-PIECE

Plate

402

DOORWAY OF THE CONVENT OF SAN ANTONIO

Plate

403

PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE

Plate

404

PORCH OF THE CHURCH AND CONVENT OF SAN CLEMENTE

Plate

405

DETAIL OF THE INTERIOR OF THE CONVENT OF SAN CLEMENTE

Plate

406

PORTAL OF SANTA CRUZ

Plate

407

PORTAL OF SANTA CRUZ

Plate

408

PORCH OF SANTA CRUZ

THE HOSPITAL OF SANTA CRUZ

Plate

409

COURT OF SANTA CRUZ

Plate

410

COURTYARD OF THE HOSPITAL

Plate

411

COURT OF SANTA CRUZ

Plate

412

COURT OF SANTA CRUZ

Plate

413

DETAIL OF THE PORTAL OF THE HOSPITAL OF SANTA CRUZ

Plate

414

DETAILS OF SANTA CRUZ

Plate

415

HOSPITAL OF SANTA CRUZ

Plate

416

PORTALS IN THE VESTIBULE OF THE ANCIENT HOSPITAL OF SANTA CRUZ

Plate

417

HOSPITAL OF SANTA CRUZ. PORTRAIT OF THE FOUNDER, CARDINAL MENDOZA

Plate

418

HOSPITAL DE AFUERA. THE COURT

Plate

419

HOSPITAL DE AFUERA

Plate

420

HOSPITAL OF ST. JOHN BAPTIST

Plate

421

HOSPITAL DE AFUERA. SEPULCHRE OF CARDINAL TAVERA. 1557. ALONZO BERRUGUETE

Plate

422

THE UNIVERSITY

Plate

423

DETAILS OF THE HOUSE OF MUNÁRRIZ

Plate

424

GATE OF AL MARDÓM

ALTAR OF THE CHURCH OF SAN JUSTO

Plate

425

PORTAL OF THE ARCHBISHOP’S PALACE

IN THE TOWN HALL

Plate

426

CLOISTERS OF SAN JUAN DE LOS REYES

VIEW OF ST. MARTIN’S BRIDGE, LOOKING DOWN THE RIVER

Plate

427

GALLERY OF SAN JUAN DE LOS REYES

A MOORISH WORKSHOP

Plate

428

HOTEL CASTILLA

Plate

429

DETAIL OF THE COURTYARD OF THE HOTEL CASTILLA

Plate

430

VISIGOTH CAPITALS IN THE CHURCH OF SAN SEBASTIAN

Plate

431

NATIONAL ARCHÆOLOGICAL MUSEUM

CAPITAL, FOURTH CENTURY AFTER THE HEGIRA CAPITAL OF SANTIAGO DE LOS CABALLEROS NEAR THE ALCAZAR. FOURTH CENTURY AFTER THE HEGIRA

Plate

432

CAPITAL IN THE ARCHÆOLOGICAL MUSEUM

Plate

433

FRAGMENT OF DADO FOUND NEAR THE BASILICA OF SANTA LEOCADIA

WINDOW OF SAN GINÉS

NATIONAL ARCHÆOLOGICAL MUSEUM

Plate

434

NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE TABLE IN WHITE MARBLE, BELONGING TO THE ALJAMA MOSQUE OF TOLEDO

NATIONAL ARCHÆOLOGICAL MUSEUM. DECORATIVE FRAGMENT FOUND AT THE “MIRADERO.” CARVED IN WHITE MARBLE

Plate

435

CAPITAL IN THE SOUTH-WEST ANGLE, BELONGING TO THE OLD MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ

THE FIFTH OF THE VISIGOTH CAPITALS OF THE HOSPITAL OF SANTA CRUZ

Plate

436

NATIONAL ARCHÆOLOGICAL MUSEUM. SKY-LIGHT OR ORNAMENT FOUND AT TOLEDO

VISIGOTH CAPITAL IN THE PROVINCIAL MUSEUM

Plate

437

ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD IN THE PARISH CHURCH OF SAN ROMÁN

Plate

438

ARCHITECTURAL PIECES OF THE VISIGOTH PERIOD EXISTING IN THE CITY

Plate

439

ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD

Plate

440

CAPITAL OF THE SOUTH-EAST ANGLE BELONGING TO THE ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ

VISIGOTH CAPITAL OF THE OLD PARISH CHURCH OF SAN SEBASTIAN

Plate

441

NATIONAL ARCHÆOLOGICAL MUSEUM. VISIGOTH CAPITALS OF THE CHURCH OF SANTA EULALIA. FRAGMENT OF THE DADO OF THE BASILICA OF SANTO LEOCADIA

Plate

442

CAPITALS IN THE ARCHÆOLOGICAL MUSEUM

Plate

443

PROVINCIAL MUSEUM. CAPITAL OF THE FOURTH CENTURY AFTER THE HEGIRA

NATIONAL ARCHÆOLOGICAL MUSEUM. ARAB ASTROLABE MADE AT TOLEDO IN THE YEAR 459 AFTER THE HEGIRA (A.D. 1067)

Plate

444

ARCHITECTURAL FRAGMENTS OF THE VISIGOTH PERIOD

Plate

445

ARCHITECTURAL FRAGMENTS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 1

Plate

446

ARCHITECTURAL PARTS AND DECORATIVE REMAINS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 2

Plate

447

ARCHITECTURAL PARTS AND DECORATIVE FRAGMENTS ANTERIOR TO THE MAHOMETAN IRRUPTION, No. 3

Plate

448

ARCHES OF VARIOUS CHURCHES OF THE FOURTEENTH AND FIFTEENTH CENTURIES

Plate

449

DENUDATION OF OUR LORD BEFORE THE CRUCIFIXION

EL GRECO

SACRISTY OF THE CATHEDRAL

Plate

450

THE VIRGIN, ST. ANNE, THE CHILD JESUS AND ST. JOHN

EL GRECO

CHAPEL OF ST. ANNE

Plate

451

OUR LADY OF SORROWS

EL GRECO

SACRISTY OF THE NEW KINGS, IN THE CATHEDRAL

Plate

452

PENTECOST

EL GRECO

CHURCH OF THE TRINITY

Plate

453

JESUS AND ST. JOHN

EL GRECO

CHURCH OF ST. JOHN THE BAPTIST

Plate

454

THE ASSUMPTION

EL GRECO

CHAPEL OF SAN JOSÉ

Plate

455

ST. MARTIN

EL GRECO

CHAPEL OE SAN JOSÉ

Plate

456

THE HOLY EUCHARIST. BY EL GRECO CHURCH OF SAN JOSÉ

Plate

457

SAN JOSÉ AND THE CHILD JESUS

EL GRECO

PARISH CHURCH OF THE MAGDALENE

Plate

458

THE INTERMENT OF COUNT DE ORGAZ

EL GRECO

CHURCH OF SANTO TOMÉ

Plate

459

DETAIL OF THE INTERMENT OF COUNT DE ORGAZ

EL GRECO

Plate

460

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

EL GRECO

Plate

461

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

EL GRECO

Plate

462

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

EL GRECO

Plate

463

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

EL GRECO

Plate

464

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

Plate

465

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

EL GRECO

Plate

466

FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ

EL GRECO

Plate

467

THE ANNUNCIATION

EL GRECO

PARISH CHURCH OF SAN NICHOLÁS

Plate

468

THE CRUCIFIXION

EL GRECO

SAN NICHOLÁS

Plate

469

SAN PEDRO NOLASCO

EL GRECO

PARISH CHURCH OF SAN NICHOLÁS

Plate

470

THE ASSUMPTION

EL GRECO

PARISH CHURCH OF SAN VICENTE

Plate

471

SAN EUGENIO

EL GRECO

PARISH CHURCH OF SAN VICENTE

Plate

472

ST. PETER

EL GRECO

PARISH CHURCH OF SAN VICENTE

Plate

473

JESUS AND THE VIRGIN

EL GRECO

PARISH CHURCH OF SAN VICENTE

Plate

474

THE ASCENSION

EL GRECO

SANTO DOMINGO EL ANTIGUA

Plate

475

A SAINT (? SANTO DOMINGO EL ANTIGUA)

EL GRECO

Plate

476

THE BIRTH OF JESUS

EL GRECO

SANTO DOMINGO EL ANTIGUA

Plate

477

SANTA VERONICA WITH THE SUDARIUM

EL GRECO

SANTO DOMINGO EL ANTIGUA

Plate

478

ST. JOHN BAPTIST

EL GRECO

SANTO DOMINGO EL ANTIGUA

Plate

479

ST. JOHN THE EVANGELIST

EL GRECO

CHURCH OF SANTO DOMINGO

Plate

480

ALTAR-PIECE OF THE CONVENT OF SANTO DOMINGO

EL GRECO

Plate

481

ST. FRANCIS OF ASSISI

EL GRECO

COLLEGE OF NOBLE LADIES

Plate

482

THE BAPTISM OF JESUS

EL GRECO

HOSPITAL OF ST. JOHN BAPTIST

Plate

483

PORTRAIT OF CARDINAL TAVERA

EL GRECO

HOSPITAL OF ST. JOHN BAPTIST

Plate

484

VIEW OF THE HIGH ALTAR OF THE TAVERA HOSPITAL

EL GRECO

Plate

485

GENERAL VIEW OF TOLEDO (LEFT HALF)

EL GRECO

PROVINCIAL MUSEUM

Plate

486

GENERAL VIEW OF TOLEDO (RIGHT HALF)

EL GRECO

PROVINCIAL MUSEUM

Plate

487

VIEW OF TOLEDO

EL GRECO

PROVINCIAL MUSEUM

Plate

488

PORTRAIT OF ANTONIO COVARRUBIAS

EL GRECO

PROVINCIAL MUSEUM

Plate

489

PORTRAIT OF THE SON OF COVARRUBIAS

EL GRECO

PROVINCIAL MUSEUM

Plate

490

THE CRUCIFIXION

EL GRECO

PROVINCIAL MUSEUM

Plate

491

ALLEGORY OF THE VIRGIN

EL GRECO

PROVINCIAL MUSEUM

Plate

492

PORTRAIT OF JUAN DE AVILA

EL GRECO

PROVINCIAL MUSEUM

Plate

493

OUR SAVIOUR

EL GRECO

PROVINCIAL MUSEUM

Plate

494

ST. JOHN THE EVANGELIST

EL GRECO

PROVINCIAL MUSEUM

Plate

495

ST. PETER

EL GRECO

PROVINCIAL MUSEUM

Plate

496

ST. MATTHIAS

EL GRECO

PROVINCIAL MUSEUM

Plate

497

ST. PHILIP

EL GRECO

PROVINCIAL MUSEUM

Plate

498

ST. ANDREW

EL GRECO

PROVINCIAL MUSEUM

Plate

499

ST. THOMAS

EL GRECO

PROVINCIAL MUSEUM

Plate

500

ST. SIMON

EL GRECO

PROVINCIAL MUSEUM

Plate

501

ST. MATTHEW

EL GRECO

PROVINCIAL MUSEUM

Plate

502

ST. JUDE TADEO

EL GRECO

PROVINCIAL MUSEUM

Plate

503

AN APOSTLE

EL GRECO

PROVINCIAL MUSEUM

Plate

504

AN APOSTLE

EL GRECO

PROVINCIAL MUSEUM

Plate

505

AN APOSTLE

EL GRECO

PROVINCIAL MUSEUM

Plate

506

THE ANNUNCIATION

EL GRECO

Plate

507

THE DREAM OF PHILIP II.

EL GRECO

CHAPTER HALL OF THE ESCORIAL

Plate

508

ST. MAURICE AND THE THEBAN LEGION

EL GRECO

CHAPTER HALL OF THE ESCORIAL

Plate

509

PORTRAIT OF EL GRECO BY HIMSELF

SEÑOR A. DE BERUETE, MADRID

Plate

510

CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE

EL GRECO

SEÑOR DE BERUETE, MADRID

Plate

511

PORTRAIT OF A STUDENT (EL GRECO?)

EL GRECO

DON PABLO BOSCH, MADRID

THE SPANISH SERIES

Edited by ALBERT F. CALVERT

A new and important series of volumes, dealing with Spain in its various aspects, its history, its cities and monuments. Each volume will be complete in itself in a uniform binding, and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued, some volumes having over 300 pages of reproductions of pictures, etc.

Crown 8vo Price 3/6 net

1Goyawith 600 illustrations

2Toledo”510”

3Madrid”450”

4Seville”300”

5Murillo”165”

6Cordova”160”

7El Greco”140”

8Velazquez”142”

9The Prado”223”

10The Escorial”278”

11Royal Palaces of Spain”200”

12Granada and Alhambra”460”

13Spanish Arms and Armour”386”

14Leon, Burgos and Salamanca”462”

15Valladolid, Oviedo, Segovia Zamora, Avila and Zaragoza”390”

UNIFORM WITH THIS VOLUME

MURILLO

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES

While the names of Murillo and Velazquez are inseparably linked in the history of Art as Spain’s immortal contribution to the small band of world-painters, the great Court-Painter to Philip IV. has ever received the lion’s share of public attention. Many learned and critical works have been written about Murillo, but whereas Velazquez has been familiarised to the general reader by the aid of small, popular biographies, the niche is still empty which it is hoped that this book will fill.

In this volume the attempt has been made to show the painter’s art in its relation to the religious feeling of the age in which he lived, and his own feeling towards his art. Murillo was the product of his religious era, and of his native province, Andalusia. To Europe in his lifetime he signified little or nothing. He painted to the order of the religious houses in his immediate vicinity; his works were immured in local monasteries and cathedrals, and, passing immediately out of circulation, were forgotten or never known.

UNIFORM WITH THIS VOLUME

SPANISH ARMS AND ARMOUR

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN

Although several valuable and voluminous catalogues of the Spanish Royal Armoury have, from time to time, been compiled, this “finest collection of armour in the world” has been subjected so often to the disturbing influences of fire, removal, and re-arrangement, that no hand catalogue of the Museum is available, and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures.

The various exhibits with which the writer illustrates his narrative are reproduced to the number of nearly 400 on art paper, and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader, but to present a useful text book for the guidance of artists, sculptors, antiquaries, costumiers, and all who are engaged in the reproduction or representation of European armoury.

UNIFORM WITH THIS VOLUME

THE ESCORIAL

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS FROM PICTURES AND PHOTOGRAPHS

The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest but most imposing districts in the whole of Spain, was erected to commemorate a victory over the French in 1557. It was occupied and pillaged by the French two and a-half centuries later, and twice it has been greatly diminished by fire; but it remains to-day, not only the incarnate expression of the fanatic religious character and political genius of Philip II., but the greatest mass of wrought granite which exists on earth, the leviathan of architecture, the eighth wonder of the world.

In the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the Escorial, and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable. Both as a review and a pictorial record it is hoped that the work will make a wide appeal among all who are interested in the history, the architecture, and the art of Spain.

UNIFORM WITH THIS VOLUME

TOLEDO

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH 510 ILLUSTRATIONS

The origin of Imperial Toledo, “the crown of Spain, the light of the world, free from the time of the mighty Goths,” is lost in the impenetrable mists of antiquity. Mighty, unchangeable, invincible, the city has been described by Wörmann as “a gigantic open-air museum of the architectural history of early Spain, arranged upon a lofty and conspicuous table of rock.”

But while some writers have declared that Toledo is a theatre with the actors gone and only the scenery left, the author does not share the opinion. He believes that the power and virility upon which Spain built up her greatness is reasserting itself. The machinery of the theatre of Toledo is rusty, the pulleys are jammed from long disuse, but the curtain is rising steadily if slowly, and already can be heard the tuning-up of fiddles in its ancient orchestra.

In this belief the author of this volume has not only set forth the story of Toledo’s former greatness, but has endeavoured to place before his readers a panorama of the city as it appears to-day, and to show cause for his faith in the greatness of the Toledo of the future.

UNIFORM WITH THIS VOLUME

SEVILLE

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS

Seville, which has its place in mythology as the creation of Hercules, and was more probably founded by the Phœnicians, which became magnificent under the Roman rule, was made the capital of the Goths, became the centre of Moslem power and splendour, and fell before the military prowess of St. Ferdinand, is still the Queen of Andalusia, the foster-mother of Velazquez and Murillo, the city of poets and pageantry and love.

Seville is always gay, and responsive and fascinating to the receptive visitor, and all sorts of people go there with all sorts of motives. The artist repairs to the Andalusian city to fill his portfolio; the lover of art makes the pilgrimage to study Murillo in all his glory. The seasons of the Church attract thousands from reasons of devotion or curiosity. And of all these myriad visitors, who go with their minds full of preconceived notions, not one has yet confessed to being disappointed in Seville.

The author has here attempted to convey in the illustrations an impression of this laughing city where all is gaiety and mirth and ever-blossoming roses, where the people pursue pleasure as the serious business of life in an atmosphere of exhilarating enjoyment.

UNIFORM WITH THIS VOLUME

THE PRADO

A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG

This volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a picture gallery which is considered the finest in the world. It has been said that the day one enters the Prado for the first time is an important event like marriage, the birth of a child, or the coming into an inheritance; an experience of which one feels the effects to the day of one’s death.

The excellence of the Madrid gallery is the excellence of exclusion; it is a collection of magnificent gems. Here one becomes conscious of a fresh power in Murillo, and is amazed anew by the astonishing apparition of Velazquez; here is, in truth, a rivalry of miracles of art.

The task of selecting pictures for reproduction from what is perhaps the most splendid gallery of old masters in existence, was one of no little difficulty, but it is believed that the collection is representative, and that the letterpress will form a serviceable companion to the visitor to The Prado.

UNIFORM WITH THIS VOLUME

GRANADA AND THE ALHAMBRA

A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION TO H.I.M. THE EMPRESS EUGÉNIE

This volume is the third and abridged edition of a work which the author was inspired to undertake by the surpassing loveliness of the Alhambra, and by his disappointment in the discovery that no such thing as an even moderately adequate illustrated souvenir of “this glorious sanctuary of Spain” was obtainable. Keenly conscious of the want himself, he essayed to supply it, and the result is a volume that has been acclaimed with enthusiasm alike by critics, artists, architects, and archæologists.

In his preface to the first edition, Mr. Calvert wrote: “The Alhambra may be likened to an exquisite opera which can only be appreciated to the full when one is under the spell of its magic influence. But as the witchery of an inspired score can be recalled by the sound of an air whistled in the street, so—it is my hope—the pale ghost of the Moorish fairy-land may live again in the memories of travellers through the medium of this pictorial epitome.”

UNIFORM WITH THIS VOLUME

EL GRECO

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140 OF HIS PICTURES

In a Series such as this, which aims at presenting every aspect of Spain’s eminence in art and in her artists, the work of Domenico Theotocópuli must be allotted a volume to itself. “El Greco,” as he is called, who reflects the impulse, and has been said to constitute the supreme glory of the Venetian era, was a Greek by repute, a Venetian by training, and a Toledan by adoption. His pictures in the Prado are still catalogued among those of the Italian School, but foreigner as he was, in his heart he was more Spanish than the Spaniards.

El Greco is typically, passionately, extravagantly Spanish, and with his advent, Spanish painting laid aside every trace of Provincialism, and stepped forth to compel the interest of the world. Neglected for many centuries, and still often misjudged, his place in art is an assured one. It is impossible to present him as a colourist in a work of this nature, but the author has got together reproductions of no fewer than 140 of his pictures—a greater number than has ever before been published of El Greco’s works.

UNIFORM WITH THIS VOLUME

VELAZQUEZ

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES

Diego Rodriguez de Silva y Velazquez—“our Velazquez,” as Palomino proudly styles him—has been made the subject of innumerable books in every European language, yet the Editor of this Spanish Series feels that it would not be complete without the inclusion of yet another contribution to the broad gallery of Velazquez literature.

The great Velazquez, the eagle in art—subtle, simple, incomparable—the supreme painter, is still a guiding influence of the art of to-day. This greatest of Spanish artists, a master not only in portrait painting, but in character and animal studies, in landscapes and historical subjects, impressed the grandeur of his superb personality upon all his work. Spain, it has been said, the country whose art was largely borrowed, produced Velazquez, and through him Spanish art became the light of a new artistic life.

The author cannot boast that he has new data to offer, but he has put forward his conclusions with modesty; he has reproduced a great deal that is most representative of the artist’s work; and he has endeavoured to keep always in view his object to present a concise, accurate, and readable life of Velazquez.

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ROYAL PALACES OF SPAIN

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF THE SPANISH KINGS. PROFUSELY ILLUSTRATED

Spain is beyond question the richest country in the world in the number of its Royal Residences, and while few are without artistic importance, all are rich in historical memories. Thus, from the Alcazar at Seville, which is principally associated with Pedro the Cruel, to the Retiro, built to divert the attention of Philip IV. from his country’s decay; from the Escorial, in which the gloomy mind of Philip II. is perpetuated in stone, to La Granja, which speaks of the anguish and humiliation of Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to Rio Frio, and from El Pardo, darkened by the agony of a good king, to Miramar, to which a widowed Queen retired to mourn: all the history of Spain, from the splendid days of Charles V. to the present time, is crystallised in the Palaces that constitute the patrimony of the Crown.

The Royal Palaces of Spain are open to visitors at stated times, and it is hoped that this volume, with its wealth of illustrations, will serve the visitor both as a guide and a souvenir.

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VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS

The glory of Valladolid has departed, but the skeleton remains, and attached to its ancient stones are the memories that Philip II. was born here, that here Cervantes lived, and Christopher Columbus died. In this one-time capital of Spain, in the Plaza Mayor, the fires of the Great Inquisition were first lighted, and here Charles V. laid the foundation of the Royal Armoury, which was afterwards transferred to Madrid.

More than seven hundred years have passed since Oviedo was the proud capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia, though no longer great, has still all the appurtenances of greatness, and with her granite massiveness and austerity, she remains an aristocrat even among the aristocracy of Spanish cities. Zamora, which has a history dating from time almost without date, was the key of Leon and the centre of the endless wars between the Moors and the Christians, which raged round it from the eighth to the eleventh centuries.

In this volume the author has striven to re-create the ancient greatness of these six cities, and has preserved their memories in a wealth of excellent and interesting illustrations.

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LEON, BURGOS AND SALAMANCA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS

In Leon, once the capital of the second kingdom in Spain; in Burgos, which boasts one of the most magnificent cathedrals in Spain, and the custodianship of the bones of the Cid; and in Salamanca, with its university, which is one of the oldest in Europe, the author has selected three of the most interesting relics of ancient grandeur in this country of departed greatness.

Leon to-day is nothing but a large agricultural village, torpid, silent, dilapidated; Burgos, which still retains traces of the Gotho-Castilian character, is a gloomy and depleting capital: and Salamanca is a city of magnificent buildings, a broken hulk, spent by the storms that from time to time have devastated her.

Yet apart from the historical interest possessed by these cities, they still make an irresistible appeal to the artist and the antiquary. They are content with their stories of old-time greatness and their cathedrals, and these ancient architectural splendours, undisturbed by the touch of a modernising and renovating spirit, continue to attract the visitor.

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MADRID

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450 ILLUSTRATIONS

Madrid is at once one of the most interesting and most maligned cities in Europe. It stands at an elevation of 2,500 feet above the sea level, in the centre of an arid, treeless, waterless, and wind-blown plain; but whatever may be thought of the wisdom of selecting a capital in such a situation, one cannot but admire the uniqueness of its position, and the magnificence of its buildings, and one is forced to admit that, having fairly entered the path of progress, Madrid bids fair to become one of the handsomest and most prosperous of European cities.

The splendid promenades, the handsome buildings, and the spacious theatres combine to make Madrid one of the first cities of the world, and the author has endeavoured with the aid of the camera, to place every feature and aspect of the Spanish metropolis before the reader. Some of the illustrations reproduced here have been made familiar to the English public by reason of the interesting and stirring events connected with the Spanish Royal Marriage, but the greater number were either taken by the author, or are the work of photographers specially employed to obtain new views for the purpose of this volume.

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GOYA

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS PICTURES

The last of the old masters and the first of the moderns, as he has been called, Francisco José de Goya y Lucientes is not so familiarised to English readers as his genius deserves. He was born at a time when the tradition of Velazquez was fading, and the condition of Spanish painting was debased almost beyond hope of salvation; he broke through the academic tradition of imitation; “he, next to Velazquez, is to be accounted as the man whom the Impressionists of our time have to thank for their most definite stimulus, their most immediate inspiration.”

The genius of Goya was a robust, imperious, and fulminating genius; his iron temperament was passionate, dramatic, and revolutionary; he painted a picture as he would have fought a battle. He was an athletic, warlike, and indefatigable painter; a naturalist like Velazquez; fantastic like Hogarth; eccentric like Rembrandt; the last flame-coloured flash of Spanish genius.

It is impossible to reproduce his colouring; but in the reproductions of his works the author has endeavoured to convey to the reader some idea of Goya’s boldness of style, his mastery of frightful shadows and mysterious lights, and his genius for expressing all terrible emotions.

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CORDOVA

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS

Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated, Cordova was once the pearl of the West, the city of cities, Cordova of the thirty suburbs and three thousand mosques; to-day she is no more than an overgrown village, but she still remains the most Oriental town in Spain.

Cordova, once the centre of European civilisation, under the Moors the Athens of the West, the successful rival of Baghdad and Damascus, the seat of learning and the repository of the arts, has shrunk to the proportions of a third-rate provincial town; but the artist, the antiquary and the lover of the beautiful, will still find in its streets and squares and patios a mysterious spell that cannot be resisted.

BY ALBERT F. CALVERT

LIFE OF CERVANTES

A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”

Size Crown 8 vo. 150 pp. Price 3/6 net

PRESS NOTICES

“A popular and accessible account of the career of Cervantes.”—Daily Chronicle.

“A very readable and pleasant account of one of the great writers of all time.”—Morning Leader.

“Mr. Calvert is entitled to the gratitude of book-lovers for his industrious devotion at one of our greatest literary shrines.”—Birmingham Post.

“It is made trebly interesting by the very complete set of Cervantes’ portraits it contains, and by the inclusion of a valuable bibliography.”—Black and White.

“We recommend the book to all those to whom Cervantes is more than a mere name.”—Westminster Gazette.

“A most interesting résumé of all facts up to the present time known.”—El Nervion de Bilbao, Spain.

“The most notable work dedicated to the immortal author of Don Quixote that has been published in England.”—El Graduador, Spain.

“Although the book is written in English no Spaniard could have written it with more conscientiousness and enthusiasm.”—El Defensor de Granada, Spain.

BY ALBERT F. CALVERT

THE ALHAMBRA

OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.

Size 10 x 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.

BY ALBERT F. CALVERT

MOORISH REMAINS IN SPAIN

BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS, ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.

Crown 4to. (7½ × 10 ins.) Price £2 2s. net

PRESS NOTICES

“The making of this book must surely have been a veritable labour of love; and love’s labour has certainly not been lost.”—Pall Mall Gazette.

“The best age of Moorish architecture in Spain is shown with remarkable vividness and vitality.”—The Scotsman.

“A most gorgeous book.... We cheerfully admit Mr. Calvert into the ranks of those whom posterity will applaud for delightful yet unprofitable work.”—Outlook.

“A large and sumptuous volume.”—Tribune.

“The illustrations are simply marvels of reproduction.”—Dundee Advertiser.

“One of the books to which a simple literary review cannot pretend to do justice.”—Spectator.

“A special feature of a work of peculiar interest and value are the illustrations.”—Newcastle Chronicle.

“The illustrations are given with a minuteness and faithfulness of detail, and colour, which will be particularly appreciated and acknowledged by those who are most acquainted with the subject themselves.”—Liverpool Post.

“It is impossible to praise too highly the care with which the illustrations have been prepared.”—Birmingham Daily Post.

“It is illustrated with so lavish a richness of colour that to turn its pages gives one at first almost the same impression of splendour as one receives in wandering from hall to hall of the Alcazar of Seville; and this is probably the highest compliment we could pay to the book or its author.”—Academy.

“It is certainly one of the most interesting books of the year.”—Crown.

“The occasional delicacy of design and harmony of colour can scarcely be surpassed ... a valuable and profusely illustrated volume.”—Guardian.

“An excellent piece of work.”—The Times.

“Mr. Calvert has performed a useful work.”—Daily Telegraph.

“A truly sumptuous volume.”—The Speaker.

“Mr. Calvert has given a very complete account of the evolution of Moresco art.”—The Connoisseur.

FOOTNOTES:

Notes in this chapter

Note 1 · This spelling of his name resembles most that used by himself.Note 2 · The exact contents are as follows: “Al Card. Farnese—Viterbo. “A’ di 16 di Nouembre, 1570. “E’ capitato in Roma un giouane Candiotto discepo Note 3 · The record of his burial, discovered by Señor de Beruete in the register of the parish church of Santo Tomé, is brief: “Libro de entierros d Note 4 · Two judges were appointed to settle the dispute, which arose from the introduction of the three Marys into the picture. The Chapter objected Note 5 · This is another rendering of the same picture; and still another is in the collection of Señor de Beruete, Madrid.Note 6 · This picture passed into the collection of the Infanta Doña Isabel Farnese, and is now in the Museo del Prado. The ‘Assumption’ in the Churc Note 7 · The picture was painted for the altar of St. Maurice, but it was rejected by Philip II., and the commission given to a third-rate Italian. T Note 8 · This likeness is more striking even in another ‘Coronation of the Virgin,’ by El Greco, in the collection of Colonel P. Bosch, Madrid.Note 9 · Some authorities name these saints Sta. Inez and Sta. Feda.