our own Buckingham Palace looks shabby and insignificant beside this
vast pile of shimmering, white masonry, this truly royal residence, this
unique museum, which contains every variety of art treasures. The
architecture selected is the unpoetical but imposing style of the late
Renaissance, and the regularity of the exterior is redeemed from
monotony by Ionic columns, pilasters, and balconies. The massive
building, 500 feet square and 100 feet in height, forms a huge
quadrangle, enclosing a court, while two projecting wings form the Plaza
de Armas. The base of the building, which is composed of three stories
above the ground-floor, is of granite, and the upper portion is of the
beautiful white stone of Colmenar, which gleams like marble. The lower
portion is plain, massive, and severe, and the appearance of the third
story is marred by the square port-holes of the entre-súelos. A wide
cornice runs round the top, and above it a stone balustrade, on the
pedestals of which stand rococo vases. In accordance with the first
plans of the palace, the whole of this balustrade was surmounted by
statues, but these were removed on account of their great weight, and
are now scattered all over Madrid.
The principal entrance is in the south façade, but the palace is
approached by five other grand entrances. The east side, which faces on
to the Plaza de Oriente, is called ‘del Principe,’ from the fact that at
one time it was always used by the royal family. On the eastern and
southern sides the height of the edifice is more than doubled by reason
of the uneven ground where it falls away to the river. The northern side
faces the Guadarrama mountains, from which the icy winter blasts have
frozen to death many unfortunate sentries on guard at the Puerta del
Diamante. The main southern entrance leads into a huge patio, some 240
feet square, surrounded by an open portico, composed of thirty-six
arches, surmounted by another row of arches, forming a gallery with
glass windows. In this court are four large statues of Trajan, Hadrian,
Honorius, and Theodosius, the four Roman emperors who were natives of
Spain. The upper vaulting is decorated with allegorical frescoes, the
work of Corrado Giaquinto, representing the Spanish monarchy offering
homage to religion. The famous Grand Staircase, with its three flights
of black and white marble steps,--each step a single slab of marble--and
its celebrated lions, lead out of this court. Napoleon Bonaparte is
reported to have said to his brother Joseph as the intrusive king made
his first ascent of this superb staircase, ‘Vous serez mieux logé que
moi.’ During the same historic tour of the palace the emperor laid his
hand on one of the silver lions in the throne-room, and remarked to his
brother, ‘Je la tiens enfin, cette Espagne si désirée.’
The ground area of the palace is divided into thirty salons,
magnificently furnished and adorned with a profusion of precious marbles
and fresco paintings by Ribera, Gonzalez, Velazquez, Maella, Mengs,
Bayeu, and Lopez. It would be going outside the province of this sketch
to describe each apartment in detail, but special reference must be made
to the Hall of Ambassadors. This magnificent apartment, the largest and
richest in the Palace, occupies the centre of the principal façade, in
which it has five balconies. The whole apartment glows with rich
colouring, and scintillates with a lavish display of precious metals.
The rock-crystal chandeliers, colossal looking-glasses cast at San
Ildefonso, the marble tables, the crimson, and the gilding compose a
spectacle of royal magnificence. Here is the splendid throne of silver,
made for the husband of Mary of England, and mounting guard on either
side are the huge lions of the same metal. The ceiling, painted by Juan
Bautista Tiépolo, represents the Spanish Monarchy, exalted by poetic
beings, accompanied by the Virtues, and surrounded by its dominions in
both hemispheres. On a throne, at the sides of which are Apollo and
Minerva, the Monarchy is majestically seated, supported by the
allegorical figures representing the science of Government, Peace and
Justice and Virtue. Another group, on clouds, is formed by Abundance,
Mercy, and other figures. A rainbow crosses the whole ceiling, and
between this and the great circle of clouds circled by angels covering
is the Monarchy. In the same salon is an allegory in praise of Charles
III., which is formed by Magnanimity and Glory, Affability and Counsel.
Faith, enthroned on clouds, has an altar of fire, and is accompanied by
Hope, Charity, Prudence, Strength, and Victory; and an angel carries a
chain with a medal to reward the Noble Arts. Between the cornice Tiépolo
displayed his masterly hand by delineating the provinces of the Spanish
Monarchy. Roberto Michel executed in the angles four gilded medallions,
representing Water and Spring, Air and Summer, Fire and Autumn, and
Earth and Winter. Over the doors are two ovals, one representing
Abundance, and the other Merit and Virtue. All the walls of this regal
hall are covered with crimson velvet bordered with gold. On the right is
the statue of Prudence, on the left that of Justice, and in the two
angles traced by the steps are four gilded bronze lions. Before the
superb mirrors in this apartment are costly tables, and on these marble
busts and other no less beautiful objects, the whole constituting the
most beautiful room in the palace, and one of the first in Europe.
In these salons is the wonderful collection of French clocks which
amused the unproductive leisure of Ferdinand VII., who spent his time in
a profitless endeavour to make them chime simultaneously. The glorious
pictures, now in the Prado, that once adorned these walls were removed
by Ferdinand VII. to make room for his beloved silk hangings. At his
death vaults and store-rooms were emptied of a forgotten accumulation of
fine old furniture, and much portable treasure was removed from the
palace. Much of this has vanished beyond recovery, but during the
redecoration of the building for the reception of the king’s bride,
Alfonso XIII. was successful in recovering a number of splendid bronzes,
clocks, and porcelain vases, which now adorn the principal apartments.
The Guard Room, occupied by the Royal Halberdiers, is at the head of the
Royal Staircase, and opens into the enormous Hall of Columns. The
columns which support the corner medallions are similar to those on the
staircase, and the ceiling is painted by Conrado Giaquinto. The paving
is of variegated marbles; the only decorations of the apartments are its
medallions, its cornices of trophies, and its four great allegorical
figures. For its impressiveness the room depends solely on its
architectural merits and its simplicity, and forms a striking contrast
to the other salons of the palace with their superb tapestries,
upholstered furniture, brocades, and ornaments. The Banqueting Hall is
of magnificent proportions, and the Ball Room, to the splendour of which
all the arts and manufactures appear to have contributed, is the largest
in Europe. The Chinese Room, the Charles III. Room, hung with blue
brocade starred with silver, and the Giardini Room, which is upholstered
in ivory satin, embroidered in gold and coloured flowers, and roofed
with porcelain from the Buen Retiro factory, are among the many marvels
of this marvellous palace.
The Royal Chapel, which was depleted in 1808 by General Belliard, who
carried off the pictures painted for Philip II. by Michael Coxis, is
still splendid in its profusion of rich marbles, gilt, and stucco, and
its beautiful ceiling painted by Giaquinto. Many of the exquisite
altar-cloths and vestments were embroidered by Queen Cristina. Here also
is an immensely valuable collection of fine ecclesiastical objects; and
here at Epiphany, Easter, and Corpus Christi the galleries leading from
the royal chapel are hung with the magnificent and unique tapestries
which belong to the crown of Spain.
The private library of his Majesty is on the ground-floor of the
palace. It was formed by Philip V. about 1714, and has since been
increased by the acquisition of several notable collections, including
those of the dean of Teruel, Counts Mansilla and Gondomar, and Judge
Bruna of Seville. The manuscripts are for the most part from the extinct
colleges. The king’s library, which occupies ten rooms and two passages,
is composed of eighty thousand volumes in magnificent mahogany cases
with beautiful glass from La Granja. Books issued prior to the sixteenth
century, beautiful copies on vellum, very rare editions by Spanish
printers, and rich bindings, make this library one of the most important
in Europe. Among the illustrated missals is a prayer-book said to have
belonged to Ferdinand and Isabella or their daughter, Juana la Loca,
whose portrait it contains. The building is adorned with exquisite
ornaments and the arms of Leon and Castile in enamel. The correspondence
of Gondomar, the Spanish ambassador in London during the reign of James
I., is also to be seen here.
The general Archive of the crown of Spain was created in virtue of a
royal decree of Ferdinand VII., dated May 22, 1814. The organisation and
classification of all the documents since the reign of Charles I. until
that of Isabella II. were based on chronology; but Alfonso XII. thought
the classification of subjects more scientific, and the Keeper of the
Archives has, since 1876, had the whole of the documents divided into
four large sections, namely, administrative, juridical, historical, and
according to their sources. This Archive also has a reference library
composed of seven hundred volumes. At present the Archive of the Crown
consists of thirty rooms, containing nearly ten thousand bundles of
papers and two thousand volumes. The administrative documents date from
1479; the juridical ones from 1598; the historical from 1558; there
being also some property deeds dating from the eleventh century relating
to the celebrated monastery of El Escorial, founded by Philip II., which
from the paleographic point of view, and even from the historical, are
of great interest.
The Royal Pharmacy, situated in the part of the palace known as Los
Arcos Nuevos (the New Arches), has an origin which is closely bound up
with the history of national pharmacy. In the beginning of the
pharmaceutical profession, when it became a faculty, the Royal Pharmacy
was the centre of the profession in all its phases. It contains a rich
collection of utensils of all periods, curious examples of
pharmaceutical materials used in olden times, and a well-filled library,
consisting of more than two thousand five hundred volumes.
The stables of the ancient Alcazar were situated in the space now
occupied by the large Armoury Court; those of the present palace were
built in the reign of Charles III., in accordance with the plans and
under the direction of the notable architect, Francisco Sabatini. The
plan of the edifice is an irregular polygon, the longest side of which,
at the Cuesta de San Vicente, is nearly 700 feet in length. The
principal façade is in the Calle Bailen, and is adorned by a simple
granite portal, over which are the royal arms. This door leads to a fine
court surrounded by arches, and on the west side is a small chapel,
dedicated to St. Anthony, Abbot.
The principal part of these buildings consists in the large and
magnificent galleries, sustained by double rows of pillars, which
constitute the stables. These consist of a spacious stable for the
horses used by royalty. There is another stable for Spanish horses,
another for foreign horses and mares, and yet another for mules. More
than three hundred animals can be accommodated in the stables. There are
at present one hundred saddle-horses, all of which, with the exception
of sixty foreign animals, come from the royal stud at Aranjuez.
The general harness-room is a large nave, consisting of three halls.
Preserved in many cases are the magnificent sets of harness and saddles,
the liveries of footmen and coachmen, crests, fly-traps, whips and
ancient horse-cloths, bridles, and other curiosities. The Royal Riding
School is built on one of the esplanades facing the Campo del Moro.
In order to form some idea of the size of the edifice, it may be
mentioned that, besides the coach-houses, stables, harness-rooms, etc.,
there are apartments for the accommodation of the six hundred and
thirty-seven people and their families who are employed in this
department of the palace.
The Royal Coach-house is situated in the Campo del Moro. Its plan is a
rectangular parallelogram, the longest sides of which are 278 feet in
length, and the shortest 101 feet. This great coach-house was built in
the time of Ferdinand VII., after the design and under the direction of
the architect Custodio Moreno, who gave to the exterior a simple and
severe appearance. In this department are twenty splendid State
carriages, which are only used on special occasions, among them being
that of Juana _the Mad_, restored a few years since, and one hundred and
twenty-one carriages of all kinds and shapes for daily use.
Kings of three dynasties have made their homes in the Royal Palace of
Madrid since the nineteenth century brought in with it so much havoc and
disruption to Spain. The Bourbons, Joseph Buonaparte, and Amadeo of
Savoy, each ‘abode his hour or two and went his way,’ and in 1873 and
1874 the palace windows looked out upon a city which for the first time
since its foundation was the capital of a republic. Nearly all the
culminating incidents in the stormy history which has been enacted in
Spain since the abdication of Charles IV. occurred in the Royal Palace.
From this not too secure eminence Ferdinand the Desired saw his guards
slaughtered by the frenzied mob. ‘Serve the fools right,’ he exclaimed;
‘at all events I am inviolable.’ But the king had a fit of terror when
he found his palace was left without guards to protect it from the
crowd, and Riego, the man he hated, was taken into favour, in order that
he might appease the populace.
Through the terrible night of 7th October 1841, when Generals Concha
and Leon made their determined attempt to kidnap Queen Isabella and her
little sister, the Infanta Maria Luisa, the valiant eighteen halberdiers
of the guard, commanded by Colonel Dalee, held the grand staircase of
the palace against an army of revolutionists until the National Militia
arrived to relieve them. Truly that night the halberdiers wrote a
magnificent page of fidelity in the records of the guards.
After a hopeless struggle to reduce Spanish affairs into something like
order, Amadeo of Savoy issued from the Royal Palace his valedictory
address to his people, and on the following day, 12th February 1873, he
left Madrid, as he had entered it, a chevalier _sans peur et sans
reproche_. In the same palace Alfonso XIII. was born and baptized, from
the palace he set out to the church of San Jeronimo to be married to
Victoria Eugénie of Battenberg, and here was born and baptized the
Prince of the Asturias, the heir to the throne of Spain.
[Illustration: PLATE 1
ESCORIAL. VIEW OF THE PALACE]
[Illustration: PLATE 2
ESCORIAL. VIEW OF THE PALACE]
[Illustration: PLATE 3
ESCORIAL. VIEW OF THE PALACE (EAST SIDE)]
[Illustration: PLATE 4
ESCORIAL. NORTH-WEST ANGLE OF THE PALACE]
[Illustration: PLATE 5
ESCORIAL. PRINCIPAL FAÇADE AND ANGLE OF THE PALACE]
[Illustration: PLATE 6
ESCORIAL. VIEW OF THE PRINCIPAL STAIRCASE OF THE PALACE]
[Illustration: PLATE 7
ESCORIAL. HALL OF AMBASSADORS]
[Illustration: PLATE 8
ESCORIAL. RECEPTION HALL]
[Illustration: PLATE 9
ESCORIAL. VIEW OF THE DINING HALL]
[Illustration: PLATE 10
ESCORIAL. POMPEIAN HALL]
[Illustration: PLATE 11
ESCORIAL. LIBRARY]
[Illustration: PLATE 12
ESCORIAL. CHAPTER ROOM]
[Illustration: PLATE 13
ESCORIAL. “THE HOLY FAMILY,” BY RAPHAEL]
[Illustration: PLATE 14
ESCORIAL. “THE LAST SUPPER,” BY TITIAN]
[Illustration: PLATE 15
ESCORIAL. “A SMOKER,” BY TENIERS]
[Illustration: PLATE 16
ESCORIAL. “COUNTRY DANCE,” BY GOYA]
[Illustration: PLATE 17
ESCORIAL. “CHILDREN PICKING FRUIT,” BY GOYA. TAPESTRY]
[Illustration: PLATE 18
ESCORIAL. “THE GRAPE-SELLERS,” BY GOYA. TAPESTRY]
[Illustration: PLATE 19
ESCORIAL. “THE CHINA MERCHANT,” BY GOYA. TAPESTRY]
[Illustration: PLATE 20
“THE STORY OF THE PASSION.” DIPTYCH, IN IVORY, OF THE THIRTEENTH CENTURY
(FROM THE CAMARIN OF ST. THERESA, ESCORIAL)]
[Illustration: PLATE 21
SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE]
[Illustration: PLATE 22
SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE AND THE CASCADE]
[Illustration: PLATE 23
SAN ILDEFONSO, LA GRANJA. GENERAL VIEW OF THE PALACE]
[Illustration: PLATE 24
SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE AND FOUNTAIN OF FAMA]
[Illustration: PLATE 25
LA GRANJA. VIEW OF THE PALACE FROM THE FOUNTAIN OF FAMA]
[Illustration: PLATE 26
SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE]
[Illustration: PLATE 27
SAN ILDEFONSO. THE PALACE IN PERSPECTIVE]
[Illustration: PLATE 28
SAN ILDEFONSO, LA GRANJA. ENTRANCE TO THE PALACE]
[Illustration: PLATE 29
SAN ILDEFONSO, LA GRANJA. GENERAL VIEW OF THE COLLEGIATE CHURCH AND THE
PALACE]
[Illustration: PLATE 30
ENVIRONS OF LA GRANJA. PALACE OF RIO FRIO]
[Illustration: PLATE 31
SAN ILDEFONSO, LA GRANJA. THE CASCADE]
[Illustration: PLATE 32
LA GRANJA. THE PALACE, AND FOUNTAIN OF FAMA]
[Illustration: PLATE 33
LA GRANJA. THE FOUNTAIN OF FAMA]
[Illustration: PLATE 34
LA GRANJA. FOUNTAIN OF FAMA]
[Illustration: PLATE 35
SAN ILDEFONSO, LA GRANJA. FOUNTAIN OF THE HORSE-RACE]
[Illustration: PLATE 36
LA GRANJA. FOUNTAIN OF THE THREE GRACES]
[Illustration: PLATE 37
LA GRANJA. FOUNTAIN OF THE THREE GRACES]
[Illustration: PLATE 38
LA GRANJA. FOUNTAIN OF NEPTUNE]
[Illustration: PLATE 39
LA GRANJA. FOUNTAIN OF NEPTUNE]
[Illustration: PLATE 40
LA GRANJA. PART OF THE FOUNTAIN OF NEPTUNE]
[Illustration: PLATE 41
LA GRANJA. FOUNTAIN OF NEPTUNE]
[Illustration: PLATE 42
LA GRANJA. FOUNTAIN OF THE BATHS OF DIANA]
[Illustration: PLATE 43
LA GRANJA. THE FOUNTAIN OF DRAGONS]
[Illustration: PLATE 44
LA GRANJA. FOUNTAIN OF LATONA]
[Illustration: PLATE 45
LA GRANJA. FOUNTAIN OF ESLO, OR OF THE WINDS]
[Illustration: PLATE 46
LA GRANJA. FOUNTAIN OF ANDROMEDA]
[Illustration: PLATE 47
LA GRANJA. FOUNTAIN OF THE CANASTILLO]
[Illustration: PLATE 48
LA GRANJA. FOUNTAIN OF THE CUP]
[Illustration: PLATE 49
LA GRANJA. FOUNTAIN OF THE CUP]
[Illustration: PLATE 50
LA GRANJA. MOUTH OF THE ASNO, UNDERGROUND RIVER]
[Illustration: PLATE 51
SAN ILDEFONSO. THE RIVER]
[Illustration: PLATE 52
LA GRANJA. THE RESERVOIR]
[Illustration: PLATE 53
LA GRANJA. THE RESERVOIR]
[Illustration: PLATE 54
LA GRANJA. CASCADE OF THE RESERVOIR]
[Illustration: PLATE 55
SAN ILDEFONSO. THE LAKE]
[Illustration: PLATE 56
SAN ILDEFONSO. GROUP OF VASES IN THE PARTERRE OF ANDROMEDA]
[Illustration: PLATE 57
SAN ILDEFONSO. THREE VASES IN THE PARTERRE OF ANDROMEDA]
[Illustration: PLATE 58
SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA]
[Illustration: PLATE 59
SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA]
[Illustration: PLATE 60
SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA]
[Illustration: PLATE 61
SAN ILDEFONSO. VASE OF THE BATHS OF DIANA]
[Illustration: PLATE 62
SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA]
[Illustration: PLATE 63
SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA]
[Illustration: PLATE 64
SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA]
[Illustration: PLATE 65
EL PARDO. VIEW OF THE PALACE FROM THE GROUNDS]
[Illustration: PLATE 66
EL PARDO. THE PALACE]
[Illustration: PLATE 67
EL PARDO. THE PALACE]
[Illustration: PLATE 68
EL PARDO. THE PALACE]
[Illustration: PLATE 69
EL PARDO. THE PALACE]
[Illustration: PLATE 70
EL PARDO. HALL OF AMBASSADORS]
[Illustration: PLATE 71
EL PARDO. HALL OF AMBASSADORS]
[Illustration: PLATE 72
EL PARDO. DINING-ROOM]
[Illustration: PLATE 73
EL PARDO. AN ANTE-ROOM]
[Illustration: PLATE 74
EL PARDO. ANTE-ROOM]
[Illustration: PLATE 75
EL PARDO. PRIVATE ROOM]
[Illustration: PLATE 76
EL PARDO. PRIVATE ROOM]
[Illustration: PLATE 77
EL PARDO. PROSCENIUM AND SET-SCENE OF THE ROYAL THEATRE]
[Illustration: PLATE 78
EL PARDO. ROYAL BOX IN THE THEATRE]
[Illustration: PLATE 79
EL PARDO. “CASETA DEL PRINCIPE”]
[Illustration: PLATE 80
ARANJUEZ. PRINCIPAL FAÇADE OF THE PALACE]
[Illustration: PLATE 81
ARANJUEZ. SOUTHERN FAÇADE OF THE ROYAL PALACE]
[Illustration: PLATE 82
ARANJUEZ. THE ROYAL PALACE FROM THE PARTERRE]
[Illustration: PLATE 83
ARANJUEZ. THE ROYAL PALACE FROM THE GARDENS]
[Illustration: PLATE 84
ARANJUEZ. THE ROYAL PALACE AND THE SUSPENSION BRIDGE OVER THE TAJO]
[Illustration: PLATE 85
ARANJUEZ. THE GRAND STAIRCASE]
[Illustration: PLATE 86
ARANJUEZ. PORCELAIN ROOM, JAPANESE STYLE]
[Illustration: PLATE 87
ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
[Illustration: PLATE 88
ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
[Illustration: PLATE 89
ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
[Illustration: PLATE 90
ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
[Illustration: PLATE 91
ARANJUEZ. LA CASA DEL LABRADOR]
[Illustration: PLATE 92
ARANJUEZ. CONVENT OF SAN ANTONIO]
[Illustration: PLATE 93
ARANJUEZ. ENTRANCE TO THE GARDENS OF THE ISLAND]
[Illustration: PLATE 94
ARANJUEZ. FOUNTAIN IN THE PLAZA DE SAN ANTONIO]
[Illustration: PLATE 95
ARANJUEZ. AVENUE OF THE CATHOLIC SOVEREIGNS, IN THE GARDENS OF THE
ISLAND]
[Illustration: PLATE 96
ARANJUEZ. JUPITER, BRONZE GROUP IN THE GARDENS OF THE ISLAND]
[Illustration: PLATE 97
ARANJUEZ. THE GODDESS CERES, BRONZE GROUP IN THE GARDENS OF THE ISLAND]
[Illustration: PLATE 98
ARANJUEZ. THE GODDESS JUNO, BRONZE GROUP IN THE GARDENS OF THE ISLAND]
[Illustration: PLATE 99
ARANJUEZ. PAVILIONS OF THE RIVER, IN THE GARDEN OF THE PRINCE]
[Illustration: PLATE 100
ARANJUEZ. FOUNTAIN OF APOLLO, IN THE GARDEN OF THE PRINCE]
[Illustration: PLATE 101
ARANJUEZ. FOUNTAIN OF CERES, IN THE GARDEN OF THE PRINCE]
[Illustration: PLATE 102
ARANJUEZ. FOUNTAIN OF NARCISSUS, IN THE GARDEN OF THE PRINCE]
[Illustration: PLATE 103
ARANJUEZ. FOUNTAIN OF THE SWAN, IN THE GARDEN OF THE PRINCE]
[Illustration: PLATE 104
ARANJUEZ. GENERAL VIEW OF THE TAGO AND THE PARTERRE]
[Illustration: PLATE 105
ARANJUEZ. FOUNTAIN OF HERCULES, IN THE GARDENS OF THE ISLAND]
[Illustration: PLATE 106
ARANJUEZ. FOUNTAIN OF HERCULES, IN THE GARDENS OF THE ISLAND]
[Illustration: PLATE 107
ARANJUEZ. FOUNTAIN OF APOLLO, IN THE GARDENS OF THE ISLAND]
[Illustration: PLATE 108
MIRAMAR. SIDE VIEW OF PALACE]
[Illustration: PLATE 109
MIRAMAR. RECEPTION ROOM]
[Illustration: PLATE 110
MIRAMAR. BILLIARD ROOM]
[Illustration: PLATE 111
SEVILLE. FAÇADE OF THE ALCAZAR]
[Illustration: PLATE 112
SEVILLE. ALCAZAR--GATES OF THE PRINCIPAL ENTRANCE]
[Illustration: PLATE 113
SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS]
[Illustration: PLATE 114
SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS]
[Illustration: PLATE 115
SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS]
[Illustration: PLATE 116
SEVILLE. HALL OF AMBASSADORS]
[Illustration: PLATE 117
SEVILLE. HALL OF AMBASSADORS]
[Illustration: PLATE 118
SEVILLE. COURT OF THE HUNDRED VIRGINS]
[Illustration: PLATE 119
SEVILLE. COURT OF THE DOLLS]
[Illustration: PLATE 120
SEVILLE. COURT OF THE DOLLS, FROM THE ROOM OF THE PRINCE]
[Illustration: PLATE 121
SEVILLE. COURT OF THE DOLLS]
[Illustration: PLATE 122
SEVILLE. COURT OF THE DOLLS]
[Illustration: PLATE 123
SEVILLE. COURT OF THE DOLLS]
[Illustration: PLATE 124
SEVILLE. UPPER PART OF THE COURT OF THE DOLLS]
[Illustration: PLATE 125
SEVILLE. DORMITORY OF THE MOORISH KINGS]
[Illustration: PLATE 126
SEVILLE. SLEEPING SALOON OF THE MOORISH KINGS]
[Illustration: PLATE 127
SEVILLE. ENTRANCE TO THE DORMITORY OF THE MOORISH KINGS]
[Illustration: PLATE 128
SEVILLE. ALCAZAR--VIEW OF THE GALLERY FROM THE SECOND FLOOR]
[Illustration: PLATE 129
SEVILLE. ALCAZAR--HALL IN WHICH KING ST. FERDINAND DIED]
[Illustration: PLATE 130
SEVILLE. INTERIOR OF THE HALL OF ST. FERDINAND]
[Illustration: PLATE 131
SEVILLE. FRONT OF THE HALL OF ST. FERDINAND]
[Illustration: PLATE 132
MADRID. THE ROYAL PALACE]
[Illustration: PLATE 133
MADRID. THE ROYAL PALACE FROM THE PLAZA DE ORIENTE]
[Illustration: PLATE 134
MADRID. ROYAL PALACE]
[Illustration: PLATE 135
MADRID. PRINCIPAL FAÇADE OF THE PALACE]
[Illustration: PLATE 136
MADRID. THE ROYAL PALACE FROM THE PLAZA DE ORIENTE]
[Illustration: PLATE 137
MADRID. THE ROYAL PALACE]
[Illustration: PLATE 138
MADRID. THE ROYAL PALACE]
[Illustration: PLATE 139
MADRID. PALACE FROM THE PLAZA DE LA ARMERIA]
[Illustration: PLATE 140
MADRID. THE GRAND STAIRCASE OF THE PALACE]
[Illustration: PLATE 141
MADRID. PRINCIPAL STAIRCASE OF THE PALACE]
[Illustration: PLATE 142
MADRID. GRAND STAIRCASE IN THE PALACE]
[Illustration: PLATE 143
MADRID. THE GRAND STAIRCASE]
[Illustration: PLATE 144