(PALACE.)]
[Illustration: PLATE 139.
ANTE-ROOM OF CHOICE WOODS.
(PALACE.)]
[Illustration: PLATE 140.
CHAIR OF THE EMPEROR CHARLES V.
(PALACE.)]
[Illustration: PLATE 141.
THE EMPEROR CHARLES V., THE EMPRESS ISABEL, HIS DAUGHTER MARIA, HIS
SISTERS ELEONORA, QUEEN OF FRANCE, AND MARIA, QUEEN OF HUNGARY.
(ESCORIAL.)]
[Illustration: PLATE 142.
POMPEIAN HALL.
(PALACE.)]
[Illustration: PLATE 143.
ORATORY OF CHOICE WOODS IN THE ANTE-CHAMBER.
(PALACE.)]
[Illustration: PLATE 144.
EXPEDITION TO THE AZORES.
(HALL OF BATTLES.)]
[Illustration: PLATE 145.
BATTLE OF HIGUERUELA, 1431 (1ST SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 146.
BATTLE OF HIGUERUELA, 1431 (2ND SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 147.
BATTLE OF HIGUERUELA, 1431 (3RD SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 148.
BATTLE OF HIGUERUELA, 1431 (4TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 149.
BATTLE OF HIGUERUELA, 1431 (5TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 150.
BATTLE OF HIGUERUELA, 1431 (6TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 151.
BATTLE OF HIGUERUELA, 1431 (7TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 152.
BATTLE OF HIGUERUELA, 1431 (8TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 153.
BATTLE OF HIGUERUELA, 1431 (9TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 154.
BATTLE OF HIGUERUELA, 1431 (10TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 155.
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(HALL OF BATTLES IN THE ESCORIAL.)]
[Illustration: PLATE 156.
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(HALL OF BATTLES IN THE ESCORIAL.)]
[Illustration: PLATE 157.
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(HALL OF BATTLES IN THE ESCORIAL.)]
[Illustration: PLATE 158.
SURRENDER OF THE CHATELET FORT.
(HALL OF BATTLES.)]
[Illustration: PLATE 159.
THE SIEGE OF HAN AND SURRENDER OF ITS CASTLE.
(HALL OF BATTLES.)]
[Illustration: PLATE 160.
BATTLE OF GRAVELINAS.
(HALL OF BATTLES.)]
[Illustration: PLATE 161.
PREPARATIONS FOR THE BATTLE OF GRAVELINAS.
(HALL OF BATTLES.)]
[Illustration: PLATE 162.
TAKING OF ST. QUINTIN BY THE SPANISH INFANTRY REGIMENTS.
(HALL OF BATTLES.)]
[Illustration: PLATE 163.
BATTLE BEFORE ST. QUINTIN.
(HALL OF BATTLES.)]
[Illustration: PLATE 164.
PREPARATIONS FOR THE SIEGE OF ST. QUINTIN.
(HALL OF BATTLES.)]
[Illustration: PLATE 165.
DEPARTURE OF THE SPANISH ARMY FROM THE FORTIFIED PLACE OF ST. QUINTIN.
(HALL OF BATTLES.)]
[Illustration: PLATE 166.
THE DUKE OF ALBA REVIEWING HIS TROOPS AT CANTILLANA.
(HALL OF BATTLES.)]
[Illustration: PLATE 167.
EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE GOTHS, UNTIL
PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 168.
PLUTO AND PROSERPINA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 169.
ALLEGORY OF AFRICA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 170.
PHAETON STRUCK BY JUPITER’S THUNDERBOLT.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 171.
THE BATTLE OF LEPANTO, BY L. GIORDANO.
(REPRODUCED FROM THE FRESCO IN THE ESCORIAL.)]
[Illustration: PLATE 172.
EXPEDITION TO THE TERCEIRE ISLE (AZORES).
(FRAGMENT OF A FRESCO PAINTING IN THE HALL OF BATTLES.)]
[Illustration: PLATE 173.
APOLLO AND MERCURY, BY PEREGRINO TIBALDI.
(FRESCO ON THE ARCH OF THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 174.
A SWEET SINGER, BY WATTEAU.
(MUSEUM OF THE ESCORIAL.)]
[Illustration: PLATE 175.
A LOVE SCENE, BY WATTEAU.
(MUSEUM OF THE ESCORIAL.)]
[Illustration: PLATE 176.
PHILIP II. RECEIVING A DEPUTATION FROM THE LOW COUNTRIES IN THE
ESCORIAL, BY SANT ARCOS.]
[Illustration: PLATE 177.
PORTRAIT OF PHILIP II. AT THE AGE OF 71, BY ANTONIO MORO.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 178.
SECOND SET OF EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE
GOTHS, UNTIL PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 179.
ST. ISIDORE, BY CORRADO.
(IN THE MUSEUM AT THE ESCORIAL.)]
[Illustration: PLATE 180.
PAN AND MISENUS, BY PEREGRINO TIBALDI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 181.
HOMER AND VIRGIL, BY PEREGRINO TIBALDI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 182.
SOLOMON AND THE QUEEN OF SHEBA, BY V. CARDUCCI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 183.
PINDAR AND HORACE, BY PEREGRINO TIBALDI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 184.
THE VISITATION, BY PEREGRINO TIBALDI.
(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 185.
THE MARRIAGE OF THE VIRGIN, BY PEREGRINO TIBALDI.
(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 186.
THE ANNUNCIATION, BY LUCAS CANGIAGI.
(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 187.
TRIPTYCH, WITH PAINTINGS ON VELLUM.
(CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 188.
THE SEVEN CAPITAL SINS, BY JEROME BOSCH, ON WOOD.
(In the Room of Philip II. at the Escorial.)]
[Illustration: PLATE 189.
THE STORY OF THE PASSION: DIPTYCH, IN IVORY, OF THE 13TH CENTURY.
(FROM THE CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 190.
FRIEZE OF THE STAIRCASE IN THE MONASTERY, REPRESENTING THE BATTLE,
SIEGE, AND CAPTURE OF ST. QUINTIN, AND THE FOUNDATION OF THE MONASTERY,
BY L. GIORDANO.]
[Illustration: PLATE 191.
‘LA SANTA FORMA.’ THE MASTERPIECE OF CLAUDE COELLO.
(SACRISTY OF THE ESCORIAL.)]
[Illustration: PLATE 192.
THE RESURRECTION, BY PEREGRINO TIBALDI.
(THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 193.
THE INTERMENT OF CHRIST, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 194.
JESUS AT THE PHARISEE’S HOUSE, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 195.
THE RESURRECTION OF OUR LORD: FLORENTINE SCHOOL, GREY PAINTING.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 196.
THE BIRTH OF OUR LORD, BY TINTORETTO.
(CHAPTER ROOM OF THE ESCORIAL.)]
[Illustration: PLATE 197.
THE ANNUNCIATION, BY PAUL VERONESE.
(CHAPTER ROOM OF THE ESCORIAL.)]
[Illustration: PLATE 198.
PORUS BROUGHT BEFORE ALEXANDER THE GREAT, BY CARLOS VAN LOO.
(MONASTERY OF THE ESCORIAL.)]
[Illustration: PLATE 199.
THE CROWN OF THORNS, BY JEROME BOSCH, ON WOOD.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 200.
TRIPTYCH, BY JEROME BOSCH.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 201.
TRIPTYCH, REPRESENTING THE TERRESTRIAL DELIGHTS, AND THE PUNISHMENT OF
SIN IN HELL, BY JEROME BOSCH.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 202.
PORTRAIT OF CHARLES V. AT THE AGE OF 47, BY JUAN PANTOJA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 203.
CHRIST BRINGING FORTH THE SOULS OF THE SAINTS: FLORENTINE SCHOOL.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 204.
THE WASHING OF FEET, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 205.
THE NATIVITY, BY JOSEF RIBERA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 206.
THE LAST SUPPER, BY TITIAN.
(THE ESCORIAL.)]
[Illustration: PLATE 207.
ST. CHRISTOPHER (ON WOOD), BY J. PATENIER.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 208.
JACOB RECEIVING JOSEPH’S COAT, BY VELAZQUEZ.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 209.
THE PENITENT MAGDALENE, BY L. GIORDANO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 210.
MUMMY OF CHARLES V., BY V. PALMAROLI.
(THE ESCORIAL.)]
[Illustration: PLATE 211.
JACOB GUARDING THE FLOCKS OF LABAN, BY J. RIBERA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 212.
THE SATYR MARSYAS FLAYED ALIVE BY APOLLO, BY L. GIORDANO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 213.
LOT AND HIS FAMILY, BY A. VACCARO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 214.
THE ADORATION OF THE MAGI, BY VERONESE.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 215.
THE CHASTISEMENT OF ARACHNE, BY L. GIORDANO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 216.
ALEXANDER CONQUERING DARIUS, BY F. SOLIMENA.
(MONASTERY.)]
[Illustration: PLATE 217.
ST. MAURICE AND OTHER MARTYRS, BY EL GRECO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 218.
QUEEN ESTHER, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 219.
THE ANNUNCIATION, AND THE BIRTH OF CHRIST. BY COXCIS.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 220.
THE HOLY TRINITY, BY J. RIBERA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 221.
VISION OF JESUS TO HIS MOTHER, BY P. VERONÈSE.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 222.
THE CARNATION GARDENER, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 223.
THE WATER-SELLER, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 224.
THE YOUNG BULL AT CARABANCHEL DE ABAJO, BY F. BAYEU
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 225.
PROMENADE OF LAS DELICIAS, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 226.
THE PORK MERCHANT, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 227.
DEPARTURE FOR THE HUNT, AFTER P. WOUWERMAN, BY GINES DE AGUIRRE.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 228.
DESCENT FROM THE CROSS (R. VAN DER WEYDEN).]
[Illustration: PLATE 229.
CHILD RIDING A SHEEP, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 230.
A LADY AND HER CAVALIER, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 231.
COUNTRY DANCE, BY F. GOYA.
(TAPESTRY IN THE DINING HALL OF THE PALACE.)]
[Illustration: PLATE 232.
CASTING OF BULLETS IN A FOREST, BY GOYA.
(CASA DEL PRINCIPE, ESCORIAL.)]
[Illustration: PLATE 233.
THE KITE, BY F. GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 234.
THE WASHERWOMEN, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 235.
YOUNG MAN WITH A BIRD, AND A BAGPIPER, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 236.
A PROMENADE IN ANDALUSIA, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 237.
THE CHINA MERCHANT, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 238.
DOGS IN A LEASH, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 239.
THE LITTLE GIANTS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 240.
THE GRAPE-SELLERS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 241.
THE CARD-PLAYERS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 242.
THE WOOD-CUTTERS, BY F. GOYA.
(TAPESTRY IN THE DINING HALL OF THE PALACE.)]
[Illustration: PLATE 243.
CHILDREN PICKING FRUIT, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 244.
CHILDREN CLIMBING A TREE, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 245.
THE SEE-SAW, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 246.
THE REAPERS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 247.
TAPESTRY AFTER THE POMPEIAN STYLE.
(IN THE PALACE.)]
[Illustration: PLATE 248.
STORY OF TELEMACHUS: THE DANCE OF THE NYMPHS.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 249.
STORY OF TELEMACHUS: NEPTUNE WRECKING ULYSSES’ VESSEL.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 250.
STORY OF TELEMACHUS: CALYPSO.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 251.
STORY OF TELEMACHUS: YOUNG TELEMACHUS.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 252.
CHILDREN PLAYING AT BULL-FIGHTING, BY F. BAYEU.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 253.
THE GARDENS OF BUEN RETIRO.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 254.
ST. JOSEPH AND THE CHILD JESUS.
(CASA DEL PRINCIPE, ESCORIAL.)]
[Illustration: PLATE 255.
THE JUDGMENT OF SOLOMON, BY F. DE URBINA.
(CEILING IN THE PRIOR’S CELL IN THE MONASTERY.)]
[Illustration: PLATE 256.
THE VIRGIN, BY CORRADO.
(CASA DEL PRINCIPE, ESCORIAL.)]
[Illustration: PLATE 257.
WOMAN READING A LETTER, BY D. TENIERS.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 258.
THE CONVERSION OF ST. PAUL, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 259.
APOLLO GRIEVING OVER THE DEATH OF HIS SON PHAETON: BUEN-RETIRO CHINA.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 260.
THE FALL AND DEATH OF JULIAN THE APOSTATE, BY L. GIORDANO.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 261.
THE BAGPIPER, BY D. TENIERS.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 262.
ST. JOHN THE BAPTIST, BY ANNIBALE CARACCI.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 263.
A SMOKER, BY D. TENIERS.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 264.
THE HELIADES, DAUGHTERS OF THE SUN, CHANGED INTO POPLARS, AFTER THE
DEATH OF THEIR BROTHER PHAETON: BUEN-RETIRO CHINA.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 265.
THE CONCEPTION OF THE VIRGIN, BY AN UNKNOWN ARTIST.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 266.
THE HOLY FAMILY, BY RAPHAEL.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 267.
SEMIRAMIS FIGHTING THE ENEMY. BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 268.
THE RAPE OF THE SABINES, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 269.
ALLEGORY OF AMERICA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 270.
ALLEGORY OF ASIA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 271.
THE DREAM OF PHILIP II., BY EL GRECO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 272.
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]
[Illustration: PLATE 273.
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]
[Illustration: PLATE 274.
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]
[Illustration: PLATE 275.
THE PRINCE’S ROOM.
(ESCORIAL.)]
[Illustration: PLATE 276.
POMPEIAN ROOM.
(ESCORIAL.)]
[Illustration: PLATE 277.
TOWER ROOM (CASITA DE ABAJO)
(ESCORIAL.)]
[Illustration: PLATE 278.
THE ROYAL PALACE AND MONASTERY: PLAN AND SECTION.]
* * * * *
THE
SPANISH SERIES
Edited by ALBERT F. CALVERT
A new and important series of volumes, dealing with Spain in its various
aspects, its history, its cities and monuments. Each volume will be
complete in itself in an uniform binding, and the number and excellence
of the reproductions from pictures will justify the claim that these
books comprise the most copiously illustrated series that has yet been
issued, some volumes having over 300 pages of reproductions of pictures,
etc.
Crown 8vo. Price 3/6 net
MURILLO. A Biography and Appreciation. Illustrated by over 165
reproductions from photographs of his most celebrated pictures.
SPANISH ARMS AND ARMOUR. A Historical and Descriptive Account of
the Royal Armoury at Madrid. Illustrated with 386 reproductions
from photographs.
THE ESCORIAL. A Historical and Descriptive Account of the Spanish
Royal Palace, Monastery and Mausoleum. Illustrated with plans and
278 reproductions from pictures and photographs.
CORDOVA. A Historical and Descriptive Account of the Ancient City
which the Carthaginians styled the “Gem of the South.” With over
155 Illustrations.
SEVILLE. A Historical and Descriptive Account. With 300
Illustrations.
THE PRADO. A Guide and Handbook to the Royal Picture Gallery of
Madrid. Illustrated with 221 reproductions from photographs of Old
Masters.
IN PREPARATION
GOYA
GRANADA
VELAZQUEZ
TOLEDO
ROYAL PALACES
MADRID
LEON, BURGOS, &C.
VALLADOLID, SEGOVIA, &C.
* * * * *
_UNIFORM WITH THIS VOLUME_
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
While the names of Murillo and Velazquez are inseparably linked in the
history of Art as Spain’s immortal contribution to the small band of
world-painters, the great Court-Painter to Philip IV. has ever received
the lion’s share of public attention. Many learned and critical works
have been written about Murillo, but whereas Velazquez has been
familiarised to the general reader by the aid of small, popular
biographies, the niche is still empty which it is hoped that this book
will fill.
In this volume the attempt has been made to show the painter’s art in
its relation to the religious feeling of the age in which he lived, and
his own feeling towards his art. Murillo was the product of his
religious era, and of his native province, Andalusia. To Europe in his
lifetime he signified little or nothing. He painted to the order of the
religious houses of his immediate vicinity; his works were immured in
local monasteries and cathedrals, and, passing immediately out of
circulation, were forgotten or never known.
_UNIFORM WITH THIS VOLUME_
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS
Although several valuable and voluminous catalogues of the Spanish Royal
Armoury have, from time to time, been compiled, this “finest collection
of armour in the world” has been subjected so often to the disturbing
influences of fire, removal, and re-arrangement, that no hand catalogue
of the Museum is available, and this book has been designed to serve
both as a historical souvenir of the institution and a record of its
treasures.
The various exhibits with which the writer illustrates his narrative are
reproduced to the number of over 300 on art paper, and the selection of
weapons and armour has been made with a view not only to render the
series interesting to the general reader, but to present a useful text
book of European armoury for the guidance of artists, sculptors,
antiquaries, costumiers, and all who have practical interest in
historical accuracy.
_UNIFORM WITH THIS VOLUME_
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
FROM PICTURES AND PHOTOGRAPHS
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
its gaunt, grey walls in one of the bleakest but most imposing districts
in the whole of Spain, was erected to commemorate a victory over the
French in 1557. It was occupied and pillaged by the French two and
a-half centuries later, and twice it has been greatly diminished by
fire; but it remains to-day, not only the incarnate expression of the
fanatic religious character and political genius of Philip II., but the
greatest mass of wrought granite which exists on earth, the leviathan of
architecture, the eighth wonder of the world.
In the text of this book the author has endeavoured to reconstitute the
glories and tragedies of the living past of the Escorial, and to
represent the wonders of the stupendous edifice by reproductions of over
two hundred and seventy of the finest photographs and pictures
obtainable. Both as a review and a pictorial record it is hoped that the
work will make a wide appeal among all who are interested in the
history, the architecture, and the art of Spain.
_UNIFORM WITH THIS VOLUME_
CORDOVA
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH OVER 155 ILLUSTRATIONS
Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
Cordova was once the pearl of the West, the city of cities, Cordova of
the thirty suburbs and three thousand mosques; to-day she is no more
than an overgrown village, but she still remains the most Oriental town
in Spain.
Cordova, once the centre of European civilisation, under the Moors the
Athens of the West, the successful rival of Baghdad and Damascus, the
seat of learning and the repository of the arts, is now no more than a
third-rate provincial town; but the artist, the antiquary and the lover
of the beautiful, will still find in its streets and squares and patios
a mysterious spell that cannot be resisted.
_UNIFORM WITH THIS VOLUME_
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
Seville, which has its place in mythology as the creation of Hercules,
and was more probably founded by the Phœnicians, which became
magnificent under the Roman rule, was made the capital of the Goths, was
the centre of Moslem power and splendour, and fell before the military
prowess of St. Ferdinand, is still the Queen of Andalusia, the Spanish
Athens, the foster-mother of Velazquez and Murillo, the city of poets
and pageantry and love.
Seville is always gay, and responsive and fascinating to the receptive
visitor, and all sorts of people go there with all sorts of motives. The
artist repairs to the Andalusian city to fill his portfolio; the lover
of art makes the pilgrimage to study Murillo in all his glory. The
seasons of the Church attract thousands from reasons of devotion or
curiosity. And of all these myriad visitors, who go with their minds
full of preconceived notions, not one has yet confessed to being
disappointed with Seville.
The author has here attempted to convey in the illustrations an
impression of this laughing city where all is gaiety and mirth and
ever-blossoming roses, where the people pursue pleasure as the serious
business of life in an atmosphere of exhilarating enjoyment.
_UNIFORM WITH THIS VOLUME_
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS
This volume is an attempt to supplement the accurate but formal notes
contained in the official catalogue of a gallery which is considered the
finest in the world. It has been said that the day one enters the Prado
for the first time is an important event like marriage, the birth of a
child, or the coming into an inheritance; an experience of which one
feels the effects to the day of one’s death.
The excellence of the Madrid gallery is the excellence of exclusion; it
is a collection of magnificent gems. Here one becomes conscious of a
fresh power in Murillo, and is amazed anew by the astonishing apparition
of Velazquez; here is, in truth, a rivalry of miracles of art.
The task of selecting pictures for reproduction from what is perhaps the
most splendid gallery of old masters in existence, was one of no little
difficulty, it is believed that the collection is representative, and
that the letterpress will form a serviceable companion to the visitor to
The Prado.
_UNIFORM WITH THIS VOLUME_
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
OVER 480 ILLUSTRATIONS
The origin of Imperial Toledo, “the crown of Spain, the light of the
world, free from the time of the mighty Goths,” is lost in the
impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
city has been described by Wörmann as “a gigantic open-air museum of the
architectural history of early Spain, arranged upon a lofty and
conspicuous table of rock.”
But while some writers have declared that Toledo is a theatre with the
actors gone and only the scenery left, the author does not share the
opinion. He believes that the power and virility upon which Spain built
up her greatness is reasserting itself. The machinery of the theatre of
Toledo is rusty, the pulleys are jammed from long disuse, but the
curtain is rising steadily if slowly, and already can be heard the
tuning-up of fiddles in its ancient orchestra.
In this belief the author of this volume has not only set forth the
story of Toledo’s former greatness, but has endeavoured to place before
his readers a panorama of the city as it appears to-day, and to show
cause for his faith in the greatness of the Toledo of the future.
_UNIFORM WITH THIS VOLUME_