_Bridges and Gates of Toledo_
I have said there are but two bridges guarding the wide sweep of the
Tagus round Toledo, the Puente de Alcántara and the Puente de San
Martin. These bridges are unimaginably picturesque and fine. The first
you enter from the railway station, with an excellent view of the double
line of walls, broken by towers built upon the rugged rocks. No more
superb and impressive scene is to be found elsewhere than that the old
city makes behind this castellated bridge. The bridge in its actual
state was built by Alfonso X., on the ruins of the Moorish bridge, of
which Rasis el Moro wrote: "It was such a rich and marvellous work and
so subtly wrought, that never man with truth could believe there was any
other such fine work in Spain." The Moors in 866 constructed this in
turn upon the ruins of the old Roman bridge, of which some traces still
remain, and which the Goths repaired in 687, and it was destroyed in
1257. Since Alfonso's time, the vicissitudes of Spanish history have
wrought damage enough to this noble monument. In 1380 Tenorio restored
it, and in 1484 the interior arch was repaired at the town's cost by
Andrès Manrique, in 1575 the entrance from the city was repaired, in
1721 the outer towers had to be restored, and in 1786, as well as in
1836, the entire bridge was submitted to general repairs. These
alterations are all carefully noted by various inscriptions. In Philip
II.'s reign was placed under the statue of St Ildefonso by Berruguete--
S. ILDEFONSO DIVO TUTELARI TOLET, D.D.,
ANNO DOM. MDLXXV., PHILIPPO II., HISP. REGE.
A longer one of that period was: _Año DCLXXIIII._ _Wamba Rey godo
restauró los muros des esta cuidad y los ofreció en versos latinos a
Dios y los santos patrones de ella_: _los Moros los quitaron y pusieron
letreros_ arabigos de blasfemias _y errores_--_el rey D. Felipe II._ con
zelo de religion y de conservas las memorias de los reyes pasados,
mandó, a Jo. Gutierrez Tello, Corregidor de la cuidad los quitase y
pusiere como antes estaten los santos patrones con los versos del Rey
Wamba. Ano de MDLXX.[21]
Another tells us of a great deluge that lasted for five months, from
August to December, and carried off portions of the bridge, which was
rebuilt by Alef, son of Mohamed Alameri, Mayor of Toledo, in the time of
Almanzor. On one of the inner vaults are sculptured the arms of the
Catholic Kings, Isabella and Fernando, and the inevitable relief of St
Ildefonso receiving the chasuble from Our Lady. The entrance arch was
constructed under Felipe V. instead of the Moorish tower that stood
there. These restorations are insignificant. What one notes is the
general impression, which is magnificent.
The bridge of San Martin is early thirteenth century work, built in
1203 after a terrible inundation that carried off the old bridge, which
was probably a little lower down, where the _Baño de la Cava_, as this
broken tower and the broken pillar opposite would indicate. In the Civil
War of Pedro the Cruel and Henry of Trastamare, the principal arch was
cut in two, and the Archbishop Tenorio had to restore the whole bridge
almost in order to repair the damage. One of the legends of Toledo
relates to this restoration. The architect to whom Tenorio confided the
work miscalculated, and while the woodwork and scaffolding still
enveloped the central arch, he discovered to his horror that the instant
these supports were removed the bridge would fall. This would mean
nothing less than ruin and disgrace, and the unfortunate architect
confided his despair to his wife. Without a word, at the dead of night,
she went down to the bridge and set the scaffolding on fire. Nobody saw
her, and the accident was believed in and deplored. While the arch was
being rebuilt, this time happily with the error rectified, the woman,
finding the burden of remorse greater than she could bear, went to the
Archbishop and told her tale. Tenorio was so delighted with her
ingeniousness that he congratulated her fortunate husband and ordered
her figure to be sculptured on the keystone of the central arch. Señor
Parro doubts if the little figure on the north side is that of a woman,
and after careful examination is inclined to believe that it is meant
for a bishop, probably Tenorio himself. One would prefer to believe in
the woman, of course, as legends are always pretty and graceful, but
facts are facts, and if the headgear be really a mutilated mitre and not
a woman's cap?
The bridge is narrow and extremely high above the river, as here the
thunderous rush of water down the rocky gorge comes often with the
menace of flood, and beside this splendid central arch that gave rise
to the legend Tenorio's arch, 140 feet wide and 95 above the water
level, most lofty and grand, there are four smaller arches. At either
end, like the Alcántara Bridge, there is a tower and gateway, with
Moorish arches and battlements, and vaulted arches for the passengers;
inscriptions and reliefs abound, a statue of St Julian by Monegro and of
Alfonso VII. the Emperor. Across the southern hills, among their bare
scented folds, beyond silent gorge and wild waterway, lie the famous
Cigarrales, the villas, the gardens, the orchards, where the apricots
grow as they grow nowhere else. Tirso de Molina sings their charms, and
the aubergines of the Cigarrales were famous even in the days of Guzman
de Alfarache. Here towards evening the townsfolk wander out to taste the
air of the hills and revel in cool leafage, and the walk back in the
gathering shade, when the town is getting ready its feeble electric
illumination, and the stars are out, and the streets are dim and silent.
Then more than ever will Toledo appear to you as something too beautiful
for reality, the imagined city of wild romantic legend, an intangible
evocation that surely the morning lights must disperse, that the reality
of day must vulgarise. It is not in the nature of modern eyes to gaze
with security upon a picture so mysteriously strange, so solemnly sad in
its grandeur, so complete a surprise.
To-day there are three gates in the outer walls of Toledo, the _Puerta
Visagra_, the _Puerta del Cambron_ and the _Puerta Nueva_. Entering the
city by the Bridge of San Martin, you front the gate of the Cambron
here, so called from the brambles that grew about that small, charming,
pinnacled edifice, built upon the spot of Wamba's old gate in Alfonso
VI.'s time, and was then completely Moorish in style. In 1576 it was
restored and took on its present half renaissance, half classical
aspect, with its four towers, its centre court and columns. Berruguete's
lovely statue of St Leocadia used to stand in the niche above the lines
in her honour from the Mozarabe ritual sculptured below:
_In Nostra civis inclita_
_Tu es patrona vernul[ae]_
_Ab urbis hujus termino_
_Procul reptile tedium._
Gutierrez Tello, we know, was ordered by Philip II., iniquitous Vandal,
to break up all the beautiful Moorish inscriptions on the bridges and
gates, but one of these inscriptions still remains on the fragment of a
column; the finest have disappeared. This was one: "There is but one God
on earth, and Mohamad is his messenger. All the faithful who believe in
our prophet, Mohamad, and continue to kiss the hands and feet of
Murabito Muley abda Alcadar every day, will be without stain, will not
be blind, nor deaf, nor lame, nor wounded; and receiving his
benediction, when the time of his death comes, will only be three days
ill, and dying, will go with open eyes to Paradise forgiven of all
sins." Who would not willingly kiss the hands and feet of Murabito Muley
every day in return for such promises? There was another interesting
inscription to the same Muley on an old gateway: "Prayer and peace over
our Lord and Prophet Mohamad. All the faithful, when they went to lie
down in their beds, mentioning the Alfaqui Murabito Abdala, and
recommending themselves to him, will enter no battle out of which they
will not come victorious, and in whatever battle against Christians they
may stain their lances with Christian blood, dying that same day, will
go alive and whole with eyes open to Paradise, and his descendants will
remain till the fourth generation forgiven." Evidently a man to have on
one's side in the struggle for existence and in the hope of joys to
come in a better world. Small wonder Ponz called Toledo the city of
magnificent inscriptions. You are greeted everywhere with grandiloquent
or heroic utterances.
[Illustration: PUERTA VISAGRA (ANTIGUA)]
The old Puerta Visagra is now blocked up. Through it Alphonso VI.
entered Toledo. The work is entirely Moorish, of the first period, heavy
and simple, with the triple arches so delightfully curved in horseshoe
shape, and the upper crenelated apertures. The meaning of the name is
still disputed. Some give it a Latin origin, signifying _Via-Sacra_,
others an Arabian origin, _Bab_, gate, and _Shara_, meadow, as it leads
into the stony fields without, in the Vega. This seems to be the more
probable one, since the _Puerta Visagra_ distinctly dates from the time
of the Moors. The new gate faces the highroad of Estremadura, and was
built under Charles Quint, 1550. It forms two edifices, joined by a
large square courtyard with high turreted walls on either side. The
outer arch and tower are magnificent; the whole is impressive. On the
south front is the shield with the arms of Spain, and the Emperor's
eagles, in sculptured granite, with a Latin inscription below. There is
another front behind the vaulted entrance, with two graceful square
towers, adorned with balconies and elegant capitals narrowing to a
pyramidal point, roofed with white and green tiles, which make an odd
and not-unpleasing note against the brown rampart running upward. These
gleaming _azulejo_ tower-roofs dominate the plain, and, seen from above,
the effect of this little dash of brightness amidst all these brown
tones of earth and stone is indescribably gay. Within, on the doorway,
is the inscription of the Senate's dedication of the gate to Charles
Quint, and beyond the patio, in a niche in the central arch, is an
exceedingly fine statue of St Eugenio, either by Berruguete or Monegro.
Both these artists were engaged by Toledo to make statues for the gates
and bridges, and confusion now rests upon all the statues except that of
St Leocadia (now in the Hermitage of the Cristo de la Vega), which is
assuredly a Berruguete, and perhaps the most exquisite thing he has ever
done. Monegro's work will be sufficiently appreciated by the fact of
this confusion. Here, again, are finely sculptured, in large relief, the
arms of the Emperor, and a life-size angel guards the city with
unsheathed sword. This statue and the shield were originally gilt, but
time has worn the gilt away; in either tower-front, on both sides of the
shield, are two statues of Gothic kings. But a mere description of the
details of this splendid gate can really give no impression of its
general effect. If there were not the _Puerta del Sol_--one of the
world's masterpieces--so near, one would be tempted to call it the
finest on earth.
But to write of the _Puerta del Sol_--Moorish gem against a Spanish sky,
miracle of loveliness upon a rough and naked rampart! A thing of
bewildering beauty, even among crowded enchantments! It is to pick one's
way through superlatives and points of exclamation, and call in vain on
the goddess of sobriety to subdue our tendency to excess and
incoherence. Put this matchless gate in the middle of the desert of
Sahara: it would then be worth while making the frightful voyage alone
to look at it. However far you may have journeyed, you would still be
forever thankful to have seen such a masterpiece--incontestably a work
of supreme art, perhaps the rarest thing of the world. Is there a flaw
in it? Mine were not the eyes to detect it. I could only look on and
worship. The last evening of my stay in Toledo, I went out to make my
farewell visits by dusk to the town, accompanied by my friend, the
Spanish painter. Into that lovely walk I gathered too many impressions
to disengage them, but I still see the _Puerta del Sol_ in the blue
twilight, with a big star--like a lamp--trembling on the edge of it, in
the fluid luminosity of a fading sunset. "_Una preciocedad_," murmured
my Spanish friend, familiar with its witchery for more than fifteen
years; and we stood there for a half hour in dead silence, making our
prayer of thanks to the strong, great hands, the commanding genius, that
wrought for our delight, so long ago, a work which defies the banality
of description.
This impressive Moorish monument is fashioned of rough stone, above the
brilliant Vega, with the arid hills around. The towers are of brown
granite, and above span the vaulted entrance. The sides form a
semi-circular and a half square tower, and the interior is divided into
three compartments. There is a great centre ogival arch, resting on two
columns with Moorish
[Illustration: PUERTA DEL SOL]
inscriptions; from the zones of ornamental arches enlaced, bayed above
and horseshoe-shaped beneath, break away other architectural flourishes
of raised ogival, the zones divided by angles with the points inward.
Behind the great arch, there is another horseshoe arch, and above it is
a round medallion, with a relief, of the Virgin offering the chasuble to
St Ildefonso; beyond are two simple ogival arches, united to form the
rising line of the portcullis, and then another horseshoe arch in the
back façade forms the same design. Above are three similar little
arches, with railings, and in the semi-circular tower below are three
apertures for barbaric hostilities, in each façade joining the central
compartment. Each aperture, in front, has an ornamental bayed arch,
placed above three corbels crowned with towers turreted in pyramidal
capitals. Within, a series of Arabian arches--the quadrangular tower
only adorned with little Moorish arches. The age of this most exquisite
gate is uncertain. It is believed to be of the second period of Moorish
architecture in Toledo, that is, tenth century, with alterations as far
as the thirteenth. While the architecture is perfectly Moorish, there is
some indication of Christian influence--in the use of a stone not
generally used by the Moors, and also in the reliefs of the Virgin and
St Ildefonso, and in the little marble relief of the two women and the
man, supposed to perpetuate the tale of the Governor Fernando Gonzalez,
Lord of Yegros, whom San Fernando, that uncompromising king, sentenced
to death for betraying two women: by some believed to represent St John
the Baptist, Herodias and her mother. The simple traveller, who loves
righteousness and truth, will stick to the avenging sovereign sentencing
thus summarily the rascal governor. But it is like the figure in the
central arch of the Bridge of San Martin. Believe what you like best.
Fernando may have boiled his enemies in pots of water over huge logs, or
roasted them alive before roaring fires. He himself was such an
admirable fellow in his private life that we are constrained to believe
his enemies merited such treatment. He died during the third period of
Moorish architecture in Spain, and left all he possessed to the Hospital
of Santiago. It was perhaps a little excessive on the part of St
Fernando, after chopping off the governor's perfidious head, to
confiscate all his property and bestow it on the poor. The governor's
relations might justly have regarded themselves as defrauded. But those
were the happy days when subjects had no rights, and only breathed by
divine permission of the sovereign. Young people who fell in love
without the king's leave were dispatched to prison or a nunnery. In the
leisure that war and revolt occasionally allowed him, the king made and
unmade marriages; and if, glancing from his palace windows, he chanced
to see a man pass by who looked as if, at some future date, he might be
tempted to commit a crime, he ordered his instant execution, in the
interests of humanity. Sure, indeed was it worth while to be a King in
those delightful days, a life never monotonous for the lack of
surprises, never empty of vicissitudes and every odd and stupendous
stroke of fortune.
A word must be said about the legendary _Baño de la Cava_. The
probability is that this celebrated and picturesque ruin was portion of
a turreted bridge that existed before the construction of San Martin,
and was swept away in one of the inundations that wrought at periods so
much damage to the town. The ruin is undoubtedly Moorish, and Moorish
letters may be traced on one of the broken columns, which would prove it
posterior to the Berber invasion under Tarik. The height of the old
bridge is sufficiently indicated to show us that a wild rush of water
from the upper rocky defile as it thunders down the gorge would quickly
carry off the stoutest construction so lowly placed, hence the exceeding
height of the central arch of Tenorio's bridge, through which the Tagus
in its most turbulent hour can gush at will. The ruin is a delightful
one, and nothing could be more romantic than its situation. Graceless
facts that so ruthlessly demolish poetic legends!
The walls and ramparts are dismantled now, but there are considerable
traces of the Visigothic walls of 711, while the twelfth century walls
of Alfonso, the conqueror, are naturally more distinct. Quite recent is
the easy sloping road that winds up from the bridge of Alcántara to the
Zocodover. If one regrets the old double walls that used to guard the
city on this side, it must be admitted that there are agreeable
compensations. The town is more open to the breezes of the Vega; the new
road itself is a comfortable invention as a substitute for the
battlemented and rocky altitude it was once to climb, and the pretty
_Miradero_ makes a graceful modern note in a mediæval picture. But
giving your back to San Servando, and mounting the road of _Nuestra
Señora de la Valle_, you may trace on the other side the broken ramparts
in their extreme age and admirable preservation. And leaving the town by
the _Puerta de Visagra_, wander round by the Vega, and here beyond the
_Puerta Lodada_, you will admire the martial aspect of what remains of
Wamba's jagged walls within and the outer walls of Alfonso that run from
the Puerta Nueva to the Lunatic Asylum.
_Appendix_
The traveller to Toledo will be glad, perhaps, of some practical
information. A guide for a short stay is indispensable. I did not claim
the services of any, so cannot speak from personal experience, but the
proprietor of the Hotel Castilla assures me that his German guide can be
recommended. His charge is ten pesetas a day, nominally eight shillings,
but often considerably less owing to the rate of change. My friend and
guide, the Spanish painter, who came fifteen years ago to Toledo lo
sketch and has since never been able to leave the witching city, highly
recommends a young Italian guide, G. Borraino, who speaks several
languages and knows his Toledo to the last stone. His charge, I imagine,
is less, and he dwells up in the little Plaza de las Carmelitas, above
the Puerta del Cambron, with amiable Italians who make and sell plaster
casts.
There are four hotels in Toledo; the Castilla, the Norte, the Lina, and
the Imperial. The Castilla is the best hotel of Spain, admirably
situated, overlooking, behind, the broad Vega and the long serpentine
Tagus curled upon the landscape. The table is French and good, the rooms
are fine, the service quite modern, the whole fitted up with luxury and
taste. The building is extremely handsome and spacious, with every
modern comfort, and cost the marquis who built it a fortune. He rashly
spent his money, but he is the benefactor of travellers to Toledo, and
such is now the reputation of this first-class hotel that newly married
couples from Madrid, and embassadors in search of distraction, come
here instead of going abroad. Murray's guide-book describes it as dear,
which is not true, for such accommodation and service are cheap enough
at fifteen pesetas a day. Older travellers who have had to put up with
the older hotels give appalling accounts of their experience, so that
for the sake of a few shillings it is the height of folly to be
miserable while sight-seeing, when for very little more, you may enjoy
comfort, harmony, and an excellent table, with the most scrupulous
cleanliness.
The churches should be visited early; tips are everywhere indispensable
but small. A plan of Toledo will be found very useful.
[Illustration: TOLEDO
1 _Santiago Apostolo del Arrabal._
2 _Domingo el Real (Sto) Dominicas._
3 _Domingo el Antiguo._
4 _San Vicente_: _Anejo_.
5 _San Juan Bautista._
6 _Pantheon Provincial._
7 _Biblioteca Publica._
8 _Palazio Arzobiscal._
9 _San Marcos_: _Muzarabe_.
10 _Fabricia de Utensilios Militaires._
11 _Santo Tomé._
12 _Casos de los Templarios._
13 _El Salvador_: _Anejo_.
14 _Taller del Moro._ (_Palacio Arabe_)
15 _San Andrés._
16 _Posada de la Sangre_ (_donde residio Cervantes_)
17 _Plazueta Santa Isabel._
18 _San Clemente._
19 _San Pedro._
20 _San Roman._
21 _Santa Fé._
22 _San Pablo._
]
INDEX
A
ABDERRAMAN, Moorish sovereign, 67.
ABD-AR-RAHMAN III., the Great Khalif, 75, 76.
ABDULLA, 288.
ABEN-EN-NOGUAIRI, 58.
ALCÁZAR, 91, 100, 112, 113, 132, 133, 262.
ALCOCER, historian, 10, 77, 133, 134.
ALCURNIA, 130.
ALFAQUI, the generous Moor who pleaded for his Christian enemies and
whose memory is honoured by a statue in the Cathedral,
Ayuntamiento, 82, 88, 89, 90, 126, 202.
ALFONSO, the Learned, _Cronica General_, origin of Toledo, 6, 76.
ALFONSO VI., 77, 78, 79, 81, 82, 85, 86, 87, 151, 152, 262, 266, 274.
ALFONSO VII., 19, 93, 283.
ALFONSO VIII., 95, 96, 128.
ALFONSO MARTINEZ DE TOLEDO, 97.
ALMAMON, Toledan king, 77, 78, 79.
ALOYSIA DE SIGEA, woman poet of Toledo, 104.
ALVARO DE LUNA. Great Constable, 102, 105, 182, 262.
ALVAR GOMEZ, Chronicler of Cisneros, 13, 108.
ALVAREZ, modern damascene worker, 146.
AMADOR DE LOS RIOS, 162, 216.
AMBROSIA DE MORALES, 279.
AMRON, of Huesca, slaughter of the terrible _Day of the Foss_, 68, 69, 70.
ANGELA SIGEA, woman philosopher, 104.
ANTONIO DE HEREDIA, Toledan poet, 104.
ATANAGILDO, first Gothic sovereign of Toledo, 25, 274.
AUGUSTUS, 15.
AVIENO, 8.
AYALA, great Toledan family, rival of the Silvas, 103, 104, 106, 108.
B
BADDO, Gothic Queen, renounces Arianism, 31.
BAÑO DE LA CAVA, 302.
BAYEU, Spanish painter, 19, 174.
BELACIN, Mûsa's son, who married Rodrigo's widow after the Conquest, 66.
BELTRANAJE, illegitimate daughter of Henry the Impotent, cause of
Portuguese War with Isabel, 106.
BERNARD OF CLUNY, French archbishop of Toledo, who took the
Cathedral from the Moors and introduced the Latin rite, 84.
BERRUGUETE, 150, 161, 162, 280, 290, 291, 293, 296, 298.
BLANCHE, Rodrigo's widow, 66.
BLANCHE OF BOURBON, Pedro the Cruel's ill-treated wife, 99, 100.
BLAZ ORTIZ, 174.
BRISTES, legend of Doña Luz, 49.
BURIAL OF COUNT ORGAZ, El Greco's masterpiece, 203.
C
CAIUS PLANCIUS, 12.
CALDERON, 244, 262.
CARLOS III., 263.
CASA de Mesa, 254, 258.
CASA de las Tornerias, 256.
CASILDA, 287.
CASSIM, Toledan Moorish ruler, 67.
CATHEDRAL, 81, 83, 90, 91, 150, 275.
CAVA, origin of the word, 58.
CERVANTES, 120, 138.
CHARLES QUINT, 108, 109, 113, 262, 290.
CHAPEL of the New Kings, 186.
CHILDE PELAYO, conqueror of Covadonga, and son of Doña Luz, 50.
CHINDASVINTHE, Gothic King, 35.
CHRONIQUE rimée des rois de Tolède, 38, 53.
CID, el Campeador, 81, 85, 86, 87, 133.
CIGARRALES, 131, 295.
CISNEROS' great Cardinal, 107, 108, 109, 282.
CLEPSYDRAS of Az-Zarcal, 247.
CLOISTERS of Cathedral, 174.
CLOISTERS of San Juan de los Reyes, 225.
COMUNEROS, the rising under Juan de Padilla, 110.
COPIN of Holland, 169, 173, 176, 179.
CORO of Cathedral, 161, 162.
CORRAL of Don Diego, 261.
CORTES of Toledo, 107.
COUNCILS of Toledo, 22.
CREDO of Toledo, 23.
CRISTO de la Luz, 274.
CRISTO de la Vega, 276.
D
DACIAN, persecution and death of Leocadia, 19, 20, 21.
DIEGO MOSSEM VALERA, historian, 6.
DOZY, historian, 79.
DENIS, ST, 18, 19.
E
EGICA, 47.
EL GRECO, 193;
his quarrel with the Chapter of Toledo, 197;
his quarrel with Philip II, 201;
his "Assumption," 212.
ENRIQUE of Aragon, 182.
EUGENIUS, first bishop of Toledo, 18, 35, 151.
EXPOLIO of El Greco, 179, 197.
F
FABRICA DE ARMAS, 146.
FAUSTINA DE BOURBON, historian, 60.
FAVILA, 47, 48, 49, 50.
FELIX DE ARTIAGA, sonnets on El Greco, 199.
FERECIO, one of the many supposed Greek founders of Toledo, 8.
FERNANDO of Aragon, husband of Isabel and unnatural father of
Juana, called _La Loca_, 106, 108.
FERNANDO GONZALEZ, 53.
FERNANDO, ST, Castillian monarch, 94, 95, 301.
FERNAN SANCHEZ CALDERON, 105, 106.
FLORINDA, 43, 55, 58.
FRANCISCO DE ROJAS, 267.
FRANCISCO RUIZ, bishop of Avila, 282.
FRAY BAUTISTA MAINO, 199, 269, 270.
FRÊDÉGAIRE, annalist, 33.
FUENSALIDAS, 271.
FUENTE DE GUARRAZAZ, where the famous Gothic votive crowns
were discovered, 44.
G
GALAFRE, 244, 287.
GAMERO, historian, 18, 20, 28, 58, 59.
GARCILASO DE LA VEGA, 137.
GATON, Toledan ally sent by Ordoño, King of Leon,
against the Sultan in 854, 74.
GERARDO LOBO, 258.
GHARBIB, revolutionary poet, 67.
GOSUINDA, wife of Atanagildo, 25.
GOSVINTHA, widow of Leovigildo, who revolts
against her step-son, Recaredo, 30.
GOTHIC Tournament, 55, 56.
GOTHIC votive crowns, 44, 45, 46.
GRACIA DEI, chronicler of Don Pedro; note, 6.
GRAFESES, 47, 50.
GUADALETE, famous battle, 26, 61, 62.
GUNDMAR, 33.
GUTIERREZ TELLO, 293, 296.
H
HACAM, Moorish sovereign, 68.
HACAM, _El Durrete_, insurgent, 72, 73.
HANNIBAL, conquers Toledo, 11.
HASDRUBAL, 10;
his assassination, 11.
HASSADRIN, Jewish writer, 231.
HENRY THE IMPOTENT, 105, 106, 124.
HENRY of Trastamare, 100.
HENRY of Villena, 249.
HERMANDAD, famous brotherhood founded 1223, 93, 94, 129.
HERMENGILDO, prince and martyr, 26, 27, 28, 29.
HILERMO, King of Carpetania, 11.
HINESTROSA, uncle of Maria de Padilla, 99, 100.
HOSPITAL of Santa Cruz, 107, 284.
HOSPITAL of San Juan Bautista or Afuera, 289.
HOTEL CASTILLA, 305.
HUERTA DEL REY, 243.
I
ILDEPHONSO, St, 35.
ISABEL, the great Queen, 106, 107, 185.
ISIDOR, St, 32, 35.
J
JOSÉ GODOZ ALCÁNTARA, 53.
JUAN II., 102, 104.
JUAN GUTTIERREZ TELLO, Toledan Magistrate, 127.
JUANA, unfortunate daughter of Isabel the Catholic, 108, 110, 111.
JUANA DE CASTRO, one of Pedro the Cruel's wives, 101.
JUAN DE MENA, poet; _see_ his famous _Coplas_ on Henry of Villena, 103.
JUAN DE PADILLA, 109, 110, 111, 112.
JUANELO TURRIANO, _see_ description of his _artificio_, 113, 143, 144.
JULIAN, Archbishop, 51.
JULIAN, Florinda's father, and Governor of Ceuta, 58, 60.
L
LEANDER of Seville, 26, 29.
LEGEND of Puerta del Niño Perdido, 236.
LEMBROT, _see_ great tournament, 57.
LEOCADIA, St, 19, 20, 21, 37, 38, 296.
LEOCADIA, St, basilica, 34, 52.
LEOVIGILDO, 26, 27, 28, 29, 30.
LOAYSA, Cardinal, 108.
LOPE DE VEGA, 39, 138.
LORENZANA, Cardinal, 85.
LOUIS, St, of France, 19.
LOZANO, author of the _Reyes Nueves de Toledo_,
15, 16, 17, 18, 47, 48, 49, 50, 101, 245.
LUCY, mother of San Ildephonso, 34.
LUISA SIGEA, woman philosopher, 104.
LUIVA, 32.
LUZ, DOÑA, 47, 48, 49, 50.
M
MAESE RODRIGO, 163.
MAGDALENA, 273.
MAISARA, Spanish renegade, 73.
MALOGRADA, 270.
MARCUS FULVIUS NOBILIOR, 11, 12.
MARCUS JULIUS PHILIPPICUS, 13.
MARIA DE MOLINA, widow of Sancho el Bravo, 132.
MARIA DE PADILLA, 99, 100, 101.
MARIANA, historian, 53.
MARIA PACHECO, the great widow, 110, 112, 113.
MELANCIUS, Bishop of Toledo, 19, 21.
MELIAS, _see_ tale of Doña Luz, 48.
MENDOZA, Cardinal of Spain, 107, 108, 270, 287.
MIRADERO, 303.
MOHAMMED, Sultan, 74.
MONTIEL, tragedy of Pedro Cruel's death, 102.
MORATIN, 244.
MORETO, 258.
MOZARABE chapel, 175.
MUSA, 61, 62, 63.
MUSEO PROVINCIAL, 229.
N
NARCISO TOMÉ, author of celebrated _Trasparente_, 172.
NUESTRA, Señora de la Valle, 140, 303.
O
OCHAVO, 188.
OPPAS, _see_ battle of Guadalete, 61.
P
PACHECO, 195.
PALACE of Fuensalida, 255.
PALACE of Galiana, 243.
PALACE of Garcilaso de la Vega, 257.
PALACE of Juan de Padilla, 257.
PALACE of King Pedro, 250.
PALAZUELOS (Viscount), modern historian of Toledo, 60.
PALOMINO, 193, 194, 198, 208.
PARRO, _Toledo en la Mano_, 269, 294.
PASCUAL DE GALLANGOS, 250.
PAUL, rebel under Wamba, 39, 40.
PEDRO THE CRUEL, 98, 99, 100, 101, 281.
PEDRO DE LAS DUEÑAS, 281, 284.
PEDRO DE NAVARRE, 290.
PEDRO PEREZ, 152, 159.
PEREZ BAYEU, 143.
PERSECUTION of the Jews, 232.
PHILIP II., 19, 107, 263, 276, 284, 293.
PHILIP of Burgundy, 161, 162.
PISA, historian, 19, 20, 129, 131, 279.
PLAZUELA DE MARCHAN, 290.
PONZ, traveller in the last century, 18, 136,
156, 162, 170, 172, 203, 230, 248, 282.
PRISCILIANISTS, 22.
PUENTE DE ALCÁNTARA, 3, 14, 40, 105, 130, 292.
PUERTA DEL CAMBRON, 144, 295.
PUERTA DE SANS MARTIN, 58, 144, 292, 293.
PUERTA DEL SOL, 95, 299.
PUERTA VISAGRA, 129, 279, 289, 295, 297.
PYRRHUS, 6, 35.
Q
QUADRADO, 240.
QUIRICUS, Bishop, 38.
QUIROGA, 276, 280.
QUIROGA, Archbishop, 131.
QUO VADIS chapel, 175.
R
RASIS EL MORO, 57, 133, 292.
RECAREDO, 30, 31, 32.
RECESVINTHUS, 35.
RETABLO of Cathedral, 169.
RIVERA, choir-master of Toledo, 19.
RODRIGO, last of Gothic Kings, 16,, 40, 51, 55, 56, 57, 58, 60, 61, 62.
RODRIGO JIMENEZ DE RADA, 9, 54, 84, 91, 92, 93, 130, 152.
S
SALA CAPITULAR, 179.
SAMUEL LEVI, 250.
SAN ANDRÈS, 266.
SAN CLEMENTE, 283.
SAN GENES, church, 43.
SAN ILDEPHONSO (chapel), 182.
SAN JOSÉ, 209.
SAN JUAN DE LA PENITENCIA, 282.
SAN JUAN DE LOS REYES, 216.
SAN PEDRO MARTIR, 267.
SAN ROMAN, 266, 271.
SAN SERVANDO, 261.
SAN TOMÉ, 266.
SAN VICENTE, 212.
SANCHO, Alfonso VI.'s little son, died on the battlefield at eleven, 87.
SANTA CRUZ, 284.
SANTO DOMINGO EL ANTIGUO, 207.
SANTO DOMINGO EL REAL, 284.
SANTA FÉ, 281.
SANTA ISABEL, 283.
SANTA MARIA LA BLANCA, 238.
SANTIAGO (chapel), 182.
SARMIENTO, revolutionary chief and tyrant, 105.
SERTORIUS, 12.
SILICEO, Cardinal, 17.
SILVAS, great Toledan family, 103, 106, 108.
SISEBUTH, 33.
SOLOMON'S table, 65.
STAREMBERG, 265.
STEPHEN, father of San Ildephonso, 34.
ST JOHN THE BAPTIST of El Greco, 180, 291.
ST JOHN THE EVANGELIST of El Greco, 181.
ST MARTIN by El Greco, 209.
ST VICENTE FERRER, 239.
STREET quoted in chapter on the Cathedral, 157, 158, 159, 160.
SUINTHILA, 34.
SWORD makers of Toledo, 148.
T
TAGO, Governor of Toledo, 10, 11.
TAILHAN, the _père_, 53, 61.
TALLER DEL MORO, Moorish palace, said to be where
the tragic _day of the Foss_ took place, 70, 260.
TARIK, 61, 62, 65.
TAVERA, Cardinal, 131, 289, 290.
TENORIO, Cardinal, 97, 174, 262, 294.
TOLEDAN laws, 97, 98.
TOWER, 189.
TRANSITO, 231.
TRASPARENTE, 171.
TREASURY, 186.
TRISTAN, El Greco's favourite pupil, 199, 205.
V
VALLE DE LA DESGOLLADA, 143.
VERGARA, 161, 166.
VILLALAR, where the great _Comuneros_, Juan de
Padilla, Maldonado, and Bravo were taken and beheaded, 111, 112.
VLLLALPANDO, 166.
VILLENA, Marquis of, astronomer and celebrated scholar, 103.
VIRGEN DEL ROSARIO, 269.
VIRIATE, 12, 14.
VITERICO, 32.
W
WALLS of Toledo, 302.
WAMBA, the greatest Gothic King, 38, 39, 40, 41, 46, 293.
WITIZA, 51, 52, 53, 54.
Y
YAHYA, the last Moorish sovereign of Toledo, 80.
Z
ZOCODOVER, 57, 112, 116, 119, 120, 127, 281, 284.
ZORILLA, 280.
PRINTED BY
TURNBULL AND SPEARS,
EDINBURGH
FOOTNOTES:
[1] Tubal, grandson of Noah, son of Japhet his son, peopled Spain,
that I know for sure. And he was the first King from whom the name of
Tubalia. And this first King through fright, made his seat in Toledo,
because of the waters he did not dare to settle in the plain, but
chose the rocky heights. This was forty and three and a hundred years
more after the great and savage deluge. And after Tubal reigned Ibero,
from whom is said Iberia. Entered Tago with courage, who peopled the
South, and much enlarged Toledo and the Tagus, and in conclusion, to
his kingdom gave the name of Taja.
Hijo, de Japhet su hijo,
Poblo à España, cierto sé,
Y es el primer rey que fué,
Por quien Tubalia se dijo.
Y esto primer rey de miedo
Hizo su assiento en Toledo
Que pon las aguas no ha ossado
En lo llano hacer poblado
Sino en alto y en roquedo.
"Esto fué a quarenta y tres
Y mas cien años despues
Del diluvio grande, y fiero,
Y tras Tubal reyno Ibero,
Por quien dicha Iberia es,
Entra Tajo, con denuedo,
Que poblo en el meridion,
Y aumento mucho a Toledo,
Y al Tajo y su reyna ledo
Nombro Taga en conclusion."
[2] A document exists purporting to be the original letter sent by the
Jews of Toledo to their co-religionists of Jerusalem at the time of
the Crucifixion. It is addressed: _Levi archisinagogo é Samuel Joseph,
omes bonos de la aljama de Toledo à Eleazar mint gran sacerdote é à
Samuel Ecaniet, Annas y Caiphas, omes bones de la aljama de la terra
sancta, salud en el Dios de Israel_. It is signed: De Toledo à XIV.
dais del mes de Nizan era del César XVIII. y de Augusto Octaviano LXX.
But the "omes bonos" of the Holy Land had settled the question before
the lengthy epistle of the "good men" of Toledo reached them.
[3] Conde de Mora: "Historia de Toledo."
[4] "Bib. Nat.," p. 16, v. 21
[5] It was chiefly in other Gothic towns that Wamba's fortifications
were demolished. Toledo comparatively escaped.
[6] My notes from the Chronicle says _a hundred thousand workshops_,
but this in revision seems a slip of the pen. Such a number of
workshops even at so flourishing an hour would have encumbered Toledo
very seriously, I imagine.
[7] Dozy regards Count Julian as an authentic historical figure though
both his rank and authority are undefined. He believes he was neither
a vassal nor a Spanish subject, and consequently no traitor. But was
he a Berber, a Greek, an independent prince or tributary of Spain or
of the Emperor of Constantinople? Dozy suggests he may have been an
Arabian governor of Ceuta, under the Byzantine emperor, while Arabian
authors describe him as a mere merchant.
[8] Mr Stanley Lane Poole in his "Moors in Spain" (wherein he accepts
the old-fashioned but improbable legend of Julian or Florinda as
history) suggests that Rodrigo was drowned and washed out by the great
ocean, and describes the last of the Goths as a kind of legendary
Arthur, enfolded in mystery and awaited by his mourning subjects like
the Irish Knights who in mediæval times were expected to return from
some dim region of rest to take up again the burden of our life, and
lead their followers to victory and prosperity.
[9] Rasis el Moro, Spain, MS. Bib. Pro.--Toledo.
[10] Abou-l-Hasan: Dozy, _Recherches sur l'histoire et la littérature
d'Espagna_.
[11] "Histoire de Philippe II." by H. Fornaron.
[12] The Archbishop of Zamora, Antonio de Acuña, a fierce _comunero_,
commanded in the absence of Padilla, and was mighty profane in his
method of war for an archbishop. After leading his troops against the
King's Castle of Aguila, he resolutely stormed the Cathedral gates and
maltreated the resident canons. The insurgents held the cloisters and
prevented the celebration of any church office during their stay. The
unfortunate chapter was kept for three entire days and nights from
sleeping or eating. What an incredible scandal in hieratic Toledo!
[13] Complaining at the Hotel Castilla to a Spanish painter of my
daily persecution at the hands of the beggars of Toledo, I threatened
to visit the Governor and make my plaint. The artist, something of a
humorist, gravely said, "His Excellency the Governor will listen to
you with all courtesy and attention, and when you have finished, he
will hold out his hand with a graceful gesture, and say: _Da mi una
limosna tambien_ (Give me also alms).
[14] Bibliotica provincial de Toledo.
[15] MS. correspondence of Lope de Vega in possession of Señor
Menendez y Pelayo.
[16] Street's visit to Toledo was unfortunately hurried, or he
would have been forced to change many of his views. Had he seen the
cathedral from Nuestra Señora de la Valle, considerably above the
bridge of San Martin, he would have found it prominent.
[17] _De Toletano Hebraeorum Templo_, MS. Bib. Pro. Toledo.
[18] MS. correspondence of Lope de Vega, in possession of Señor
Menendez y Pelayo.
[19] MS. _De Toletano Hebraeorum Templo_, Bib. Provincial, Toledo.
[20]
Galiana of Toledo
Most beautiful and marvellous!
The Moor the most celebrated
Of all the Moorish race.
Mouth of rosy pinks,
High bosom that palpitates,
Ivory forehead adorned with
The flaming gold of Tyre.
[21] Wamba, Gothic King, restored the walls of this city, and offered
them in Latin verses to God and the saints, its patrons; the Moors
effaced them and placed instead blasphemies and errors in Arabian
letters. King Philip II., in religious zeal and to preserve the memory
of the departed Kings, ordered Gutierrez Tello, city magistrate, to
efface them and place, along with the patron saints, the verses of
King Wamba.
* * * * *
Typographical errors corrected by the etext transcriber:
Gamera=> Gamero {pg 18}
Toleda is mournful=> Toledo is mournful {pg 74}
Almamon=> Almanon {pg 79}
Abon l. Hasan=> Abou-l-Hasan {pg 79}
Gonzala Ruiz=> Gonzalo Ruiz {pg 132}
Toribio Rodrignez=> Toribio Rodriguez {pg 174}
fomnder's=> founder's {pg 176}
Hospital de Afuero=> Hospital de Afuera {pg 200}
The facade=> The façade {pg 245}
vegado te lloro=> vegada te lloro {pg 249}
ofrció en versos latinos=> ofreció en versos latinos {pg 293}
ALFONSO VII., 19.
ALFONSO VII., 93, 283.=> ALFONSO VII., 19, 93, 283. {pg 307}