ring has its technical name, such as _pase de pecho_, _pase natural_,
and _paso por alto_, and all these tricks are closely watched and
criticised by the vast concourse of spectators. Fuentes has written
learnedly upon the theory and practice of his art, describing the
various _pases_ minutely. Those who are interested in the literature of
the bull-ring will find a complete account of the life of the bull from
the placid days of youth upon the plains, down to the last tragic scene
in the Plaza, in _Los Toros_, an illustrated pamphlet by E. Contreras y
R. de Palacio. Fuller and more advanced “tauromachian” literature may be
purchased in Madrid. Among the works of note are Bedoya’s _Historia del
Toreo_, _Annales del Toréo_, by Velazquez, and _En la Plaza_, by Pascual
Millan. There are several magazines and journals much read by the
devotees of the sport, such as _La Lidia_ and _El Toréo_. Bull-fighting
is a subject of perennial interest in Madrid, and the _literatura
taurina_, issued in the city, would fill many book-shelves.
Pascual Millan describes the bull-fight as “a grand spectacle in which
art, bravery, nobility, light, sun, colour, animation, and beauty” all
play a part. This writer asserts that the theories of bull-fighting can
rarely be carried into practice, as there is nothing stable or fixed in
the art. Pepe-Illo, a famous _espada_, wrote a treatise on the conduct
of the fighter in the arena, which was highly interesting; but, had his
views been put into practice, they would “have excluded every
bull-fighter from the arena.” Señor Millan thinks that rules are
impossible; that everything done in the ring is the outcome of
inspiration on the spur of the moment. Lagartijo sums up the matter
thus: “Bull-fighting is very simple: you place yourself in front of the
bull, the bull comes and you move away; you do not move away, then the
bull moves you away. And there you are.”
The directions as to moving aside when the bull charges are plain
enough, and the counsel is obvious. But in the method of avoiding the
horns of the bull lies the art of the _espada_, and in this movement he
reveals his genius, and displays adroitness, grace, and daring. No
proficient performer ever allows _toro_ to chase him about the ring. He
bounds aside as the bull bears down upon him, and receives the furious
attack of the beast upon the fluttering _muleta_. Sometimes the red
cloth is waved aloft, high over the bull’s horns, causing the animal to
rear upon his hind legs in a savage effort to wreak his rage on the
offending _muleta_. An expert _torero_ knows perfectly well that the
bull directs his fury at the fluttering cloth or cloak rather than at
the man who manipulates it.
The boldest of bull-fighters, Espartero, stood so pluckily in the path
of a charging bull that he was more than once thrown several yards by a
violent butt from the beast’s horns. This fighter used to employ his
fists upon the bull’s head, and his method was always to fight at the
closest quarters. It was said that Espartero suffered more fear of
hunger than of death by the horns of a bull; and in his desire for fame
and wealth, he continually courted tragedy in the ring and behaved with
reckless daring. Espartero was killed in 1894 during a fight with the
first bull of the day.
Guerra retired in 1899, and his leave-taking was a source of much regret
among the _aficionados_ of bull-fighting, who declared that he was the
last of the great _toreros_. Pascual Millan, the chronicler of modern
bull-fighting, asserts that the successors of Guerra cannot be compared
with him for refinement and grace in their displays. He gives prominence
to Antonio Fuentes, “the only one who came into the ring with some
foundation, bringing a certain personal note which raised him a few
inches above the common level.” Among the living exponents of the art of
the _espada_ may be mentioned Torerito, Torres, Reverte, Ronal,
Algabeño, and above all, “Bombita.”
The _corrida_ may seem to assume an undue importance in the life of
Spain. It is, however, to be regarded as a reflection of the Spanish
character, and bull-fighting in Madrid cannot be dismissed as a mere
recreation of the mob. Bull-fighting is taken seriously among a
serious-minded people, who regard it as one of the great institutions of
the country. It is a survival of the warlike temper, a manifestation of
the love of courage and the admiration for endurance, and it remains as
the last vestige of the traditions of the age of chivalry in Spain.
This intense enthusiasm, this profound interest in the killing of bulls
is bewildering to the foreigner, who cannot accept the sport in such a
serious spirit. It is almost as grave a matter as a canon of the Church
whether an _espada_ wields the sword in accordance with the tradition of
the ring. The writers upon bull-fighting are divided into schools of
critics and eulogists, who dissect every _pase_ minutely, or extol the
“æsthetics” of a finished artist with the darts or the sword. There are
volumes of serious literature upon the _lidia_, which amaze the stranger
who peruses them. We have nothing like it in the sporting literature of
England. Our books upon hunting or racing are not written with all the
earnestness and fervour of treatises on matters of faith; but the
taurine monographs of Spain are composed in the temper of piety, and the
rules of the ring are set down as though they were the articles of a
creed. When a famous jockey appears in the street, he is not mobbed by a
crowd of admirers; but the _espada_ in Spain is acclaimed everywhere as
a great hero and the darling of the people.
Bull-fighting is a deep-rooted passion of the people of Spain, and it
has to be reckoned with in any examination of the Spanish character. Its
ethics and its sociological significance cannot be discussed here. We
must accept the _corrida_, whether we approve of it or not, as one of
the chief institutions of the capital of Spain. Madrid is the Mecca of
the bull-fighter.
X
CAFÉ LIFE OF THE MADRILEÑOS
In every part of Spain the _café_ is a popular resort and the rendezvous
of friends. Here all classes foregather to discuss the news, to
criticise the new bull-fighter, to extol a favourite dancer, to transact
business, to play at dominoes or draughts, to read the journals, to sip
coffee, and to smoke cigarettes. Many hours of each day are dedicated by
the Madrileño to the _café_. He goes there as a matter of routine for
his morning _refresco_, and again in the evening for his coffee with a
dash of spirit.
The _cafés_ are comfortable, and they provide for different classes of
customers. They are never decorated in a resplendent manner; but, as
Gautier observed, “this want of splendour is amply compensated by the
excellence and variety of the refreshments.” Gautier mentions the Café
de Levante among others, and this is still a favourite resort of
men-about-town. In the Calle de Alcalá are three representative
coffee-houses, the Café de Madrid, the Café Suizo, and the Café de
Fornos. The Café Inglés is in the Calle de Sevilla. The houses of
refreshment in the Puerta del Sol are the resort of all types of Madrid
character, from the diplomat to the professional swindler. From nine
o’clock in the evening until two in the morning these _cafés_ are
thronged. The customary beverage is _café con leche_ (coffee with milk)
or black coffee, with a drop of cognac. Light wines and spirits are also
provided, but these are used sparingly by the majority of the
Madrileños, for, whatever may be the faults of the Spaniard,
immoderation in the use of alcohol is certainly not one of them.
To attract the attention of the waiters at the _cafés_, you clap your
hands, or make a hissing sound between your closed teeth. The coffee is
usually excellent, and the spirit is brought to you in a bottle marked
with measures. The crowds in the Madrid _cafés_ lack the picturesqueness
of those in some of the smaller towns of Castile, Murcia, and Andalusia,
where the dress of the provinces is still worn. You will see no majas in
the capital; the grisettes of Madrid cannot be distinguished from the
rest of the female population. The _capa_ is, however, still worn by men
of almost all ranks, and these, and the broad-brimmed hats, give a touch
of the romantic to the throngs in the coffee-houses of the Puerta del
Sol.
There are wine-shops and taverns in Madrid, but the seats are not
luxurious, and there is no display of carved mahogany and engraved
glass, and no separation of the classes. The “accommodation” may be
somewhat rude; still the wine is good and cheap, and the tone and
atmosphere of the _posada_ are more wholesome than those of the London
public-house. A glass of the wine of the country can be bought for a
penny in these taverns, and the finest wines cost only a few pence the
glass. Immense wine-barrels flank the walls, and there is an array of
spirit and fruit syrup bottles behind the counter.
The chief hotels of Madrid are the Hotel de la Paz, Hotel del Universo,
the Roma, and the Hotel de Paris. They are centrally situated, and
fairly well appointed. The meals are _almuerzo_ and _comida_,
corresponding to luncheon and dinner. There is no meal in Spain
resembling the hearty English breakfast. The Spaniard takes a cup of
chocolate and a dry roll upon rising, and goes about his business or his
pleasure until eleven or twelve o’clock, when _almuerzo_, the first real
meal of the day, is served.
Some of the Spanish dishes are only palatable to English people after a
taste for them has been sedulously cultivated. Many of the viands are
flavoured with garlic. The _menu_ for _comida_ consists of soup, fish,
an egg dish, meat, sometimes a _puchero_ or stew, and cakes and fruit.
Table wine is usually provided free of charge. Every man smokes in the
dining-room, both during and after meals.
Among the best restaurants are the Fornos, the Italiano and the
Inglés.
PRINTED BY
TURNBULL AND SPEARS
EDINBURGH
[Illustration: PLATE 1.
MADRID
_Specially drawn for The Spanish Series_]
[Illustration: PLATE 2.
ARMS OF MADRID]
[Illustration: PLATE 3.
GENERAL VIEW OF MADRID.]
[Illustration: PLATE 4.
VIEW OF MADRID FROM THE TEJA.]
[Illustration: PLATE 5.
GENERAL VIEW OF MADRID.]
[Illustration: PLATE 6.
VIEW OF MADRID FROM SAN ISIDRO.]
[Illustration: PLATE 7.
THE FOUNTAIN OF CYBELE AND CALLE DE ALCALÁ.]
[Illustration: PLATE 8.
THE NORTHERN RAILWAY STATION AND ROYAL PALACE.]
[Illustration: PLATE 9.
PUERTA DEL SOL.]
[Illustration: PLATE 10.
PUERTA DEL SOL.]
[Illustration: PLATE 11.
CALLE DE ALCALÁ.]
[Illustration: PLATE 12.
CALLE DE ALCALÁ.]
[Illustration: PLATE 13.
CALLE DE ALCALÁ.]
[Illustration: PLATE 14.
CALLE DE ALCALÁ.]
[Illustration: PLATE 15.
CARRERA DE SAN JERÓNIMO.]
[Illustration: PLATE 16.
CALLE DE ALCALÁ.]
[Illustration: PLATE 17.
CALLE DE SEVILLA.]
[Illustration: PLATE 18.
CALLE DE ALCALÁ.]
[Illustration: PLATE 19.
PLAZA DE CASTELAR.]
[Illustration: PLATE 20.
CALLE DE TOLEDO.]
[Illustration: PLATE 21.
IN OLD MADRID.]
[Illustration: PLATE 22.
PASEO DE RECOLETOS.]
[Illustration: PLATE 23.
PASEO DE RECOLETOS.]
[Illustration: PLATE 24.
PASEO DE RECOLETOS.]
[Illustration: PLATE 25.
PASEO DE RECOLETOS.]
[Illustration: PLATE 26.
CALLE DE ALCALÁ AND STATUE OF AGUIRRE.]
[Illustration: PLATE 27.
PASEO DE LA CASTELLANA.]
[Illustration: PLATE 28.
PLAZA DE ISABEL II.]
[Illustration: PLATE 29.
PLAZA DE ORIENTE.]
[Illustration: PLATE 30.
PLAZA MAYOR.]
[Illustration: PLATE 31.
PLAZA MAYOR.]
[Illustration: PLATE 32.
PLAZA MAYOR AND STATUE OF PHILIP III.]
[Illustration: PLATE 33.
CALLE DE SERRANO.]
[Illustration: PLATE 34.
CALLE DE LA PRINCESA ON GOOD FRIDAY.]
[Illustration: PLATE 35.
ENTRANCE TO THE PARK OF ALFONSO XIII.]
[Illustration: PLATE 36.
CASA DE CAMPO. THE LAKE.]
[Illustration: PLATE 37.
TOLEDO BRIDGE.]
[Illustration: PLATE 38.
TOLEDO BRIDGE.]
[Illustration: PLATE 39.
TOLEDO BRIDGE.]
[Illustration: PLATE 40.
SEGOVIA BRIDGE.]
[Illustration: PLATE 41.
ENTRANCE TO THE RETIRO.]
[Illustration: PLATE 42.
ENTRANCE TO THE RETIRO.]
[Illustration: PLATE 43.
PRINCIPAL ENTRANCE TO THE RETIRO.]
[Illustration: PLATE 44.
RETIRO. THE PARTERRE.]
[Illustration: PLATE 45.
RETIRO. THE LAKE.]
[Illustration: PLATE 46.
RETIRO. THE CRYSTAL PALACE.]
[Illustration: PLATE 47.
Retiro. Arab Pavilion.]
[Illustration: PLATE 48.
RETIRO. ARAB TEMPLE.]
[Illustration: PLATE 49.
GATE OF ALCALÁ.]
[Illustration: PLATE 50.
GATE OF HIERRO.]
[Illustration: PLATE 51.
GATE OF TOLEDO.]
[Illustration: PLATE 52.
CHAMBER OF DEPUTIES.]
[Illustration: PLATE 53.
THE CORTES. TWO BRONZE LIONS IN FRONT OF THE PALACE.]
[Illustration: PLATE 54.
INTERIOR OF THE CHAMBER OF DEPUTIES.]
[Illustration: PLATE 55.
INTERIOR OF THE CHAMBER OF DEPUTIES.]
[Illustration: PLATE 56.
RECEPTION ROOM AT THE CHAMBER OF DEPUTIES. DECORATED BY DON A. MÉLIDA.]
[Illustration: PLATE 57.
RECEPTION ROOM AT THE CHAMBER OF DEPUTIES. DECORATED BY DON A. MÉLIDA.]
[Illustration: PLATE 58.
FAÇADE OF THE HOSPITAL. CALLE FUENCARRAL.]
[Illustration: PLATE 59.
LA LATINA.]
[Illustration: PLATE 60.
PORTAL OF THE HOSPITAL OF THE CONCEPTION OR “LA LATINA” IN THE CALLE DE
TOLEDO.]
[Illustration: PLATE 61.
STAIRCASE OF LA LATINA.]
[Illustration: PLATE 62.
PORTAL AND STAIRCASE OF THE HOSPITAL DE LA LATINA.]
[Illustration: PLATE 63.
ARABIAN PALACE OF THE PRADO.]
[Illustration: PLATE 64.
ARABIAN PALACE OF THE PRADO.]
[Illustration: PLATE 65.
LUJANES TOWER.]
[Illustration: PLATE 66.
THE AGUIRRE SCHOOL.]
[Illustration: PLATE 67.
THE SPANISH THEATRE.]
[Illustration: PLATE 68.
THE ROYAL THEATRE.]
[Illustration: PLATE 69.
THE TREASURY OFFICE IN THE CALLE DE ALCALÁ.]
[Illustration: PLATE 70.
PALACE OF THE MARQUÉS DE PORTUGALETE.]
[Illustration: PLATE 71.
PALACE OF THE MARQUÉS DE LINARES.]
[Illustration: PLATE 72.
THE BANK OF SPAIN.]
[Illustration: PLATE 73.
THE WAR OFFICE.]
[Illustration: PLATE 74.
SOUTHERN FAÇADE OF THE MUSEUM AND THE STATUE OF MURILLO.]
[Illustration: PLATE 75.
THE PRADO GALLERY. NORTH FAÇADE.]
[Illustration: PLATE 76.
THE PRADO GALLERY.]
[Illustration: PLATE 77.
THE NEW EXCHANGE.]
[Illustration: PLATE 78.
THE TOWN HALL.]
[Illustration: PLATE 79.
THE NORTHERN RAILWAY STATION.]
[Illustration: PLATE 80.
CÍRCULO DE CONTRIBUYENTES.]
[Illustration: PLATE 81.
THE SENATE HOUSE.]
[Illustration: PLATE 82.
HISPANO-AMERICAN BANK.]
[Illustration: PLATE 83.
THE SPANISH ACADEMY.]
[Illustration: PLATE 84.
THE ATOCHA STATION.]
[Illustration: PLATE 85.
NATIONAL LIBRARY.]
[Illustration: PLATE 86.
THE NATIONAL LIBRARY AND MUSEUM.]
[Illustration: PLATE 87.
NATIONAL LIBRARY. DETAIL OF THE FAÇADE.]
[Illustration: PLATE 88.
NATIONAL LIBRARY AND MUSEUM. EAST FAÇADE.]
[Illustration: PLATE 89.
NATIONAL LIBRARY. SPHINX.]
[Illustration: PLATE 90.
THE EQUITABLE BUILDINGS IN THE CALLE DE ALCALÁ.]
[Illustration: PLATE 91.
STATUE OF MARÍA CRISTINA AND MUSEUM OF REPRODUCTIONS.]
[Illustration: PLATE 92.
INTERIOR OF THE NEW EXCHANGE.]
[Illustration: PLATE 93.
THE HOME OFFICE.]
[Illustration: PLATE 94.
ASTRONOMICAL OBSERVATORY.]
[Illustration: PLATE 95.
THE EXCHANGE.]
[Illustration: PLATE 96.
THE WAR OFFICE.]
[Illustration: PLATE 97.
THE TOWN HALL.]
[Illustration: PLATE 98.
MINISTERIO DE FOMENTO.]
[Illustration: PLATE 99.
HERMITAGE OF SAN ISIDRO.]
[Illustration: PLATE 100.
REFUGE OF OUR LADY OF MERCY.]
[Illustration: PLATE 101.
CHURCH OF SAN FRANCISCO EL GRANDE.]
[Illustration: PLATE 102.
SAN FRANCISCO EL GRANDE.
GENERAL VIEW FROM THE CHOIR.]
[Illustration: PLATE 103.
SAN FRANCISCO EL GRANDE. THE CONCESSION OF THE JUBILEE OF THE
PORCIÚNCULA.]
[Illustration: PLATE 104.
SAN FRANCISCO EL GRANDE. LEFT SIDE OF THE CUPOLA.]
[Illustration: PLATE 105.
CRYPT IN THE ALMUDENA CATHEDRAL.]
[Illustration: PLATE 106.
THE CATHEDRAL. PARTIAL VIEW OF THE CRYPT.]
[Illustration: PLATE 107.
CHURCH OF LAS CALATRAVAS.]
[Illustration: PLATE 108.
LAS CALATRAVAS.]
[Illustration: PLATE 109.
CHURCH OF EL BUEN SUCESO.]
[Illustration: PLATE 110.
GENERAL VIEW OF THE CHURCH EL BUEN SUCESO.]
[Illustration: PLATE 111.
CHURCH OF SAN JOSÉ.]
[Illustration: PLATE 112.
CHURCH OF SAN ISIDRO EL REAL.]
[Illustration: PLATE 113.
INTERIOR OF THE CHURCH OF SAN ISIDRO.]
[Illustration: PLATE 114.
CHURCH OF LA VIRGEN DEL PUERTO.]
[Illustration: PLATE 115.
CHURCH OF LAS SALESAS. THE SUFFERING CHRIST.]
[Illustration: PLATE 116.
CHURCH OF SAN CAYETANO.]
[Illustration: PLATE 117.
ALTAR PIECE IN THE BISHOP’S CHAPEL.]
[Illustration: PLATE 118.
DOOR IN THE BISHOP’S CHAPEL.]
[Illustration: PLATE 119.
THE BISHOP’S CHAPEL. LEFT SIDE OF THE DOOR.]
[Illustration: PLATE 120.
THE BISHOP’S CHAPEL. RIGHT SIDE OF THE DOOR.]
[Illustration: PLATE 121.
THE BISHOP’S CHAPEL. UPPER PART OF THE DOOR.]
[Illustration: PLATE 122.
THE BISHOP’S CHAPEL. SEPULCHRE OF THE BISHOP OF PLASENCIA.]
[Illustration: PLATE 123.
THE BISHOP’S CHAPEL. SEPULCHRE OF DON FRANCESCO DE VARGAS.]
[Illustration: PLATE 124.
THE BISHOP’S CHAPEL. SEPULCHRE OF DOÑA INES DE CARVAJAL.]
[Illustration: PLATE 125.
PARISH CHURCH OF ST ANDREW. SEPULCHRE OF SAN ISIDRO PLOUGHMAN, PATRON
SAINT OF MADRID.]
[Illustration: PLATE 126.
INTERIOR OF THE CHURCH OF SAN JERÓNIMO.
FROM A PICTURE IN THE PRADO OF THE PRINCE OF THE ASTURIAS (FERDINAND
VII.) TAKING THE OATH OF ALLEGIANCE IN 1789.]
[Illustration: PLATE 127.
VIEW OF THE INTERIOR OF THE CHURCH OF SAN JERÓNIMO.]
[Illustration: PLATE 128.
SAN ANTONIO DE LA FLORIDA.]
[Illustration: PLATE 129.
CHURCH OF SAN ANTONIO DE LA FLORIDA.]
[Illustration: PLATE 130.
INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.]
[Illustration: PLATE 131.
FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
[Illustration: PLATE 132.
FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
[Illustration: PLATE 133.
FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
[Illustration: PLATE 134.
FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
[Illustration: Plate 135.
GROUP OF ANGELS IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
[Illustration: PLATE 136.
GROUP OF ANGELS IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
[Illustration: PLATE 137.
INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.]
[Illustration: PLATE 138.
SAN ANTONIO DE LA FLORIDA. PAINTING IN THE PRINCIPAL CHAPEL, BY GOYA.]
[Illustration: PLATE 139.
SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE CENTRES OF THE INTRADOS OF
THE CHOIR AND PRINCIPAL CHAPEL ARCHES, BY GOYA.]
[Illustration: PLATE 140.
SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE SPRINGINGS OF THE INTRADOS
OF THE PRINCIPAL CHAPEL ARCHES, BY GOYA.]
[Illustration: PLATE 141.
SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE SPRINGINGS OF THE INTRADOS
OF THE CHOIR ARCHES, BY GOYA.]
[Illustration: PLATE 142.
SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE INTRADOS OF THE CHAPEL ARCH,
LEFT SIDE, BY GOYA.]
[Illustration: PLATE 143.
SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE INTRADOS OF THE CHAPEL ARCH,
RIGHT SIDE, BY GOYA.]
[Illustration: PLATE 144.
SAN ANTONIO DE LA FLORIDA. TRIANGLES FORMED BY THE DOME ADJOINING THE
PRINCIPAL CHAPEL, BY GOYA.]
[Illustration: PLATE 145.
SAN ANTONIO DE LA FLORIDA. TRIANGLES FORMED BY THE DOME ADJOINING THE
CHOIR, BY GOYA.]
[Illustration: PLATE 146.
SAN ANTONIO DE LA FLORIDA. PAINTINGS AT THE LEFT SIDES OF THE WINDOWS OF
THE DOME, BY GOYA.]
[Illustration: PLATE 147.
SAN ANTONIO DE LA FLORIDA. PAINTINGS AT THE RIGHT SIDES OF THE WINDOWS
OF THE DOME, BY GOYA.]
[Illustration: PLATE 148.
SAN ANTONIO DE LA FLORIDA. FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE
CENTRE, BY GOYA.]
[Illustration: PLATE 149.
SAN ANTONIO DE LA FLORIDA. SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE
CENTRE, BY GOYA.]
[Illustration: PLATE 150.
SAN ANTONIO DE LA FLORIDA. CENTRE OF THE COMPOSITION ON THE CUPOLA
FACING THE ENTRANCE, BY GOYA.]
[Illustration: PLATE 151.
SAN ANTONIO DE LA FLORIDA. FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE
CENTRE, BY GOYA.]
[Illustration: PLATE 152.
SAN ANTONIO DE LA FLORIDA. SECOND GROUP ON THE CUPOLA TO THE RIGHT OF
THE CENTRE, BY GOYA.]
[Illustration: PLATE 153.
THE PRADO.]
[Illustration: PLATE 154.
THE PRADO.]
[Illustration: PLATE 155.
THE PRADO GALLERY.]
[Illustration: PLATE 156.
THE PRADO. THE VELAZQUEZ GALLERY.]
[Illustration: PLATE 157.
MADRID PICTURE GALLERY]
[Illustration: PLATE 158.
MADRID PICTURE GALLERY.]
[Illustration: PLATE 159.
SCENE IN THE LIFE OF SANTO DOMINGO DE GUZMAN, BY PEDRO BERRUGUETE.
PRADO.]
[Illustration: PLATE 160.
ECCE HOMO, BY LUIS DE MORALES.
PRADO.]
[Illustration: PLATE 161.
THE BAPTISM OF CHRIST, BY NAVARRETE.
PRADO.]
[Illustration: PLATE 162.
PORTRAIT OF DON CARLOS, SON OF PHILIP II., BY ALONSO SÁNCHEZ COELLO.
PRADO.]
[Illustration: PLATE 163.
THE INFANTAS ISABEL CLARA EUGENIA AND CATALINA MICAELA, DAUGHTERS OF
PHILIP II., BY ALONSO SÁNCHEZ COELLO.
PRADO.]
[Illustration: PLATE 164.
JACOB RECEIVING THE BLESSING OF HIS FATHER ISAAC, BY RIBERA.
PRADO.]
[Illustration: PLATE 165.
VISION OF ST PETER THE APOSTLE TO ST PETER NOLASCO, BY ZURBARÁN.
PRADO.]
[Illustration: PLATE 166.
LOS BORRACHOS, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 167.
THE FORGE OF VULCAN, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 168.
THE SURRENDER OF BREDA, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 169.
PHILIP IV., BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 170.
QUEEN ISABEL OF BOURBON, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 171.
DON BALTASAR CARLOS, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 172.
PHILIP IV. IN HUNTING COSTUME, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 173.
DON BALTASAR CARLOS IN HUNTING COSTUME, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 174.
DUKE OF OLIVARES, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 175.
ÆSOP, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 176.
ST ANTONY ABBOT VISITING ST PAUL, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 177.
LAS HILANDERAS, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 178.
LAS MENINAS, BY VELAZQUEZ.
PRADO.]
[Illustration: PLATE 179.
OUR LADY OF THE IMMACULATE CONCEPTION, BY MURILLO. PRADO.]
[Illustration: PLATE 180.
EL TIÑOSO: ST ELIZABETH OF HUNGARY TENDING THE SICK IN HER HOSPITAL, BY
MURILLO.
PRADO.]
[Illustration: PLATE 181.
FATHER CABANILLAS, BY MURILLO.
PRADO.]
[Illustration: PLATE 182.
THE CHILD JESUS AS SHEPHERD, BY MURILLO.
PRADO.]
[Illustration: PLATE 183.
DETAIL OF PLATE 179, BY MURILLO.
PRADO.]
[Illustration: PLATE 184.
THE VISION OF ST BERNARD, BY MURILLO.
PRADO.]
[Illustration: PLATE 185.
THE VIRGIN OF THE ROSARY, BY MURILLO.
PRADO.]
[Illustration: PLATE 186.
THE CHILD ST JOHN, BY MURILLO.
PRADO.]
[Illustration: PLATE 187.
THE CHILDREN, JESUS AND ST JOHN, KNOWN BY THE NAME OF “LOS NIÑOS DE LA
CONCHA,” BY MURILLO.
PRADO.]
[Illustration: PLATE 188.
THE HOLY FAMILY AND THE BIRD, BY MURILLO.
PRADO.]
[Illustration: PLATE 189.
HEAD OF THE HOLY SHEPHERD (FRAGMENT), BY MURILLO.
PRADO.]
[Illustration: PLATE 190.
LA PORCIÚNCULA (THE VISION OF ST FRANCIS), BY MURILLO.
PRADO.]
[Illustration: PLATE 191.
THE MARTYRDOM OF ST ANDREW THE APOSTLE AT PATRAS, BY MURILLO.
PRADO.]
[Illustration: PLATE 192.
THE DREAM OF THE ROMAN SENATOR AND HIS WIFE, WHICH PRODUCED THE CHURCH
OF ST MARIA MAGGIORE AT ROME, BY MURILLO.]
[Illustration: PLATE 193.
THE ROMAN SENATOR AND HIS WIFE TELLING THEIR DREAM TO POPE LIBERIUS, BY
MURILLO.]
[Illustration: PLATE 194.
THE ANNUNCIATION, BY EL GRECO,
PRADO.]
[Illustration: PLATE 195.
THE HOLY FAMILY, BY EL GRECO.
PRADO.]
[Illustration: PLATE 196.
THE CRUCIFIXION, BY EL GRECO.
PRADO.]
[Illustration: PLATE 197.
THE DEAD CHRIST IN THE ARMS OF GOD THE FATHER, BY EL GRECO.
PRADO.]
[Illustration: PLATE 198.
CHARLES IV., BY GOYA.
PRADO.]
[Illustration: PLATE 199.
QUEEN MARIA LUISA, BY GOYA.
PRADO.]
[Illustration: PLATE 200.
THE NUDE MAJA, BY GOYA.
PRADO.]
[Illustration: PLATE 201.
THE DRAPED MAJA, BY GOYA.
PRADO.]
[Illustration: PLATE 202.
THE FAMILY OF CHARLES IV., BY GOYA.
PRADO.]
[Illustration: PLATE 203.
GOYA AT THE AGE OF 80, BY V. LÓPEZ.
PRADO.]
[Illustration: PLATE 204.
JESUS AND MARY MAGDALENE, BY CORREGGIO.
PRADO.]
[Illustration: PLATE 205.
THE HOLY FAMILY AND THE LAMB, BY RAFAEL.
PRADO.]
[Illustration: PLATE 206.
A CARDINAL, BY RAFAEL.
PRADO.]
[Illustration: PLATE 207.
MADONNA AND CHILD, WITH ST BRIDGET AND ST HULPUS, BY TITIAN.
PRADO.]
[Illustration: PLATE 208.
THE CROWN OF THORNS, BY DOMINGO TIEPOLO.
PRADO.]
[Illustration: PLATE 209.
PORTRAIT OF ALBRECHT DÜRER, BY HIMSELF.
PRADO.]
[Illustration: PLATE 210.
QUEEN ARTEMISIA, BY REMBRANDT.
PRADO.]
[Illustration: PLATE 211.