PRADO.]
[Illustration: PLATE 212.
GALLERY OF THE ARCHDUKE LEOPOLD IN BRUSSELS, BY TENIERS.
PRADO.]
[Illustration: PLATE 213.
THE THREE GRACES, BY RUBENS.
PRADO.]
[Illustration: PLATE 214.
THE HOLY FAMILY, BY RUBENS.
PRADO.]
[Illustration: PLATE 215.
VAN DYCK AND COUNT BRISTOL, BY VAN DYCK.
PRADO.]
[Illustration: PLATE 216.
THE LAST SUPPER, BY JUAN DE JUANES.
PRADO.]
[Illustration: PLATE 217.
THE CATHOLIC SOVEREIGNS ADORING THE VIRGIN, BY JUAN DE BORGOÑA. PRADO.]
[Illustration: PLATE 218.
A GOTHIC KING, BY ALONSO CANO.
PRADO.]
[Illustration: PLATE 219.
THE WATER FROM THE ROCK, BY JUAN DE LAS ROELAS, EL CLÉRIGO.
PRADO.]
[Illustration: PLATE 220.
A SOUL IN PAIN, BY RIBALTA.
PRADO.]
[Illustration: PLATE 221.
PORTRAIT OF PHILIP II., BY PANTOJA DE LA CRUZ.
PRADO.]
[Illustration: PLATE 222.
PORTRAIT OF PEDRO BERRUGUETE. 15TH CENTURY.
COLLECTION OF DON JOSÉ DE LAZARO GALDEANO.]
[Illustration: PLATE 223.
ARCHITECTURE, PAINTING, AND SCULPTURE, BY G. SUÑOL.
ALLEGORIC GROUP INTENDED FOR THE FAÇADE OF THE PRADO.]
[Illustration: PLATE 224.
THE EMPEROR CHARLES V.
PRADO MUSEUM.]
[Illustration: PLATE 225.
THE EMPRESS ISABEL OF PORTUGAL, WIFE OF CHARLES V.
THE PRADO.]
[Illustration: PLATE 226.
A SATYR AND CHILDREN DANCING.
THE PRADO.]
[Illustration: PLATE 227.
MARBLE RELIEF. LIFE-SIZE FIGURES.
THE PRADO.]
[Illustration: PLATE 228.
MARBLE RELIEF. BACCHANTES. LIFE-SIZE FIGURES.
THE PRADO.]
[Illustration: PLATE 229.
BRONZE HEADS.
THE PRADO.]
[Illustration: PLATE 230.
TAPESTRY. THE BAPTIST TAKING LEAVE OF HIS PARENTS TO DEVOTE HIMSELF TO
PENITENCE.]
[Illustration: PLATE 231.
TAPESTRY. THE VIRGIN ENTHRONED, GIDEON SHOWING THE LAMB’S SKIN, AND
OTHER SCENES.]
[Illustration: PLATE 232.
EFFIGY OF ST FERDINAND, KING OF SPAIN.
CHAPEL ROYAL.]
[Illustration: PLATE 233.
(1 TO 5) CROWNS AND VOTIVE CROSSES OF GUARRAZAR.
(6) REMAINS OF ST FERDINAND’S ROBE.
(7) MOORISH SPURS OF ST FERDINAND.
ROYAL ARMOURY.]
[Illustration: PLATE 234.
C 1. SPANISH MAN-AT-ARMS, 15TH CENTURY.
ROYAL ARMOURY.]
[Illustration: PLATE 235.
C 4. SPANISH CROSSBOWMAN, 15TH CENTURY.
ROYAL ARMOURY.]
[Illustration: PLATE 236.
C 2. SPANISH HALBERDIER, 15TH CENTURY.
ROYAL ARMOURY.]
[Illustration: PLATE 237.
MACE-BEARER OF THE 16TH CENTURY WITH SURCOAT DISPLAYING THE ARMS OF
CASTILE AND LEON.]
[Illustration: PLATE 238.
A 26. TILTING HARNESS OF CHARLES V.
ROYAL ARMOURY.]
[Illustration: PLATE 239.
A 112. ARMOUR PRESENTED TO CHARLES V. BY THE DUKE OF MANTUA.
ROYAL ARMOURY.]
[Illustration: PLATE 240.
ARMOUR OF CHARLES V. MADE BY DESIDERIO COLMAN.
(1849 CATALOGUE.)
ROYAL ARMOURY.]
[Illustration: PLATE 241.
A 231. ARMOUR MADE FOR PRINCE PHILIP (II.) BY WOLF OF LANDSHUT (1550).
ROYAL ARMOURY.]
[Illustration: PLATE 242.
ARMOUR OF CHARLES V., AUGSBURG OR NUREMBERG MAKE.
(1849 CATALOGUE.)
ROYAL ARMOURY.]
[Illustration: PLATE 243.
A 37. TILTING HARNESS OF CHARLES V. MADE BY DESIDERIO COLMAN,
HELMSCHMIED.
ROYAL ARMOURY.]
[Illustration: PLATE 244.
A 65. TILTING HARNESS OF CHARLES V.
ROYAL ARMOURY.]
[Illustration: PLATE 245.
A 149. ARMOUR OF CHARLES V. (1541).
ROYAL ARMOURY.]
[Illustration: PLATE 246.
A 243. EQUESTRIAN ARMOUR OF PHILIP II. MADE BY SIGMUND WOLF OF LANDSHUT.
ROYAL ARMOURY.]
[Illustration: PLATE 247.
ARMOUR OF KING PHILIP II.
ROYAL ARMOURY.]
[Illustration: PLATE 248.
ARMOUR OF PHILIP II., ENGRAVED WITH THE ROYAL ARMS OF ENGLAND.
ROYAL ARMOURY.]
[Illustration: PLATE 249.
A 290. ARMOUR OF KING SEBASTIAN OF PORTUGAL.
ROYAL ARMOURY.]
[Illustration: PLATE 250.
A 290. ARMOUR OF KING SEBASTIAN, BACK PLATE (DETAILS).
ROYAL ARMOURY.]
[Illustration: PLATE 251.
A 291. ARMOUR OF PHILIP III. MADE BY LUCIO PICININO OF MILAN.
ROYAL ARMOURY.]
[Illustration: PLATE 252.
ARMOUR MADE AT PAMPLONA FOR THE DUKE OF SAVOY (1620).
ROYAL ARMOURY.]
[Illustration: PLATE 253.
HALF ARMOUR OF PHILIP IV.
ROYAL ARMOURY.]
[Illustration: PLATE 254.
MILANESE BRIGANTINE WHICH BELONGED TO CHARLES V.
ROYAL ARMOURY.]
[Illustration: PLATE 255.
B 1. BOY’S HALF ARMOUR MADE IN ITALY FOR THE INFANTE, AFTERWARDS PHILIP
III.
ROYAL ARMOURY.]
[Illustration: PLATE 256.
D 1. BOY’S HALF ARMOUR MADE FOR THE INFANTE, AFTERWARDS PHILIP III.
(SECOND VIEW.)
ROYAL ARMOURY.]
[Illustration: PLATE 257.
B 4. HALF ARMOUR PRESENTED TO THE INFANTE, AFTERWARDS PHILIP III., BY
THE DUKE OF TERRANOVA.
ROYAL ARMOURY.]
[Illustration: PLATE 258.
B 18. BOY’S HALF ARMOUR MADE FOR THE INFANTE FERNANDO, SON OF PHILIP
III.
ROYAL ARMOURY.]
[Illustration: PLATE 259.
HALF ARMOUR BELONGING TO PRINCE PHILIP, AFTERWARDS PHILIP IV.
ROYAL ARMOURY.]
[Illustration: PLATE 260.
A 434. GORGET. SUBJECT: THE SIEGE OF OSTEND, 1601.
ROYAL ARMOURY.]
[Illustration: PLATE 261.
A 434. GORGET OF PHILIP II.
SUBJECT: THE BATTLE OF NIEUPORT.
ROYAL ARMOURY.]
[Illustration: PLATE 262.
HELMET OF PHILIP II. MADE AT AUGSBURG IN 1549.
ROYAL ARMOURY.]
[Illustration: PLATE 263.
A 243. HELMET OF PHILIP II. MADE BY WOLF OF LANDSHUT IN 1554.
ROYAL ARMOURY.]
[Illustration: PLATE 264.
A 290. BURGONET OF KING SEBASTIAN OF PORTUGAL.
ROYAL ARMOURY.]
[Illustration: PLATE 265.
A 292. BURGONET MADE FOR PHILIP III. BY LUCIO PICININO.
ROYAL ARMOURY.]
[Illustration: PLATE 266.
A 350. HELMET FOR THE DUKE OF SAVOY (SIDE VIEW).
ROYAL ARMOURY.]
[Illustration: PLATE 267.
D 3. BURGONET OF CHARLES V. DESIGNED BY GIULIO ROMANO.
ROYAL ARMOURY.]
[Illustration: PLATE 268.
M 5. HELMET OF FRANCIS I. OF FRANCE, TAKEN AT THE BATTLE OF PAVIA.
ROYAL ARMOURY.]
[Illustration: PLATE 269.
1511. SATIN AND VELVET TURBAN FOUND IN THE PALACE OF MUSTAFA, BEY OF
ORAN, IN 1722.
1533. STEEL TURBAN OF ALI PASHA, TURKISH ADMIRAL AT LEPANTO.
ROYAL ARMOURY.]
[Illustration: PLATE 270.
D 63. THE “PLUS ULTRA” SHIELD DESIGNED BY GIULIO ROMANO.
D 10. SHIELD, EARLY 17TH CENTURY.
DESIGN: WARRIORS IN COMBAT.
ROYAL ARMOURY.]
[Illustration: PLATE 271.
D 69. ITALIAN SHIELD, 16TH CENTURY.
DESIGN: THE TRIUMPH OF LOVE.
D 68. SHIELD OF AUGSBURG MAKE, 16TH CENTURY.
ROYAL ARMOURY.]
[Illustration: PLATE 272.
D 79. SHIELD PRESENTED TO PHILIP III. BY THE DUKE OF SAVOY IN 1603.
ROYAL ARMOURY.]
[Illustration: PLATE 273.
D 86. MOORISH LEATHER SHIELD, END OF 15TH CENTURY.
ROYAL ARMOURY.]
[Illustration: PLATE 274.
M 6. SHIELD AND SWORD OF FRANCIS I. OF FRANCE, TAKEN AT THE BATTLE OF
PAVIA. DESIGN: THE GALLIC COCK ATTACKING A WARRIOR AND PUTTING HIM TO
FLIGHT.
ROYAL ARMOURY.]
[Illustration: PLATE 275.
A 242. POMMEL AND CANTLE OF SADDLE OF PHILIP II.
ROYAL ARMOURY.]
[Illustration: PLATE 276.
A 291. CANTLE-PLATES OF SADDLE MADE BY LUCIO PICININO.
ROYAL ARMOURY.]
[Illustration: PLATE 277.
TURKISH SADDLE GIVEN TO CHARLES III.
ROYAL ARMOURY.]
[Illustration: PLATE 278.
TROPHY FORMED OF SEVERAL PIECES OF ARMOUR OF PHILIP II.
ROYAL ARMOURY.]
[Illustration: PLATE 279.
ARMOUR OF A GREYHOUND.
ROYAL ARMOURY.]
[Illustration: PLATE 280.
1987, 1992. SPANISH ARQUEBUSES, END OF 16TH CENTURY.
1955. PETRONEL, 16TH CENTURY.
1961. SPANISH ARQUEBUS, WITH OCTAGONAL BARREL INLAID WITH MOTHER OF
PEARL AND IVORY, 16TH CENTURY.
1972, 1977, 1946. KEYS OR CRANKS TO COCK THE ARQUEBUSES.
ROYAL ARMOURY.]
[Illustration: PLATE 281.
DOUBLE BREECH-LOADING CANNON, IN BRONZE, USED IN SPAIN AT THE END OF THE
15TH CENTURY.
ROYAL ARMOURY.]
[Illustration: PLATE 282.
SEDAN CHAIR OF PHILIP V.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 283.
SEDAN CHAIR OF FERDINAND VI.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 284.
SEDAN CHAIR OF CHARLES IV.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 285.
SEDAN CHAIR OF PHILIP V.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 286.
SEDAN CHAIR OF CHARLES III.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 287.
CAMPAIGN LITTER OF THE EMPEROR CHARLES V.
ROYAL ARMOURY.]
[Illustration: PLATE 288.
CARRIAGE GIVEN BY NAPOLEON I. TO CHARLES IV.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 289.
THE CROWN COACH.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
ROYAL ARMOURY.]
[Illustration: PLATE 290.
GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]
[Illustration: PLATE 291.
GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]
[Illustration: PLATE 292.
GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]
[Illustration: PLATE 293.
ROYAL ACADEMY OF HISTORY.
EXTERIOR OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]
[Illustration: PLATE 294.
ROYAL ACADEMY OF HISTORY.
PART OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]
[Illustration: PLATE 295.
ROYAL ACADEMY OF HISTORY.
PAINTINGS ON THE EXTERIOR OF THE TRIPTYCH-RELIQUARY FROM THE STONE
MONASTERY IN ARAGON.]
[Illustration: PLATE 296.
STATUE OF PHILIP III. IN THE PLAZA MAYOR.]
[Illustration: PLATE 297.
STATUE OF PHILIP IV. IN THE PLAZA DE ORIENTE.]
[Illustration: PLATE 298.
STATUE OF ESPARTERO THE PEACE-MAKER.]
[Illustration: PLATE 299.
STATUE OF GENERAL CONCHA, MARQUÉS DEL DUERO.]
[Illustration: PLATE 300.
STATUE OF VELAZQUEZ.]
[Illustration: PLATE 301.
STATUE OF MURILLO.]
[Illustration: PLATE 302.
RETIRO. STATUE OF GOYA.]
[Illustration: PLATE 303.
STATUE OF CERVANTES.]
[Illustration: PLATE 304.
CERVANTES.]
[Illustration: PLATE 305.
STATUE OF CALDERÓN DE LA BARCA.
(THE WORK OF J. FIGUERAS.)]
[Illustration: PLATE 306.
ISABEL THE CATHOLIC. BRONZE GROUP IN THE CASTELLANA.
(THE WORK OF OMS.)]
[Illustration: PLATE 307.
MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
[Illustration: PLATE 308.
MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
[Illustration: PLATE 309.
MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
[Illustration: PLATE 310.
MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
[Illustration: PLATE 311.
MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
[Illustration: PLATE 312.
MONUMENT TO COMMEMORATE THE 2ND OF MAY.]
[Illustration: PLATE 313.
FOUNTAIN OF NEPTUNE IN THE PRADO.]
[Illustration: PLATE 314.
THE FOUNTAIN OF CYBELE.]
[Illustration: PLATE 315.
THE PRADO, WITH THE FOUNTAIN OF THE FOUR SEASONS.]
[Illustration: PLATE 316.
THE ROYAL PALACE FROM THE CASA DE CAMPO.]
[Illustration: PLATE 317.
ROYAL PALACE. THE CHANGING OF THE GUARD (HALBERDIERS).]
[Illustration: PLATE 318.
THE PALACE.]
[Illustration: PLATE 319.
THE PALACE FROM THE PLAZA DE ORIENTE.]
[Illustration: PLATE 320.
THE ROYAL PALACE.]
[Illustration: PLATE 321.
FAÇADE OF PALACE.]
[Illustration: PLATE 322.
PALACE AND PLAZA DE LA ARMERIA.]
[Illustration: PLATE 323.
THE QUEEN MOTHER LEAVING THE PALACE.]
[Illustration: PLATE 324.
PRINCIPAL STAIRCASE.]
[Illustration: PLATE 325.
DETAIL OF THRONE ROOM.]
[Illustration: PLATE 326.
GENERAL VIEW OF THRONE ROOM.]
[Illustration: PLATE 327.
THE THRONE.]
[Illustration: PLATE 328.
ROOM OF CHARLES III.]
[Illustration: PLATE 329.
THE QUEEN’S ROOM.]
[Illustration: PLATE 330.
ROOM OF MIRRORS.]
[Illustration: PLATE 331.
GASPARINI ROOM OF CHARLES III.]
[Illustration: PLATE 332.
HALL OF COLUMNS.]
[Illustration: PLATE 333.
THE WEDDING.
THE KING AND QUEEN LEAVING THE CHURCH AND ENTERING THE ROYAL COACH.]
[Illustration: PLATE 334.
A BATTLE OF FLOWERS.]
[Illustration: PLATE 335.
HIS MAJESTY THE KING OF SPAIN.]
[Illustration: PLATE 336.
H.M. QUEEN VICTORIA OF SPAIN.]
[Illustration: PLATE 337.
THE KING AND QUEEN OF SPAIN.]
[Illustration: PLATE 338.
H.M. QUEEN VICTORIA.]
[Illustration: PLATE 339.
HER MAJESTY THE QUEEN MOTHER.]
[Illustration: PLATE 340.
DON CARLOS OF BOURBON.]
[Illustration: PLATE 341.
MEDAL STRUCK IN HONOUR OF THE ROYAL MARRIAGE.]
[Illustration: PLATE 342.
A LADY WITH A MANTILLA.]
[Illustration: PLATE 343.
MANTILLAS.]
[Illustration: PLATE 344.
AN OUT-DOOR PELOTA COURT, WITH SIX PLAYERS, THREE AGAINST THREE.]
[Illustration: A PELOTA COURT.]
[Illustration: PLATE 345.
A TARTAÑA.]
[Illustration: THE HARVEST CART.]
[Illustration: PLATE 346.
SKETCHES IN SPAIN.]
[Illustration: PLATE 347.
SKETCHES IN SPAIN.]
[Illustration: PLATE 348.
A DANCER.]
[Illustration: AN ORANGE SELLER.]
[Illustration: PLATE 349.
THE COUNSELLOR OF THE VILLAGE.]
[Illustration: FULL LIST OF LOTTERY RESULTS.]
[Illustration: PLATE 350.
BULL-FIGHTERS AT THE TAVERN.]
[Illustration: A SPANISH GIRL.]
[Illustration: PLATE 351.
VIEW OF THE MONASTERY OF THE ESCORIAL.]
[Illustration: PLATE 352.
VIEW OF THE MONASTERY (EAST SIDE).]
[Illustration: PLATE 353.
THE COLONNADE OF THE MONASTERY.]
[Illustration: PLATE 354.
UPPER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 355.
LOWER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 356.
THE EVANGELISTS’ COURT.]
[Illustration: PLATE 357.
PRINCIPAL STAIRCASE OF THE MONASTERY.]
[Illustration: PLATE 358.
INTERIOR OF THE CHURCH.]
[Illustration: PLATE 359.
PANTEON OF THE KINGS.]
[Illustration: PLATE 360.
PANTEON OF THE INFANTES.]
[Illustration: PLATE 361.
CHAPTER ROOM. (MONASTERY.)]
[Illustration: PLATE 362.
SACRISTY. (MONASTERY.)]
[Illustration: PLATE 363.
ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.
(SACRISTY OF THE MONASTERY.)]
[Illustration: PLATE 364.
RETABLO AT THE HIGH ALTAR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 365.
LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.]
[Illustration: PLATE 366.
THE TABERNACLE IN THE ESCORIAL CHURCH.]
[Illustration: PLATE 367.
CHOIR STALLS. (BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 368.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 369.
APOLLO AND MERCURY, BY PEREGRINO TIBALDI.
(FRESCO ON THE ARCH OF THE ESCORIAL LIBRARY.)]
[Illustration: PLATE 370.
RECEPTION HALL. (PALACE.)]
[Illustration: PLATE 371.
HALL OF AMBASSADORS. (PALACE.)]
[Illustration: PLATE 372.
DINING-HALL. (PALACE.)]
[Illustration: PLATE 373.
POMPEIAN HALL. (PALACE.)]
[Illustration: PLATE 374.
“CASA DEL PRINCIPE” OR LOWER LODGE.]
[Illustration: PLATE 375.
COFFEE-ROOM. (CASA DEL PRINCIPE.)]
[Illustration: PLATE 376.
THE LAST SUPPER, BY TITIAN. (THE ESCORIAL.)]
[Illustration: PLATE 377.
THE HOLY FAMILY, BY RAFAEL.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 378.
ST MAURICE AND OTHER MARTYRS, BY EL GRECO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 379.
THE DREAM OF PHILIP II., BY EL GRECO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 380.
COUNTRY DANCE, BY GOYA.]
[Illustration: PLATE 381.
THE WASHERWOMEN, BY GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 382.
THE CHINA MERCHANT, BY GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 383.
THE GRAPE-SELLERS, BY GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 384.
CHILDREN PICKING FRUIT, BY GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 385.
THE KITE, BY GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 386.
A SMOKER, BY TENIERS.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 387.
THE STORY OF THE PASSION.
DIPTYCH, IN IVORY, OF THE 13TH CENTURY.
(FROM THE CAMARÍN OF ST THERESA.)]
[Illustration: PLATE 388.
EGYPTIAN BRONZES. AMON-RA AND ISIS.
NATIONAL ARCHÆOLOGICAL MUSEUM.]
[Illustration: PLATE 389.
EGYPTIAN BRONZES. OSIRIS AND OSOR-API.
NATIONAL ARCHÆOLOGICAL MUSEUM.]
[Illustration: PLATE 390.
ALCALÁ DE HENARES. PASEO DE CERVANTES.]
[Illustration: PLATE 391.
ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]
[Illustration: PLATE 392.
ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]
[Illustration: PLATE 393.
ALCALÁ DE HENARES. FAÇADE OF THE ARCHIVES.]
[Illustration: PLATE 394.
COURT OF THE ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]
[Illustration: PLATE 395.
ALCALÁ DE HENARES.
CHAPEL OF THE “OIDOR.” ACTUAL STATE OF THE NORTH WALL.]
[Illustration: PLATE 396.
ALCALÁ DE HENARES. ACTUAL STATE OF THE SOUTH WALL.]
[Illustration: PLATE 397.
ALCALÁ DE HENARES.
CHAPEL OF THE “OIDOR.” ACTUAL STATE OF THE FRIEZE ROUND THE NORTH
WALL.]
[Illustration: PLATE 398.
ALCALÁ DE HENARES. THE UNIVERSITY.]
[Illustration: PLATE 399.
ALCALÁ DE HENARES. FAÇADE OF THE UNIVERSITY.]
[Illustration: PLATE 400.
ALCALÁ DE HENARES.
LONGITUDINAL SECTION OF THE CHAPEL OF SAN ILDEFONSO IN THE UNIVERSITY.]
[Illustration: PLATE 401.
ALCALÁ DE HENARES.
DETAILS OF THE FAÇADE OF THE UNIVERSITY.]
[Illustration: PLATE 402.
ALCALÁ DE HENARES. DETAILS OF THE FAÇADE OF THE UNIVERSITY.]
[Illustration: PLATE 403.
ALCALÁ DE HENARES.
PASEO DE LA ESTACIÓN.]
[Illustration: PLATE 404.
ALCALÁ DE HENARES.
MOORISH PALACE.]
[Illustration: PLATE 405.
ALCALÁ DE HENARES.
INTERIOR OF THE CATHEDRAL.]
[Illustration: PLATE 406.
ALCALÁ DE HENARES.
INTERIOR OF THE CATHEDRAL.]
[Illustration: PLATE 407.
ALCALÁ DE HENARES.
THE CATHEDRAL. NAVE.]
[Illustration: PLATE 408.
ALCALÁ DE HENARES.
SEPULCHRE OF DON ALONSO CARRILLO, ARCHBISHOP OF TOLEDO.]
[Illustration: PLATE 409.
ALCALÁ DE HENARES.
SEPULCHRE OF CARDINAL FRANCISCO XIMÉNEZ DE CISNEROS.]
[Illustration: PLATE 410.
ALCALÁ DE HENARES.
SEPULCHRE OF THE ARCHBISHOP OF TOLEDO, DON ALFONSO CARRILLO DE ACUÑA.]
[Illustration: PLATE 411.
ALCALÁ DE HENARES.
DETAILS OF THE SEPULCHRE OF CARDINAL FRANCISCO XIMÉNEZ DE CISNEROS.]
[Illustration: PLATE 412.
ALCALÁ DE HENARES.
CHAPEL OF SANTIAGO IN THE CHURCH OF SANTA MARÍA.]
[Illustration: PLATE 413.
ALCALÁ DE HENARES.
CHAPEL OF SANTIAGO IN THE CHURCH OF SANTA MARÍA.]
[Illustration: PLATE 414.
ALCALÁ DE HENARES. STAIRCASE IN THE ARCHBISHOP’S PALACE.]
[Illustration: PLATE 415.
ALCALÁ DE HENARES.
DETAILS OF THE WESTERN COURT AND ENTRANCE COURT, ARCHBISHOP’S PALACE.]
[Illustration: PLATE 416.
ALCALÁ DE HENARES.
LONGITUDINAL SECTION AND DETAILS OF THE ARCHBISHOP’S PALACE.]
[Illustration: PLATE 417.
ALCALÁ DE HENARES.
FRONTISPIECE of a Book called “Vita Cristi Cartuxano.”]
[Illustration: PLATE 418.
MUÑOZA BULLS, THE PROPERTY OF THE DUKE OF VERAGUA, BY JOAQUÍN DÍEZ.]
[Illustration: PLATE 419.
TESTING A “BECERRO,” OR YOUNG BULL, AT TABLADA, NEAR SEVILLE, BY JOAQUÍN
DÍEZ.]
[Illustration: PLATE 420.
SELECTING BULLS FROM THE HERD OF THE DUKE OF VERAGUA AT “LA MUÑOZA,” BY
JOAQUÍN DÍEZ.]
[Illustration: PLATE 421.
THE TOILET OF THE TOREADOR BEFORE THE BULL-FIGHT, BY V. ESQUIVEL.]
[Illustration: PLATE 422.
BEFORE THE BULL-FIGHT BY B. FERRANDIZ.]
[Illustration: PLATE 423.
TOREADORS PREPARING TO ENTER THE ARENA, BY J. AGRASOT.]
[Illustration: PLATE 424.
ENTERTAINING THE BULL-FIGHTER, BY ALARCÓN.]
[Illustration: PLATE 425.
“HERE COMES THE BULL!” BY P. FRANCÉS.
NATIONAL EXHIBITION OF BEAUX-ARTS, 1887.]
[Illustration: PLATE 426.
“THE UNINVITED GUEST,” BY E. MÉLIDA.]
[Illustration: PLATE 427.
HEAD OF A BULL, BY JOAQUÍN DÍEZ.]
[Illustration: PLATE 428.
PRINCIPAL FAÇADE OF THE NEW PLAZA DE TOROS.]
[Illustration: PLATE 429.
PRINCIPAL ENTRANCE TO THE NEW PLAZA DE TOROS.]
[Illustration: PLATE 430.
INTERIOR OF THE NEW PLAZA DE TOROS.]
[Illustration: PLATE 431.
BULL-FIGHT. ENTRANCE OF THE “CUADRILLA.”]
[Illustration: PLATE 432.
BULL-FIGHT. A PICADOR INCITING THE BULL.]
[Illustration: PLATE 433.
BULL-FIGHT. THE PICADOR.]
[Illustration: PLATE 434.
BULL-FIGHT. THE PICADOR.]
[Illustration: PLATE 435.
BULL-FIGHT. A “QUITE.”]
[Illustration: PLATE 436.
BULL-FIGHT. A “QUITE” OF EL GALLO.]
[Illustration: PLATE 437.
BULL-FIGHT. LAGARTIJO AFTER A “RECORTE.”]
[Illustration: PLATE 438.
BULL-FIGHT. THE BANDERILLAS.]
[Illustration: PLATE 439.
BULL-FIGHT.
FRASCUELO IRRITATING THE BULL WITH A CLOAK BEFORE KILLING HIM.]
[Illustration: PLATE 440.
BULL-FIGHT. LAGARTIJO IRRITATING THE BULL WITH A CLOAK BEFORE KILLING
HIM.]
[Illustration: PLATE 441.
BULL-FIGHT. THE BULL BEING DRAGGED OUT OF THE ARENA.]
[Illustration: PLATE 442.
LADIES AT THE BULL-FIGHT.]
[Illustration: PLATE 443.
THE PROCESSION.]
[Illustration: ENTRANCE OF THE BULL.]
[Illustration: PLATE 444.
THE PICADOR.]
[Illustration: AT CLOSE QUARTERS.]
[Illustration: PLATE 445.
A TURN WITH HIS BACK TO THE BULL.]
[Illustration: FIXING THE BANDERILLAS.]
[Illustration: PLATE 446.
THE MATADOR.]
[Illustration: THE FINAL STROKE.]
[Illustration: PLATE 447.
BULL-FIGHT. LEAP OVER THE BULL’S NECK.]
[Illustration: PLATE 448.
BULL-FIGHT. LEAP WITH THE POLE.]
[Illustration: PLATE 449.
BULL-FIGHT. BANDERILLAS.]
[Illustration: PLATE 450.
TOREADOR WOUNDED DURING A BULL-FIGHT, BY LIZCANO.]
[Illustration: PLATE 451.
GUERRITA. BANDERILLERO.]
[Illustration: ANTONIO FUENTES.]
[Illustration: PLATE 452.
LUIS MAZZANTINI AND CUADRILLA.]
[Illustration: PLATE 453.
BULL-FIGHT.
LAST MOMENTS OF A TOREADOR AFTER BEING ATTACKED IN THE ARENA, BY R.
NOVAS.]
* * * * *
THE SPANISH SERIES
Crown 8vo. Gilt Top. Price 3/6 net.
“Mr. A. CALVERT’S Spanish Series will be heartily welcomed by all
students of Spanish art, for it is not too much to say that never before
has an attempt been made to present to the public so vast a number of
reproductions from quite acceptable photographs of Spanish works of art
at so low a price.”--_The World._
“ ...Calculated to give English readers a most comprehensive survey of
this fascinating land, and to convey a clear idea of its historic
greatness. The get-up of the books is in every way worthy of a series of
this magnitude.”--_Sketch._
“Every volume in the Spanish Series has taught us to expect a high
standard of excellence.”--_Daily News._
GOYA with 612 illustrations
TOLEDO “ 510 “
MADRID “ 453 “
GALICIA ---
SEVILLE “ 300 “
MURILLO “ 165 “
CORDOVA “ 160 “
EL GRECO “ 136 “
VELAZQUEZ “ 136 “
THE PRADO “ 220 “
THE ESCORIAL “ 278 “
SCULPTURE IN SPAIN “ 140 “
VALENCIA AND MURCIA “ 300 “
ROYAL PALACES OF SPAIN “ 164 “
VIZCAYA AND SANTANDER
SPANISH ARMS AND ARMOUR “ 386 “
GRANADA AND THE ALHAMBRA “ 460 “
LEON, BURGOS AND SALAMANCA “ 462 “
CATALONIA AND BALEARIC ISLANDS “ 250 “
THE ROYAL TAPESTRIES AT MADRID “ 200 “
VALLADOLID, OVIEDO, SEGOVIA, }
ZAMORA, AVILA AND ZARAGOZA } “ 413 “
* * * * *
_UNIFORM WITH THIS VOLUME_
EL GRECO
A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
In a Series such as this, which aims at presenting every aspect of
Spain’s eminence in art and in her artists, the work of Domenico
Theotocópuli must be alloted a volume to itself. “El Greco,” as he is
called, who reflects the impulse, and has been said to constitute the
supreme glory of the Venetian era, was a Greek by repute, a Venetian by
training, and a Toledan by adoption. His pictures in the Prado are still
catalogued among those of the Italian School, but foreigner as he was,
in his heart he was more Spanish than the Spaniards.
El Greco is typically, passionately, extravagantly Spanish, and with his
advent, Spanish painting laid aside every trace of Provincialism, and
stepped forth to compel the interest of the world. Neglected for many
centuries, and still often misjudged, his place in art is an assured
one. It is impossible to present him as a colourist in a work of this
nature, but the author has got together reproductions of no fewer than
140 of his pictures--a greater number than has ever before been
published of El Greco’s works.
VELAZQUEZ
A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ--“our Velazquez,” as Palomino
proudly styles him--has been made the subject of innumerable books in
every European language, yet the Editor of this Spanish series feels
that it would not be complete without the inclusion of yet another
contribution to the broad gallery of Velazquez literature.
The great Velazquez, the eagle in art--subtle, simple, incomparable--the
supreme painter, is still a guiding influence of the art of to-day. The
greatest of Spanish artists, a master not only in portrait painting, but
in character and animal studies, in landscapes and historical subjects,
impressed the grandeur of his superb personality upon all his work.
Spain, it has been said, the country whose art was largely borrowed,
produced Velazquez, and through him Spanish art became the light of a
new artistic life.
THE PRADO