=Railway Stations.= 1. _Estación San Bernardo or de Cádiz_ (Pl. F, G,
1; Rail. Restaur.), for the line to Utrera (Cadiz, Granada,
Málaga).—2. _Estación de Córdoba_ or _de Madrid_ (Pl. D, 5, 6;
Restaur.), near the Guadalquivir. Hotel carriages and cabs at both.
Tariff, see p. 60.
=Hotels= (comp. p. 51). *HOT. DE MADRID (Pl. a; D, E, 4), Calle de
Méndez Núñes 2, with dépendance (Pl. b; D, 4), in the Plaza del
Pacífico, pens. from 12½ (in spring 15) p.; *HOT. DE INGLATERRA (Pl.
f; E, 4), Plaza Nueva 13, newly fitted up, pens. from 12½ p.; HÔT. DE
PARIS (Pl. c; D, 4), Plaza del Pacífico, with two dépendances (Pl. d),
similar charges; these three claim to be first-class.—HOT. DE ROMA
(Pl. e; D, 4), Plaza del Duque de la Victoria 6, pens. from 9 p.; HOT.
DE ORIENTE (Pl. i; E, 4), Plaza Nueva 8, pens. 7–10 p.; PENSIÓN LA
PENINSULAR (Pl. g; E, 4), Plaza Nueva 20; CECIL HOTEL (Pl. h; E, 4),
Calle de Méndez Núñez 18 & 23; HÔT. DE LA PAIX (Pl. k; E, 4), same
street, No. 11; HOT. SIMÓN (Pl. n; D, 4), Calle O’Donnell 25, pens. 7
p.; HÔT. RESTAUR. ALHAMBRA, Calle Santa María de Gracia (Pl. D,
4).—During Holy Week (semana santa) and the Feria (p. 60) charges are
doubled almost everywhere, and rooms should be secured long
beforehand.
=Cafés.= _Pasaje de Oriente_ (see below); _Cervecería Inglesa_ (Engl.
beer) and _Café de Paris_, both in the Calle de la Campana; _Perla
Chica_, near the Ayuntamiento (p. 65).—=Restaurant.= *_Pasaje de
Oriente_, Calle de las Sierpes.
The =Tramways= (_Tranvías_; cars stop where required; passengers ring
to alight) all start from the Plaza de la Constitución (Pl. E, 3). For
a general view of the city the circular lines ‘Constitución, Roario,
Macarena’ (red cross) and ‘Constitución, Puerta Real, Puerta de Jerez’
(green cross) are recommended. The ‘Línea del Parque’ runs to the park
on fine afternoons only.
Cabs. │ 1–2 pers. │ 3–4 pers.
│ by day │at night│ by day │at night
────────────────────┼────────┼────────┼────────┼────────
One-horse, per drive│1 p. │2 p. │1½ p. │2½ p.
„ per hour │2 „ │3 „ │2½ „ │4 „
Two-horse, per drive│2 „ │4 „ │2 „ │4 „
„ per hour │3 „ │5 „ │3 „ │5 „
The night hours are from midnight to sunrise. Small articles 25 c.;
trunk under 66 lbs. (30 kilos) 50 c., heavier 1 p.—During the Semana
Santa and the Feria fares are about double (but not for baggage), and
bargaining is advisable. Driving on Holy Thursday and Good Friday is
prohibited.
=Post & Telegraph Office= (_Correos y Telégrafos_; Pl. D, 4), Calle de
las Sierpes. Poste-restante hours are from 8.15 to 9.45, from 12.15 to
2.15, and 6–7 p.m.
=Banks.= _Crédit Lyonnais_, Calle de las Sierpes 87; _Banco
Hispano-Americano_, same street, No. 91; _Banco de Cartagena_, Calle
Rioja 18.
=Consuls.= British, _A. L. Keyser_, Chicarreros 10 (to the E. of the
Audiencia, Pl. E, 3); vice-consul, _A. Henderson_.—United States, _Ch.
S. Vinans_, Mercaderes 50 (Pl. E, 3); vice-consul, _C.
Karminski_.—=Lloyd’s Agent=, _José Dunipe_, Marqués de Santa Ana 14.
=English Church=, Plaza del Museo (Pl. D, 5). Services in winter.
=Theatres.= *_Teatro de San Fernando_ (Pl. D, E, 4), Calle de Tetuán,
for operas and ballet; _Teatro de Cervantes_ (Pl. C, 4), Calle Amor de
Dios, for short dramas, etc.—=Bull Ring= (_Plaza de Toros_; Pl. F, 4,
5). Famous ‘corridas’ on Easter Sunday and during the Feria.
=Church Festivals.= Most curious among these are the *Processions
(pasos) of the brotherhoods during Holy Week, which attract crowds of
spectators. They are best witnessed from the stand in front of the
town-hall (seat for the 4 days 10 p.).—The *=Feria= (18–20th April), a
picturesque popular festival, founded in 1847, is held in the Prado de
San Sebastián (Pl. G, 1, 2), where wealthy families have their own
tents.
=Sights.= Most of the churches are open in the morning only; the
_Cathedral_ (p. 63) till 12 and after 3.30. In the Sacristía de los
Cálices (p. 64) a ticket (permiso) for this sacristia, for the
Sacristía Mayor, the Sala Capitular, and the closed chapels is
obtained for 2 p. The Capilla Real is open in the forenoon only (fee
½–1 p.). The services of the importunate guides to the Cathedral and
the Giralda may be dispensed with. During Holy Week, when the churches
are open all day, the inspection of their art-treasures is scarcely
possible. Admission to collections in private houses and charitable
institutions is readily granted as a rule, but seldom without
difficulty on Sundays and holidays and during Holy Week. The usual
days and hours of admission are—
*_Alcázar_ (p. 61), week-days 11–4; tickets (1 p.) are issued at the
office at the back of the Patio de las Banderas (door No. 11).
_Casa de Pilatos_ (p. 65), daily (50 c., for the poor).
*_Giralda_ (p. 62), daily (25 c.); no one allowed to ascend alone.
*_Hospital de la Caridad_ (p. 67), daily (fee ½–1 p.); clear weather
indispensable; afternoon light best.
*_Museo Provincial_ (p. 66), daily 10–3 (in summer 10–4). On Sun. the
Archæological Museum is open till 1 only.
TWO DAYS (when time is limited). 1st. Forenoon, _Plaza de la
Constitución_ (p. 65), _Cathedral_ (p. 63), _Alcázar_ (p. 61);
afternoon, _Calle de las Sierpes_ (p. 65), _Casa de Pilatos_ (p. 65);
towards evening, ascent of the _Giralda_ (p. 62).—2nd. Forenoon,
_Museum_ (p. 66); afternoon, _Caridad_ (p. 67), _Paseo de las
Delicias_ (p. 67), and _Parque María Luisa_ (p. 68).
_Seville_, Span. _Sevilla_ (33 ft.), a city of 145,300 inhab., the
capital of Andalusia and of the province of Sevilla, the seat of an
Archbishop and of a University, lies in a broad plain on the left bank
of the tawny _Guadalquivir_, opposite the suburb of _Triana_. At
flood-tide sea-going vessels of 23 ft. draught can ascend the river to
the quays of Seville, which, though 54½ M. from the sea, can thus claim
to be a seaport. The harbour is annually entered by about 1000 vessels,
of 1¼ millions aggregate tonnage. The city combines the features of a
seaport with gay scenes of popular life and a wealth of treasures of
art. The houses in the narrow winding streets, the heritage of the
Moorish period, often contain charming inner courts, called _pátios_,
where the inhabitants spend most of their time in summer. The larger
_plazas_ or squares are mostly planted with oranges or palm-trees.
Seville, as its ancient name _Hispalis_ indicates, was originally an
Iberian settlement. Ever since the 2nd cent. B. C. its navigable river
has made Seville a place of importance. In 411 it became the capital
of the Vandals (p. 322), and in 441 the seat of the Visigoth kings,
who however migrated in 567 to the more central Toledo. During the
Moorish period Seville, alternately with Marakesh, was a favourite
residence of the Almoravides and Almohades (p. 95); and particularly
under _Yûsuf Abû Yakûb_ (1163–84) and under _Yakûb ibn Yûsuf_
(1184–98), surnamed _Al-Mansûr_ (‘the victorious’), it was embellished
with many sumptuous buildings, and for a time it even surpassed
Cordova in population. The Christian period begins with Frederick III.
(‘the saint’) of Castile, who captured the city in 1248 and made it
his residence. Among his descendants was Pedro I. (1350–69), surnamed
‘the Cruel’, of whom many anecdotes are still current. Since the
discovery of America Seville has prospered greatly and vies with Cadiz
as one of the chief ports of Spain.
At Seville were born Spain’s two greatest painters, _Velázquez_
(1599–1660; court-painter at Madrid from 1623 onwards) and _Murillo_
(1617–82). Here too is laid the scene of several famous operas:
_Mozart’s_ Don Juan and Figaro, _Rossini’s_ Barber of Seville, and
_Bizet’s_ Carmen.
See ‘Seville’, by _W. M. Gallichan_, in the ‘Mediæval Towns Series’
(London, 1903); and ‘Seville’, by _A. J. Calvert_ (London, 1907).
a. The Plaza del Triunfo with the Alcázar and the Cathedral.
We begin our walk at the PLAZA DEL TRIUNFO (Pl. F, 3), which is bounded
by three imposing edifices, the Lonja on the W. side, the Alcázar on the
S., and the Cathedral on the N.
The =Casa Lonja= (Pl. F, 3), the Exchange, built in the high-Renaissance
style in 1583–98, contains on the upper floor the Archivo General de
Indias, with the Spanish charters and deeds relating to the discovery
and government of America and the Philippines. Fine view from the roof,
especially of the Cathedral.
The *=Alcázar= (Pl. F, 3; adm., see p. 60), originally a castle of the
Almohade Yûsuf Abû Yakûb (1181; see above), dates in its present form
mainly from the time of kings Pedro I. (p. 61) and Henry II. (1369–79),
who caused the castle to be restored by Moorish architects in the
Mudejar style (p. 51). Later alterations date from the reigns of Charles
V. (1526), Philip II. (1569), and Philip IV. (1624), while modern
restorations (1857–89) have materially changed the character of the
interior.
The EXTERIOR with its pinnacled corner-towers, still has the character
of a mediæval castle. From the entrance in the S.E. angle of the Plaza
del Triunfo we first cross the large Patio de las Banderas, in which
are the ticket-office and a vaulted gateway (‘apeadero’). Thence we
may proceed straight to the garden (see below), or to the right to the
Patio de la Montería, the inner court, planted with oranges and palms.
Very striking is the splendid *CHIEF FAÇADE of the inner Alcázar. The
beautiful windows and side-entrances are framed with toothed arches;
above them runs a rich stalactite frieze crowned with a far-projecting
timber roof resting on quaint corbels. Arabic inscriptions in Cufic
characters (p. 150) serve for decoration.
The APARTMENTS in the interior are grouped round the Patio de las
Doncellas (‘court of the maidens’), erected in 1369–79, but almost
entirely rebuilt under Charles V. and Philip II. The lower story is
preceded by superb Moorish arcades resting on coupled Renaissance
columns. The upper walls in open-work are richly embellished with
stucco. The chief rooms on the groundfloor are, on the S.E., the Salón
de Carlos Quinto with its fine ‘azulejos’ (or tiles) and timber
ceiling; on the S.W., the quadrangular domed *Salón de Embajadores,
also richly decorated with azulejos, and the Patio de las Muñecas
(dolls’ court), modern in its upper parts, so called from the figures
which adorn it.
From the Apeadero (see above) we may lastly visit the GARDEN of the
Alcázar, with its luxuriant vegetation, a pavilion of the time of
Charles V., a grotto, and fountains.
Returning to the Plaza del Triunfo, we face the Cathedral, with the
Capilla Real (p. 64), projecting on the E., and the clock-tower at the
N.E. angle of the church, the famous—
**=Giralda= (Pl. F, 3), the conspicuous landmark of the city. It was
originally the minaret of the principal Moorish mosque, built in brick
by the architect _Jâbir_ for Yakûb ibn Yûsuf (p. 61) in 1184–96. The
tower tapers slightly towards the top and is remarkable for its
harmonious proportions. It is square in form, each side being 45 ft.
long, and its walls are 7 ft. thick. The upper wall-surfaces adjoining
the windows, at a height of about 80 ft. above the ground, are diapered
with a network of Arabesque-like sunken panels, and are further
enlivened with niches. Instead of being crowned with a pinnacled
platform (see altar-piece, p. 64), the tower now has a belfry (1568),
capped by a small dome (305 ft.), on which stands the _Girardillo_, or
vane, a bronze female figure representing Faith.
The *Ascent (p. 60) is most enjoyable towards evening. Entrance by the
door in the S.E. angle. An easy inclined plane, in 35 sections, and
ending in 16 steps, ascends to the first gallery, where the bells are
hung, and where we enjoy a very extensive view.
In the Calle de Alemanes, on the N. side of the Cathedral, is the main
entrance to the *=Patio de los Naranjos= (Pl. F, 3; ‘orange-court’),
once the court of the mosque. The handsome entrance-gateway, called
Puerta del Perdón, dates from the Moorish period. The bronze-mounted
*Doors and the knockers, in the Mudejar style, and the sculptures (1519)
are additions of the Christian period. The old artesonado or coffered
ceiling was replaced in 1833 by a tower.
In this picturesque court, where the faithful used to perform their
ablutions at a fountain (al-mîdâ) before entering the sacred precincts,
we stand opposite the Cathedral; on the right is the _Sagrario_ (p. 65);
on the left is the _Biblioteca Colombina_, or cathedral library, founded
in 1539 by Fernando Colón, Columbus’s son, above which towers the
Giralda.
From the orange-court the cathedral may be entered by the Puerta de los
Naranjos or (on the left) by the Puerta del Lagarto. It is preferable,
however, to enter on the W. side, from the Calle del Gran Capitán.
The **=Cathedral= (Pl. F, 3; adm., see p. 60), one of the grandest and
most sumptuous Gothic churches in the whole of Christendom, occupies the
site of the principal Moorish mosque, which was erected by Yûsuf Abû
Yakûb in 1171. It was begun by unknown architects in 1402, and in its
chief parts was completed in 1506. The dome having collapsed in 1511, it
was rebuilt from designs by _Juan Gil de Ontañón_ in 1517, and having in
1888 again fallen in it was restored by _Casanova_.
The W. FAÇADE, which was not completed till 1827, as well as the E.
façade, is remarkable for the wealth of sculpture on its portals. On the
two lateral gateways in particular, the Puerta del Bautismo (left) and
the Puerta del Nacimiento (right), we note the beautiful terracotta
figures by _Pedro Millán_ (about 1500), of semi-northern character.
The *INTERIOR has a nave with double aisles, two rows of side-chapels, a
transept which does not project beyond the main walls, a choir in the
centre, and a Capilla Mayor containing the high-altar. Exclusive of the
Capilla Real, the church is 383 ft. long and 249 ft. in width. The nave
is 53 ft. wide and 132 ft. high, the aisles are each 36 ft. wide and 85
ft. in height. The marble pavement is of the 18th cent., the fine
stained glass of the 16th–19th centuries. The screen (reja) and the
Gothic stalls (sillería) of the choir were almost entirely destroyed by
the last collapse of the dome. The huge high-altar (retablo) in the
Capilla Mayor is a masterpiece of Gothic wood-carving (1482–1564).
The SIDE CHAPELS and the SACRISTIES form a veritable museum of sculpture
and painting, but are very badly lighted.
Adjoining the Puerta Mayor, the chief portal of the W. façade, are the
Altar del Santo Angel, with a picture by _Murillo_ (the ‘Angel de la
Guarda’ or guardian angel), and the small Altar del Nacimiento,
containing admirable pictures by _Luis de Vargas_ (1502–68; ‘Adoration
of the Child’ and the ‘Four Evangelists’).
The fourth chapel in the S. aisle, the Capilla de Hermenegildo, contains
the fine Gothic monument of Archbp. Juan de Cervantes (d. 1453), by
_Lorenzo Mercadante de Bretaña_.—In the S. transept rises the very
curious sarcophagus of Columbus, placed in the cathedral of Havana in
1892 and brought to Spain in 1899. To the right stands the Altar de la
Gamba, with the famous painting by _Luis de Vargas_, the so-called
Generación, or Adoration of the Immaculate Conception by Adam and Eve,
generally known as ‘La Gamba’, from the finely drawn and painted leg of
Adam.
Through the Capilla de los Dolores we pass into the SACRISTÍA DE LOS
CÁLICES, built in the late-Gothic style by _Diego de Riaño_ (d. 1533)
and _Martin Gainza_ (d. 1566), where we obtain tickets of admission to
the closed chapels, etc. (see p. 60). In front of us is a famous
*Crucifix, by _Martínez Montañés_ (d. 1649), the most typical of
Andalusian sculptors; on the left are a SS. Justa and Rufina, by _Goya_
(1817), and St. Dorothea by _Murillo_. On the window-wall is St. John
the Evangelist, by _Zurbarán_.
Adjacent to the Antesala is the *SACRISTÍA MAYOR, a magnificent room in
the plateresque style, also built, after 1532, by _Riaño_ and _Gainza_,
containing the rich treasury of the cathedral and three valuable
pictures, a Descent from the Cross, by _Pedro Campaña_ (1548), and SS.
Leander and Isidore by _Murillo_.
The Capilla del Mariscal possesses an altar-piece in ten sections, the
Presentation in the Temple, by _Pedro Campaña_.
The elliptical *SALA CAPITULAR, begun by _Riaño_ and _Gainza_ in 1530
but not finished till after 1582, has a Doric entablature resting on
Ionic mural columns, while the decoration is plateresque (Span.
Renaissance). The eight ovals between the windows and the fine picture
of the Immaculate Conception are by _Murillo_.
On the E. side of the church we pass through a high railing (1773) into
the CAPILLA REAL (adm., see p. 60), a Renaissance edifice by _Gainza_
and others (1551–75), on the site of the old royal vaults. By the
entrance, right and left, are the tombs of Alfonso the Wise (d. 1284)
and his mother Queen Beatrice of Swabia. In the apse is preserved the
reliquary of St. Ferdinand (Ferdinand III. of Castile; p. 69), who, as
well as Pedro I., is interred in the ‘Panteón’ under the chapel.
In the N. aisle, beyond the Puerta del Lagarto (p. 63) is the Capilla de
los Evangelistas, whose altar-piece is by _Ferd. Sturm_ (1559); on the
predella, to the left, below, are SS. Justa and Rufina with the Giralda
in its original form (p. 62). In the Capilla de Santiago (St. James) is
a *Picture of that saint, by _Juan de las Roelas_ (1609). Most famous of
all is a **_Murillo_ in the Capilla del Bautisterio (forenoon light
best), the Infant Christ appearing to St. Antony of Padua (1656).
The Puerta del Sagrario, the last door on the N. side of the cathedral,
leads into the =Sagrario=, built as a parish-church in the baroque style
in 1618–62, with a single vault 75 ft. high. The altar-piece on the left
is a fine half-figure of the Mater Dolorosa by _Montañés_.
b. The Central and Eastern Quarters.
The lively Calle Génova or Cánovas del Castillo leads from the Cathedral
to the PLAZA DE LA CONSTITUCIÓN (Pl. E, 3), the focus of the city
traffic. On the right is the _Audiencia_, containing the law-courts; on
the left, between this plaza and the large Plaza Nueva or de San
Fernando (Pl. E, 4), rises the—
*=Casa del Ayuntamiento= (Pl. E, 4), or town-hall, a Renaissance edifice
(1526–64) designed by _Diego de Riaño_ (p. 64). The richly decorated S.
part is one of the most charming creations of the plateresque style.
At the Audiencia begins the *CALLE DE LAS SIERPES (Pl. E, D, 3), or
‘street of serpents’, so named after the sign-board of an old inn. It
contains the chief cafés and clubs and the largest shops, and it
presents a very lively scene in the evening.
This street forms the best starting-point for a walk through the E.
quarters of the town. The first lateral street on the right, the Calle
Sagasta, leads to the church of _San Salvador_ (Pl. D, E, 3), which
contains a statue of Christ by Montañés (2nd altar on the right). From
the S.E. angle of that church the Cuesta del Rosario leads to—
_San Isidoro_ (Pl. E, 3), where at the high-altar a celebrated
masterpiece by Roelas, the Death of St. Isidore (El Tránsito), was once
closely studied by Murillo.—From San Isidoro the Calle Almirante Hoyos
and Calle de Aguilas, which contain several fine patios, lead to the
Plaza de Pilatos.
The *=Casa de Pilatos= (Pl. E, 2; adm., see p. 60), the property of the
Duque de Medinaceli, was probably begun early in the 16th cent. by
Christian-Moorish architects for the Ribera family. As a member of that
family had been to Jerusalem, the building was popularly supposed to be
a copy of Pilate’s house. The architecture shows a curious but
harmonious blend of Moorish, Gothic, and Renaissance elements.
The beautiful Patio, with its colonnade and fountain, contains several
antiques; in the angles are two excellent replicas of a statue of
Athena, of the time of Phidias.—Adjoining the court, on the right, is
the so-called Prætorium of Pilate, and straight in front are the
Vestibule, with its superb azulejos, and the Chapel, with its charming
Gothic-Moorish decoration. To the left of the vestibule is a room with
azulejos and a rich artesonado ceiling.—A magnificent staircase,
roofed by a much admired dome, ascends to the upper floor, which is
not accessible.
From the Plaza de Pilatos we follow the Calle de Caballerizas and Calle
Descalzos to the N.W. to the pretty Plaza de Argüelles (Pl. D, 2, 3).
Here rises _San Pedro_, a Gothic church of the 14th cent., containing a
fine timber ceiling and pictures by Pedro Campaña and Roelas (sacristan,
Calle Doña María Coronel 1).
Following the Calle de la Imagen, and crossing the _Mercado_ (Pl. D, 3),
we reach the Calle Laraña.
The =University= (Pl. D, 3) now occupies an old Jesuit convent. The
_University Church_ (entered from the quadrangle; fee ½–1 p.), built in
1565–79 by Bartolomé Bustamante (?) for the Jesuits, in the Renaissance
style, contains fine Renaissance monuments and several sculptures and
paintings by Montañés, Alonso Cano, Roelas, and others.
The churches in the N.E. QUARTER, such as _Omnium Sanctorum_ (Pl. B,
3), _San Marcos_ (Pl. C, 2), and _Santa Marina_ (Pl. B, 2) still
possess towers in the Moorish style, which were once the minarets of
mosques.—The so-called _Casa del Duque de Alba_ (Pl. C, 2), Calle de
las Dueñas 5, a palace built for the Riberas (p. 65) in the Mudejar
style after 1483, contains a court planted with palms and a staircase
richly adorned with azulejos, but the house itself is not shown.
In the Calle de Santa Paula, a little to the E. of San Marcos, is the
_Convento de Santa Paula_ (Pl. C, 1, 2), a nunnery founded in 1476.
The forecourt has a superb Gothic portal, with terracotta
ornamentation by Franc. Nicoluso of Pisa and reliefs of saints by
Pedro Millán (p. 63). The rich mural azulejos (16th cent.) in the
church’ are well worth seeing.
In the Ronda de Capuchinos (Pl. A, 1, 2) there are considerable
remains of the ancient _City Wall_, with its external towers and low
parapet (‘barbacana’, after Byzantine models).
c. The Western and South-Western Quarters.
Starting from the small PLAZA DEL PACÍFICO (Pl. D, 4), planted with
orange-trees, we follow the Calle de San Pablo to the S.W. as far as the
church of _Santa Magdalena_ (Pl. D, 4) and then turn to the right into
the Calle de Bailén. From this in turn we again diverge to the right and
follow the Calle de Miguel de Carvajal to the PLAZA DEL MUSEO (Pl. D, 5;
officially, Plaza de la Condesa de Casa Galindo), in which rises a
_Bronze Statue of Murillo_.
The *=Museo Provincial= (Pl. D, 5; adm., see p. 60), occupying an old
monastery of Mercenarii (_Convento de la Merced_), contains the small
_Museo Arqueológico_ and the _Museo de Pinturas_, a famous
picture-gallery. The gallery contains several valuable sculptures, but
its chief treasure consists in 23 _Murillos_, mostly from the old
Capuchin monastery (Pl. A, B, 1), depicting the legend of St. Francis of
Assisi and the foundation of the Franciscan order.
A small court leads to the N. CLOISTERS, where the antiques (Roman,
Visigothic, Moorish), along with some modern works, are exhibited.
From the nearer aisle of the cloisters an azulejos-portal leads
straight into the—
GREAT HALL of the picture-gallery, once the convent-church. The
**_Murillos_ are all hung on the walls of the nave. On the S. wall, by
the entrance, note specially the Concepción, the Annunciation, SS.
Leander and Bonaventura, and the ‘Virgen de la Servilleta’, said to
have been painted on a table-napkin. On the N. wall we note St. Felix
of Cantalicio with the Infant Jesus, the *Almsgiving of St. Thomas of
Villanueva, the great Conception, the Adoration or the Shepherds, and
Christ on the Cross embracing St. Francis.
On the end-wall of the church is the Martyrdom of St. Andrew by
_Roelas_. The transept and choir are hung with numerous pictures by
_Zurbarán_ (notably the Triumph of St. Thomas Aquinas, in the choir).
Here, too, are several *Sculptures: _Pietro Torrigiani_, Virgin and
Child, with the penitent St. Jerome (in terracotta); _Montañés_,
wooden figures of the Virgin and Child, John the Baptist, and St.
Dominicus.
A room on the UPPER FLOOR contains modern pictures.
The Calle de los Reyes Católicos, in line with the Calle de San Pablo
(p. 66), ends at the Puente de Isabel Segunda (Pl. F, 6), the chief
bridge crossing to the suburb of _Triana_.
A little short of the bridge we turn to the left and follow the PASEO DE
CRISTÓBAL COLÓN (Pl. E, F, 5, 4), skirting the left bank of the
Guadalquivir and the quays. On the left lie the _Bull Ring_ (Pl. F, 4,
5); then the pretty PLAZA DE ATARAZANAS (Pl. F, 4; Arabic Dâr as-San῾a,
‘arsenal’, ‘place of work’), on the site of the old Moorish wharf, where
the great _Artillery Arsenal_ (Maestranza), the Hospital de la Caridad,
and the _Custom House_ (Aduana), are now situated.
The =Hospital de la Caridad= (Pl. F, 4; adm., see p. 60), erected for
the ‘brotherhood of charity’ (Hermandad de la Caridad) in 1661–4,
possesses, in its baroque church, six far-famed **_Murillos_ (1660–74).
Two of these in particular are the delight and admiration of every
beholder: Moses striking the Rock (Cuadro de las Aguas, or La Sed, ‘the
thirst’) and the Feeding of the Five Thousand (Pan y Peces, ‘bread and
fishes’). Besides these pictures there are, on the left, the Infant
Christ, the Annunciation, and San Juan de Dios carrying sick persons
into the hospital; on the right, the young John the Baptist. By tho
high-choir are two singular but repulsive pictures by _Juan Valdés Leal_
(1630–91), the Raising of the Cross and the Triumph of Death.
Near the S. angle of the Plaza, close to the river, rises the =Torre del
Oro= (Pl. G, 4), once a fortified tower of the Moorish Alcázar (p. 61),
and ever since called the ‘tower of gold’ on account of its brilliant
azulejos. The upper part of the tower dates from the Christian period
only; the window openings and the balconies were constructed in 1760.
Near the Torre del Oro begin the *=Public Gardens= of Seville, which,
particularly in spring, when roses, camellias, and orange-blossom are in
their glory, afford a delightful promenade. The favourite part is the
_Paseo de las Delicias_ (Pl. H, 3), beginning at the _Palacio de
Santelmo_ (Pl. G, 3; now a priests’ seminary), where the people of
fashion drive on fine afternoons. On the way back we may walk through
the _Parque María Luisa_ (Pl. H, 2), once part of the Santelmo gardens,
and regain the town by the Calle San Fernando, passing the great
_Tobacco Factory_ (Pl. G, 3), a huge baroque building of 1757.