Feast of Las Gayates. Clergy and laity alike, bearing green reeds,
proceed in pilgrimage to the hermitage, where a solemn service is
celebrated. A gay crowd invades the hill. They sing; they dance; they
shout; they eat and drink. After this sylvan feast, they troop back to
the town. At nightfall a second procession sets out, in which are
represented with all edifying accompaniments the worldly pomps and
repentance of the Magdalene. Raised up among a myriad flashing lanterns
the “Gayata,” which gives its name to the festival and recalls the
removal of the city, is borne along with song and dance.
More than once has Castellon fought bravely in defence of its liberties.
A very strenuous resistance was offered to Pedro IV. when the women
fought side by side with the men upon the walls. One of the amazon
warriors killed a relative of the attacking General, Don Pedro de Boil,
and was hanged in the market-place on the fall of the city, along with
the other rebel leaders. Considering the part that Spanish women have
played in the history of their country, it is curious to remember that
voluptuous indolence is supposed to entirely sum up their character. The
War of the Brotherhood, that great popular rising, gave three more
martyrs to Castellon. It is not, therefore, surprising to find that this
city to-day stands, in the province to which it gives its name, for
democratic tendencies. So Morella on its rocky throne, the stronghold of
the ferocious Carlist chief, Cabrera, stands for aristocratic
militarism; and Segorbe, lying in the shadow of the magnificent
monastery of Valdecristo, for the ecclesiastical element and clerical
control.
THE KINGDOM OF MURCIA
The ancient Kingdom of Murcia, which lies to the south of Valencia,
includes the two modern provinces of Murcia and Albacete. It is a wild,
fierce region, where the sun’s heat scorches all vegetation from off the
hill-sides. Deep and terrible chasms yawn between the rugged mountains;
there are sharp and rocky peaks that seem to have been thrown up by
sudden upheavals of the earth, and at their feet lie great stretches of
tawny desert recalling the burning expanse of the Sahara. The shadow of
long-continued drought often broods over the whole kingdom. But yet the
district watered by the Segura is an earthly paradise--in spring all
flowers, in autumn all fruit. Mingling with the carob-tree and
broad-leaved palm glistens the gold of oranges, and luxuriant vines give
pleasant promise of a sparkling harvest.
But nature has not thus blessed the land of her own free will. She
needed coaxing and much wooing by the cunning Arabs. A wonderful system
of irrigation prevails, and science has harnessed fast the wayward
rivers. The greatest treasure of the Murcian, water, is sold by auction
to the highest bidder. M. Jean Brunhés, in a lately published work,
gives some very curious and interesting details relating to this
singular system.
The volume of the Monegre is divided into old and new water, the former
belonging of right to the ancient riparian proprietors, the latter to
the owners of the locks and reservoirs. A very vicious system prevails
at Lorca. There, a private company has obtained all rights in the water
of Guadalentin, subject to the condition of supplying the old
proprietors of the adjoining lands with 500 litres per second every day.
Only in rainy seasons, when the company’s barrage is swept away by the
torrent (as it usually is some five or six times in the year), does the
water become public property. When this happens the company is not
allowed to make the barrage any stronger when it is rebuilt. In seasons
of drought the owners are masters of the situation, and are able to
recoup themselves for the losses thus incurred by forcing up prices to a
figure absolutely ruinous to all but the richest cultivators. There is
only one palliation to this system, that the bidder who has bought the
first lot can buy as many of the lots following as he may desire at the
same figure. Notwithstanding this poor concession it would seem that the
principle of private ownership has been pushed a little too far in this
part of the world.
Here is M. Brunhés’ account of the water auction at Lorca:
“The sale takes place in a badly lit hall with naked walls, on a level
with the street, with which it communicates by an immense door almost
its own breadth. This door remains open during the sale, and the crowd
of bidders stand partly in the street. The hall has no floor; you stand
on the bare ground. Opposite the door at the end of the hall is a
railed-off daïs, entered by a side door, and without any direct
communication with the public side. On the daïs the secretaries are
seated at a large table covered by a threadbare green cloth. Behind the
table are five arm-chairs. In one is seated the presiding officer (a
civil engineer who must own no land in the Vega). On a stool is
stationed the crier.
“At eight o’clock in the morning, at a sign from the presiding officer,
the crier pronounces these words in a singing monotonous voice, and
without any pause between the two phrases: ‘In honour of the Holy
Sacrament of the Altar, who buys the first lot of Sotellana?’
Immediately shouts go up, ‘Eight, nine, or ten reales!’ One voice
overpowers the other, wide mouths vociferate loudly, necks are strained,
muscles grow tense with excitement. The bidders press and crush each
other against the iron railing, for the one nearest has the best chance
of being heard. The presiding officer listens and follows the frantic
shouting with sovereign calm. Suddenly, with a quick gesture, he
designates the highest bidder. At once the clamour ceases. Amid absolute
silence the man indicated calls out his name, which the clerks write
down.
“The men are hatless. Some wear black or dark-coloured handkerchiefs
bound round their heads, but all hold their broad-brimmed hats in their
hands. No one smokes or talks till the bidding recommences, and even
those in the street are silent and bareheaded. It is easy to see that
all are peasants. Heads are closely cropped; here are no beards or
moustaches, no one wears a collar, and most carry a cloak other than the
aristocratic _capa_ on the shoulders or arm. It is a curious and
impressive sight enough these bronzed physiognomies, animated by one
desire to obtain, as cheaply as may be, possession of the supreme good,
water.”
Such is the province of Murcia in the twentieth century. When vegetation
depended only on the sun and very infrequent rain, the land can have
been very little better than an arid wilderness. And yet its possession
has from the earliest times been a matter of keen dispute. To the early
inhabitants have always been ascribed those simple guileless virtues
with which the eighteenth century endowed the noble savage. Like the
high-souled inhabitants of More’s “Utopia,” they used the gold and
silver, in which their mountains abounded, for the meanest articles of
domestic use. But this admirable custom seems unfortunately to have been
based on mere ignorance of the value of their treasures.
More sophisticated were the Phœnicians, who scented the precious metals
from afar, and here, as everywhere, established their commercial
centres. Next, the Greeks swooped down and planted colonies, rivalry
between the two races precipitating the fierce conflict between their
respective allies, the Carthaginians and the Romans. New Carthage, or
Cartagena, was founded by Hasdrubal; his son made it the starting-place
of his famous march to Rome. The city made a brave resistance to Scipio,
and its fall marked the downfall of the Carthaginian in Spain.
As an outpost of the Roman Empire this district was one of the first
abandoned to the attacks of the barbarians. Under the Visigoths it
became a duchy with the name of Aurariola, which offered so determined a
resistance to the Mussulman that it was enabled to retain its
independence, subject merely to the Khalifa as suzerain. Here, as in so
many Iberian sieges, the women played no small part. Dressed as men,
they paraded the walls of the city: and by this stratagem enabled Duke
Theodomir to obtain such favourable terms.
Perpetuating the memory of this Duke, the province lasted under the name
of Todmir some sixty-eight years as a self-governing State. But the last
governors allied themselves with Charlemagne. Arab invaders poured in,
who soon swamped the Christian population and Todmir was completely
absorbed into the Moslem Empire.
A new capital, Murcia, was founded, that soon rivalled Toledo and
Cordoba as a manufactory of arms. After undergoing the usual
vicissitudes of Moorish States, it was taken in 1266 by Jaime el
Conqueridor, and handed over to his son-in-law, the King of Castile. For
two hundred years it endured the attacks of the Moors of Granada, acting
meanwhile as a buffer to the Christian kingdom.
Murcia to-day seems a survival of the Middle Ages. The legend goes that
Adam returning to earth recognised the province as the only relic of the
world he left. The Murcians are a conservative people, clinging to the
beliefs and ideas of their forefathers, untouched by the march of
thought. Religion is the changeless background of their lives, and often
its picturesque ceremonies completely hold the stage. One of the most
interesting of their religious festivals is the Passion Procession held
on Good Friday. According to tradition this has continued without
interruption since 1603, except in the year 1809 only, when it was
forbidden by the Government.
Organised by the Confraternity of Jesus, the great feature of the
procession is the magnificent series of carved groups (known as _pasos_)
representing scenes from the Biblical narrative. These are the work of
the great master Salzillo, who is said to have carved no fewer than 1792
wooden figures in his long life of seventy-six years. During the
eighteenth century the Trades Guilds of Murcia gave special support to
the Confraternity. They are accordingly granted the privilege of
carrying the different _pasos_ in the procession. Thus the “Kiss of
Judas” is borne by the bakers; Santa Veronica by the weavers; while the
tailors carry the gigantic group of the Last Supper. The bearers, all
alike clad in purple, carry lighted candles and musical instruments.
Their hoods shroud their heads, the eyes alone being visible through
slits; a knotted rope girdles the waist, and stockings of coarse white
wool, instead of the bare feet demanded by the original statute,
acknowledge the claims of the twentieth century.
It is six o’clock on Good Friday morning. The streets are thronged with
eager sightseers; heads are devoutly bared and many a plain wooden
cross is displayed to mark the sympathy of the crowd. A band of mounted
gendarmes clears the way. The standard-bearer chants to the populace
that “This is done in remembrance of the Passion of Our Lord Jesus
Christ.” Smothered in flowers the first five _pasos_ are borne along.
Then to the sound of drum and trumpet, with the ringing of bells and the
blare of bugles, Our Father Jesus passes, enveloped in a cloud of
flaming candles, accompanied by the Holy Brotherhood. The remaining
_pasos_ follow close, the clergy and the representatives of King and
Bishop bringing up the rear.
The _pasos_ themselves will repay inspection. Though abounding in
ludicrous anachronisms, often in flabby sentiment, they are beautifully
carved and superbly mounted. It is said that £1000 was offered by an
enthusiastic German for the uplifted arm of St. Peter in the “Kiss of
Judas.”
The first group of the Last Supper is of enormous size, requiring no
fewer than twenty-four bearers during the procession. Among the tailors
of the city there is keen competition for this honour, for the splendid
collation that is offered by the pious to the lifeless feasters is later
sold by auction for the benefit of the bearers. The price it fetches is
no small one, for it is regarded as true _pain béni_, bringing
happiness to those who eat. The Agony in the Garden is reputed of
supernatural design and is known as “The Pearl of Salzillo.” The Angel
Gabriel is considered unrivalled, and the legend goes that the Duke of
Wellington bid £80,000 for this one figure. The figures are
magnificently clothed, the sword and crown of Jesus being set down in
the accounts of the brotherhood at £200 and £120 respectively. Perhaps
the finest of the groups is that which comes last--our Lady of Dolours,
whose expression of supreme sorrow has rarely been equalled whether by
chisel or brush. It is said that the sculptor copied it from the
countenance of his own daughter, to whom, with this end in view, he had
deliberately presented a forged letter announcing the suicide of her
betrothed. The _pasos_ are deposited in the Ermita de Jesus, where they
can be seen by the traveller.
In the town of Murcia itself the influence of the Cross has almost
completely banished the Crescent. Gone is the Alcazar, where the Amirs
mimicked the State of Cordoba and Toledo; gone is the mosque, where
thousands of turbaned heads bowed daily towards Mecca. But in the centre
of the city is one of those squares found in every southern and eastern
city, which in Spain is always named after the Constitution, in Italy
after Victor Emmanuel, and in France after the Republic. To cross it in
the afternoon would mean sudden death, for Murcia is one of the hottest
corners of Europe. But later a gentle breeze springs up and the citizens
troop out to meet with friends upon the Malecon and admire the charming
view of the Segura valley, which, as M. Brunhés has said, is “an
admirable zone of model agricultural establishment.” This fertile huerta
bespeaks industry as great as that of the Swiss or Scottish peasant, for
the worship of sloth with which Mr. O’Shea charges the Murcian people is
groundless and unjust.
A visit to the Cathedral will exhaust the architectural sights of
Murcia. Even this is not of first-class interest. Dating in parts from
1386 and Gothic in style, the west front is Churrigueresque, though
fortunately not in the most florid style of that unhappy architect. The
earthquake of 1829 and a fire in the middle of the last century have
greatly damaged the interior, but the general effect is sufficiently
striking. The choir-stalls of carved walnut are very beautiful, but the
reredos is poor. The eighth wonder of the world, in the opinion of the
inhabitants, is the little Velez Chapel modelled on the Constable’s
Chapel at Burgos, but parts of it, according to Don Rodrigo Amador de
los Rios, show the painful caprices and aberrations which announce the
death agony of a powerful art. Just beyond the Junteron Chapel, with
its wealth of beautifully sculptured figures and designs in the most
exuberant Renaissance style, is the urn where the city carefully guards
the internal organs of Alfonso the Learned--a gruesome legacy but one
greatly valued.
Much older than Murcia, the old Visigothic capital Carthagena has
preserved even fewer monuments of antiquity, though it has not lost the
military character first impressed upon it by its founder Hasdrubal. For
this is the first arsenal of Spain and perhaps its strongest fortress.
Its splendid sheltered harbour is defended by powerful forts and
formidable batteries. Their fire has not always been directed upon the
enemies of Spain. For many months in 1873 over them waved the red flag
of the Intransigents, the extreme communistic republicans, who,
simultaneously with the Carlists of the north, threatened to ruin
Castelar’s Government at Madrid. The acquisition of the great national
arsenal without firing a shot was, of course, of the utmost advantage to
the determined revolutionaries. The garrison, in addition to the
enthusiastic population, included several revolted battalions of regular
troops under General Contreras.
Against this terrible stronghold of the Revolution, General Martinez
Campos advanced with an army from Madrid, with orders to reduce the
place with the utmost despatch. This was easier said than done. Supplies
were lacking; the advantage in artillery lay entirely with the besieged.
The Carlists effected diversions in favour of the Intransigents--an odd
coalition. Meanwhile three of the revolutionary vessels were seized by a
Prussian squadron as pirates--an utterly unjustifiable interference with
the domestic affairs of another State. The Prussians and Italians
exacted, moreover, a war indemnity of 50,000 pesetas from the Cantonal
Junta, which body became a prey to internal dissensions. One of its
members was assassinated. Taking advantage of these embarrassments of
the besieged the republican troops redoubled their efforts. Señor
Castelar came down from Madrid to assume the supreme command, and
Martinez Campos was superseded by General Lopez Dominguez. An incessant
bombardment was kept up, the besieged responding shell by shell. In
January the frigate _Tetuan_ was burnt to the water’s edge, and a day or
two later the explosion of the magazine destroyed hundreds of the
garrison. The end was near. The city had for half a year defied almost
the whole kingdom and withstood the covert attacks of foreign Powers.
The Government troops forced their way into wretched, blood-drenched
Carthagena; Galvez, Contreras, and the leaders of the cantonal movement
escaped by sea in the ironclad _Numancia_, which far exceeded the
Government vessels in speed, and took refuge in Algeria. Thus collapsed
a movement which was, after the Commune of Paris, the most determined
organised attempt ever made to subvert the existing constitution of
European society.
I have given at some length this chapter in the history of Carthagena,
partly because the town has little interest of itself, and partly
because these events though so recent and significant are ignored by
most writers of travel books. Out of so much evil good came at last, for
these well-nigh fatal disorders opened the eyes of the Spaniards to the
instability of the Madrid Government and formed the prelude to the reign
of peace inaugurated by the accession to the throne of King Alfonso XII.
Boasting less than most Spanish provinces of sights that appeal only to
the casual tourist, Murcia is interesting as a region of perpetual
struggle and bloodshed; of struggle against nature, of struggles between
differing religions, and of the deadly internecine feuds of race and
race.
[Illustration: PLATE 1
VALENCIA: GENERAL VIEW]
[Illustration: PLATE 2
VALENCIA: GENERAL VIEW, LOOKING SOUTH]
[Illustration: PLATE 3
VALENCIA: VIEW FROM THE PUENTE DEL MAR]
[Illustration: PLATE 4
VALENCIA: GENERAL VIEW]
[Illustration: PLATE 5
VALENCIA: VIEW FROM THE PUENTE DEL MAR]
[Illustration: PLATE 6
VALENCIA: ENTRANCE TO THE TOWN BY THE PUERTA DE SANTA LUCIA]
[Illustration: PLATE 7
VALENCIA: THE FAIR AT THE PUERTA DE SANTA LUCIA]
[Illustration: PLATE 8
VALENCIA: PUERTA DE SERRANOS]
[Illustration: PLATE 9
VALENCIA: PUERTA DE CUARTE]
[Illustration: PLATE 10
VALENCIA: THE MARKET-PLACE]
[Illustration: PLATE 11
VALENCIA: THE PUENTE REAL]
[Illustration: PLATE 12
VALENCIA: PASEO DE LA GLORIETA]
[Illustration: PLATE 13
VALENCIA: PASEO DE LA GLORIETA]
[Illustration: PLATE 14
VALENCIA: PASEO DE LA ALAMEDA]
[Illustration: PLATE 15
VALENCIA: FOUNTAIN OF THE ALAMEDA]
[Illustration: PLATE 16
VALENCIA: PLAZA DE LA ADUANA]
[Illustration: PLATE 17
VALENCIA: PLAZA DE SANTO DOMINGO]
[Illustration: PLATE 18
VALENCIA: PLAZA DE SAN FRANCISCO]
[Illustration: PLATE 19
VALENCIA: PLAZA DE TÉTUAN]
[Illustration: PLATE 20
VALENCIA: PLAZA DE LA CONSTITUCION]
[Illustration: PLATE 21
VALENCIA: CALLE DE LA BAJADA DE SAN FRANCISCO]
[Illustration: PLATE 22
VALENCIA: CALLE DE SAN VICENTE]
[Illustration: PLATE 23
VALENCIA: TROS ALT]
[Illustration: PLATE 24
VALENCIA: CALLE DE LA BOLSERIA Y TROS ALT]
[Illustration: PLATE 25
VALENCIA: GENERAL VIEW OF THE CATHEDRAL]
[Illustration: PLATE 26
VALENCIA CATHEDRAL: GATE OF THE APOSTLES]
[Illustration: PLATE 27
VALENCIA: THE CATHEDRAL, PUERTA DEL PALAU]
[Illustration: PLATE 28
VALENCIA CATHEDRAL: A DOOR]
[Illustration: PLATE 29
VALENCIA: THE TEMPLE]
[Illustration: PLATE 30
VALENCIA: THE MIGUELETE]
[Illustration: PLATE 31
VALENCIA: CHURCH OF SANTA CATALINA]
[Illustration: PLATE 32
VALENCIA: CHURCH OF SANTA CATALINA]
[Illustration: PLATE 33
VALENCIA: CHURCH OF LOS SANTOS JUANES]
[Illustration: PLATE 34
VALENCIA: FAÇADE OF SAN MIGUEL EL REAL]
[Illustration: PLATE 35
VALENCIA: CHURCH OF SANTA CRUZ]
[Illustration: PLATE 36
VALENCIA: CHURCH OF SANTA CRUZ]
[Illustration: PLATE 37
VALENCIA: ENTRANCE TO THE CHURCH OF SAN ANDRÉS]
[Illustration: PLATE 38
VALENCIA: THE CAMPO-SANTO]
[Illustration: PLATE 39
VALENCIA: THE CAMPO-SANTO]
[Illustration: PLATE 40
VALENCIA: THE CAMPO-SANTO]
[Illustration: PLATE 41
VALENCIA: THE AUDIENCIA, OLD PALACE OF THE CORTES]
[Illustration: PLATE 42
VALENCIA: ROYAL HALL IN THE AUDIENCIA, UPPER PART]
[Illustration: PLATE 43
VALENCIA: ROYAL HALL IN THE AUDIENCIA, LOWER PART]
[Illustration: PLATE 44
VALENCIA: INTERIOR DOOR OF THE AUDIENCIA]
[Illustration: PLATE 45
VALENCIA: THE EXCHANGE]
[Illustration: PLATE 46
VALENCIA: THE EXCHANGE. DETAIL OF THE GALLERY]
[Illustration: PLATE 47
VALENCIA: INTERIOR OF THE EXCHANGE]
[Illustration: PLATE 48
VALENCIA: INTERIOR DOOR OF THE EXCHANGE]
[Illustration: PLATE 49
VALENCIA: COLEGIO DEL PATRIARCA]
[Illustration: PLATE 50
VALENCIA: COURTYARD IN THE COLEGIO DEL PATRIARCA]
[Illustration: PLATE 51
VALENCIA: COURTYARD OF THE UNIVERSITY]
[Illustration: PLATE 52
VALENCIA: ENTRANCE TO THE CIVIL HOSPITAL]
[Illustration: PLATE 53
VALENCIA: GATE OF MOSEN S’ORRELL]
[Illustration: PLATE 54
VALENCIA: THE CUSTOM-HOUSE]
[Illustration: PLATE 55
VALENCIA: THE ARCHBISHOP’S PALACE]
[Illustration: PLATE 56
VALENCIA: THE BULL-RING]
[Illustration: PLATE 57
VALENCIA: TOBACCO FACTORY]
[Illustration: PLATE 58
VALENCIA: A PRIVATE HOUSE]
[Illustration: PLATE 59
VALENCIA: STATUE OF KING JAIME]
[Illustration: PLATE 60
VALENCIA: STATUE OF RIBERA]
[Illustration: PLATE 61
VALENCIA: STATUE OF ST. CHRISTOPHER]
[Illustration: PLATE 62
VALENCIA: PALACE OF THE MARQUÉS DE DOS AGUAS]
[Illustration: PLATE 63
VALENCIA: PALACE OF THE MARQUÉS DE DOS AGUAS]
[Illustration: PLATE 64
VALENCIA: PORTAL OF THE PALACE OF THE MARQUÉS DE DOS AGUAS]
[Illustration: PLATE 65
VALENCIA: PALACE OF THE MARQUES DE RIPALDA]
[Illustration: PLATE 66
GENERAL VIEW OF GRAO]
[Illustration: PLATE 67
GRAO HARBOUR]
[Illustration: PLATE 68
GRAO HARBOUR]
[Illustration: PLATE 69
GRAO HARBOUR]
[Illustration: PLATE 70
CAMINO DEL GRAO: HERMITAGE OF AVE MARIA]
[Illustration: PLATE 71
VALENCIA: A “TARTANA,” OR CHAR-À-BANC]
[Illustration: PLATE 72
VALENCIA: PEASANTS]
[Illustration: PLATE 73
VALENCIA: PEASANTS]
[Illustration: PLATE 74
VALENCIA: PEASANTS]
[Illustration: PLATE 75
VALENCIA: TYPES OF WOMEN]
[Illustration: PLATE 76
VALENCIA: TRIBUNAL DES EAUX]
[Illustration: PLATE 77
VALENCIA: BARBERS ON THE BRIDGE OF SERRANOS]
[Illustration: PLATE 78
VALENCIA: ZIGZAG OF THE CABRILLAS]
[Illustration: PLATE 79
ENVIRONS OF VALENCIA: A ROAD IN CABAÑAL]
[Illustration: PLATE 80
ENVIRONS OF VALENCIA: A ROAD IN CABAÑAL]
[Illustration: PLATE 81
VALENCIA: THE SHORES OF THE MEDITERRANEAN]
[Illustration: PLATE 82
VALENCIA: THE SHORES OF THE MEDITERRANEAN]
[Illustration: PLATE 83
MURVIEDRO: GENERAL VIEW]
[Illustration: PLATE 84
MURVIEDRO: GENERAL VIEW]
[Illustration: PLATE 85
MURVIEDRO: VIEW FROM THE STATION]
[Illustration: PLATE 86
MURVIEDRO: VIEW FROM THE CASTLE]
[Illustration: PLATE 87
MURVIEDRO: THE CASTLE AND TOWN]
[Illustration: PLATE 88
MURVIEDRO: THE CASTLE]
[Illustration: PLATE 89
MURVIEDRO: THE CASTLE FROM ONE OF THE COURTS]
[Illustration: PLATE 90
MURVIEDRO: ENTRANCE TO THE CASTLE]
[Illustration: PLATE 91
MURVIEDRO: GENERAL VIEW OF THE ROMAN AMPHITHEATRE]
[Illustration: PLATE 92
MURVIEDRO: GENERAL VIEW OF THE ROMAN AMPHITHEATRE]
[Illustration: PLATE 93