[Illustration: PLATE 294
EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE]
[Illustration: PLATE 295
EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF
THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM
OF THE PALACE]
[Illustration: PLATE 296
AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD
UNTIL THE YEAR 1837]
[Illustration: PLATE 297
SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF
BOABDIL”]
[Illustration: PLATE 298
THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY
2, 1492]
[Illustration: PLATE 299
GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE
ALHAMBRA, WHO REIGNED 1232-1272 A.D.]
[Illustration: PLATE 300
DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS]
[Illustration: PLATE 301
THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA,
TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492]
[Illustration: PLATE 302
MOSAIC PAVEMENT IN THE QUEEN’S DRESSING ROOM (TOCADOR DE LA REYNA)
MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA]
[Illustration: PLATE 303
THE HOUSE OF CARBON]
[Illustration: PLATE 304
THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON]
[Illustration: PLATE 305
ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE
HOUSE OF THE WEATHERCOCK]
[Illustration: PLATE 306
COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN]
[Illustration: PLATE 307
INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN]
[Illustration: PLATE 308
THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES
(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)]
[Illustration: PLATE 309
THE AUTHOR IN THE ALHAMBRA]
[Illustration: PLATE 310
CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT
THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE]
[Illustration: PLATE 311
MISCELLANEOUS ORNAMENT IN THE ALHAMBRA]
[Illustration: PLATE 312
THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA]
[Illustration: PLATE 313
BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA]
[Illustration: PLATE 314
ARABIAN SWORD]
[Illustration: PLATE 315
CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA]
[Illustration: PLATE 316
ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO]
[Illustration: PLATE 317
VARIOUS MOSAICS FROM THE ALHAMBRA]
[Illustration: PLATE 318
INSCRIPTIONS IN THE ALHAMBRA]
[Illustration: PLATE 319
PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE
ALHAMBRA]
[Illustration: PLATE 320
GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
[Illustration: PLATE 321
ANCIENT CISTERN. EARLY FOURTEENTH CENTURY]
[Illustration: PLATE 322
THE ALHAMBRA
_Specially drawn for The Spanish Series_]
[Illustration: PLATE 323
PART OF EXTERIOR OF THE PALACE OF CHARLES V.]
[Illustration: PLATE 324
ELEVATION OF THE PALACE OF CHARLES V.]
[Illustration: PLATE 325
SECTION OF THE PALACE OF CHARLES V.]
[Illustration: PLATE 326
FOUNTAIN OF THE EMPEROR CHARLES V.]
[Illustration: PLATE 327
VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
[Illustration: PLATE 328
INTERIOR OF THE PALACE OF CHARLES V.]
[Illustration: PLATE 329
DOORWAY OF THE PALACE OF CHARLES V.]
[Illustration: PLATE 330
BAS-RELIEF IN THE PALACE OF CHARLES V.]
[Illustration: PLATE 331
PORCH OF THE PALACE OF CHARLES V. FROM THE WEST]
[Illustration: PLATE 332
ROMAN COURT, PALACE OF CHARLES V.]
[Illustration: PLATE 333
GROUND PLAN OF THE GENERALIFE AT GRANADA
A. Advanced parts
B. The Inner Gallery, commanding a view of the Gardens
C, C, C, C. Terraces and Aqueducts
D, D, D, E, E. The surrounding country
]
[Illustration: PLATE 334
THE GENERALIFE]
[Illustration: PLATE 335
THE PRINCIPAL COURT OF THE GENERALIFE]
[Illustration: PLATE 336
THE COURT OF THE FISH POND IN THE GENERALIFE]
[Illustration: PLATE 337
PROMENADES AND GARDENS OF THE GENERALIFE]
[Illustration: PLATE 338
THE GENERALIFE]
[Illustration: PLATE 339
FRONT VIEW OF THE PORTICO OF THE GENERALIFE]
[Illustration: PLATE 340
TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE]
[Illustration: PLATE 341
GALLERY IN THE GENERALIFE]
[Illustration: PLATE 342
THE GENERALIFE
GALLERY IN THE ACEQUIA COURT]
[Illustration: PLATE 343
THE GENERALIFE
ENTRANCE TO THE PORTRAIT GALLERY]
[Illustration: PLATE 344
GARDEN OF THE GENERALIFE]
[Illustration: PLATE 345
ELEVATION OF THE PORTICO OF THE GENERALIFE]
[Illustration: PLATE 346
THE ACEQUIA COURT IN THE GENERALIFE]
[Illustration: PLATE 347
A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE]
[Illustration: PLATE 348
CYPRESS COURT
A CORNER IN THE ACEQUIA COURT]
[Illustration: PLATE 349
THE CYPRESS OF THE SULTANA IN THE GENERALIFE]
[Illustration: PLATE 350
A CEILING IN THE GENERALIFE]
[Illustration: PLATE 351
THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE]
[Illustration: PLATE 352
THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
[Illustration: PLATE 353
EXTERIOR VIEW OF THE GENERALIFE]
[Illustration: PLATE 354
ENTRANCE TO THE GENERALIFE]
[Illustration: PLATE 355
THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS]
[Illustration: PLATE 356
THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
[Illustration: PLATE 357
SOUTH FAÇADE OF THE PALACE OF CHARLES V.]
[Illustration: PLATE 358
BAS-RELIEF IN THE PALACE OF CHARLES V.]
[Illustration: PLATE 359
BAS-RELIEF IN THE PALACE OF CHARLES V.]
[Illustration: PLATE 360
GATE OF THE GRANADAS]
[Illustration: PLATE 361
PROMENADES AND HOTELS OF THE ALHAMBRA]
[Illustration: PLATE 362
THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.]
[Illustration: PLATE 363
ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.]
[Illustration: PLATE 364
GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA]
[Illustration: PLATE 365
GATE OF JUSTICE]
[Illustration: PLATE 366
GATE OF THE VINE. EAST FAÇADE]
[Illustration: PLATE 367
ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS]
[Illustration: PLATE 368
TOWER OF THE PEAKS]
[Illustration: PLATE 369
GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO]
[Illustration: PLATE 370
GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS]
[Illustration: PLATE 371
GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE]
[Illustration: PLATE 372
VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE]
[Illustration: PLATE 373
GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS]
[Illustration: PLATE 374
THE WATCH TOWER, THE CATHEDRAL, AND GRANADA]
[Illustration: PLATE 375
VILLAS ON THE BANKS OF THE RIVER DARRO]
[Illustration: PLATE 376
A VIEW OF THE ALHAMBRA]
[Illustration: PLATE 377
VILLAS ON THE BANKS OF THE RIVER DARRO]
[Illustration: PLATE 378
THE WATCH TOWER AND CATHEDRAL]
[Illustration: PLATE 379
THE RED TOWER]
[Illustration: PLATE 380
THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES]
[Illustration: PLATE 381
CARRERA DEL RIO DARRO]
[Illustration: PLATE 382
THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS]
[Illustration: PLATE 383
WASHING PLACE IN THE PUERTA DEL SOL]
[Illustration: PLATE 384
COURTYARD OF AN ARAB HOUSE]
[Illustration: PLATE 385
A MOORISH ARCHWAY]
[Illustration: PLATE 386
INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO]
[Illustration: PLATE 387
INTERIOR OF AN OLD HOUSE IN THE ALBAICIN]
[Illustration: PLATE 388
THE CATHEDRAL AND GENERAL VIEW]
[Illustration: PLATE 389
GENERAL VIEW OF THE CATHEDRAL]
[Illustration: PLATE 390
GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL]
[Illustration: PLATE 391
ENTRANCE TO THE ROYAL CHAPEL]
[Illustration: PLATE 392
EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS]
[Illustration: PLATE 393
DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL]
[Illustration: PLATE 394
EXTERIOR OF THE ROYAL CHAPEL]
[Illustration: PLATE 395
EXTERIOR OF THE CATHEDRAL]
[Illustration: PLATE 396
EXTERIOR OF THE ROYAL CHAPEL]
[Illustration: PLATE 397
EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON]
[Illustration: PLATE 398
GOTHIC PINNACLE ON THE ROYAL CHAPEL]
[Illustration: PLATE 399
THE CATHEDRAL, VIEW FROM THE CHOIR]
[Illustration: PLATE 400
THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR]
[Illustration: PLATE 401
BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL]
[Illustration: PLATE 402
GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL]
[Illustration: PLATE 403
THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
[Illustration: PLATE 404
ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
[Illustration: PLATE 405
THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC]
[Illustration: PLATE 406
SEPULCHRE OF FERDINAND]
[Illustration: PLATE 407
SEPULCHRE OF ISABELLA THE CATHOLIC]
[Illustration: PLATE 408
PORTAL OF THE CHURCH OF SAN JUAN DE DIO]
[Illustration: PLATE 409
SEPULCHRE OF ALONSO CANO IN SAN GERONIMO]
[Illustration: PLATE 410
HEAD OF JOHN THE BAPTIST]
[Illustration: PLATE 411
HEAD OF JOHN THE BAPTIST]
[Illustration: PLATE 412
HEAD OF JOHN THE BAPTIST]
[Illustration: PLATE 413
EXTERIOR OF THE CARTUJA MONASTERY]
[Illustration: PLATE 414
SACRISTY IN THE CARTUJA, LEFT SIDE]
[Illustration: PLATE 415
SACRISTY IN THE CARTUJA, RIGHT SIDE]
[Illustration: PLATE 416
CARTUJA. SANTO SANTORUM]
[Illustration: PLATE 417
CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY]
[Illustration: PLATE 418
ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE
ORDER]
[Illustration: PLATE 419
CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO]
[Illustration: PLATE 420
CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO]
[Illustration: PLATE 421
CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO]
[Illustration: PLATE 422
CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO]
[Illustration: PLATE 423
CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN]
[Illustration: PLATE 424
CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN]
[Illustration: PLATE 425
CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN]
[Illustration: PLATE 426
THE CRUCIFIXION OF OUR LORD. BY MORALES]
[Illustration: PLATE 427
THE CONCEPTION OF OUR LADY. BY MORALES]
[Illustration: PLATE 428
THE GIPSY QUARTERS. EXTERIOR OF THE CAVES]
[Illustration: PLATE 429
THE GIPSY QUARTERS. AN “AT HOME”]
[Illustration: PLATE 430
GIPSY DANCE IN THEIR QUARTERS]
[Illustration: PLATE 431
GIPSY TYPES AT THE DOORS OF THEIR CAVES]
[Illustration: PLATE 432
GIPSY DANCE IN THEIR QUARTERS]
[Illustration: PLATE 433
GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA]
[Illustration: PLATE 434
BRIDGE OF THE GENIL]
[Illustration: PLATE 435
GENERAL VIEW]
[Illustration: PLATE 436
GENERAL VIEW OF THE OLD ALBAICIN]
[Illustration: PLATE 437
GENERAL VIEW FROM THE WATCH TOWER]
[Illustration: PLATE 438
OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN]
[Illustration: PLATE 439
THE OLD TOWN HALL]
[Illustration: PLATE 440
THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS]
[Illustration: PLATE 441
MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN]
[Illustration: PLATE 442
THE RAW SILK MARKET]
[Illustration: PLATE 443
THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET]
[Illustration: PLATE 444
EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO]
[Illustration: PLATE 445
THE COURT OF JUSTICE]
[Illustration: PLATE 446
CARRERA DEL DARRO]
[Illustration: PLATE 447
MARKET AND GIPSY FAIR IN THE TRIUNFO]
[Illustration: PLATE 448
CALLE DE SAN ANTON]
[Illustration: PLATE 449
ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR”]
[Illustration: PLATE 450
CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA]
[Illustration: PLATE 451
PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA]
[Illustration: PLATE 452
GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL]
[Illustration: PLATE 453
HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA]
[Illustration: PLATE 454
VILLAS ON THE BORDERS OF THE RIVER DARRO]
[Illustration: PLATE 455
DEFILE OF THE DARRO]
[Illustration: PLATE 456
THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA]
[Illustration: PLATE 457
VIEW OF THE SIERRA NEVADA]
[Illustration: PLATE 458
GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL]
[Illustration: PLATE 459
GRANADA
_Specially drawn for The Spanish Series_]
[Illustration: PLATE 460
ARMS OF GRANADA]
THE
SPANISH SERIES
Edited by ALBERT F. CALVERT
A new and important series of volumes, dealing with Spain in its various
aspects, its history, its cities and monuments. Each volume will be
complete in itself in a uniform binding, and the number and excellence
of the reproductions from pictures will justify the claim that these
books comprise the most copiously illustrated series that has yet been
issued, some volumes having over 300 pages of reproductions of pictures,
etc.
Crown 8vo Price 3/6 net
1 GOYA with 600 illustrations
2 TOLEDO ” 510 ”
3 MADRID ” 450 ”
4 SEVILLE ” 300 ”
5 MURILLO ” 165 ”
6 CORDOVA ” 160 ”
7 EL GRECO ” 140 ”
8 VELAZQUEZ ” 142 ”
9 THE PRADO ” 223 ”
10 THE ESCORIAL ” 278 ”
11 ROYAL PALACES OF SPAIN ” 200 ”
12 GRANADA AND ALHAMBRA ” 460 ”
13 SPANISH ARMS AND ARMOUR ” 386 ”
14 LEON, BURGOS AND SALAMANCA ” 462 ”
15 VALLADOLID, OVIEDO, SEGOVIA,
ZAMORA, AVILA AND ZARAGOZA ” 390 ”
* * * * *
_UNIFORM WITH THIS VOLUME_
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
While the names of Murillo and Velazquez are inseparably linked in the
history of Art as Spain’s immortal contribution to the small band of
world-painters, the great Court-Painter to Philip IV. has ever received
the lion’s share of public attention. Many learned and critical works
have been written about Murillo, but whereas Velazquez has been
familiarised to the general reader by the aid of small, popular
biographies, the niche is still empty which it is hoped that this book
will fill.
In this volume the attempt has been made to show the painter’s art in
its relation to the religious feeling of the age in which he lived, and
his own feeling towards his art. Murillo was the product of his
religious era, and of his native province, Andalusia. To Europe in his
lifetime he signified little or nothing. He painted to the order of the
religious houses in his immediate vicinity; his works were immured in
local monasteries and cathedrals, and, passing immediately out of
circulation, were forgotten or never known.
* * * * *
_UNIFORM WITH THIS VOLUME_
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY
SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
Although several valuable and voluminous catalogues of the Spanish Royal
Armoury have, from time to time, been compiled, this “finest collection
of armour in the world” has been subjected so often to the disturbing
influences of fire, removal, and re-arrangement, that no hand catalogue
of the Museum is available, and this book has been designed to serve
both as a historical souvenir of the institution and a record of its
treasures.
The various exhibits with which the writer illustrates his narrative are
reproduced to the number of nearly 400 on art paper, and the selection
of weapons and armour has been made with a view not only to render the
series interesting to the general reader, but to present a useful text
book for the guidance of artists, sculptors, antiquaries, costumiers,
and all who are engaged in the reproduction or representation of
European armoury.
* * * * *
_UNIFORM WITH THIS VOLUME_
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
FROM PICTURES AND PHOTOGRAPHS
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
its gaunt, grey walls in one of the bleakest but most imposing districts
in the whole of Spain, was erected to commemorate a victory over the
French in 1557. It was occupied and pillaged by the French two and
a-half centuries later, and twice it has been greatly diminished by
fire; but it remains to-day, not only the incarnate expression of the
fanatic religious character and political genius of Philip II., but the
greatest mass of wrought granite which exists on earth, the leviathan of
architecture, the eighth wonder of the world.
In the text of this book the author has endeavoured to reconstitute the
glories and tragedies of the living past of the Escorial, and to
represent the wonders of the stupendous edifice by reproductions of over
two hundred and seventy of the finest photographs and pictures
obtainable. Both as a review and a pictorial record it is hoped that the
work will make a wide appeal among all who are interested in the
history, the architecture, and the art of Spain.
* * * * *
_UNIFORM WITH THIS VOLUME_
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
510 ILLUSTRATIONS
The origin of Imperial Toledo, “the crown of Spain, the light of the
world, free from the time of the mighty Goths,” is lost in the
impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
city has been described by Wörmann as “a gigantic open-air museum of the
architectural history of early Spain, arranged upon a lofty and
conspicuous table of rock.”
But while some writers have declared that Toledo is a theatre with the
actors gone and only the scenery left, the author does not share the
opinion. He believes that the power and virility upon which Spain built
up her greatness is reasserting itself. The machinery of the theatre of
Toledo is rusty, the pulleys are jammed from long disuse, but the
curtain is rising steadily if slowly, and already can be heard the
tuning-up of fiddles in its ancient orchestra.
In this belief the author of this volume has not only set forth the
story of Toledo’s former greatness, but has endeavoured to place before
his readers a panorama of the city as it appears to-day, and to show
cause for his faith in the greatness of the Toledo of the future.
* * * * *
_UNIFORM WITH THIS VOLUME_
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
Seville, which has its place in mythology as the creation of Hercules,
and was more probably founded by the Phœnicians, which became
magnificent under the Roman rule, was made the capital of the Goths,
became the centre of Moslem power and splendour, and fell before the
military prowess of St. Ferdinand, is still the Queen of Andalusia, the
foster-mother of Velazquez and Murillo, the city of poets and pageantry
and love.
Seville is always gay, and responsive and fascinating to the receptive
visitor, and all sorts of people go there with all sorts of motives. The
artist repairs to the Andalusian city to fill his portfolio; the lover
of art makes the pilgrimage to study Murillo in all his glory. The
seasons of the Church attract thousands from reasons of devotion or
curiosity. And of all these myriad visitors, who go with their minds
full of preconceived notions, not one has yet confessed to being
disappointed in Seville.
The author has here attempted to convey in the illustrations an
impression of this laughing city where all is gaiety and mirth and
ever-blossoming roses, where the people pursue pleasure as the serious
business of life in an atmosphere of exhilarating enjoyment.
* * * * *
_UNIFORM WITH THIS VOLUME_
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY
SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
This volume is an attempt to supplement the accurate but formal notes
contained in the official catalogue of a picture gallery which is
considered the finest in the world. It has been said that the day one
enters the Prado for the first time is an important event like marriage,
the birth of a child, or the coming into an inheritance; an experience
of which one feels the effects to the day of one’s death.
The excellence of the Madrid gallery is the excellence of exclusion; it
is a collection of magnificent gems. Here one becomes conscious of a
fresh power in Murillo, and is amazed anew by the astonishing apparition
of Velazquez; here is, in truth, a rivalry of miracles of art.
The task of selecting pictures for reproduction from what is perhaps the
most splendid gallery of old masters in existence, was one of no little
difficulty, but it is believed that the collection is representative,
and that the letterpress will form a serviceable companion to the
visitor to The Prado.
* * * * *
_UNIFORM WITH THIS VOLUME_
GRANADA AND THE ALHAMBRA
A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION
TO H.I.M. THE EMPRESS EUGÉNIE
This volume is the third and abridged edition of a work which the author
was inspired to undertake by the surpassing loveliness of the Alhambra,
and by his disappointment in the discovery that no such thing as an even
moderately adequate illustrated souvenir of “this glorious sanctuary of
Spain” was obtainable. Keenly conscious of the want himself, he essayed
to supply it, and the result is a volume that has been acclaimed with
enthusiasm alike by critics, artists, architects, and archæologists.
In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
may be likened to an exquisite opera which can only be appreciated to
the full when one is under the spell of its magic influence. But as the
witchery of an inspired score can be recalled by the sound of an air
whistled in the street, so--it is my hope--the pale ghost of the Moorish
fairy-land may live again in the memories of travellers through the
medium of this pictorial epitome.”
* * * * *
_UNIFORM WITH THIS VOLUME_
EL GRECO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140
OF HIS PICTURES
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 allotted 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.
* * * * *
_UNIFORM WITH THIS VOLUME_
VELAZQUEZ
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
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. This
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.