of this same temper, silent, yet passionate, in that visit of Pacheco to
the Toledan painter when he was old, in 1611, of which we have spoken
before. Pacheco tells us that El Greco was a student of many things, a
writer on art, a great philosopher given to witty sayings, a sculptor
and architect as well as a painter. He writes of much work that he saw,
and speaks in particular of a cupboard in which were models in clay of
each picture El Greco had finished. The two painters talked on many
subjects, of colour and its supreme quality in painting, of Michael
Angelo and his failure as a colourist. But in all the account of
Pacheco, always so minutely laborious, it is significant to note in one
sentence the impression he formed of Domeniko Greco: “He was in all
things as singular as in his painting.”
Nor will it do to overlook the testimony of Giuseppe Martinez, whose
“Practical Letters on the Art of Painting,” though not printed until
1866, were written a century before. He too speaks of Domeniko Greco as
of extravagant disposition, and in proof recounts that he engaged
musicians to play to him that he might “enjoy an additional luxury
during meals.” The prudent Aragonese condemns this “too much
ostentation,” but we capture again some fresh clues and hints of this
strangely effective personality--a fanatic of life, a fanatic of
painting.
But we have not settled the account of genius when we have called it
unusual, fanatic, or decadent. It is the solution of the dull that
genius is extravagant consciously. El Greco can have had no desire, no
power, to repeat the easy, the commonplace. If strange, exaggerated
even, his art is without a trace of affectation. When he painted a
vision he felt it natural to symbolise his idea in the way that he did.
In colour, in form, he painted only what his imagination saw, gaining in
colour fresh harmonies for himself, and a new suggestion of movement in
his imaginative compositions, to which our imagination must find answer.
El Greco understood all nature as a Living Presence; his art was a
series of experiments to express this. And every one must be struck with
the peculiar development of this special personality in his art from
stage to stage--stages that with sufficient accuracy may be divided into
three periods.
The first is the pupil’s search for truth; the Venetian stage, in which
we find a consciousness of tradition, showing itself in the
still-fettered design, in the attitudes of the figures, in the use of
warm colour, in a flowing quality in the paint, and, especially perhaps,
in the landscape backgrounds, so Venetian with palaces and marble-paved
piazzas; yet mingled with all this tradition is an emphatic personality,
an ardour of expression, very difficult to define, seen in such early
pictures as ‘The Blind Man,’ in the Parma Gallery, or ‘The Cardinal,’ in
the National Gallery, both painted before 1577. Over the whole Venetian
period the influence of Tintoretto is obvious; while the portraits of
these years recall in their method the work of the Bassani; and of the
pre-Spanish pictures, as, for instance, the ‘Cleansing of the
Temple,’[E] now in the possession of the Countess of Yarborough, and the
replica of the same subject on a small scale, in the Cook collection at
Richmond, Surrey, a picture of real beauty that testifies to El Greco’s
skill in miniature--these, and many other works, were thought until
quite recently to be the work of the Venetians, the first being
attributed to Paul Veronese, the latter to Tintoretto, and this in spite
of their marked character.
And the Venetian influence remained in the first years in Toledo. It is
seen in the beautiful Virgin in the early ‘Assumption,’ painted for the
central altar-screen of Santo Domingo el Antigua, but now in the
Prado.[F] But the chief work of this period is the ‘Christ Despoiled of
His Vestments,’ still in the sacristy of the cathedral in Toledo, for
which it was painted in 1577. Here, perhaps, in the fine simplicity of
the grouping, in the dignity of the inspired head of the Saviour, in the
rich and strong colour and in the vivid light and shade, we have the
best results of all El Greco learnt in Venice. But even in this
beautiful picture we see the development, or rather the co-existence, of
his two styles: on the one hand carefully and thoroughly worked-out
qualities, a balanced art remembered from Venice, but with it all a
power that was his own, that seized the elements in the picture and gave
them life--his life. And again, we have in the excessive height of the
Christ, in the hands of many of the figures in this picture and in the
‘Assumption,’ first hints of the special conventions with which the name
of El Greco is certainly most associated.
We come to the second stage, in which the painter, forgetting tradition,
seeks to set down his vision in his own way; it is the period of
experiment, as we see it first in the ‘St. Maurice,’[G] painted in 1581,
that strange picture, rejected, as we may so well believe, by Philip
II., who, misunderstanding, as many have done since, the intensity of
feeling that animates the work, attributed its exaggerated expression to
madness. Here, and in other pictures of this time, in the seizing
‘Vision of Philip II.’ and in the ‘St. John the Baptist’ in particular,
we have splendid examples of imaginative work. Maybe the details are
impossible, perhaps absurd--many have found them so--but for others the
inspiration of the painter triumphs, and the longer they gaze at these
visions the more they are impelled. For, be it remembered, the idea
should be the starting-point in all imaginative pictures, and should
control both the design and its treatment, and these Greco’s are
splendid in this respect. Whether the imagination is exaggerated and
perverted in wilful experiment, whether from an uncertain technical
equipment, or whether it is, as we would think, the natural and true
expression of intense dramatic vision, it is not easy to say. Who shall
decide whether to call these mad pictures or visions that breathe the
sublime? That is a question hard to answer in much of El Greco’s
characteristic work. Perhaps the truth is that we dislike too readily
what we do not easily understand. El Greco goes back to first principles
and speaks in symbols with which we are not familiar. Those spectres of
human kind that surprise us in so many of his pictures in Toledo, in
those in the Prado, as well as in these two in the Escorial, do not
suggest life as we see it; but they are inspired--they do convey his
meaning. This painter’s method is a real enigma; he essayed surprising
effects by separating colour into its original values; he used light as
a means of emotional appeal, giving us sometimes most delicate
harmonies, sometimes discordant contrasts. Domeniko Greco had to teach
his world to see what he saw, and in this way he came, it may seem to
some, to over-emphasise what to him was truth.
And his third stage was a fevered expression of his imaginative vision.
We have entered a new world of extraordinary restlessness, the
restlessness that must exist when spirit struggles from the bonds of the
flesh. Toledo, the ardent arid city, burnt fiercely in El Greco’s blood,
and, more and more, he seems to have felt that it was not enough to
record facts; to have cared less to give æsthetic pleasure; but that the
object of his art should be to clothe abstract ideas with life. It is
something of all this that we find in his later pictures. In each there
is emphasis--or, if you like, exaggeration--of statement; in the
‘Coronation of the Virgin’ in San José, for instance, a picture that in
a strange, left-handed way carries us forward to the picture by
Velazquez[H] on the same subject. The exaggeration is equally visible in
the ‘Assumption’ in San Vicente, more beautiful, and the most
interesting of these rare visions, a picture in which we have
movement--the very sensation of a figure passing through the air as we
have, perhaps, in no other picture. It is even stronger in the group of
pictures in Madrid, the ‘Baptism,’ the ‘Descent of the Holy Spirit,’ the
‘Resurrection,’ and the ‘Christ Dead in the Arms of God’; it meets us
again in the ‘St. Joseph with the Child Jesus,’ and in the ‘Virgin and
Child with Saints Justa and Gertrude,’[I] both in San José, the church
that is the museum of so much of the master’s work--pictures all similar
in their intense sentiment; while emphasis burns to a white flame of
ardent expression in the famed ‘St. John the Baptist,’ the wonderful
picture of which we have spoken already. It is there, too, in the
‘Christ Crucified,’ one in the Prado, one in San Nicolas, surely the
most terrible realisation possible of that scene of sacrifice, in which
the agony of spirit so outweighs the agony of the flesh, and sky and
earth seem to take their share in the struggle.
It is impossible to translate the effect of these animated religious
pictures into words. El Greco was not content to embody the old myths in
fresh forms, but he gave fresh forms to the ideas that are, as it were,
the soul of each myth--that which lives when the form of the stories
change. Even in his pictures with few figures, such for instance, as the
‘Mary and Jesus,’ in San Vicente, the ‘St. Francis,’ of which there are
four replicas in Toledo, or that earlier picture, a beautiful rendering
of a difficult theme, ‘La Veronica,’ one of the series painted for the
Santo Domingo el Antigua in 1575-76, we have this exaggeration. Then,
sometimes, exaggeration, which in each picture, after all, only
emphasises the idea, disappears altogether, and we are given figures of
singular beauty, as the ‘San Martin,’ in San José, or the really fine
Madonnas--dark, oval-faced angels that surprise us at times with a
beauty of type we hardly expect from El Greco. But, as a rule, in the
pictures of this period, roughly marked by the painting of that
experimental picture the ‘St. Maurice,’ there is this intensity of
expression; and especially we find a new, and often strange, use of
colour; colour, as well as form, being used as a means of dramatic
statement, with a result that to many is exaggeration. For El Greco
learnt first, perhaps, from the Venetians, and afterwards certainly in
Toledo, many new possibilities of colour--that it has a quality that
speaks, and further that the appeal of a picture depends first of all on
the tone of its colour. It is for this reason he used colour as a means
of emotional appeal; it was another quality by which to convey his idea
to the world. For El Greco held truly that the province of art is to
interpret, not to imitate. Every development of his art seems to have
come from his own mind, hardly at all from the work of other painters;
from the first he was true to his ideals. And always his pictures seem
to be more the work of his soul than of his hand; which, in other words,
is to say that he was greater as an artist than as a painter.
Domeniko Greco, like so many of the painters of Spain, was great in
portraiture; and some of his portraits, such as those of Antonio
Covarrubias and of Juan de Alava, in the Museo de San Juan de Los Reyes,
that of Cardinal Tavera, in the Hospital de Afuera, the whole series in
the Prado, and many others not possible to name, are as fine portraits
as have ever been done in the world. In his earliest portraits even, in
that of Julio Clovio, in the Museum of Naples, or that of ‘A Student,’ a
portrait, it well may be, of the young painter himself, we have the
qualities of his later work; always it is the spirit of his model that
he seeks.
And this inward interpretation of life is seen, too, in that picture
which is accounted rightly the most interesting, though not perhaps the
most typical, of his work, ‘The Burial of Gonzalo Ruiz, Count of Orgaz,’
still in the Church of Santo Tomé, where it was painted in 1584. Look at
this gallery of living portraits, all the life of Toledo--the life of
Spain--is reflected back from those ardent faces. In St. Augustine,
splendid in ecclesiastical robes, is the magnificent opulence of the
Catholic Church; in the livid face of the dead count, in the cowled monk
and two priests is the fervid piety of a people who have felt themselves
in mystical communion with God; in the young, warm beauty of St. Stephen
and the lovely acolyte is the full joy and rich colour of Spain; and
lastly, in the long line of mourners who stand behind the group of the
principal figures, and where the painter’s own nervous face is the sixth
portrait counting from the right side, you have types unchanged in
Castile to-day. And how individual is the rendering of the upper section
of the picture in which Christ awaits in the heavens the spirit of the
dead saint. Yes, this picture is one of the greatest pictures in Spain;
it is always interesting.
[Illustration: PLATE 1
TOLEDO
_Specially drawn for The Spanish Series_]
[Illustration: PLATE 2
GENERAL VIEW OF TOLEDO FROM THE SOUTH-EAST]
[Illustration: PLATE 3
VIEW OF TOLEDO FROM THE SOUTH-EAST]
[Illustration: PLATE 4
GENERAL VIEW OF TOLEDO]
[Illustration: PLATE 5
VIEW OF TOLEDO FROM THE CAMPO DEL REY]
[Illustration: PLATE 6
GENERAL VIEW OF TOLEDO]
[Illustration: PLATE 7
STATE OF THE RUINS OF THE CIRCO MAXIMO IN THE YEAR 1848, ACCORDING TO
THE “ALBUM ARTISTICO”]
[Illustration: PLATE 8
THE RIVER TAGUS]
[Illustration: PLATE 9
ALCANTARA BRIDGE]
[Illustration: PLATE 10
PERSPECTIVE OF ST. MARTIN’S BRIDGE AND THE DIRECTION OF THE FORTIFIED
LINES]
[Illustration: PLATE 11
PERSPECTIVE VIEW OF THE SITE OF THE AQUEDUCT]
[Illustration: PLATE 12
ENVIRONS OF TOLEDO]
[Illustration: PLATE 13
PLAZA DE ZOCODOVER]
[Illustration: PLATE 14
THE TOWN HALL]
[Illustration: PLATE 15
THE MARKET-PLACE]
[Illustration: PLATE 16
THE MARKET-PLACE]
[Illustration: PLATE 17
A STREET IN TOLEDO]
[Illustration: PLATE 18
A STREET IN TOLEDO]
[Illustration: PLATE 19
A STREET IN TOLEDO]
[Illustration: PLATE 20
A STREET IN TOLEDO]
[Illustration: PLATE 21
A STREET IN TOLEDO]
[Illustration: PLATE 22
A STREET IN TOLEDO]
[Illustration: PLATE 23
A STREET IN TOLEDO]
[Illustration: PLATE 24
A STREET IN TOLEDO]
[Illustration: PLATE 25
VISAGRA GATE]
[Illustration: PLATE 26
A STREET IN TOLEDO]
[Illustration: PLATE 27
A STREET IN TOLEDO]
[Illustration: PLATE 28
BRIDGE OF ALCANTARA]
[Illustration: PLATE 29
ALCANTARA GATE
ALCANTARA PORTAL AND BRIDGE]
[Illustration: PLATE 30
EXTERIOR OF THE NORTHERN CITY WALLS]
[Illustration: PLATE 31
FORTIFICATIONS OF THE OLD BRIDGE OF BOATS, REPLACED BY THE BRIDGE OF ST.
MARTIN]
[Illustration: PLATE 32
REMAINS OF THE CITY WALLS OF “AL-HIZÉM,” FROM THE GATE OF THE DOCE
CANTOS TO THE “PLAZA DE ARMAS” OF THE BRIDGE OF ALCANTARA]
[Illustration: PLATE 33
REMAINS OF THE CITY WALLS, SOUTH-WEST, REBUILT AT THE TIME OF THE
RECONQUEST]
[Illustration: PLATE 34
REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY]
[Illustration: PLATE 35
REMAINS OF THE ROMAN RAMPART OF THE FIRST ENCLOSURE OF THE CITY. (PLAZA
DE ARMAS DEL PUENTE DE ALCANTARA)
VISIGOTH CAPITAL TRANSFORMED INTO A FOUNTAIN BASIN. (No. 9 CALLEJON DE
LA LAMPARILLA)]
[Illustration: PLATE 36
PRINCIPAL ENTRANCE TO THE HOUSE OF THE BATHS OF ABEN-YA-YIX BAJADA AL
COLEGIO DEL INFANTES
SEPULCHRAL ARCH OF THE INFANTE DON FERNANDO PEREZ IN THE BELEN CHAPEL IN
THE CONVENT OF THE COMENDADORA DE SANTIAGO]
[Illustration: PLATE 37
RUINS OF POLAN CASTLE. FOURTEENTH CENTURY]
[Illustration: PLATE 38
GUADAMAR CASTLE]
[Illustration: PLATE 39
REMAINS OF THE ROMAN RAMPARTS OF THE FIRST ENCLOSURE OF THE CITY]
[Illustration: PLATE 40
THE EXTERIOR WALLS
REMAINS OF THE FORTIFICATIONS IN THE JEWISH SUBURB]
[Illustration: PLATE 41
GATE OF THE “ALMOFALA” (BIB-AL-MOJADHA) REBUILT IN THE FOURTEENTH
CENTURY
“THE ABBOT’S TOWER” IN THE NORTHERN WALLS]
[Illustration: PLATE 42
RUINS OF THE AQUARIA TOWER, COMMONLY CALLED “HORNO DEL VIDRIO”]
[Illustration: PLATE 43
REMAINS OF THE AQUEDUCT (LEFT BANK OF THE RIVER)
REMAINS OF THE AQUEDUCT (RIGHT BANK OF THE RIVER)]
[Illustration: PLATE 44
REMAINS OF THE ROMAN CONSTRUCTION IN THE TOWER OF THE PLAZA DE ARMAS OF
THE BRIDGE OF ALCANTARA]
[Illustration: PLATE 45
BRIDGE OF ALCANTARA]
[Illustration: PLATE 46
EAST SIDE OF THE BRIDGE OF ALCANTARA]
[Illustration: PLATE 47
POSTERIOR FAÇADE OF THE DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA]
[Illustration: PLATE 48
DEFENSIVE TOWER OF THE BRIDGE OF ALCANTARA. ANTERIOR FAÇADE]
[Illustration: PLATE 49
ALCANTARA GATE]
[Illustration: PLATE 50
COMMEMORATIVE INSCRIPTION IN THE AVENUE OF THE DEFENSIVE TOWER OF THE
BRIDGE OF ALCANTARA]
[Illustration: PLATE 51
COAT OF ARMS OF THE CATHOLIC SOVEREIGNS IN FRONT OF THE DEFENSIVE TOWER
OF THE BRIDGE OF ALCANTARA
“THE KHALIF’S CAPITALS” AT No. 13 CALLE DEL COLISEO]
[Illustration: PLATE 52
PERSPECTIVE OF THE BRIDGE OF ALCANTARA]
[Illustration: PLATE 53
ST. MARTIN’S BRIDGE]
[Illustration: PLATE 54
ST. MARTIN’S BRIDGE
FAÇADE OF SANTA CRUZ]
[Illustration: PLATE 55
DEFENSIVE TOWERS AT THE ENTRANCE OF ST. MARTIN’S BRIDGE AND THE TOWN
RESTORED POSTERIOR FAÇADE OF THE ARCH DE LA SANGRE]
[Illustration: PLATE 56
REMAINS OF THE AQUEDUCT (RIGHT BANK)]
[Illustration: PLATE 57
EAST SIDE OF ST. MARTIN’S BRIDGE]
[Illustration: PLATE 58
DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE BRIDGE
DEFENSIVE TOWER OF ST. MARTIN’S BRIDGE. FAÇADE SEEN FROM THE HIGHWAY]
[Illustration: PLATE 59
MALBARDÓN GATE. ELEVENTH CENTURY]
[Illustration: PLATE 60
VISAGRA GATE]
[Illustration: PLATE 61
UPPER PART OF THE VISAGRA GATE. BUILT IN 1550]
[Illustration: PLATE 62
TOWER IN THE CITY WALLS OF “THE SUBURB OF SAN ISIDORO,” NEAR THE NEW
BRIDGE OF VISAGRA]
[Illustration: PLATE 63
HYDRAULIC MACHINE AND REMAINS OF THE WALLS IN THE QUARTER OF THE
CURTIDORES, NEAR THE RIVER
WALLS OF THE SUBURB OF SAN ISIDORO]
[Illustration: PLATE 64
ANCIENT GATE OF VISAGRA]
[Illustration: PLATE 65
ANCIENT GATE OF VISAGRA. THE SIDE WHICH JOINS THE WALL AND THE SIDE
DEFENSIVE TOWER]
[Illustration: PLATE 66
ANCIENT GATE OF VISAGRA. DEFENSIVE AND SIDE TOWER]
[Illustration: PLATE 67
ANCIENT GATE OF VISAGRA. REMAINS OF THE EASTERN FAÇADE]
[Illustration: PLATE 68
DETAIL OF THE PRINCIPAL FAÇADE OF THE OLD GATE OF VISAGRA
INTERIOR OF THE OLD GATE OF VISAGRA]
[Illustration: PLATE 69
ANCIENT GATE OF VISAGRA]
[Illustration: PLATE 70
THE TOWER CALLED “PUERTA BAJA DE LA HERRERIA,” NOW “GATE OF THE SUN”]
[Illustration: PLATE 71
CASTLE OF SAN SERVANDO]
[Illustration: PLATE 72
CASTLE OF SAN SERVANDO. ANCIENT ENTRANCE IN THE WEST FAÇADE
CASTLE OF SAN SERVANDO. SOUTH-EAST ANGLE]
[Illustration: PLATE 73
DOOR OF THE CASTLE IN SAN SERVANDO]
[Illustration: PLATE 74
GATE OF VALMADRON]
[Illustration: PLATE 75
GATE OF CAMBRÓN]
[Illustration: PLATE 76
BAÑO DE LA CAVA]
[Illustration: PLATE 77
ENTRANCE TO CAVA BATHS]
[Illustration: PLATE 78
RUINS OF THE TOWER OF THE OLD BRIDGE OF BOATS, CALLED “BAÑO DE LA
CAVA”]
[Illustration: PLATE 79
DETAILS OF THE CONVENT OF SANTA FE.
ELEVENTH CENTURY]
[Illustration: PLATE 80
WEST PORTAL IN THE OLD HERMITAGE, NOW THE INN OF SANTA ANA, ON THE SISLA
ROAD]
[Illustration: PLATE 81
ALTAR-PIECE OF SAN JUSTO]
[Illustration: PLATE 82
DETAIL OF THE CHURCH OF SAN JUSTO.
FIFTEENTH CENTURY]
[Illustration: PLATE 83
DETAIL OF THE CHAPEL OF SANTOS JUSTO AND PASTOR]
[Illustration: PLATE 84
EFFIGIES OF JUAN GUAS, ARCHITECT OF SAN JUAN DE LOS REYES, AND OF HIS
SON. CHAPEL OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO]
[Illustration: PLATE 85
EFFIGIES OF MARI ALVARES, WIFE OF JUAN GUAS, AND OF HER DAUGHTER. CHAPEL
OF CHRIST AT THE COLUMN, IN THE PARISH CHURCH OF SAN JUSTO]
[Illustration: PLATE 86
MOSQUE OF THE TORNERIAS. EXTERIOR OF THE SOUTH FAÇADE, SOUTH-WEST
ANGLE]
[Illustration: PLATE 87
INTERIOR OF THE MOSQUE DE LAS TORNERIAS]
[Illustration: PLATE 88
ARCH OF THE “KIBLÁH” IN THE MOSQUE DE LAS TORNERIAS]
[Illustration: PLATE 89
MOSQUE OF THE TORNERIAS. TREFOIL ARCHED WINDOW
MOSQUE OF THE TORNERIAS. HORSE-SHOE WINDOW]
[Illustration: PLATE 90
MOSQUE OF THE TORNERIAS. ARCHED WINDOW
MOSQUE OF THE TORNERIAS. RECTANGULAR WINDOW]
[Illustration: PLATE 91
MOSQUE DE LAS TORNERIAS]
[Illustration: PLATE 92
MOSQUE OF THE TORNERIAS, BUILT OVER ROMAN REMAINS]
[Illustration: PLATE 93
SUPPOSED ELEVATION OF THE MOSQUE OF BIB-AL-MARDÓM]
[Illustration: PLATE 94
SUPPOSED PLAN OF THE MOSQUE OF BIB-AL-MARDÓM]
[Illustration: PLATE 95
ACTUAL SITUATION OF THE NORTH-EAST FAÇADE OF THE ANCIENT MOSQUE OF
BIB-AL-MARDÓM, A TRANSEPT AND _MUDEJAR_ APSIS OF THE HERMITAGE OF SANTO
CRISTO DE LA LUZ]
[Illustration: PLATE 96
THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO AND
LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (RIGHT SIDE)]
[Illustration: PLATE 97
THE MOSQUE OF BIB-AL-MARDÓM, HORSE-SHOE ARCH AND REMAINS OF THE DADO OF
LITTLE ARCHES AND WINDOWS IN THE NORTH-EAST FAÇADE (LEFT SIDE)]
[Illustration: PLATE 98
PRINCIPAL NAVE IN THE MOSQUE OF BIB-AL-MARDÓM]
[Illustration: PLATE 99
ARCH IN THE SOUTHERN INTERIOR OF THE MOSQUE OF BIB-AL-MARDÓM
ACTUAL ENTRANCE TO THE CASTLE]
[Illustration: PLATE 100
MOSQUE OF BIB-AL-MARDÓM. ARCH IN THE INTERIOR WALL, SOUTH-WEST ANGLE
DETAIL OF THE NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM]
[Illustration: PLATE 101
BIB-AL-MARDÓM. “ARCH OF THE CROSS”
INTERIOR FAÇADE
EXTERIOR FAÇADE]
[Illustration: PLATE 102
MOSQUE OF BIB-AL-MARDÓM]
[Illustration: PLATE 103
NORTH-WEST FAÇADE OF THE MOSQUE OF BIB-AL-MARDÓM (HERMITAGE OF SANTO
CRISTO DE LA LUZ), DISCOVERED IN FEBRUARY 1899]
[Illustration: PLATE 104
THE EPIGRAPHIC MEDALLION ON THE NORTH-WEST FAÇADE OF THE MOSQUE OF
BIB-AL-MARDÓM (HERMITAGE OF SANTO CRISTO DE LA LUZ), REBUILT IN THE YEAR
370 AFTER THE HEGIRA (A.D. 980)]
[Illustration: PLATE 105
VISIGOTH CAPITAL IN THE OLD MOORISH PARISH CHURCH OF SAN SEBASTIAN
VISIGOTH BASE WHICH SERVES AS A CAPITAL IN THE OLD MOORISH PARISH CHURCH
OF SAN SEBASTIAN]
[Illustration: PLATE 106
SANTO CRISTO DE LA LUZ]
[Illustration: PLATE 107
THE HERMITAGE OF SANTO CRISTO DE LA LUZ]
[Illustration: PLATE 108
WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ]
[Illustration: PLATE 109
CHURCH OF SANTO CRISTO DE LA LUZ]
[Illustration: PLATE 110
WALL-PAINTINGS OF SANTO CRISTO DE LA LUZ]
[Illustration: PLATE 111
ANCIENT MOSQUE, NOW THE HERMITAGE OF SANTO CRISTO DE LA LUZ]
[Illustration: PLATE 112
EXTERIOR OF THE HERMITAGE OF SANTO CRISTO DE LA LUZ, AND TOWERS OF
VARIOUS CHURCHES]
[Illustration: PLATE 113
DETAIL OF THE TRANSITO (SYNAGOGUE), BUILT IN 1360 AT THE EXPENSE OF
SAMUEL LEVI]
[Illustration: PLATE 114
DETAILS OF THE INTERIOR DECORATION OF THE CHURCH OF THE TRANSITO
(ANCIENT SYNAGOGUE)]
[Illustration: PLATE 115
DETAILS OF THE INTERIOR DECORATION OE THE CHURCH OF THE TRANSITO
(ANCIENT SYNAGOGUE)]
[Illustration: PLATE 116
DETAILS OF THE TRANSITO (SYNAGOGUE)]
[Illustration: PLATE 117
DETAILS OF THE TRANSITO (SYNAGOGUE)]
[Illustration: PLATE 118
DETAILS OF THE TRANSITO (SYNAGOGUE)]
[Illustration: PLATE 119
ENTRANCE ARCH IN THE BUILDING CALLED TALLER DEL MORO]
[Illustration: PLATE 120
DETAIL OF DECORATION IN THE MOORISH WORKSHOP]
[Illustration: PLATE 121
DETAILS OF THE PALACE OF THE AYALAS]
[Illustration: PLATE 122
DETAILS OF THE PALACE OF THE AYALAS]
[Illustration: PLATE 123
EXTERIOR OF THE CHAPEL OF SANTO CRISTO DE LA VEGA]
[Illustration: PLATE 124
DOOR AND EXTERIOR OF SANTA MARIA LA BLANCA]
[Illustration: PLATE 125
SECTIONS AND DETAILS OF THE ANCIENT SYNAGOGUE, NOW THE CHURCH OF SANTA
MARIA LA BLANCA]
[Illustration: PLATE 126
PART OF THE LONGITUDINAL SECTION OF THE ANCIENT SYNAGOGUE, NOW THE
CHURCH OF SANTA MARIA LA BLANCA]
[Illustration: PLATE 127
INTERIOR OF SANTA MARIA LA BLANCA]
[Illustration: PLATE 128
INTERIOR OF SANTA MARIA LA BLANCA]
[Illustration: PLATE 129
INTERIOR OF SANTA MARIA LA BLANCA]
[Illustration: PLATE 130
CÁRCEL DE SANTA HERMANDAD]
[Illustration: PLATE 131
A GOTHIC DOORWAY]
[Illustration: PLATE 132
A DOORWAY]
[Illustration: PLATE 133
ST. MICHAEL’S TOWER. FOURTEENTH CENTURY]
[Illustration: PLATE 134
HOUSE OF THE TOLEDOS]
[Illustration: PLATE 135
DETAILS OF A COURTYARD]
[Illustration: PLATE 136
DETAILS OF A COURTYARD]
[Illustration: PLATE 137
DETAILS OF A COURTYARD]
[Illustration: PLATE 138
DETAILS OF A COURTYARD]
[Illustration: PLATE 139
DETAILS OF A COURTYARD]
[Illustration: PLATE 140
THE FOUNTAIN OF CALERAHIGO]
[Illustration: PLATE 141
ARAB DETAILS]
[Illustration: PLATE 142
VISIGOTH CROWNS AND CROSSES OF GUARRAZAR]
[Illustration: PLATE 143
VISIGOTH CROWNS AND CROSSES OF GUARRAZAR]
[Illustration: PLATE 144