[Illustration: PLATE 446
ARCHITECTURAL PARTS AND DECORATIVE REMAINS ANTERIOR TO THE MAHOMETAN
IRRUPTION, No. 2]
[Illustration: PLATE 447
ARCHITECTURAL PARTS AND DECORATIVE FRAGMENTS ANTERIOR TO THE MAHOMETAN
IRRUPTION, No. 3]
[Illustration: PLATE 448
ARCHES OF VARIOUS CHURCHES OF THE FOURTEENTH AND FIFTEENTH CENTURIES]
[Illustration: PLATE 449
DENUDATION OF OUR LORD BEFORE THE CRUCIFIXION
EL GRECO
SACRISTY OF THE CATHEDRAL]
[Illustration: PLATE 450
THE VIRGIN, ST. ANNE, THE CHILD JESUS AND ST. JOHN
EL GRECO
CHAPEL OF ST. ANNE]
[Illustration: PLATE 451
OUR LADY OF SORROWS
EL GRECO
SACRISTY OF THE NEW KINGS, IN THE CATHEDRAL]
[Illustration: PLATE 452
PENTECOST
EL GRECO
CHURCH OF THE TRINITY]
[Illustration: PLATE 453
JESUS AND ST. JOHN
EL GRECO
CHURCH OF ST. JOHN THE BAPTIST]
[Illustration: PLATE 454
THE ASSUMPTION
EL GRECO
CHAPEL OF SAN JOSÉ]
[Illustration: PLATE 455
ST. MARTIN
EL GRECO
CHAPEL OE SAN JOSÉ]
[Illustration: PLATE 456
THE HOLY EUCHARIST. BY EL GRECO CHURCH OF SAN JOSÉ]
[Illustration: PLATE 457
SAN JOSÉ AND THE CHILD JESUS
EL GRECO
PARISH CHURCH OF THE MAGDALENE]
[Illustration: PLATE 458
THE INTERMENT OF COUNT DE ORGAZ
EL GRECO
CHURCH OF SANTO TOMÉ]
[Illustration: PLATE 459
DETAIL OF THE INTERMENT OF COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 460
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 461
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 462
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 463
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 464
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ]
[Illustration: PLATE 465
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 466
FRAGMENT OF THE INTERMENT OF THE COUNT DE ORGAZ
EL GRECO]
[Illustration: PLATE 467
THE ANNUNCIATION
EL GRECO
PARISH CHURCH OF SAN NICHOLÁS]
[Illustration: PLATE 468
THE CRUCIFIXION
EL GRECO
SAN NICHOLÁS]
[Illustration: PLATE 469
SAN PEDRO NOLASCO
EL GRECO
PARISH CHURCH OF SAN NICHOLÁS]
[Illustration: PLATE 470
THE ASSUMPTION
EL GRECO
PARISH CHURCH OF SAN VICENTE]
[Illustration: PLATE 471
SAN EUGENIO
EL GRECO
PARISH CHURCH OF SAN VICENTE]
[Illustration: PLATE 472
ST. PETER
EL GRECO
PARISH CHURCH OF SAN VICENTE]
[Illustration: PLATE 473
JESUS AND THE VIRGIN
EL GRECO
PARISH CHURCH OF SAN VICENTE]
[Illustration: PLATE 474
THE ASCENSION
EL GRECO
SANTO DOMINGO EL ANTIGUA]
[Illustration: PLATE 475
A SAINT (? SANTO DOMINGO EL ANTIGUA)
EL GRECO]
[Illustration: PLATE 476
THE BIRTH OF JESUS
EL GRECO
SANTO DOMINGO EL ANTIGUA]
[Illustration: PLATE 477
SANTA VERONICA WITH THE SUDARIUM
EL GRECO
SANTO DOMINGO EL ANTIGUA]
[Illustration: PLATE 478
ST. JOHN BAPTIST
EL GRECO
SANTO DOMINGO EL ANTIGUA]
[Illustration: PLATE 479
ST. JOHN THE EVANGELIST
EL GRECO
CHURCH OF SANTO DOMINGO]
[Illustration: PLATE 480
ALTAR-PIECE OF THE CONVENT OF SANTO DOMINGO
EL GRECO]
[Illustration: PLATE 481
ST. FRANCIS OF ASSISI
EL GRECO
COLLEGE OF NOBLE LADIES]
[Illustration: PLATE 482
THE BAPTISM OF JESUS
EL GRECO
HOSPITAL OF ST. JOHN BAPTIST]
[Illustration: PLATE 483
PORTRAIT OF CARDINAL TAVERA
EL GRECO
HOSPITAL OF ST. JOHN BAPTIST]
[Illustration: PLATE 484
VIEW OF THE HIGH ALTAR OF THE TAVERA HOSPITAL
EL GRECO]
[Illustration: PLATE 485
GENERAL VIEW OF TOLEDO (LEFT HALF)
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 486
GENERAL VIEW OF TOLEDO (RIGHT HALF)
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 487
VIEW OF TOLEDO
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 488
PORTRAIT OF ANTONIO COVARRUBIAS
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 489
PORTRAIT OF THE SON OF COVARRUBIAS
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 490
THE CRUCIFIXION
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 491
ALLEGORY OF THE VIRGIN
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 492
PORTRAIT OF JUAN DE AVILA
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 493
OUR SAVIOUR
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 494
ST. JOHN THE EVANGELIST
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 495
ST. PETER
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 496
ST. MATTHIAS
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 497
ST. PHILIP
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 498
ST. ANDREW
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 499
ST. THOMAS
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 500
ST. SIMON
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 501
ST. MATTHEW
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 502
ST. JUDE TADEO
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 503
AN APOSTLE
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 504
AN APOSTLE
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 505
AN APOSTLE
EL GRECO
PROVINCIAL MUSEUM]
[Illustration: PLATE 506
THE ANNUNCIATION
EL GRECO]
[Illustration: PLATE 507
THE DREAM OF PHILIP II.
EL GRECO
CHAPTER HALL OF THE ESCORIAL]
[Illustration: PLATE 508
ST. MAURICE AND THE THEBAN LEGION
EL GRECO
CHAPTER HALL OF THE ESCORIAL]
[Illustration: PLATE 509
PORTRAIT OF EL GRECO BY HIMSELF
SEÑOR A. DE BERUETE, MADRID]
[Illustration: PLATE 510
CHRIST DRIVING THE MONEY-CHANGERS FROM THE TEMPLE
EL GRECO
SEÑOR DE BERUETE, MADRID]
[Illustration: PLATE 511
PORTRAIT OF A STUDENT (EL GRECO?)
EL GRECO
DON PABLO BOSCH, MADRID]
* * * * *
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.
The author cannot boast that he has new data to offer, but he has put
forward his conclusions with modesty; he has reproduced a great deal
that is most representative of the artist’s work; and he has endeavoured
to keep always in view his object to present a concise, accurate, and
readable life of Velazquez.
* * * * *
_UNIFORM WITH THIS VOLUME_
ROYAL PALACES OF SPAIN
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
THE SPANISH KINGS. PROFUSELY ILLUSTRATED
Spain is beyond question the richest country in the world in the number
of its Royal Residences, and while few are without artistic importance,
all are rich in historical memories. Thus, from the Alcazar at Seville,
which is principally associated with Pedro the Cruel, to the Retiro,
built to divert the attention of Philip IV. from his country’s decay;
from the Escorial, in which the gloomy mind of Philip II. is perpetuated
in stone, to La Granja, which speaks of the anguish and humiliation of
Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
Rio Frio, and from El Pardo, darkened by the agony of a good king, to
Miramar, to which a widowed Queen retired to mourn: all the history of
Spain, from the splendid days of Charles V. to the present time, is
crystallised in the Palaces that constitute the patrimony of the Crown.
The Royal Palaces of Spain are open to visitors at stated times, and it
is hoped that this volume, with its wealth of illustrations, will serve
the visitor both as a guide and a souvenir.
* * * * *
_UNIFORM WITH THIS VOLUME_
VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS
The glory of Valladolid has departed, but the skeleton remains, and
attached to its ancient stones are the memories that Philip II. was born
here, that here Cervantes lived, and Christopher Columbus died. In this
one-time capital of Spain, in the Plaza Mayor, the fires of the Great
Inquisition were first lighted, and here Charles V. laid the foundation
of the Royal Armoury, which was afterwards transferred to Madrid.
More than seven hundred years have passed since Oviedo was the proud
capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
though no longer great, has still all the appurtenances of greatness,
and with her granite massiveness and austerity, she remains an
aristocrat even among the aristocracy of Spanish cities. Zamora, which
has a history dating from time almost without date, was the key of Leon
and the centre of the endless wars between the Moors and the Christians,
which raged round it from the eighth to the eleventh centuries.
In this volume the author has striven to re-create the ancient greatness
of these six cities, and has preserved their memories in a wealth of
excellent and interesting illustrations.
* * * * *
_UNIFORM WITH THIS VOLUME_
LEON, BURGOS AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS
In Leon, once the capital of the second kingdom in Spain; in Burgos,
which boasts one of the most magnificent cathedrals in Spain, and the
custodianship of the bones of the Cid; and in Salamanca, with its
university, which is one of the oldest in Europe, the author has
selected three of the most interesting relics of ancient grandeur in
this country of departed greatness.
Leon to-day is nothing but a large agricultural village, torpid, silent,
dilapidated; Burgos, which still retains traces of the Gotho-Castilian
character, is a gloomy and depleting capital: and Salamanca is a city of
magnificent buildings, a broken hulk, spent by the storms that from time
to time have devastated her.
Yet apart from the historical interest possessed by these cities, they
still make an irresistible appeal to the artist and the antiquary. They
are content with their stories of old-time greatness and their
cathedrals, and these ancient architectural splendours, undisturbed by
the touch of a modernising and renovating spirit, continue to attract
the visitor.
* * * * *
_UNIFORM WITH THIS VOLUME_
MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450
ILLUSTRATIONS
Madrid is at once one of the most interesting and most maligned cities
in Europe. It stands at an elevation of 2,500 feet above the sea level,
in the centre of an arid, treeless, waterless, and wind-blown plain; but
whatever may be thought of the wisdom of selecting a capital in such a
situation, one cannot but admire the uniqueness of its position, and the
magnificence of its buildings, and one is forced to admit that, having
fairly entered the path of progress, Madrid bids fair to become one of
the handsomest and most prosperous of European cities.
The splendid promenades, the handsome buildings, and the spacious
theatres combine to make Madrid one of the first cities of the world,
and the author has endeavoured with the aid of the camera, to place
every feature and aspect of the Spanish metropolis before the reader.
Some of the illustrations reproduced here have been made familiar to the
English public by reason of the interesting and stirring events
connected with the Spanish Royal Marriage, but the greater number were
either taken by the author, or are the work of photographers specially
employed to obtain new views for the purpose of this volume.
* * * * *
_UNIFORM WITH THIS VOLUME_
GOYA
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS
PICTURES
The last of the old masters and the first of the moderns, as he has been
called, Francisco José de Goya y Lucientes is not so familiarised to
English readers as his genius deserves. He was born at a time when the
tradition of Velazquez was fading, and the condition of Spanish painting
was debased almost beyond hope of salvation; he broke through the
academic tradition of imitation; “he, next to Velazquez, is to be
accounted as the man whom the Impressionists of our time have to thank
for their most definite stimulus, their most immediate inspiration.”
The genius of Goya was a robust, imperious, and fulminating genius; his
iron temperament was passionate, dramatic, and revolutionary; he painted
a picture as he would have fought a battle. He was an athletic, warlike,
and indefatigable painter; a naturalist like Velazquez; fantastic like
Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
Spanish genius.
It is impossible to reproduce his colouring; but in the reproductions of
his works the author has endeavoured to convey to the reader some idea
of Goya’s boldness of style, his mastery of frightful shadows and
mysterious lights, and his genius for expressing all terrible emotions.
* * * * *
_UNIFORM WITH THIS VOLUME_
CORDOVA
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS