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+*** START OF THE PROJECT GUTENBERG EBOOK 63020 ***
+
+ THE SPANISH SERIES
+
+ MADRID
+
+
+
+
+ THE SPANISH SERIES
+
+ _Edited by ALBERT F. CALVERT_
+
+
+ GOYA
+ TOLEDO
+ MADRID
+ SEVILLE
+ MURILLO
+ CORDOVA
+ EL GRECO
+ VELAZQUEZ
+ CERVANTES
+ THE PRADO
+ THE ESCORIAL
+ ROYAL PALACES OF SPAIN
+ SPANISH ARMS AND ARMOUR
+ GRANADA AND THE ALHAMBRA
+ LEON, BURGOS, AND SALAMANCA
+ VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA, AND ZARAGOZA
+
+
+ _In preparation_
+
+ GALICIA
+ SCULPTURE IN SPAIN
+ CITIES OF ANDALUCIA
+ MURCIA AND VALENCIA
+ TAPESTRIES OF THE ROYAL PALACE
+ CATALONIA AND BALEARIC ISLANDS
+ SANTANDER, VIZCAYA, AND NAVARRE
+
+
+
+
+ MADRID
+ AN HISTORICAL DESCRIPTION
+ AND HANDBOOK OF
+ THE SPANISH CAPITAL,
+ BY ALBERT F. CALVERT,
+ WITH 453 ILLUSTRATIONS
+
+
+ LONDON: JOHN LANE, THE BODLEY HEAD
+ NEW YORK: JOHN LANE COMPANY MCMIX
+
+ TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
+
+
+
+
+PREFACE
+
+
+Madrid is but a nursling among the cities of Spain. Marius Fulvius laid
+siege to Toledo nearly two centuries before the birth of Christ, and it
+is not until a thousand years later that we find the first historical
+mention of Madrid. London, under the title of Augusta, was one of the
+most important towns of Britain more than five hundred years before Don
+Ramiro II. of Leon razed Majerit, as it was then called, in 939. This is
+the first authoritative reference we have to Madrid. In 1540, Charles V.
+abandoned the time-honoured capitals of Valladolid, Seville, Zaragoza,
+and Toledo, to nurse his gout in the brisk, rarefied air of Madrid. In
+1560 the city was declared “the only Court” by Philip II., and styled
+“Imperial y Coronada, muy noble y muy leal”; Ferdinand VII., in 1814,
+added the words “y muy heroica.”
+
+Despite the flattering and dignified official epithets that have been
+bestowed upon it, Madrid possesses many natural features which militate
+against its popularity as a residential centre; but, despite its
+isolated and elevated position and the treacherousness of its climate,
+the city has not deserved the strictures that have been passed upon it
+by captious and prejudiced critics. For Madrid is a city of broad
+thoroughfares, magnificent public buildings, and handsome houses; and,
+since it has been rescued from its geographical remoteness by being made
+the centre of the Spanish railway system, it has become one of the most
+accessible and prosperous capitals of Europe.
+
+In devoting a volume to an historical and descriptive account of Madrid,
+I am not only fulfilling a duty which could not be neglected in any
+serious attempt to make this Spanish Series useful and comprehensive,
+but I am also inspired with a hope of being able to dissipate many of
+the erroneous and defamatory impressions that are current with regard to
+the Spanish capital. I have approached the task from the standpoint of a
+resident writing for visitors to the city, and if my notes are biassed
+in favour of my subject, I can only say that I have a sincere liking and
+admiration for the city, and I have spoken of its people as I have found
+them. The Spanish metropolis is modern; it is imbued with the
+principles of modern progress; and while one never ceases to rejoice in
+the unfaltering, unchanging adherence to an immemorial past,
+characteristic of Toledo, one may feel an interest, equally keen and
+appreciative, in the spirit of new Spain which is to be found in Madrid.
+
+Not the least pleasant part of an author’s privilege in penning a
+preface is the opportunity it affords him of acknowledging the
+assistance and courtesy he has received in the accomplishment of his
+task. To Mr W. Gallichan my thanks are due for assistance received in
+the compilation, and I am also grateful to Señor Don J. Lacoste and
+Messrs Hauser y Menet for their kindness in permitting me to reproduce
+many of the illustrations that adorn this little book.
+
+ A. F. C.
+
+
+
+
+CONTENTS
+
+
+ PAGE
+
+ I. GENERAL IMPRESSIONS OF MADRID 1
+
+ II. HISTORY OF THE CITY 18
+
+ III. THE COURT AND SOCIETY IN MADRID 32
+
+ IV. ART IN MADRID 47
+
+ V. LITERATURE AND THE DRAMA 60
+
+ VI. CHURCHES AND PUBLIC BUILDINGS 72
+
+ VII. ALCALÁ DE HENARES 128
+
+VIII. THE BULL-FIGHT 136
+
+ IX. THE ART OF THE BULL-FIGHTER 145
+
+ X. CAFÉ LIFE OF THE MADRILEÑOS 166
+
+
+
+
+ILLUSTRATIONS
+
+
+TITLE PLATE
+
+Plan of Madrid 1
+
+Arms of Madrid 2
+
+General view of Madrid 3
+
+View of Madrid from the Teja 4
+
+General view of Madrid 5
+
+View of Madrid from San Isidro 6
+
+The Fountain of Cybele and Calle de Alcalá 7
+
+The Northern Railway Station and Royal Palace 8
+
+Puerta del Sol 9
+
+Puerta del Sol 10
+
+Calle de Alcalá 11
+
+Calle de Alcalá 12
+
+Calle de Alcalá 13
+
+Calle de Alcalá 14
+
+Carrera de San Jerónimo 15
+
+Calle de Alcalá 16
+
+Calle de Sevilla 17
+
+Calle de Alcalá 18
+
+Plaza de Castelar 19
+
+Calle de Toledo 20
+
+In old Madrid 21
+
+Paseo de Recoletos 22
+
+Paseo de Recoletos 23
+
+Paseo de Recoletos 24
+
+Paseo de Recoletos 25
+
+Calle de Alcalá and Statue of Aguirre 26
+
+Paseo de la Castellana 27
+
+Plaza de Isabel II. 28
+
+Plaza de Oriente 29
+
+Plaza Mayor 30
+
+Plaza Mayor 31
+
+Plaza Mayor and Statue of Philip III. 32
+
+Calle de Serrano 33
+
+Calle de la Princesa on Good Friday 34
+
+Entrance to the Park of Alfonso XIII. 35
+
+Casa de Campo. The Lake 36
+
+Toledo Bridge 37
+
+Toledo Bridge 38
+
+Toledo Bridge 39
+
+Segovia Bridge 40
+
+Entrance to the Retiro 41
+
+Entrance to the Retiro 42
+
+Principal Entrance to the Retiro 43
+
+Retiro. The Parterre 44
+
+Retiro. The Lake 45
+
+Retiro. The Crystal Palace 46
+
+Retiro. Arab Pavilion 47
+
+Retiro. Arab Temple 48
+
+Gate of Alcalá 49
+
+Gate of Hierro 50
+
+Gate of Toledo 51
+
+Chamber of Deputies 52
+
+The Cortes. Two bronze lions in front of the Palace 53
+
+Interior of the Chamber of Deputies 54
+
+Interior of the Chamber of Deputies 55
+
+Reception Room at the Chamber of Deputies. Decorated
+by Don A. Mélida 56
+
+Reception Room at the Chamber of Deputies. Decorated
+by Don A. Mélida 57
+
+Façade of the Hospital. Calle Fuencarral 58
+
+La Latina 59
+
+Portal of the Hospital of the Conception or “La
+Latina” in the Calle de Toledo 60
+
+Staircase of La Latina 61
+
+Portal and Staircase of the Hospital de la Latina 62
+
+Arabian Palace of the Prado 63
+
+Arabian Palace of the Prado 64
+
+Lujanes Tower 65
+
+The Aguirre School 66
+
+The Spanish Theatre 67
+
+The Royal Theatre 68
+
+The Treasury Office in the Calle de Alcalá 69
+
+Palace of the Marqués de Portugalete 70
+
+Palace of the Marqués de Linares 71
+
+The Bank of Spain 72
+
+The War Office 73
+
+Southern façade of the Museum and the Statue of
+Murillo 74
+
+The Prado Gallery. North façade 75
+
+The Prado Gallery 76
+
+The New Exchange 77
+
+The Town Hall 78
+
+The Northern Railway Station 79
+
+Círculo de Contribuyentes 80
+
+The Senate House 81
+
+Hispano-American Bank 82
+
+The Spanish Academy 83
+
+The Atocha Station 84
+
+National Library 85
+
+The National Library and Museum 86
+
+National Library. Detail of the façade 87
+
+National Library and Museum. East façade 88
+
+National Library. Sphinx 89
+
+The Equitable Buildings in the Calle de Alcalá 90
+
+Statue of María Cristina and Museum of Reproductions 91
+
+Interior of the New Exchange 92
+
+The Home Office 93
+
+Astronomical Observatory 94
+
+The Exchange 95
+
+The War Office 96
+
+The Town Hall 97
+
+Ministerio de Fomento 98
+
+Hermitage of San Isidro 99
+
+Refuge of Our Lady of Mercy 100
+
+Church of San Francisco el Grande 101
+
+San Francisco el Grande. General view from the
+Choir 102
+
+San Francisco el Grande. The Concession of the
+Jubilee of the Porciúncula 103
+
+San Francisco el Grande. Left side of the Cupola 104
+
+Crypt in the Almudena Cathedral 105
+
+The Cathedral. Partial view of the Crypt 106
+
+Church of Las Calatravas 107
+
+Las Calatravas 108
+
+Church of El Buen Suceso 109
+
+General view of the Church El Buen Suceso 110
+
+Church of San José 111
+
+Church of San Isidro el Real 112
+
+Interior of the Church of San Isidro 113
+
+Church of La Virgen del Puerto 114
+
+Church of Las Salesas. The Suffering Christ 115
+
+Church of San Cayetano 116
+
+Altar-piece in the Bishop’s Chapel 117
+
+Door in the Bishop’s Chapel 118
+
+The Bishop’s Chapel. Left side of the door 119
+
+The Bishop’s Chapel. Right side of the door 120
+
+The Bishop’s Chapel. Upper part of the door 121
+
+The Bishop’s Chapel. Sepulchre of the Bishop of
+Plasencia 122
+
+The Bishop’s Chapel. Sepulchre of Don Francesco de
+Vargas 123
+
+The Bishop’s Chapel. Sepulchre of Doña Inés de
+Carvajal 124
+
+Parish Church of St Andrew. Sepulchre of San
+Isidro, Patron Saint of Madrid 125
+
+Interior of the Church of San Jerónimo. From a
+picture in the Prado of the Prince of the Asturias
+(Ferdinand VII.) taking the Oath of Allegiance
+in 1789 126
+
+View of the interior of the Church of San Jerónimo 127
+
+San Antonio de la Florida 128
+
+Church of San Antonio de la Florida 129
+
+Interior of the Church of San Antonio de la Florida 130
+
+Fresco in San Antonio de la Florida, by Goya 131
+
+Fresco in San Antonio de la Florida, by Goya 132
+
+Fresco in San Antonio de la Florida, by Goya 133
+
+Fresco in San Antonio de la Florida, by Goya 134
+
+Group of Angels in San Antonio de la Florida, by Goya 135
+
+Group of Angels in San Antonio de la Florida, by Goya 136
+
+Interior of the Church of San Antonio de la Florida 137
+
+San Antonio de la Florida. Painting in the principal
+Chapel, by Goya 138
+
+San Antonio de la Florida. Paintings on the centres
+of the intrados of the Choir and principal Chapel
+Arches, by Goya 139
+
+San Antonio de la Florida. Paintings on the springings
+of the intrados of the principal Chapel Arches,
+by Goya 140
+
+San Antonio de la Florida. Paintings on the springings
+of the intrados of the Choir Arches, by Goya 141
+
+San Antonio de la Florida. Paintings on the intrados
+of the Chapel Arch, left side, by Goya 142
+
+San Antonio de la Florida. Paintings on the intrados
+of the Chapel Arch, right side, by Goya 143
+
+San Antonio de la Florida. Triangles formed by the
+Dome adjoining the principal Chapel, by Goya 144
+
+San Antonio de la Florida. Triangles formed by the
+Dome adjoining the Choir, by Goya 145
+
+San Antonio de la Florida. Paintings at the left sides
+of the windows of the Dome, by Goya 146
+
+San Antonio de la Florida. Paintings at the right
+sides of the windows of the Dome, by Goya 147
+
+San Antonio de la Florida. First group on the Cupola
+to the left of the centre, by Goya 148
+
+San Antonio de la Florida. Second group on the
+Cupola to the left of the centre, by Goya 149
+
+San Antonio de la Florida. Centre of the composition
+on the Cupola facing the entrance, by Goya 150
+
+San Antonio de la Florida. First group on the Cupola
+to the right of the centre, by Goya 151
+
+San Antonio de la Florida. Second group on the
+Cupola to the right of the centre, by Goya 152
+
+The Prado 153
+
+The Prado 154
+
+The Prado Gallery 155
+
+The Prado. The Velazquez Gallery 156
+
+Madrid Picture Gallery. Lower plan 157
+
+Madrid Picture Gallery. Chief plan 158
+
+Scene in the Life of Santo Domingo de Guzman, by
+Pedro Berruguete. Prado 159
+
+Ecce Homo, by Luis de Morales. Prado 160
+
+The Baptism of Christ, by Navarrete. Prado 161
+
+Portrait of Don Carlos, son of Philip II., by Alonso
+Sánchez Coello. Prado 162
+
+The Infantas Isabel Clara Eugenia and Catalina
+Micaela, daughters of Philip II., by Alonso
+Sánchez Coello. Prado 163
+
+Jacob receiving the Blessing of his father Isaac, by
+Ribera. Prado 164
+
+Vision of St Peter the Apostle to St Peter Nolasco, by
+Zurbaran. Prado 165
+
+Los Borrachos, by Velazquez. Prado 166
+
+The Forge of Vulcan, by Velazquez. Prado 167
+
+The Surrender of Breda, by Velazquez. Prado 168
+
+Philip IV., by Velazquez. Prado 169
+
+Queen Isabel of Bourbon, by Velazquez. Prado 170
+
+Don Baltasar Carlos, by Velazquez. Prado 171
+
+Philip IV. in Hunting Costume, by Velazquez. Prado 172
+
+Don Baltasar Carlos in Hunting Costume, by Velazquez.
+Prado 173
+
+Duke of Olivares, by Velazquez. Prado 174
+
+Æsop, by Velazquez. Prado 175
+
+St Antony Abbot visiting St Paul, by Velazquez.
+Prado 176
+
+Las Hilanderas, by Velazquez. Prado 177
+
+Las Meninas, by Velazquez. Prado 178
+
+Our Lady of the Immaculate Conception, by Murillo.
+Prado 179
+
+El Tiñoso: St Elizabeth of Hungary tending the sick
+in her Hospital, by Murillo. Prado 180
+
+Father Cabanillas, by Murillo. Prado 181
+
+The Child Jesus as Shepherd, by Murillo. Prado 182
+
+Detail of Plate 179, by Murillo. Prado 183
+
+The Vision of St Bernard, by Murillo. Prado 184
+
+The Virgin of the Rosary, by Murillo. Prado 185
+
+The Child St John, by Murillo. Prado 186
+
+The Children, Jesus and St John, known by the name
+of “Los Niños de la Concha,” by Murillo. Prado 187
+
+The Holy Family and the Bird, by Murillo. Prado 188
+
+Head of the Holy Shepherd (fragment), by Murillo
+Prado 189
+
+La Porciúncula (the Vision of St Francis), by Murillo.
+Prado 190
+
+The Martyrdom of St Andrew the Apostle at Patras,
+by Murillo. Prado 191
+
+The Dream of the Roman Senator and his wife, which
+produced the Church of St Maria Maggiore at
+Rome, by Murillo 192
+
+The Roman Senator and his wife telling their dream
+to Pope Liberius, by Murillo 193
+
+The Annunciation, by El Greco. Prado 194
+
+The Holy Family, by El Greco. Prado 195
+
+The Crucifixion, by El Greco. Prado 196
+
+The dead Christ in the arms of God the Father, by El
+Greco. Prado 197
+
+Charles IV., by Goya. Prado 198
+
+Queen Maria Luisa, by Goya. Prado 199
+
+The nude Maja, by Goya. Prado 200
+
+The draped Maja, by Goya. Prado 201
+
+The Family of Charles IV., by Goya. Prado 202
+
+Goya at the age of 80, by V. López. Prado 203
+
+Jesus and Mary Magdalene, by Correggio. Prado 204
+
+The Holy Family and the Lamb, by Rafael. Prado 205
+
+A Cardinal, by Rafael. Prado 206
+
+Madonna and Child, with St Bridget and St Hulpus,
+by Titian. Prado 207
+
+The Crown of Thorns, by Domingo Tiepolo. Prado 208
+
+Portrait of Albrecht Dürer, by himself. Prado 209
+
+Queen Artemisia, by Rembrandt. Prado 210
+
+Village Fête, by Teniers. Prado 211
+
+Gallery of the Archduke Leopold in Brussels, by
+Teniers. Prado 212
+
+The Three Graces, by Rubens. Prado 213
+
+The Holy Family, by Rubens. Prado 214
+
+Van Dyck and Count Bristol, by Van Dyck. Prado 215
+
+The Last Supper, by Juan de Juanes. Prado 216
+
+The Catholic Sovereigns adoring the Virgin, by Juan
+de Borgoña. Prado 217
+
+A Gothic King, by Alonso Cano. Prado 218
+
+The Water from the Rock, by Juan de las Roelas,
+El Clérigo. Prado 219
+
+A Soul in Pain, by Ribalta. Prado 220
+
+Portrait of Philip II., by Pantoja de la Cruz. Prado 221
+
+Portrait of Pedro Berruguete. 15th century. Collection
+of Don José de Lázaro Galdeano 222
+
+Architecture, Painting, and Sculpture, by G. Suñol.
+Allegoric group intended for the façade of the
+Prado 223
+
+The Emperor Charles V. Prado Museum 224
+
+The Empress Isabel of Portugal, wife of Charles V.
+The Prado 225
+
+A Satyr and children dancing. The Prado 226
+
+Marble relief. Life-size figures. The Prado 227
+
+Marble relief. Bacchantes. Life-size figures. The
+Prado 228
+
+Bronze heads. The Prado 229
+
+Tapestry. The Baptist taking leave of his parents to
+devote himself to penitence 230
+
+Tapestry. The Virgin enthroned, Gideon showing the
+lamb’s skin, and other scenes 231
+
+Effigy of St Ferdinand, King of Spain. Chapel Royal 232
+
+(1 to 5) Crowns and votive crosses of Guarrazar. (6)
+Remains of St Ferdinand’s robe. (7) Moorish
+spurs of St Ferdinand. Royal Armoury 233
+
+C 1. Spanish man-at-arms, 15th century. Royal
+Armoury 234
+
+C 4. Spanish crossbowman, 15th century. Royal
+Armoury 235
+
+C 2. Spanish halberdier, 15th century. Royal Armoury 236
+
+Mace-bearer of the 16th century with surcoat displaying
+the Arms of Castile and Leon 237
+
+A 26. Tilting harness of Charles V. Royal Armoury 238
+
+A 112. Armour presented to Charles V. by the Duke
+of Mantua. Royal Armoury 239
+
+Armour of Charles V. made by Desiderio Colman.
+(1849 Catalogue.) Royal Armoury 240
+
+A 231. Armour made for Prince Philip (II.) by Wolf
+of Landshut (1550). Royal Armoury 241
+
+Armour of Charles V., Augsburg or Nuremberg make.
+(1849 Catalogue.) Royal Armoury 242
+
+A 37. Tilting harness of Charles V. made by Desiderio
+Colman, Helmschmied. Royal Armoury 243
+
+A 65. Tilting harness of Charles V. Royal Armoury 244
+
+A 149. Armour of Charles V. (1541). Royal Armoury 245
+
+A 243. Equestrian armour of Philip II. made by
+Sigmund Wolf of Landshut. Royal Armoury 246
+
+Armour of King Philip II. Royal Armoury 247
+
+Armour of Philip II., engraved with the Royal Arms
+of England. Royal Armoury 248
+
+A 290. Armour of King Sebastian of Portugal. Royal
+Armoury 249
+
+A 290. Armour of King Sebastian, back plate (details).
+Royal Armoury 250
+
+A 291. Armour of Philip III. made by Lucio Picinino
+of Milan. Royal Armoury 251
+
+Armour made at Pamplona for the Duke of Savoy
+(1620). Royal Armoury 252
+
+Half armour of Philip IV. Royal Armoury 253
+
+Milanese brigantine which belonged to Charles V.
+Royal Armoury 254
+
+B 1. Boy’s half armour made in Italy for the Infante,
+afterwards Philip III. Royal Armoury 255
+
+D 1. Boy’s half armour made for the Infante, afterwards
+Philip III. (Second view.) Royal Armoury 256
+
+B 4. Half armour presented to the Infante, afterwards
+Philip III., by the Duke of Terranova.
+Royal Armoury 257
+
+B 18. Boy’s half armour made for the Infante Fernando,
+son of Philip III. Royal Armoury 258
+
+Half armour belonging to Prince Philip, afterwards
+Philip IV. Royal Armoury 259
+
+A 434. Gorget. Subject: The Siege of Ostend,
+1601. Royal Armoury 260
+
+A 434. Gorget of Philip II. Subject: The Battle of
+Nieuport. Royal Armoury 261
+
+Helmet of Philip II. made at Augsburg in 1549. Royal
+Armoury 262
+
+A 243. Helmet of Philip II. made by Wolf of Landshut
+in 1554. Royal Armoury 263
+
+A 290. Burgonet of King Sebastian of Portugal.
+Royal Armoury 264
+
+A 292. Burgonet made for Philip III. by Lucio
+Picinino. Royal Armoury 265
+
+A 350. Helmet for the Duke of Savoy (side view).
+Royal Armoury 266
+
+D 3. Burgonet of Charles V. designed by Giulio
+Romano. Royal Armoury 267
+
+M 5. Helmet of Francis I. of France, taken at the
+Battle of Pavia. Royal Armoury 268
+
+1511. Satin and velvet turban found in the palace of
+Mustafa Bey of Oran, in 1722.--1533. Steel
+turban of Ali Pasha, Turkish admiral at Lepanto.
+Royal Armoury 269
+
+D 63. The “Plus Ultra” shield designed by Giulio
+Romano. Royal Armoury 270
+
+D 10. Shield, early 17th century. Design: Warriors
+in Combat. Royal Armoury 270
+
+D 69. Italian shield, 16th century. Design: The
+Triumph of Love. Royal Armoury 271
+
+D 68. Shield of Augsburg make, 16th century. Royal
+Armoury 271
+
+D 79. Shield presented to Philip III. by the Duke of
+Savoy in 1603. Royal Armoury 272
+
+D 86. Moorish leather shield, end of 15th century.
+Royal Armoury 273
+
+M 6. Shield and sword of Francis I. of France, taken
+at the battle of Pavia. Design: The Gallic Cock
+attacking a warrior and putting him to flight.
+Royal Armoury 274
+
+A 242. Pommel and cantle of saddle of Philip II.
+Royal Armoury 275
+
+A 291. Cantle-plates of saddle made by Lucio Picinino.
+Royal Armoury 276
+
+Turkish saddle given to Charles III. Royal Armoury 277
+
+Trophy formed of several pieces of armour of Philip II.
+Royal Armoury 278
+
+Armour of a greyhound. Royal Armoury 279
+
+1987, 1992. Spanish arquebuses, end of 16th
+century.--1955. Petronel, 16th century.--1961. Spanish
+arquebus, with octagonal barrel inlaid with mother
+of pearl and ivory, 16th century.--1972, 1977,
+1946. Keys or cranks to cock the arquebuses.
+Royal Armoury 280
+
+Double breech-loading cannon, in bronze, used in
+Spain at the end of the 15th century. Royal
+Armoury 281
+
+Sedan chair of Philip V. (from the coach-houses of the
+Royal Palace, Madrid). Royal Armoury 282
+
+Sedan chair of Ferdinand VI. (from the coach-houses
+of the Royal Palace, Madrid). Royal Armoury 283
+
+Sedan chair of Charles IV. (from the coach-houses
+of the Royal Palace, Madrid). Royal Armoury 284
+
+Sedan chair of Philip V. (from the coach-houses of the
+Royal Palace, Madrid). Royal Armoury 285
+
+Sedan chair of Charles III. (from the coach-houses
+of the Royal Palace, Madrid). Royal Armoury 286
+
+Campaign litter of the Emperor Charles V. Royal
+Armoury 287
+
+Carriage given by Napoleon I. to Charles IV. (from
+the coach-houses of the Royal Palace, Madrid).
+Royal Armoury 288
+
+The Crown coach (from the coach-houses of the
+Royal Palace, Madrid). Royal Armoury 289
+
+General view of the interior of the old Armoury 290
+
+General view of the interior of the old Armoury 291
+
+General view of the interior of the old Armoury 292
+
+Royal Academy of History. Exterior of the triptych-reliquary
+from the stone monastery in Aragon 293
+
+Royal Academy of History. Part of the triptych-reliquary
+from the stone monastery in Aragon 294
+
+Royal Academy of History. Paintings on the exterior
+of the triptych-reliquary from the stone
+monastery in Aragon 295
+
+Statue of Philip III. in the Plaza Mayor 296
+
+Statue of Philip IV. in the Plaza de Oriente 297
+
+Statue of Espartero the Peace-maker 298
+
+Statue of General Concha, Marqués del Duero 299
+
+Statue of Velazquez 300
+
+Statue of Murillo 301
+
+Retiro. Statue of Goya 302
+
+Statue of Cervantes 303
+
+Cervantes 304
+
+Statue of Calderón de la Barca. (The work of J.
+Figueras) 305
+
+Isabel the Catholic. Bronze group in the Castellana.
+(The work of Oms) 306
+
+Monument to the memory of Columbus in the Paseo
+de Recoletos 307
+
+Monument to the memory of Columbus in the Paseo
+de Recoletos 308
+
+Monument to the memory of Columbus in the Paseo
+de Recoletos 309
+
+Monument to the memory of Columbus in the Paseo
+de Recoletos 310
+
+Monument to the memory of Columbus in the Paseo
+de Recoletos 311
+
+Monument to commemorate the 2nd of May 312
+
+Fountain of Neptune in the Prado 313
+
+The Fountain of Cybele 314
+
+The Prado, with the Fountain of the Four Seasons 315
+
+The Royal Palace from the Casa de Campo 316
+
+Royal Palace. The changing of the Guard (Halberdiers) 317
+
+The Palace 318
+
+The Palace from the Plaza de Oriente 319
+
+The Royal Palace 320
+
+Façade of Palace 321
+
+Palace and Plaza de la Armeria 322
+
+The Queen Mother leaving the Palace 323
+
+Principal Staircase 324
+
+Detail of Throne Room 325
+
+General view of Throne Room 326
+
+The Throne 327
+
+Room of Charles III. 328
+
+The Queen’s Room 329
+
+Room of Mirrors 330
+
+Gasparini Room of Charles III. 331
+
+Hall of Columns 332
+
+The Wedding. The King and Queen leaving the
+church and entering the Royal coach 333
+
+A Battle of Flowers 334
+
+His Majesty the King of Spain 335
+
+H.M. Queen Victoria of Spain 336
+
+The King and Queen of Spain 337
+
+H.M. Queen Victoria 338
+
+Her Majesty the Queen Mother 339
+
+Don Carlos of Bourbon 340
+
+Medal struck in honour of the Royal Marriage 341
+
+A Lady with a Mantilla 342
+
+Mantillas 343
+
+An out-door Pelota Court, with six players, three
+against three 344
+
+A Pelota Court 344
+
+A Tartaña 345
+
+The Harvest Cart 345
+
+Sketches in Spain 346
+
+Sketches in Spain 347
+
+A Dancer 348
+
+An Orange Seller 348
+
+The Counsellor of the village 349
+
+Full list of lottery results 349
+
+Bull-fighters at the tavern 350
+
+A Spanish girl 350
+
+View of the Monastery of the Escorial 351
+
+View of the Monastery (east side) 352
+
+The Colonnade of the Monastery 353
+
+Upper Cloister of the Monastery 354
+
+Lower Cloister of the Monastery 355
+
+The Evangelists’ Court 356
+
+Principal Staircase of the Monastery 357
+
+Interior of the Church 358
+
+Panteon of the Kings 359
+
+Panteon of the Infantes 360
+
+Chapter Room. (Monastery) 361
+
+Sacristy. (Monastery) 362
+
+Altar-piece of the Santa Forma, painted by Claudio
+Coello. (Sacristy of the Monastery) 363
+
+Retablo of the High Altar. (Basilica of the
+Monastery) 364
+
+Left side of the High Altar: Interment of the Emperor
+Charles V. 365
+
+The Tabernacle in the Escorial Church 366
+
+Choir Stalls. (Basilica of the Monastery) 367
+
+Library of the Monastery 368
+
+Apollo and Mercury, by Peregrino Tibaldi. (Fresco
+on the arch of the Escorial Library) 369
+
+Reception Hall. (Palace) 370
+
+Hall of Ambassadors. (Palace) 371
+
+Dining-Hall. (Palace) 372
+
+Pompeian Hall. (Palace) 373
+
+“Casa del Principe” or Lower Lodge 374
+
+Coffee-Room. (Casa del Principe) 375
+
+The Last Supper, by Titian. (The Escorial) 376
+
+The Holy Family, by Rafael. (Casa del Principe at
+the Escorial) 377
+
+St Maurice and other Martyrs, by El Greco. (Chapter
+Hall of the Escorial) 378
+
+The Dream of Philip II., by El Greco. (Chapter Hall
+of the Escorial) 379
+
+Country Dance, by Goya. (Tapestry in the Dining
+Hall of the Palace) 380
+
+The Washerwomen, by Goya. (Tapestry in the
+Escorial Palace) 381
+
+The China Merchant, by Goya. (Tapestry in the
+Escorial Palace) 382
+
+The Grape-Sellers, by Goya. (Tapestry in the
+Escorial Palace) 383
+
+Children picking Fruit, by Goya. (Tapestry in the
+Escorial Palace) 384
+
+The Kite, by Goya. (Tapestry in the Escorial
+Palace) 385
+
+A Smoker, by Teniers. (Casa del Principe at the
+Escorial) 386
+
+The Story of the Passion. Diptych, in ivory, of
+the 13th century. (From the Camarín of St
+Theresa) 387
+
+Egyptian Bronzes. Amon-Ra and Isis. (National
+Archæological Museum) 388
+
+Egyptian Bronzes. Osiris and Osor-Api. (National
+Archæological Museum) 389
+
+Alcalá de Henares. Paseo de Cervantes 390
+
+Alcalá de Henares. General Central Archives 391
+
+Alcalá de Henares. General Central Archives 392
+
+Alcalá de Henares. Façade of the Archives 393
+
+Court of the Alcalá de Henares. General Central
+Archives 394
+
+Alcalá de Henares. Chapel of the “Oidor.” Actual
+state of the north wall 395
+
+Alcalá de Henares. Actual state of the south wall 396
+
+Alcalá de Henares. Chapel of the “Oidor.” Actual
+state of the frieze round the north wall 397
+
+Alcalá de Henares. The University 398
+
+Alcalá de Henares. Façade of the University 399
+
+Alcalá de Henares. Longitudinal section of the
+Chapel of San Ildefonso in the University 400
+
+Alcalá de Henares. Details of the façade of the
+University 401
+
+Alcalá de Henares. Details of the façade of the
+University 402
+
+Alcalá de Henares. Paseo de la Estación 403
+
+Alcalá de Henares. Moorish Palace 404
+
+Alcalá de Henares. Interior of the Cathedral 405
+
+Alcalá de Henares. Interior of the Cathedral 406
+
+Alcalá de Henares. The Cathedral. Nave 407
+
+Alcalá de Henares. Sepulchre of Don Alonso Carrillo,
+Archbishop of Toledo 408
+
+Alcalá de Henares. Sepulchre of Cardinal Francisco
+Ximénez de Cisneros 409
+
+Alcalá de Henares. Sepulchre of the Archbishop of
+Toledo, Don Alfonso Carrillo de Acuña 410
+
+Alcalá de Henares. Details of the Sepulchre of
+Cardinal Francisco Ximénez de Cisneros 411
+
+Alcalá de Henares. Chapel of Santiago in the Church
+of Santa María 412
+
+Alcalá de Henares. Chapel of Santiago in the Church
+of Santa María 413
+
+Alcalá de Henares. Staircase in the Archbishop’s
+Palace 414
+
+Alcalá de Henares. Details of the Western Court
+and Entrance Court, Archbishop’s Palace 415
+
+Alcalá de Henares. Longitudinal section and details
+of the Archbishop’s Palace 416
+
+Alcalá de Henares. Frontispiece of a book called
+“Vita Cristi Cartuxano” 417
+
+Muñoza bulls, the property of the Duke of Veragua,
+by Joaquín Díez 418
+
+Testing a “Becerro,” or young bull, at Tablada, near
+Seville, by Joaquín Díez 419
+
+Selecting bulls from the herd of the Duke of Veragua
+at “La Muñoza,” by Joaquín Díez 420
+
+The Toilet of the Toreador before the Bull-fight, by
+V. Esquivel 421
+
+Before the Bull-fight, by B. Ferrandiz 422
+
+Toreadors preparing to enter the Arena, by J.
+Agrasot 423
+
+Entertaining the Bull-fighter, by Alarcón 424
+
+“Here comes the Bull!” by P. Francés. National
+Exhibition of Beaux-Arts, 1887 425
+
+“The Uninvited Guest,” by E. Mélida 426
+
+Head of a Bull, by Joaquín Díez 427
+
+Principal façade of the New Plaza de Toros 428
+
+Principal Entrance to the New Plaza de Toros 429
+
+Interior of the New Plaza de Toros 430
+
+Bull-fight. Entrance of the “Cuadrilla” 431
+
+Bull-fight. A Picador inciting the bull 432
+
+Bull-fight. The Picador 433
+
+Bull-fight. The Picador 434
+
+Bull-fight. A “Quite” 435
+
+Bull-fight. A “Quite” of El Gallo 436
+
+Bull-fight. Lagartijo after a “Recorte” 437
+
+Bull-fight. The Banderillas 438
+
+Bull-fight. Frascuelo irritating the bull with a cloak
+before killing him 439
+
+Bull-fight. Lagartijo irritating the bull with a cloak
+before killing him 440
+
+Bull-fight. The bull being dragged out of the Arena 441
+
+Ladies at the bull-fight 442
+
+The Procession 443
+
+Entrance of the bull 443
+
+The Picador 444
+
+At close quarters 444
+
+A turn with his back to the bull 445
+
+Fixing the Banderillas 445
+
+The Matador 446
+
+The final stroke 446
+
+Bull-fight. Leap over the bull’s neck 447
+
+Bull-fight. Leap with the pole 448
+
+Bull-fight. Banderillas 449
+
+Toreador wounded during a bull-fight, by Lizcano 450
+
+Guerrita. Banderillero 451
+
+Antonio Fuentes 451
+
+Luis Mazzantini and Cuadrilla 452
+
+Bull-fight. Last moments of a Toreador after being
+attacked in the Arena, by R. Novas 453
+
+
+
+
+MADRID
+
+
+
+
+I
+
+GENERAL IMPRESSIONS OF MADRID
+
+
+“From Madrid to heaven, and in heaven a spy-hole to look at Madrid” is
+the vaunt of the inhabitants of the Spanish capital. This pride has its
+justification, for Madrid is a fine city, remarkable for its position on
+a plateau over two thousand feet above the sea, famous for its progress
+during the eventful eighteenth and nineteenth centuries, and interesting
+by reason of the great names in the arts and literature inscribed upon
+its records. Madrid for the writers of the Romantic school was as
+charming as all other things Spanish; for de Musset it was “princesse
+des Espagnes” and “blanche ville des sérénades.”
+
+Few towns in Europe are situated amid so many natural hindrances to
+development as Madrid. It stands south and east of the bleak mountains
+of central Spain, upon one of many exposed and almost treeless uplands,
+where the winds of winter and early spring sting and bite, and the sun
+in summer sheds pitiless heat, which dries up the blood and disposes to
+languor. So fickle is the climate of this lofty region that, even in the
+height of August, it is never quite safe to discard the _capa_ after
+sundown, for, during the hottest day, a sinister and gelid breath may
+assail one at the street corner with a menace of chill to the lungs. Yet
+Madrid is not unhealthy. It is dry, invigorating, swept by mountain
+breezes, bathed for long periods in brightest sunlight, and free from
+the contamination and depression of smoke. With proper provision against
+the variations in temperature, one may enjoy a full measure of health
+and live to an advanced age in this city of the hills. The more
+dangerous kinds of fever are uncommon in Madrid; the chief risk to
+health is in the sudden keen air that brings a shiver when the body has
+been scorched by the sun, and one turns to seek the shady side of the
+street.
+
+Rio and Cabarras, two Spanish historians, speak of the bad odours and
+the dirt of Madrid in the seventeenth century. This reproach was,
+however, removed in the time of Henry Swinburne, an intelligent
+traveller, who visited the city in 1776. “The appearance of Madrid,”
+writes Swinburne, “is grand and lively; noble streets, good houses, and
+excellent pavement, as clean as it was once dirty.” In earlier days it
+was not thought necessary to wash the thoroughfares, because the purity
+of the air was an effective antidote to the evil of the filth and the
+smells. Rio, for example, advances the opinion that the invigorating
+mountain breezes are a sufficient purification.
+
+The clear quality of the Madrid sunshine is a compensation for the
+treachery of its winds. There are but few sunless days. “The sky at
+Madrid is almost always clear and serene,” wrote Laborde, in 1809. The
+heights of the Guadarrama are too far from the city to throw their shade
+upon it, and the brilliant sunlight pours down and floods the streets
+and squares, and penetrates every dwelling. Looking upon the wide,
+rolling, hillocky country from the outskirts of the city, you have a
+marvellous vista, full of colour, glow, and the grandeur of huge
+sunlight spaces. The sky is almost perennially deep blue; but at times
+there are vast masses of purple cloud above the horizon, whose passing
+shadow produces changing effects of light and darkness upon the
+far-stretching landscape, and adds a sternness to the sierra.
+
+For a long period this part of Castile was ravaged by the fellers of
+trees. The farmers aimed besides at the extinction of all kinds of
+birds, under the delusion that every bird is harmful to crops; and in
+the conduct of this warfare the axe was laid to the roots of millions of
+trees, so that no harbour for small birds might remain. This clearing of
+the forests destroyed the natural barriers against icy winds, deprived
+the land of all shade, made deserts in place of groves, and affected the
+climate and rainfall. A wiser policy was instituted in later years, and
+now a number of large plantations have grown up in the environs of the
+town, and the once denuded hillocks and bare gullies are here and there
+clothed with shady coppices. For the rest, the herbage of these grey
+uplands yields moderate pasturage for sheep in summer.
+
+Madrid lacks the dignity and beauty which a wide river lends to a city.
+The little Manzanares is not an imposing flood. It can scarcely rank as
+a river. The handsome Puente de Toledo spans the stream, and gives a
+touch of the picturesque to its muddy flow; and there is also the
+well-constructed Bridge of Segovia, with many arches. These gave rise to
+the now venerable joke that it would be better to sell the bridges and
+buy some water with the proceeds.
+
+Several writers have declared that the seat of the Spanish Court is not
+typical of the cities of Spain. This may be accepted as true in the
+sense that it has very little to show in the nature of antiquities.
+Segovia, Toledo, Avila, Burgos, Seville, Cordova, and Granada possess
+more interesting and romantic memorials of the past than the city of
+Madrid. Nevertheless, the Castilian capital has associations with days
+of immense moment in the history of Spain, and it is moreover one of the
+handsomest towns in the Europe of to-day; and whatever else is wanting
+in Madrid, it boasts of a priceless collection of some of the world’s
+masterpieces of painting. Only here can one realise the greatness of
+Velazquez, and appraise the genius of Goya. Its Royal Armoury, too, is
+the finest in the world.
+
+That Madrid has modelled itself upon Paris is not to its discredit. The
+city manifests the modern spirit in Spain rather than the mediæval
+atmospheres. It does not live upon its past like Cordova and Toledo.
+Madrid aspires to be a progressive modern municipality. The streets are
+broad, the system of lighting is modern, there are electric tramcars,
+motor-cars, and London and Parisian vehicles in the thoroughfares. The
+streets are deluged with the fire-hose three times a day, and the
+nuisance of the dust is thereby abated.
+
+A good supply of wholesome water is a boon in this arid district, but it
+must be admitted that Madrid is not too well off in this respect. The
+plazas are adorned with trees, and there are public parks, gardens, and
+open spaces. The Englishman, the Frenchman, and the German feel at home
+in this cosmopolitan centre; and yet everywhere there are the signs of
+Spain, the essential characteristics of a Southern people, as shown in
+courtly manners, mode of living, amusements, dress, and racial
+temperament.
+
+To say that Madrid is an attempted replica of Paris is scarcely a fair
+description of the city. Madrid has an aspect and a character of its
+own. Its gaieties are tempered with Castilian restraint. The business of
+the city is conducted without bustle; the diversions are matters of
+importance, and they are keenly enjoyed; but the Madrileño is not so
+vivacious and hilarious as the Parisian. Even here, in the hub of modern
+Spain, the Spaniard exhibits his placidity and patience. He is not given
+to hurry. The express train, which travels at a speed of twenty-five
+miles an hour, is fast enough for him, and he will get up in the early
+morning to catch it. Yet life in Madrid is decidedly animated, even if
+it is the pursuit of pleasure and not of wealth that occupies its
+inhabitants.
+
+And yet there is trading and speculating in the city, and merchants
+contrive to build up businesses, and shopkeepers thrive, and
+occasionally make large fortunes. But the aim is rather to enjoy life
+than to “push” and “hustle” in the hope of accumulating dollars by
+middle age. In fine, the art of contented enjoyment is discreetly
+cultivated in Madrid by all classes. Valdés, in his novel “Froth,” tells
+us how the “smart set” and the fashionable idlers of the city pass their
+days, and the picture is not unlike the life of our own West End
+society. But sentiment is a luxury for which the rich are prepared to
+pay a high price. You may see beautifully furnished houses deserted and
+allowed to fall into ruin by the owner, because his loved wife or child
+drew their last breath there, perhaps years ago.
+
+No, despite the tramcars, the modern air of the streets, and the London
+and Parisian fashions in dress, you cannot fail to realise that this is
+a Spanish city. Look at the workman, in his canvas blouse and drill
+trousers, with the _boina_ on his head and hemp-soled canvas shoes upon
+his feet; or the work-girl, with a rose in her hair and a fan in her
+hand. These are types of Spain, distinctive in their social ideals,
+their garb, and their physiognomy. Now and then, a peasant from the
+provinces is seen rubbing shoulders with a grandee, clad in the costume
+of Piccadilly. The contrast is sharp; the man about town and the
+field-toiler might be natives of two different countries, for the wear
+of the peasant is more African than European. His feet are in sandals,
+his legs bound with linen, his head tied up in a kerchief, and his body
+clothed with white cotton. And around his waist is a broad, gay silk
+sash, in whose voluminous folds he conceals his money and his
+keen-edged, long-bladed _navaja_.
+
+How antiquated, too, in British eyes is the ox-cart, heavy and
+ramshackle, with its squeaking wheels, and pair of bullocks under the
+carved wooden yoke! And the mule-teams--the gaunt, bony beasts, in
+Moorish-looking harness, with jangling bells around their necks, and the
+quaint devices of the clipper upon their coats, attended by swarthy men
+in knee-breeches and short jackets, with the peaked Castilian hat upon
+their cropped heads--these surely are of the days when Don Quixote rode
+on the great grey wastes of La Mancha, accompanied by his loyal Sancho.
+
+Old Madrid is rapidly disappearing. One of its confines was formerly the
+Puerta del Sol, which is now almost in the centre of the city. The gate
+is no longer in existence, but the place in which it stood still bears
+its name, and is the focus of the city’s life. Ancient purlieus were
+situated to the east of the royal palace; to-day scarcely any of the
+alleys and small squares remain, though here and there you may note a
+quaint corner or an old house.
+
+From the Puerta del Sol the chief thoroughfares of Madrid radiate. The
+Calle de Alcalá, the Calle del Arenal, the Calle Mayor, and the
+fashionable Carrera de San Jerónimo branch from this central square. In
+the Puerta del Sol stands the Ministerio de la Gobernación, a large, but
+not architecturally notable, edifice. Here also are the chief hotels,
+cafés, and restaurants. In the Calle de San Jerónimo are the best shops.
+Every one comes to stroll, lounge, and “to take the sun” in this bright,
+busy space in the heart of the city. It is the Piccadilly Circus of
+Madrid. All the types of Madrid’s population may be seen here from the
+bull-fighter to the great legislator. American and English tourists
+mingle with the throng; German commercial travellers talk business to
+their customers on the seats outside the cafés; and one hears several
+languages spoken in the hotels.
+
+In the Buen Retiro and the Parque de Madrid you may study the _beau
+monde_ of the city from the shade of the trees during the afternoon
+parade. Here there are over two hundred acres of pleasure grounds, more
+or less unkempt, but containing a fine avenue, paths, and umbrageous
+trees. The upper classes of the city delight in riding and driving. It
+is necessary to own a carriage and pair in order to figure in Madrid
+society, and the hobby of motoring is on the increase here as elsewhere
+in Europe. In former times the Buen Retiro was a royal demesne. Kings of
+Spain from Philip II. to Charles III. resorted to this pleasaunce, and a
+palace stood in the gardens. Nowadays, the Parque is a public pleasure
+resort, used by high and low, and often merry with a carnival or a
+battle of flowers. The Royal Palace overlooks the Manzanares, and
+dominates the city. It is in form a huge quadrangle, designed by
+Sachetti. The views from its windows are wide and impressive, and an
+idea of their beauty may be gained from the balcony near the Royal
+Armoury. Behind the palace is the Campo del Moro, a lovely garden on the
+spot where Ibn Yusuf besieged the old Alcázar. Only the privileged are
+permitted to enter this verdant sanctuary.
+
+In an interesting book, “A Year in Spain,” written by a young American
+in 1831, there is a picture of the daily life of Madrid which may serve
+to illustrate the day’s round among the leisured in the city of to-day:
+“The first thing in the morning was to arrange and order everything for
+the day. Then each took the little _higada_ of chocolate and
+_panecillo_, or small roll, of the delightful bread of Madrid. This meal
+is not taken at a table but sitting, standing, or walking from room to
+room, and not unfrequently in bed. This over, each went to his peculiar
+occupations; the old woman, with her Diarios and Gacetas, to open her
+reading-room in the entry; Florencia to ply her needle; and Don Valentin
+to play tinker overhead, having first taken out his flint and steel, and
+cigar and paper, to prepare his brief cigarillo, which he would smoke,
+with a sigh between each puff, after those days of liberty when a cigar
+cost two _cuartos_ instead of four. Towards noon he would roll himself
+in his _capa parda_--cloak of brown--and go down into the Puerta del
+Sol, to learn the thousand rumours which there find daily circulation.
+If it were a feast day, the Mass being over, he would go with his
+daughter to the Prado. At two the family took its mid-day meal,
+consisting, beside some simple dessert, of soup and _puchero_,
+well-seasoned with pepper, saffron, and garlic. If it had been summer,
+the _siesta_ would have passed in sleep; but it being winter, Don
+Valentin took advantage of the short-lived heat to wander forth with a
+friend, and in the evening went to his _tertulia_, or friendly reunion.
+In summer, one, or even two o’clock, is the hour of retiring; but in
+winter it is eleven. Always the last thing before going to bed was to
+take a supper of stewed meat and tomatoes, prepared in oil, to sleep
+upon.”
+
+Although this is a fair account of the inactive life of Madrid, it must
+not be supposed that no business is done in the city. There are
+comparatively few manufactures; but there are many shops, and a great
+share of the produce of Spain is brought into the capital. Tobacco and
+metal ware are the principal manufactures, and there are a large number
+of craftsmen who work independently at various trades. Madrid is more a
+centre of merchants and shopkeepers than of manufacturers.
+
+George Borrow came to Madrid, on his Bible-distributing mission, and
+lodged in the Calle de la Zarza, “a dark, dirty street, which, however,
+was close to the Puerta del Sol, the most central point of Madrid.”
+Borrow went to see two criminals strangled, and gathered some vivid and
+lurid impressions of the life among the manolos, “the rabble of Madrid.”
+He declares that the walls of the city enclose “the most extraordinary
+vital mass to be found in the entire world,” and claims Madrid as
+essentially Spanish. This is true only if we have regard for the fact
+that the metropolis of Spain has still a character of its own, and is in
+many respects more “European” and modern than Seville, Cadiz, Malaga,
+and Granada. In Cordova and Toledo we are reminded at every step of the
+influence of the Morisco, but in Madrid we recall the Spain of Charles
+V. and of the Bourbons.
+
+Since 1836, Madrid has been a University city. The academy founded at
+Alcalá was transferred here at that time, and to-day there are about
+eight thousand students. The Real Academia de Bellas Artes was founded
+here towards the middle of the eighteenth century. Several fine examples
+of the art of Murillo are in the gallery of the Academy, and there are
+also works by Ribera, Rubens, Zurbaran, and Alonso Cano. Besides these
+institutions there are the Academy of History, the Academy of Science,
+the Academy of Medicine, and a number of other learned societies.
+
+The Museum of Modern Art contains only a few paintings of importance,
+but there are some notable pictures by Fortuny, and a few pieces of
+modern sculpture. The great treasury of art, the Prado Gallery, is fully
+described in a separate volume of this series. It is the greatest glory
+of Madrid.
+
+The Naval Museum will recall the past maritime supremacy of Spain. In
+the National Library there are nearly a million books and a large number
+of manuscripts, including the beautiful, illuminated Gothic work dating
+from the tenth century, a thirteenth-century Bible, and the Siete
+Partidas of Alfonso the Learned. The National Museum of Archæology
+contains a very interesting collection of Roman, Gothic, and Moorish
+antiquities.
+
+It would be difficult to find a word which would convey a true
+impression of a town, but if we were limited to the employment of a
+single term to describe Madrid, _rococo_ would suggest itself. The
+capital is elegant, fanciful, and yet stately. It does not smile like
+Seville, nor frown like Toledo, and yet it is neither sad nor stern.
+Granada and Cordova sleep. Madrid never seems to slumber; it is one of
+the most restless places upon the earth. It has the dignity of Castile
+and the frivolity of Paris; it exhibits the congestion of London in
+parts within its gates, but it has no dingy, sunless slums, and few
+signs of an ugly indigence.
+
+There is the luxurious Madrid of the aristocracy and the hidalgo, the
+Madrid that lives for fashion and pleasure, and there is the Madrid of
+the shopkeeper and the lower middle class. Beneath these strata are the
+wage-earners, the mechanics and labourers, a frugal and usually
+industrious community. There is also the Madrid of a large nondescript
+class composed of mendicants, thieves, hawkers, and the rabble and
+derelicts of society.
+
+There is the Madrid of the casinos, some intellectual, others merely
+social or sporting. The city has its coteries of ardent politicians,
+military men, financiers, reformers, freethinkers, revolutionaries, and
+its societies of the scientific, learned, and artistic. There is no
+specific character which one can point to as typical of Madrid. One
+passion is, however, manifest throughout all classes--the love of
+bull-fighting. Seville is the school of the torero; Madrid is the scene
+of his valour in the arena. The bull-fighter is the idol of the
+populace. In the cafés of the Puerta del Sol, or in the ring of the
+Plaza de Toros, his figure is one that arouses the deepest interest and
+warmest admiration. An eminent jockey in England has his host of
+admirers, but he cannot command that universal respect which is accorded
+to the _espada_ in Spain. The great bull-fighter is the pet of Madrid
+society, the demi-god of the populace, the model of the “sports” of the
+city.
+
+It is just as easy to lead the studious, contemplative life in Madrid as
+in London, if one elects to be aloof. On the other hand, there is every
+opportunity for gaiety, social amenities, and dissipation. Madrid offers
+almost every kind of life to its inhabitants. Its 540,000 natives,
+forming Borrow’s “extraordinary vital mass,” are quite as motley as the
+population of Manchester. Madrid is therefore neither a purely
+commercial, fashionable, pleasure-seeking, nor cultured centre. Bilbao
+and Barcelona are the busy marts of Spain; Burgos, Salamanca, and
+Cordova subsist, as it were, upon the grandeur of the past, and you
+wonder how the people live. But Madrid throbs with life, and manifests
+the new ideals and views of the country in the domain of politics, in
+social reforms, in the arts and sciences, and in the diversions of
+society. In the realm of thought, the new Spain has its impulse and its
+centre in Madrid. Barcelona has been called “the life of Spain,” and in
+the commercial sense this is true. Yet Barcelona boasts of a strong
+affinity with France, and a great part of its trade is in the hands of
+foreigners. It is from Madrid that one may expect the impetus of a
+patriotic, national, and racial advancement, based upon culture and the
+recognition of the principles of social liberty.
+
+
+
+
+II
+
+THE HISTORY OF THE CITY
+
+
+The records of Madrid before the tenth century are extremely scanty, and
+the early history of the city is largely conjectural. There is no doubt
+that the Moors established a fortress here, and called it Majrît; but
+the Romans were in possession before the Arab conquest of the Peninsula,
+as certain tablets, discovered in the city by Fernandez de Oviedo, serve
+to prove.
+
+Upon the disruption of the Khalifate the town became subject to Toledo.
+Whether it was reconquered before or after the fall of that city, by
+Alfonso VI., is a vexed question. The credit of taking the town is
+assumed by the people of Segovia. At this time (1085) Madrid was
+encompassed by a strong wall, stretching from the Moorish Alcázar, now
+the Royal Palace, to the Church of our Lady of the Almudena; thence to
+the street of Segovia by the Cuesta de los Ciegos to the Puerta de
+Moros, and through the Calle Mayor and the Plaza de Oriente to the
+Alcázar.
+
+According to an old tradition, still accepted by a part of the populace
+of Madrid, an image of the Virgin of the Almudena, now in the possession
+of the nuns of the Sacramento Convent, was concealed by the zealous
+Christians, during the Moorish occupation, in a tower of the city wall.
+Three hundred years after the sacred image was discovered and restored
+to the Church. There is a similar legend concerning the sculpture of the
+Holy Mother found at about the same date.
+
+Upon the victory of Alfonso, the mosque was purified and dedicated to
+the Vírgen de la Almudena, and on the site is the fine new Cathedral. A
+mixed population of Christians, Jews, and Moors lived within the city
+walls at this period, and the staple industries were the making of hemp,
+linen, and cloth. One of the regulations of that day referred to the
+muzzling of dogs, as may be seen from an inspection of the curious Fuero
+de Madrid, which is preserved by the municipal authorities.
+
+The city is mentioned only occasionally in Castilian annals. Sancho el
+Bravo in vain sought health and strength from its bracing air.
+
+Under Ferdinand IV. the Cortes first assembled in Madrid, to meet there
+again in 1335 under Alfonso XI. The townsmen warmly espoused the cause
+of Peter the Cruel. In 1403, Henry III. sent from the city an embassy to
+Persia, under Gonzalez Clavijo, to negotiate with the potent warrior
+sovereign Tamerlane. The emissaries were absent from Spain for two
+years, and during the journey they visited Constantinople and Samarkand.
+
+John II. and Henry IV. lived in the Royal Palace, and encouraged many
+poets of Castile who were of their retinue. It is proved by municipal
+documents that Madrid was not then so insanitary and neglected as some
+writers have stated, for there were rules for the disposal of refuse,
+and an order was made for the paving of some of the chief streets.
+
+Upon the death of Henry IV., a faction supporting his daughter, Juana
+(who is said to have been born here), seized the Alcázar, and held it
+for several weeks against the Duque del Infantado. Isabella, however,
+bore the town no grudge, and during her brilliant reign its prosperity
+increased by leaps and bounds. It remained loyal to the crown during the
+Comuneros rising, and was rewarded by a visit from Charles V. in 1524.
+He had taken a fever, and at the advice of his physicians, came to
+Madrid to regain health in this elevated, bracing region of Castile. A
+year after, he was in conflict with Francis I. of France, and the French
+king was a captive in Madrid. Attended by a few members of his Court,
+Francis occupied a room in the old palace, then known as the Alcázar.
+There is no doubt that he suffered keen humiliation during this
+detention, and that he was harassed by fears for the future. His gaoler
+was Alarcon, the valorous commander of the Spanish infantry, who appears
+to have treated his royal prisoner with courteous consideration.
+
+When Francis heard that the Emperor desired that he should relinquish
+all claim to Italy and yield Burgundy, he seized his dagger, and swore
+that he would rather die than consent to the terms. And although Alarcon
+restrained him from plunging the dagger into his body, the King avowed
+that he would sooner suffer lifelong imprisonment than bear the disgrace
+of gaining freedom by the loss of power and dignity.
+
+Lying on his bed, surrounded by counsellors, the French sovereign sank
+into a condition of fever and extreme depression. At length he declared
+his willingness to yield.
+
+By the famous Treaty of Madrid, which was signed in 1526, Francis I.
+abandoned his rights over parts of Italy and certain portions of
+Holland and Belgium. The compact was solemnly celebrated at a religious
+service, and the French and Spanish monarchs passed a few days together
+before Francis crossed the frontier of Spain.
+
+No sooner had he passed over the Bidassoa than Francis cried: “I am yet
+a king!” Never had he intended to keep to the terms of the Treaty of
+Madrid. His breach of faith alarmed Charles, who sent Lannoy and Alarcon
+to France as his emissaries. Their errand was unavailing; Francis
+offered a sum of money to the Emperor, but refused to cede Burgundy. And
+so the bitter feud between Charles and Francis was continued.
+
+Charles V. was a singular example of weakness, of obstinacy, and of
+reason, with a bias for right and justice. He delighted in the quietude
+of Aranjuez, and was fond of directing the work of the gardeners. The
+emperor was athletic in his early manhood, and addicted to field sports.
+He loved the sights and sounds of wild nature, and took pleasure in
+roaming the forests. During his visits to Italy, he went to see many
+famous pictures, and paid homage to Titian. His versatility was also
+exhibited in his great taste for music and his knowledge of the
+technique of the art.
+
+He it was who first conceived the project of elevating Madrid to the
+rank of capital. It was left, however, to his son to promulgate the
+decree declaring the town to be _unica Corte_. The document, dated 1561,
+has unfortunately been lost. Madrid had this advantage over Toledo,
+Valladolid, and the other old capitals, that it was not identified with
+any one in particular of the kingdoms that made up Spain, but with Spain
+in general.
+
+Philip II. held his Court at Madrid in 1561, but he preferred the
+solitude of his palace of the Escorial. Under this monarch’s rule the
+city was enlarged, the streets widened, and several squares built. At
+this time a number of the surrounding forests were felled in order to
+raise money for the royal exchequer. Don John of Austria, the natural
+son of Philip IV. by the beautiful actress Calderona, lived in the Buen
+Retiro. In “The Lady’s Travels into Spain,” written in 1679, we read
+that it was against the custom to permit the illegitimate sons of
+royalty to enter Madrid. Don John was therefore confined in the Buen
+Retiro, “which is the Royal Seat at one of the farthest Parts of Madrid,
+a little without the Gate.” Here the prince led a secluded existence.
+“And he shew’d himself so little that he was never seen at any publick
+Feast during the Life of the late King: but since, Times have changed,
+and his Fortune stands on a different bottom.”
+
+According to this very entertaining authoress, Don John was of middle
+height, handsome, with “a most manly countenance.” His address was
+polished and kindly, and he was reputed to be well learned in the arts
+and sciences. He “took a great pleasure in the Mathematicks.” Madrid at
+this time was renowned for the purity of its air and water. The water
+was “so good and so light that the Cardinal Infante would drink no other
+when he was in Flanders; and he caus’d it to be brought by Sea in
+Earthen Jars well stop’d.” The streets of the city were poorly paved, so
+that the horses often sank up to their knees and the coaches to the
+butts of the wheels. There were no fortifications to Madrid at this
+period, and the gates were not defended. Still, even at this time, there
+were long and wide streets and many great houses. Eating houses
+abounded, where the chief dishes were beans, garlic, leeks, and broth.
+There was very little drunkenness. Men drank less than half a pint of
+wine during the day, and the majority of women abstained altogether.
+
+At this date it was the fashion to retain a large number of domestic
+servants. The Duchess of Osuna kept about eight hundred attendants, and
+every room seemed full of them. Only titled persons were allowed to
+drive teams of four mules. If a commoner dared to appear on the streets
+with such an equipage, he was liable to a fine, and the traces of his
+carriage would be cut. The king’s team consisted of six mules.
+
+The daughters of high families in Madrid were often placed in a sort of
+service to friends of their relatives, who employed them in embroidery
+and other needlework, for if the young women remained at home they spent
+their time in idle chatter. The farthingale was worn, and it was often
+of a huge size, and exceedingly troublesome to the wearers and to other
+persons. Some women of fashion wore as many as a dozen skirts and
+petticoats, except in the hot months, when they contented themselves
+with seven or eight, some being of satin and others of velvet. As the
+dresses were cut low, it was the custom to rouge the shoulders as well
+as the cheeks.
+
+The ladies of Madrid society used at this time to sit upon the floor,
+with their legs crossed in the oriental fashion. They played ombre, took
+but little outdoor exercise, toyed with their needles, and read very
+little. At Mass the women carried enormous muffs, and each one had a
+fan, which was used both in hot and cold weather.
+
+The author who records these impressions of Madrid was the Countess
+d’Aulnoy. It is the opinion of some modern Spanish chroniclers that her
+accounts of the manners and customs of that period are over-coloured and
+often incorrect.
+
+It was in the reign of Philip III. that the first part of Cervantes’
+“Don Quixote” was printed in a house in the Calle de Atocha, by Juan de
+la Cuesta, and the great satire was published in 1605. Philip III.
+removed the Court to Valladolid, where it was maintained for about four
+years and then reinstated at Madrid. During the rule of Philip, the
+Plaza Mayor was built.
+
+The reign of his successor was inaugurated by the public execution of
+the unfortunate Calderon, whose fall has been the theme of many
+romances.
+
+The marriage of the Infanta Maria, sister of Philip IV., to Charles of
+England was arranged to be celebrated in Madrid, in March 1623. Charles
+stayed in the Convent of San Jeronimo, and afterwards at the Royal
+Palace, where he remained for five months, and was entertained with
+bull-fights, _fêtes_, and balls. The English prince was, however,
+prevented from marrying the Princess Maria through hindrances of a
+political nature.
+
+Philip IV. built the Palace of the Buen Retiro at Madrid, inspired by
+the example of Fontainebleau. In this new royal residence many balls
+were held, and much money expended upon festivities of a very luxurious
+character. Meantime, the scaffolds of Madrid flowed with noble blood, as
+a result of the abortive conspiracy to place the House of Braganza on
+the throne of Spain and the Duke of Medina Sidonia on that of Andalusia.
+
+Madrid suffered from the general distress which spread over Spain at
+this period. In the surrounding villages the people were at the point of
+starvation, and the food supply in the city was seriously threatened.
+The outlook was so menacing that, in 1664, the President of Castile was
+sent with a military force to compel the farmers to send their produce
+to Madrid. In 1680 there was much destitution and suffering in the city,
+and the people rose and formed bands for the purpose of pillage. Beggars
+swarmed in Madrid, and desperate gangs of robbers prowled in the
+surrounding country.
+
+The change from the Austrian to the Bourbon rule proved the salvation of
+Madrid. Charles III. was an enlightened sovereign, honest in his
+convictions, and vigorous in his measures of reform. He improved the
+army, and raised the position of Spain to a first-rate power. His policy
+in regard to the American colonies was liberal and conciliatory. Charles
+repealed unjust taxes, stood champion to the poor man, and advocated
+humane principles of government. He encouraged the sciences, art, and
+letters of Spain, he protected the press, and gave printers immunity
+from military service. During the rule of Charles III. schools and
+colleges were founded. He improved and adorned Madrid, though at one
+time he entertained the idea of transferring the seat of government to
+Seville; and caused parks and promenades to be laid out. Under the
+direction of this monarch, canals were constructed, roads made, waste
+lands reclaimed, and industries stimulated.
+
+The people of Madrid have every reason to respect Charles III. To his
+initiation they owe the fine Customs’ House, the Prado Gallery, the
+General Hospital, the Alcalá Gateway, the Observatory, the Botanical
+Gardens, and the Natural History Library. These and other institutions
+and public buildings were established and erected during the reign of
+this excellent king.
+
+The history of Madrid becomes merged in that of the kingdom. The lead
+taken on the “Dos de Mayo,” 1808, when the Puerta del Sol and the
+adjoining streets were held with dauntless but futile courage by the
+people of Madrid against the French, was the signal for the uprising of
+the whole country against the intruder. The capital had well deserved
+its headship by its vindication of the nation’s dignity and
+independence. Every episode in its troubled history since that memorable
+day has been described vividly and inimitably by the great epic
+novelist, Galdós. Throughout the nineteenth century, the city had its
+full share in the vicissitudes and discord, which so happily terminated
+with the accession of King Alfonso XII. and the establishment of the
+strongest and most enlightened government Spain had known for centuries.
+
+The Chevalier de Bourgoanne, who recounted his “Travels in Spain” in
+1789, said that Madrid contained at that time eighteen parishes,
+thirty-five monasteries, thirty-one convents, thirty-nine colleges,
+fifteen gates, and about 140,000 inhabitants. The number of inhabitants
+now approaches 600,000. Since the eighteenth century Madrid has extended
+its confines on all sides, and grown into a modern city of the first
+rank.
+
+The walls, never a very formidable defence, were taken down in 1868 to
+enlarge Madrid. At this time the new Plaza de Toros was erected, the
+Puerta del Sol widened, and the viaduct built across the Calle de
+Segovia. The streets are now well paved with stone or asphalte, and
+illuminated with gas and electric light. The chief market is in the
+Plaza de la Cebada, built in 1870.
+
+In several of the squares and promenades there are fountains, statues,
+and monuments. One of the finest of the monuments is that erected in
+memory of the heroes of the Dos de Mayo (the Second of May). It is of
+granite, in the shape of an obelisk, surrounded by symbolical figures.
+This monument was designed by Isidro Velazquez. A marble group in front
+of one of the façades of the Museo del Prado represents Daoiz and
+Velarde, the gallant artillery officers who fell on that occasion in
+defence of the throne and country.
+
+Madrid has always been a city of craftworkers and small traders, and
+even to-day there are very few large industries or factories. There are
+many small employers of labour and many persons trading with their own
+plant and stock, and finding employment for their own families. The
+number of well-appointed shops is steadily increasing, and there is an
+effort to compete with the large shops of Paris and London, as will be
+seen during a stroll through the chief thoroughfares radiating from the
+Puerta del Sol.
+
+The arms of the city are a tree in leaf, with a bear climbing up the
+stem, and the escutcheon is surmounted by a crown. Madrid bears the
+title, “Imperial y coronada, muy noble y muy leal y muy heroica.”
+
+
+
+
+III
+
+THE COURT AND SOCIETY IN MADRID
+
+
+Since the reign of Philip II. Madrid has been the _unica Corte_, or seat
+of the Court of Spain. Before the twelfth century, a Moorish Alcázar
+stood on the site of the present royal palace, which was built by Henry
+IV., added to by succeeding monarchs, and considerably enlarged by
+Philip III. The original architects were Herrera, Toledo, and other
+famous designers of the day; but this structure was burned down, and, in
+1738, Giovanni Sachetti planned a still larger palace, which is said to
+have cost £3,000,000 in the building and embellishment.
+
+The modern Palacio Real is rectangular, and stands on an eminence
+commanding a wide view of the undulating tableland and the distant
+mountains of Castile. It is built of granite and has wide wings. The
+chief façade is on the south side. The Princes’ Entrance is one of the
+several doorways of the fine façade. On the north is another portal of
+admirable design, leading to the great _patio_ or inner court. The court
+is surrounded by a piazza on thirty-six arches with the same number of
+arches above, forming a gallery; and in the square are statues of the
+Roman Emperors who ruled in Spain.
+
+The grand staircase is of white and black marble, with an allegorical
+ceiling painting by the Italian Giacinto. In the sumptuous Throne-Room
+the appointments and decorations are resplendent, and on the ceiling is
+a picture representing the Majesty of Spain, painted by Tiepolo.
+Gasparini designed the beautiful hall that bears his name, where the
+ceiling is of porcelain, and the walls decked with satin upon which
+flowers are worked. The State Dining-Room of marble contains fresco
+paintings. The Royal Chapel has columns of marble, and above the altar
+is a painting by Mengs. Near the Sacristy are stored the holy relics;
+and in the Tapiceria there is a very fine collection of tapestries after
+Dutch artists. Attached to the Royal Palace are the Armoury, of which
+something will be said later, the Royal Stables, excellently appointed,
+and the sequestered and beautiful gardens.
+
+Such is the principal residence of King Alfonso of Spain. The royal
+ceremonial is under the direction of the Master of the Household and the
+Lord High Steward. These officers are always persons of high birth, who
+are invested with the honours of the Order of Charles III. and the
+Golden Fleece. The Chief Equerry of the royal household takes the
+position of Master of the Palace when that functionary is absent, and
+controls the King’s hunt, and directs several minor officials of the
+Court.
+
+The Chief Chaplain to the King is the Archbishop of Toledo. One of the
+principal members of the household is the Keeper of the Queen’s
+Wardrobe. Then come the Lords of the Bedchamber, Maids of Honour, and
+the Mayordomos de Semana (of the Week). The military officer in command
+is the General of the Royal Halberdier Guards, and this functionary
+presides over the ceremony of opening the palace doors at six in the
+morning and closing them at eleven at night. In Spain the royal
+residences are regarded as fortresses, and protected by troops.
+
+The Intendant-General of the Royal House and Patrimony holds a
+responsible post, and administers the King’s estates and incomes. Other
+officials are the Private Secretaries, the Director of the Royal
+Stables, the Chief Physician, the Chief Chemist, the Chief Architect,
+the Secretary of the Signet, the Secretary of the High Chamber, Keeper
+of the Archives, the Chief Librarian, the Director of the Royal
+Armoury, and the Chief of the Tapestry Collection. The gentlemen of the
+Royal Household wear a badge of office in the form of a silver key, and
+are clad in special uniforms for various occasions.
+
+Pomp and ceremony attend the movements of the Spanish sovereign, and
+there is an elaborate “Court Guide” embodying all the ordinances and
+regulations governing the life at the palace. The rigidity of etiquette
+in the Court of Spain has, however, been exaggerated in the accounts
+written by strangers since the time of the Countess d’Aulnoy, for a
+modern Spanish writer asserts that the Court is “more democratic than
+most European Courts.”
+
+This writer says: “Almost all the points of etiquette observed at
+present by the persons who have access to the King and Queen and members
+of their family are merely formulas of pure courtesy, with which those
+who are aware of them comply, but which are not imposed at the Palace,
+nor even mentioned to those who do not know them. Taking the glove off
+the right hand in order to shake hands with the King; treating him as is
+his due; rising when he rises and not speaking to him except in reply to
+his questions; these are the chief points to be observed, and which
+courtiers themselves sometimes forget without any notice being taken.”
+
+Religious services and festivals are strictly observed in the Palace of
+His Catholic Majesty, and attended by all members of his Court. The
+chief solemnities are the Festival of the Immaculate Conception and
+Nativity, Epiphany and Purification, Ash Wednesday, Annunciation and
+Incarnation, Palm Sunday, Holy Thursday, Good Friday, Easter Sunday,
+Ascension Day, Whit Sunday, Holy Trinity, Corpus Christi, All Saints,
+and the Patronage of our Lady. The public are admitted to the galleries
+of the Royal Chapel during the celebration of these festivals and
+services.
+
+Uniform or court dress is worn by the King at these religious
+celebrations, the Queen always wearing a black or white _mantilla_, and
+a long train to her dress, which is borne by pages. The sovereign sits
+under a canopy, and the princes and princesses are on either side of the
+throne. Each grandee of the Court has his allotted seat.
+
+The royal infants are baptized from a font in which St Dominic, the
+immortal founder of the Friars Preachers, was christened. In the Royal
+Chapel of the Palace the weddings of the princes and princesses are
+celebrated, but the Kings are married in the Church of the Atocha.
+
+Foreign ministers are received in the Ante-chamber. There is an annual
+banquet for all the Diplomatic Corps. One of the court ceremonies is the
+conferring of the title of Grandee in the Ante-chamber.
+
+Every night the Spanish monarch is guarded in his slumbers by the
+ancient corps of Monteros de Espinosa. These officers are bound to watch
+the King nightly, and after his death, until his body is sent to the
+Royal Panteon at the Palace of the Escorial.
+
+The changing of the royal guard takes place every morning in the grounds
+of the palace, and is an interesting military spectacle, which attracts
+a large number of the natives of Madrid as well as visitors to the city.
+It dates from the time of Charles III. A regimental band plays during
+the ceremony under the windows of the palace.
+
+The Queen Mother of King Alfonso XIII. is possessed of strong religious
+fervour, and is a pattern to Madrid society in the observance of the
+rules of the Church and the practice of charity. But piety is not one of
+the Madrileño’s conspicuous traits, and there is a notable want of
+restraint in his language! yet Valentin Gómez writes: “Religion is
+charity, love, and it cannot be denied that, in this respect, although
+the crust be hard and unsightly, the heart of Madrid is religious, and
+great and good work has sprung from its practical religion.”
+
+Ecclesiastical festivals form an essential part of the life of Madrid.
+The Forty Hours is celebrated at thirty churches of the city. During
+Holy Week there are impressive services and solemn processions in the
+streets. Every one walks garbed in black; diversions of every sort and
+all except indispensable business is suspended. A solemn hush reigns
+over the feverish city. Traffic in the thoroughfares is forbidden on
+Maundy Thursday and Good Friday, and the tramcars do not run during
+certain hours. On Maundy Thursday the King washes the feet of twelve
+indigent men and women in the palace, and the public attend the
+ceremony. Good Friday is a day of grace, when the King, at his
+discretion, exercises clemency towards criminals accused of capital
+charges.
+
+A _romeria_ or pilgrimage is celebrated in the morning of Good Friday,
+when crowds visit the Cara de Dios, and afterwards promenade the
+streets. Imposing processions also take place on Good Friday, which are
+sometimes attended by the King and the Court dignitaries.
+
+The Corpus Christi festivals are very important. A splendid procession
+is formed by the chief clergy, members of the court, and military
+officers. During these celebrations, fairs are held in the outskirts of
+the city. There is a curious ceremony in memory of St John during June.
+On the evening of June 23, the populace assemble in the Plaza de Madrid,
+and at the stroke of midnight the devout dip their hands in the fountain
+of Cybele, and scatter the water over the bystanders who are unable to
+reach the basin.
+
+Advent is commemorated by the proclamation of an ecclesiastical decree
+in the streets of the city. This Bull refers to the Crusades, and is
+read by a dignitary of the Church, who is attended by guards and
+trumpeters. Upon Christmas Eve there is midnight Mass at many of the
+churches, followed by rejoicings in the streets, when the people sing,
+and beat drums, and make lively din with various instruments.
+
+Madrid is an important military command, and members of the service are
+amongst the most fashionable sets in the city, as in other parts of
+Europe. In Spain, however, the uniform does not of itself confer social
+distinction, and officers continue to frequent the circles from which
+they were drawn. Military arrogance is not a characteristic of the
+Spaniard. Uniforms add to the brightness of the crowds in Madrid, and
+there is often the sound of regimental bands in the streets. At
+Caravanchel, eleven kilometres from the city, is a large camp and
+exercise-ground for the troops, where important reviews are held in the
+summer, attended by the King and his suite.
+
+The Captain-General of the First Army Corps lives in Madrid, and directs
+two divisions of this body. Light infantry, cavalry, and artillery are
+quartered in or near the city. The chief barracks are the Montaña and
+the Queen Maria Cristina. The barracks of San Francisco are an old
+convent now utilised for military purposes.
+
+The War Office is in Madrid at the Buena Vista Palace. The artillery and
+the engineers have their museums and laboratories, and there is a
+military casino, or club, in the city, containing a gymnasium, baths,
+fencing-room, and dining-hall.
+
+The chief recreations of Madrid society are the bull-fight, the theatre,
+dancing, driving, and card-playing. The national pastime of
+bull-fighting demands a chapter to itself, and the theatre will be
+treated in another section of this volume. We may here devote a page or
+two to Spanish dancing, one of the favourite and most charming
+diversions of the country. Every province of Spain has its traditional
+dances, from the Jota Aragonesa of Aragon to the Seguidillas of Seville.
+Andalusia is the region of Moorish dances, survivals of the old days,
+descriptive of the passion of love. The Cachucha is said to be pre-Roman
+in its origin, and there is no doubt that most of the national dances
+are very ancient. Some of these dances are grave and slow, others gay
+and nimble, and all are marked by grace and charm. The Zarabanda, a
+Morisco dance of a voluptuous character, was at one period proscribed by
+the government, and was said to be the invention of the devil. The
+Fandango also came under reproof in former times.
+
+Typical dances may be witnessed in two or three of the variety theatres
+of Madrid, but the best dancers are to be seen in the south, in Malaga
+and sunny Seville. Many ladies in society excel in the art of dancing,
+and at private gatherings they display their skill and lissom grace in
+beautiful movements to the accompaniment of the piano or guitar, and
+castanets. The hands and the trunk of the body play a no less important
+part than the feet in Spanish dancing.
+
+Besides the characteristic national dances, there are the quadrilles and
+set dances of other countries which have been introduced into Spain.
+The minuet was at one time a part of the education of all upper class
+families in the Peninsula.
+
+Dancing is often part of the entertainment provided at the _tertulias_,
+or evening gatherings, in fashionable society. It is the ambition of
+every handsome lady in Madrid to be famed for her hospitality and to
+shine as the centre of a _tertulia_, an institution suggestive in some
+measure of the _salons_ of France.
+
+Shooting, horse-racing, pigeon-shooting matches, and the ball game known
+as _pelota_ are the principal out-door recreations of the leisured class
+in Madrid. The Spanish _cazador_, or sportsman, is usually a good shot,
+and capable of enduring severe fatigue in the pursuit of his game. Wild
+boars and deer are fairly abundant in the preserves of the old families,
+and these beasts of the chase are also found upon most of the wild
+mountain ranges. Hares and red-legged partridges afford sport within a
+league of Madrid, and the Montes de Toledo have always been famous for
+big game.
+
+The Juego de Pelota is a popular game played in three or four courts in
+the city by professionals. Pelota is an old amusement of the countryside
+which has become a fashionable sport. The Basques and the Navarrese
+excel in this game. A protector for the hand is worn by the players, and
+the balls are made of india-rubber encased in leather. The ball is
+struck against a high wall, and hit so that upon the rebound it will
+fall into a court marked out upon the ground. In some respects _pelota_
+resembles fives, and has also a similarity to lawn-tennis. It is a
+spirited and highly interesting game, and the finest players may be seen
+in the public _frontones_ of Madrid.
+
+The Madrileños delight in frequenting clubs and cafés, but there is very
+little drunkenness in the city, although these places of resort are
+always crowded. Madrid is one of the soberest cities in Europe, and
+throughout Spain the word drunkard (_borracho_) is seldom used in polite
+society. Black coffee is the favourite beverage, to which a few drops of
+spirit are sometimes added. The wines of ordinary use are light clarets
+or white wines. A light lager is a favourite drink in the hot weather.
+
+The popular cafés of the Puerta del Sol are used as clubs, where all
+classes resort to chat and smoke and to read the papers, or to play at
+billiards. These places are thronged in the evening, and often until the
+small hours of the morning one hears the buzz of conversation and the
+click of billiard balls.
+
+As the centre of the Court and the residence of the reigning family,
+Madrid is, of course, the resort and the home of many members of the
+aristocracy. The Duke of Lerma, the Duke of Villahermosa, and the Osuna
+family had palaces in the city; and the first Duke of Alba lived in
+Calle de la Princesa, since renamed the Calle de Alba. The beautiful
+Liria Palace, designed by Ventura Rodriguez, is now the home of the
+young Duke of Alba and his brother and sister, Count de Montijo and Doña
+Sol.
+
+The Liria Palace contains some fine tapestries, curious antique
+furniture, and valuable pieces of armour. There is also a collection of
+paintings in the possession of the family, containing many portraits of
+illustrious ancestors. The garden of the palace is extremely beautiful
+and sequestered.
+
+The old Valencian family of Cervello own the palace in the Calle de
+Santa Isabel. The building stands in a garden, and it was restored some
+years ago. Very fashionable receptions, costume balls, and theatrical
+entertainments are held in this sumptuous palace.
+
+The Duchess of Denia built the mansion in the Plaza de Colón. There is
+a magnificent Renaissance staircase at this palace, a chapel in the
+later Moorish style of architecture, erected by Arturo Mélida, and a
+fine reception hall.
+
+The Portugalete Palace in the Calle de Alcalá belongs to the Castaño
+family. It is one of the most artistic houses in Madrid. In the Plaza de
+Castelar is the home of the Marquis of Linares, beautifully decorated
+within, and containing handsome carved furniture.
+
+The Palace of the Larios is another imposing building in La Castellana.
+It contains a _patio_ in imitation of the Court of the Lions at the
+Alhambra Palace.
+
+Calderon built the mansion in the Recoletos, which is now in the
+possession of the Marchioness de Manzanedo, who resides there. The
+Infanta Isabel has a splendid house in the barrio de Argüelles. The
+Marquis de Cerralbo, the Duke of Valencia, and the Count of Peñalver
+reside in elegant houses in the city. The late Conde de Valencia de Don
+Juan, who was Director of the Royal Armoury, was a noted collector of
+pictures, objects of art, and antiquities.
+
+Other palaces of interest are those of the Duke of Nájera in the Calle
+de Alcalá, the old residence of the Countess de Pinohermoso, in the
+Calle de Don Pedro, the house of the Count de Agreda, and that of the
+Marchioness de Casa López, near the Puerta de Alcalá. The residence of
+the Marchioness de Squilache is the rendezvous of the eminent in
+politics, literature, and art. Artistic gatherings are held in the salon
+of the Marchioness de Bolaños and that of Don Enrique Peñalver.
+
+
+
+
+IV
+
+ART IN MADRID
+
+
+In the fifteenth and sixteenth centuries, during a pacific period
+following on the long conflict with the Moors, there arose a number of
+painters in Castile. Juan II., King of Castile, was a lover of the arts
+and of literature. We read that this king employed a painter of the
+Flemish School, named Maestro Rogel, who was reputed to be a pupil of
+Van Eyck. It was about this time that Flemish art began to influence the
+work of the Spanish artists, while the Italian style was especially
+followed by the painters of the Castilian School.
+
+Antonio Rincon has been called the founder of the Castilian School of
+painting, and it is recorded that this artist studied in Italy before
+his appointment as court painter to Ferdinand and Isabella. Rincon’s
+portraits of his royal patrons were at one time in the Church of San
+Juan de los Reys at Toledo, but they were destroyed during the wars with
+France. In the Royal Gallery of Madrid, putative copies of these
+portraits are preserved, and they show great force and individuality.
+But many of the works of Antonio Rincon, in the mannered Italian style,
+are of mediocre merit.
+
+A more powerful painter of Castile was Juan de Borgoña, who laboured
+with Rincon upon the jasper steps of the wonderful Gothic retablo in
+Toledo Cathedral. Some of Borgoña’s frescoes have perished; but in the
+Prado Gallery at Madrid there are several pictures, attributed to an
+unknown artist, which are probably the work of this painter.
+
+Pedro Berruguete, father of Alonso Berruguete, the painter and sculptor,
+has been likened by Lord Leighton to Carpaccio. Very little is known of
+Pedro Berruguete. In the Royal Gallery of Madrid there are some
+paintings ascribed to this artist, representing scenes from the lives of
+Thomas Aquinas, San Pedro, and Domingo de Guzman, glowing with colour
+and painted with a strong hand.
+
+Felix Castello, born in Madrid in 1602, was a painter of moderate
+ability. Two of his paintings may be seen in the Prado Gallery, one
+depicting “A Battle between Spanish and Dutch,” and the other “The
+Landing of General Fadrique de Toledo.”
+
+The Titanic genius of Velazquez shone not only above all his
+predecessors of the School of Castile, but above the host of Spanish
+painters. Velazquez was born in 1599, and lived until 1660. He was a
+native of Seville, where he studied art under Francisco de Herrera and
+Pacheco. In 1623 his fame had reached the ears of the king, through the
+Duke of Olivares, and Velazquez was appointed royal painter in Madrid,
+and lodged in the princes’ quarters of the palace. Here he produced his
+greatest works, often watched while he painted by the king, who enjoyed
+the society of artists.
+
+Besides his apartments in the royal palace, Velazquez had later a
+private house in the Calle de Concepcion Geronima. Velazquez was now at
+the zenith of his fame, the cynosure of an art circle, the acknowledged
+master of an enthusiastic following, the favourite of royalty, and the
+friend of _grandes_. “A taste for the arts, an intelligent appreciation
+and discussion of art topics, had at that time already become a matter
+of tradition in Madrid,” writes Professor Carl Justi in his “Diego
+Velazquez and His Times.”
+
+The first painting of Velazquez seen by the people of Madrid was
+exhibited upon the door of the Church of San Felipe in the Calle Mayor.
+His progress from that hour was victorious, though he had to encounter
+the envy of the Italian painters who were then employed by Philip.
+Carducci speaks of “the detestable naturalism” of the new court painter.
+
+In 1628, Velazquez met Rubens at Madrid. Next year he went to Italy, and
+upon his return to Spain, he worked with extraordinary industry upon
+royal portraits and historical scenes for the regal palaces.
+
+In 1636, Diego Velazquez was appointed Wardrobe-Assistant to the King
+and Minister of Fine Arts. But the greatest honour was accorded to the
+painter in 1659, when he received the Cross of Santiago, the highest
+order of Spain. Two years after, Velazquez died at Madrid of a fever,
+which he had contracted through over-exertion in the conduct of an
+expedition in the north of Spain, when Philip met the King of France.
+
+The masterpieces of Velazquez are stored in a fine _sala_ at the Museo
+del Prado[1] in Madrid. “Las Meninas,” a work proclaimed by many artists
+and art critics as the finest painting in the world, is in this
+priceless collection. Artists from every country have regarded the
+Prado Gallery as a Mecca. Wilkie came to Madrid, and spent long hours
+gazing at the paintings of Velazquez. John Philips modelled his style on
+Velazquez, and Manet, Furse, Sargent, Whistler, and Sir Frederick
+Leighton are among the pilgrims to the Prado. It was probably the
+painting of “Las Meninas” which gained for Velazquez the Order of
+Santiago.
+
+[1] For a full description of the pictures in this museum, see “The
+Prado,” an illustrated volume in this series.
+
+“The Forge of Vulcan,” a mythological subject treated in a realistic
+manner, is in the Prado among the splendid collection of pictures of
+Velazquez, besides the more generally esteemed “Los Barrachos” and “Las
+Lanzas.”
+
+Velazquez had a host of successors among the painters of Spain, but he
+founded no school, for he stood alone and unapproachable. The works of
+his survivors may be studied in the Prado Gallery. One of these
+successors was Juan Bautista Martinez del Mazo, Velazquez’ son-in-law,
+and another, Juan de Pareja, his slave. Pareja’s talent was discovered
+by the king, who said: “A painter like you should not remain a slave,”
+and freedom was given to the Morisco serf of Velazquez.
+
+In the work of Pareja the influence of his great master is naturally
+manifest, and this is seen in the picture in the Prado collection, “The
+Calling of the Apostle Matthew.” It is certain that many paintings
+ascribed to Velazquez are the work of his son-in-law Juan del Mazo, who
+was a zealous copyist of the master’s art.
+
+Juan Rizi, sometimes called the Castilian Zurbaran, is represented by
+one picture in the Madrid Gallery--“St Francis receiving the Stigmata or
+Five Wounds of Christ,” a work of very considerable merit.
+
+Antonio Pereda worked in Madrid under Pedro de las Cuevas, and became
+painter to the Court. Two of Pereda’s pictures are in the Royal Gallery,
+displaying fine colour, but yet possessing no power to convince.
+
+The next artist in chronological order who was associated with Madrid
+was Carreño de Miranda, another pupil of Pedro de las Cuevas, and the
+Pintor de Cámara to the Court. His talent is most marked in his
+portraits of Charles II.; and his imitations of Velazquez though feeble
+in comparison with the powerful work of his exemplar, are of singular
+interest and merit.
+
+Claudio Coello was a native of Madrid, and the son of a Portuguese
+sculptor. Many of his paintings are to be seen at the Escorial, where he
+worked for seven years upon the famous “Santa Forma” in the Sacristia.
+It is said that Coello died broken-hearted from the chagrin of being
+superseded by Luca Giordano, the facile Italian painter.
+
+With the advent of Giordano the essential realism of Spanish painting
+began to decline. “In Madrid, imitation was the death-blow of reality,”
+writes C. Gasquoine Hartley in her “Record of Spanish Painting.” Many
+minor artists arose in Castile in this period of decline. They were
+followers of Giordano and other Italians, and for the greater part
+devoid of originality. The influence of Mengs was another menace to the
+development of a purely national school of painting in Spain, and the
+unimportant work of Bayeu, Maella, Barnuevo and others shows the waning
+of Castilian art.
+
+A revival came with Francisco Goya, an ardent genius, who sprang from
+the people, and came to Madrid as a student. Goya studied the
+masterpieces in the Madrid galleries, visited Italy, and returned to the
+Castilian capital at about the age of thirty. Up to this time, Goya had
+painted but few pictures. Now he began his revolutionary career as an
+artist, and won fame, which has spread throughout the cultured world
+since his death. He soon became popular in Madrid. His daring and his
+pungent satire rather attracted than repelled the King, the clergy, and
+the society of the city. He painted the life of his day with a vivid,
+unsparing brush; he took liberties with even sacred institutions, and
+derided ancient and effete traditions.
+
+Under Charles IV., Goya was appointed Royal Painter. He was a favourite
+of Queen Maria Luisa, the Duchess of Alba, and the Countess Benavente,
+and he enjoyed the confidence of the King. And yet Goya was a rebel in
+his opinions and in his art, and his royal portraits are characterised
+by a brutal frankness. In his tapestry designs, his scenes of Madrid
+life, his bull-fighting incidents, his portraits, and his “caprichos,”
+he displays the versatility of a remarkable mind. Goya worked rapidly,
+and his output was enormous.
+
+The celebrated “Dos de Mayo,” a terribly realistic war picture, together
+with “An Episode in the French Invasion,” may be studied in the Royal
+Gallery at Madrid. In the Prado collection there are several of Goya’s
+royal portraits--“The Family of Charles IV.,” with its unflattering
+realism; “Charles IV. on foot”; “Queen Maria Luisa”; “The Infante Don
+Carlos, son of Carlos IV.”; and others of great interest. More of Goya’s
+works may be inspected in the Academy of Fine Arts at Madrid. These
+include a portrait of the painter by himself, a bull-fighting scene, an
+episode of the Inquisition, a procession, and other characteristic
+pictures.
+
+When Joseph Bonaparte ruled in Madrid, Goya took the oath of fealty, and
+painted the usurper’s portrait. In 1814, the painter became a courtier
+of Ferdinand, and was pardoned for his disloyalty on the grounds that he
+was “a great artist.” A few years later, his wife Josefa died, and Goya,
+who was deaf, and bereft of many of his friends, seems to have wearied
+of the life of the Court at Madrid, and yearned for change and travel.
+
+In 1822, he obtained the royal permission to visit France. He went first
+to Paris, where he was hailed by the young French painters, afterwards
+residing at Bordeaux, where he stayed for nearly five years before
+returning to Spain. In 1828, his restless spirit passed away.
+
+Perhaps the finest of Goya’s portraits are those of the king and queen
+on horseback. It was Gautier who remarked of Goya that at times “he
+paints with the delicacy of that delicious Gainsborough, at other times
+he has the solid touch of Rembrandt.” Goya was one of the first of the
+moderns, an artist who broke from cramping tradition, and forced his way
+to eminence and even to popularity in a few years.
+
+There is a long gap in the art history of Spain between Francisco Goya
+and Fortuny. Mariano Fortuny was not a native of Madrid, but he came to
+the city in 1866. There are two of his pictures in the Museum of Modern
+Art in Madrid. One is a sketch for the “Battle of Tetuan,” and the other
+“The Queen Regent with Doña Isabel exhorting the Spanish Troops to
+withstand the Carlists.” Between Goya and Fortuny there are no links in
+the historic succession of artists, unless we regard Rosales and Galofré
+as national in the tendency of their art. There are two of Rosales’
+pictures in the Museum of Modern Art in Madrid.
+
+The National Museum of Painting and Sculpture, otherwise the Museo del
+Prado, was founded in the reign of Charles III., and planned by
+Villanueva. The work was interrupted by the war with France, and
+finished in the time of Ferdinand VII. Architecturally considered, the
+exterior of the museum is handsome and massive. Its chief defect is the
+poor quality of the light within. Its glory is the vast treasure of
+masterpieces of all the schools of Europe.
+
+The works of the early Spanish painters may be here studied in the Long
+Gallery, beginning with Gallegos, whose pictures are catalogued as those
+of an unknown master. Pedro Berruguete shows the first example of the
+Italian influence. In the paintings of Luis de Morales we trace the
+natural Spanish style, and discern that note of dramatic gloom and
+religious sentiment that characterises the true painters of Spain. Juan
+de Juanes, much esteemed in his age, reveals an Italianised art. In the
+works of Navarrete there is visible the influence of Titian, who worked
+with him at the Escorial Palace.
+
+El Greco, who was taught in Venice, stands alone. The picture of “Jesus
+dead in the Arms of God the Father” is a representative work of this
+weird genius, whose art was Spanish, in spite of his Cretan origin. El
+Greco’s art is also conveyed in all its power in “The Baptism of
+Christ.” Many of this painter’s canvases are in Toledo, two are at the
+Escorial, one in the Cathedral of Seville, and his portrait, painted by
+himself, is in the Museo Provincial at Seville. The Prado Gallery
+contains nine of El Greco’s works.
+
+Ribera is an artist whose work is singularly modern as regards
+technique, though he lived from 1588 to 1656.
+
+The collection at the Prado contains a large number of the paintings of
+Ribera, the predecessor of Velazquez and Murillo, whose virile influence
+is manifest in the productions of many of the Spanish schools of the
+later period.
+
+Murillo is represented by about two score of paintings in the Prado, and
+by several pictures in the Royal Academy of Fine Arts. The Prado
+contains the “Sacred Family,” “The Penitent Magdalen,” “The Adoration of
+the Shepherds,” and several other well-known paintings.
+
+We have already referred to the pictures by Velazquez and Goya to be
+seen in the Prado collection. It now remains to briefly enumerate some
+of the great works of the Italian and Northern Schools. Among the
+Italian Primitives, we have examples of the art of Fra Angelico and
+Mantegna, and of the later school, there are pictures of Raphael, Andrea
+del Sarto and Correggio. The Venetians are exampled by Giorgione,
+Titian, Tintoretto, Veronese, and Tiepolo. There are nearly fifty
+pictures from the brush of Titian. Among his earlier achievements are
+“Fertility” and the “Garden of Loves.” Here also are the portraits of
+“Charles V.” and “Philip II.,” the painting of “St Margaret,” and the
+famous “Entombment.”
+
+Among the other Italian and Venetian pictures are Raphael’s “Holy Family
+and the Lamb,” Andrea del Sarto’s “Madonna and St John,” and two early
+works of Correggio.
+
+In the collection of paintings of the Northern School there are
+examples of Van Eyck and Rogier van der Weyden, and though some of these
+are copies, there is an authentic picture by Van der Weyden. The
+triptych of Memlinc is in this portion of the gallery, and Holbein’s
+“Portrait of a Man.” Rubens, “the third glory of the Prado,” is well
+represented by about sixty paintings. There are also paintings by
+Jordaens and Van Dyck.
+
+The work of Antonio Moro should be carefully noted, as the art of this
+painter, who was the master of Coello, was the foundation of the Spanish
+School of Portraiture.
+
+In the Museo de Arte Moderna there are many pictures by contemporary
+artists, and several groups of statuary. Among the paintings are works
+of Madrazo, Lopez, Pradilla, Casado, and Villegas.
+
+The Real Academia de Bellas Artes, built in 1752, has a picture gallery
+containing some of the works of Murillo, Ribera, Zurbaran, Alonso Cano,
+and Rubens. Some interesting Goya sketches formerly in this collection
+have now been removed to the Prado.
+
+
+
+
+V
+
+LITERATURE AND THE DRAMA
+
+
+Madrid is the centre of the intellectual life of Spain. It contains a
+number of academies, colleges, schools, and libraries. The Royal Academy
+was not founded till 1713; but, as Bourgoanne pointed out in 1789,
+“there are undoubtedly in Spain more learned men who modestly cultivate
+the sciences; more men of erudition who are thoroughly acquainted with
+the history and jurisprudence of their country; more distinguished men
+of letters and a greater number of poets, who have energy and a fertile
+and brilliant imagination, than is generally imagined.”
+
+Science and letters suffered after the period of Quevedo, Cervantes,
+Calderon, and Garcilaso, and there was a rapid decline in learning until
+the eighteenth century. Under Charles III. the cultured life of Madrid
+was revived. Charles was opposed to the clerical restrictions upon
+knowledge, and the banning of science was not a part of his policy. He
+withstood the reactionary forces of the country, and, being himself a
+man of scholarly tastes, he re-awakened the moribund respect for
+culture. To encourage the production of books, Charles III. freed all
+printers from military service. He renewed the universities, built new
+schools, and treated teachers and professors with fairness and respect,
+declaring that education is the most important of all social affairs.
+
+This revival of learning and of literature was unfortunately transient,
+for under Charles IV. free discussion was almost impossible in Spain;
+authors were gagged, and the Inquisition was revived. The study of moral
+philosophy was forbidden in the universities of the country, for Charles
+declared that he had no use for philosophers.
+
+The first large public library in Madrid was the San Isidro, founded by
+the Jesuits, and containing about 60,000 volumes. The National Library
+was built in 1712, but the books were removed to another building about
+thirty years after. There is a library in connection with the Royal
+Academy of History in the Calle del León, which contains several
+thousand books and a number of valuable ancient manuscripts. The
+University has its own collection of books. This institution was
+founded in 1508 at Alcalá, and brought to Madrid in 1836. There are
+about 8000 students.
+
+The old Court of Castile had many poets and satirists from the days of
+Juan II. In the thirteenth century, Castilian became the polite speech
+of the nation, and the earliest ballads were written in this language.
+These ballads are the basis of much of the history of Spain, and this
+was the first form of literature in the city of Madrid. Under Alfonso X.
+of Castile, who was as skilled in letters as in the conduct of the
+State, the art of poetry reached a higher order than it had hitherto
+attained in Spain.
+
+Francisco de Quevedo Villegas, the great satirical poet and prose
+author, was born in Madrid in 1580. His parents were of patrician stock,
+and his mother was one of the royal household. Quevedo was sent to the
+college of Alcalá de Henares, where he was instructed in several
+subjects, including law and medicine. A quarrel with a hidalgo, whom he
+seriously injured in a duel, caused the flight of the young student to
+Italy. Upon his return to his native country, Quevedo was arrested, and
+kept in prison for about three years. Later, he was again put into
+confinement for a satire upon the Count, Duke de Olivares.
+
+Quevedo was a voluminous writer. His works have been collected in the
+“Biblioteca de Autores Españoles,” in three big volumes of poetry and
+prose, while many of his compositions were left unpublished. The
+“Visions” are perhaps his most popular work. They were translated into
+English in 1668, and published in London, and met with such success that
+the volume reached an eleventh edition in 1715. Since then there have
+been other editions issued in this country.
+
+Calderon lived at number seventy-five in the Calle Mayor, formerly
+called the Calle de Almudena, and in the same street was born Lope de
+Vega, the most prolific of Spanish dramatists. In the Plaza de Santa
+Ana, near the Teatro Español, is a monument to Calderon erected in 1879.
+It is the work of Figuéras, and a figure of Fame stands by the
+dramatist; the base of the statue has reliefs from scenes in the plays.
+
+Calderon was of noble blood, and found influential patronage in Madrid.
+We read that Philip IV. gave him the order of Santiago, and appointed
+him director of the theatre and public entertainments. Pedro Calderon
+entered the church at the age of fifty-two. He died in the year 1681.
+
+At number fifteen Calle de Cervantes there is a memorial tablet to Lope
+de Vega, with the inscription that the writer set upon his house: “A
+small possession of one’s own is great; a great possession of another is
+small.”
+
+Lope de Vega was born in Madrid in 1562. For a time he was secretary to
+the Duke of Alba, but, after wounding an opponent in a duel, he fled
+from the city. His power of production was marvellous, and it is said
+that he wrote a play of three acts, in verse, in twenty-four hours. He
+died in 1631.
+
+Cervantes was intimately associated with Madrid, though Alcalá de
+Henares is claimed as his birthplace. The greatest author of Spain came
+to the capital in his youth, to study for one of the learned
+professions, and here he lived under the tutelage of Juan Lopez de
+Hoyos.
+
+After serving as chamberlain in Rome to Cardinal Aquaviva, Cervantes, at
+the age of twenty-four, joined the expedition against Turkey, and for
+several years he passed an adventurous life on sea and land. Returning
+to Madrid, he lived with relatives, and began to apply his mind
+seriously to study, and to the cultivation of his literary gift. In
+Madrid he wrote a number of comedies and novels, but he left the city
+for Seville, where he obtained more lucrative employment as a
+government official. The first part of the masterpiece “Don Quixote” was
+published in Madrid in 1605.
+
+Cervantes died in 1616 from dropsy, and his body was laid to rest in
+Madrid. In the Plaza de las Cortes is a memorial in bronze to the
+greatest of the romance writers of Spain. It was designed by Antonio
+Sola, and set up in 1835. There are reliefs on the pedestal of the
+monument depicting episodes from “Don Quixote.”
+
+The Church of San Francisco el Grande, the National Pantheon, was built
+in 1784 on the site of a convent; but it was not established as a
+mausoleum until 1869. It has been decorated at great expense and with
+much taste, and is not altogether an unworthy repository for the ashes
+of the illustrious dead. Here are supposed to rest the remains of
+Guzman, Cervantes, Lope de Vega, and Velazquez, but the tombs have not
+been identified. In 1869 the ashes of Morales, Juan Mena, Quevedo,
+Calderon, the Great Captain, and other illustrious Spaniards were placed
+here, but all of these have since been restored to their original
+resting-places.
+
+The Italian opera was introduced into Spain by Charles III. The country
+has not produced any very eminent operatic composers, though opera is a
+popular entertainment. In the drama Spain excelled at one period above
+all other countries. The plays of the nation were exceedingly numerous
+in the palmy days, ranging from sacred representations, or miracle
+dramas, to farce. Many of the subjects were historical; but with the
+decline of taste, the drama lost its Greek simplicity, and became the
+vehicle of complicated intrigues and artificial plots. Cervantes, as
+dramatist, endeavoured to check this corruption of taste, but the
+pressure of poverty forced him to follow the conventions of the hour,
+and to write on a level with the intelligence of his audiences.
+
+Lope de Vega wrote about eighteen hundred plays. Much of his work is
+hasty, extravagant and bombastic. Calderon wrote with more directness
+and simplicity of style, and spent far more pains upon his compositions.
+Augustin Moreto produced thirty-six plays, which rank high from the
+literary point of view. De Castro, de Roscas, and de Solis are three of
+the more esteemed comedy authors of a later period, whose pieces were
+played in Madrid.
+
+Galdos, who is the author of several novels and plays, resides in
+Madrid, in the Paseo de Areneros. Doña Emilia Pardo de Bazan, the most
+powerful of the women writers of Spain, says: “The life of the
+playwright in Madrid is more active, agitated, and arduous than other
+branches of the literary career, which languish and sleep for want of
+stimulus.” Most of the dramatists of the nation live in Madrid, or spend
+part of the year there. Among them are José Echegaray, now the leading
+playwright, Guimerá, Eugenio Sellés, Dicenta, Vital Aza, Abati Ricardo
+de la Vega, Garcia, and Paso.
+
+Poets living in Madrid are Emilio Ferrari, Grilo, Manuel del Palacio,
+the Marquis de Cerralbo, the Duke de Rivas, Eduardo Benot, and Melchor
+de Palau. There are also several writers of humorous verse, such as
+López Silva, Pérez de Zúñiga, and Luis de Tapia.
+
+The great novelist, Armando Palacio Valdés--who, in his novel, “Froth,”
+gives a true picture of Madrid manners--lives in the city occasionally.
+Here, too, reside Father Luis Coloma, Blasco Ibañez, Baroja, José Ortega
+Munilla, Antonio de Hoyos, and several other writers of fiction. Doña
+Emilia Pardo de Bazan lives in Madrid.
+
+Among the celebrated journalists are Cavia, Kasabal, Azorin, Claudio
+Frollo, Luis Morote, Troyano, and “Zeda” (Sr. Fernandez Villegas).
+
+The Madrileños appreciate the drama--in small doses--and support
+fourteen theatres, of which the most frequented are the Teatro Real,
+belonging to the State, the Español, belonging to the Municipality, the
+Princesa, Comedia, Lara, Apolo, and Zarzuela. As elsewhere in Spain,
+each performance consists of three or more short pieces or
+sketches--zarzuelas and saynetes--almost always dealing with aspects of
+popular life. To foreigners this persistent harping on the amours of the
+policeman and flower-girl and the vicissitudes of a chairmender’s career
+is a little surprising. The legitimate drama has been almost driven from
+the boards in Spain, despite the efforts of Señora Guerrero--the Spanish
+Bernhardt--to revive it, some years ago. This lady’s husband is the
+Marquis de Mendoza, who follows the same profession, to do which he
+required the special authorisation of the Council of State. Spain does
+not want for good actors and actresses, despite the loss of Vico, Calvo,
+and the ever-popular Emilio Mario. Maria Tubau is an able interpreter of
+Ibsen and Sudermann (when the opportunity presents itself), and the
+names of Thuillier, Pinelo, and Carmen Cobeña deserve mention.
+Naturalism has by no means asserted its sway over the Spanish theatre,
+and the entertainments, as the old play-bills used to say, are still
+largely frequented by ladies and children. Every one smokes during the
+performances, and talks frantically during the entr’actes. The theatres
+are comfortable and well upholstered. English visitors will be struck by
+the absence of programmes, the place of which is often taken by some
+such sheet as _Blanco y Negro_.
+
+Emilia Pardo de Bazan deplores the decay of the literary circles and
+salons for which the city was once renowned; “of literary gatherings at
+private houses or in splendid palaces we might say there are none.”
+Circles there are, it is true, she adds, but few of them of greater
+circumference than a tea-table. Yet young writers still seek Madrid,
+bringing with them plays or novels, which, in most cases, are never
+given to the public. “There are in Madrid,” continues this authoress,
+“more producers than, in proportion, consumers, and the proletariat of
+the pen suffers the bitter consequences of this painful position.”
+
+The first newspaper printed in the city was the “Gaceta de Madrid,”
+which was founded in 1661. It was first issued annually as a news-sheet,
+but in 1667 the journal appeared each Saturday. The title of the paper
+was frequently changed, and at one time it was the official organ of the
+Court, and sold on the account of “the king our lord.” Later, the
+“Gaceta” was issued twice a week, and in 1808 it was made a daily
+publication. With one or two interruptions, the “Gaceta” has been
+printed in Madrid since 1661.
+
+The pioneer of modern journalism was Don Francisco Mariano Nifo, who
+started the “Diario” in 1758. Nifo sold the journal in 1759, and the
+title was altered to the “Diario noticioso Universal,” and later, to its
+present title, “Diario official de Avisos de Madrid.” In 1825 the
+“Diario” became an official newspaper by royal decree.
+
+The establishment of political journalism dates from 1806; the
+“Imparcial” was then founded, as well as many other journals which had
+short histories. The present “El Imparcial” dates from 1867, and “La
+Correspondencia” and “El Dia” began to be issued about the same time.
+“La Epoca” was born in 1848.
+
+The more solid reviews published in Madrid are the “Lectura,” and the
+“Ateneo.” “España Moderna,” “Nuestro Tiempo,” “Cultura,” and “Blanco y
+Negro,” a well illustrated magazine, are produced in Madrid. The city
+has certainly given birth to a very large number of periodicals, for
+from 1865 to 1878 no less than 1130 issued from the press.
+
+Students of the literary history of Spain will find many interesting
+links with the past in the National Library. Here are numerous editions
+of “Don Quixote,” and a collection of old manuscripts, including a
+beautiful Visigothic work of the tenth century, and the “Siete Partidas”
+of Alfonso the Wise. There are several autographs of Lope de Vega and
+other Spanish authors in the collection.
+
+
+
+
+VI
+
+CHURCHES AND PUBLIC BUILDINGS
+
+
+Among the monumental remains of Madrid there is scarcely a memory of the
+Moorish days. In the church of San Pedro we shall find an example of
+_Mudejar_ architecture, that is, the work of the “reconciled” Moriscos,
+who remained in Spain down to the final expulsion. San Pedro dates from
+the fourteenth or fifteenth century, and is the oldest church in the
+city. The tower is square and plain, in the Moorish form, with small
+windows.
+
+The Gothic church of San Jeronimo el Real was built in 1503, and
+restored in 1879. During the French invasion the treasures of this
+church were despoiled. Here the ceremony of taking the constitutional
+oath by the heir-apparent is celebrated, and in this church was
+performed the marriage ceremony of the present king of Spain.
+
+The Capilla del Obispo has a fine carved retablo, or altarpiece, in the
+Renaissance style, and several interesting statues and marble tombs.
+There is also a beautifully carved doorway to the chapel.
+
+Antonio Sillero designed the Convent of the Descalzas Reales, which was
+founded by the Princess Juana, daughter of Charles V. A part of the
+original building remains, dating from 1559. In the chapel is a statue
+of the foundress by Leoni. The front of the present church was designed
+by Diego Villanueva.
+
+The church of the Convent of the Incarnation is of the time of Philip
+III., the classic façade representing the style of architecture at the
+Escorial Palace. Within are some paintings by Carducho. San Francisco el
+Grande is undoubtedly the finest church in Madrid. The building is
+partly modelled from the plan of the Pantheon at Rome; and the objects
+of interest are the fine carved doors, the sculptured figures within by
+Benlliure and Bellver, and some modern fresco paintings.
+
+San Isidro is named after the patron saint of the city, and was erected
+in the years between 1626-51. The interior is exceedingly ornate, with
+gilt carvings, and niches containing images of saints. There are some
+noteworthy paintings in this church, including works by Rizi, Morales
+and Palomino, and a putative Titian. The picture by Morales, “Jesus and
+St Peter,” is considered one of the finest examples of this artist’s
+skill.
+
+In the church of San Andrés there are some fine marble carvings, and
+pictures by Carreño and Rizi. The Capilla del Obispo is behind this
+church. San Antonio is noted for its frescoes of scenes from the life of
+its patron saint, painted by Juan Carreño. The _baroque_ style is seen
+in the church of San Luis (1679)--especially in the carved retablo.
+
+Close to the Puente Verde is the Ermita de San Antonio de la Florida,
+whose dome was decorated with frescoes by Goya. The satirical painter
+was engaged by the church to paint this dome with appropriate subjects,
+and in sombre jest he chose his models for pious characters among the
+_manolas_, or half-reputable women, of Madrid. The paintings are of
+exceptional interest, and well represent the spirit of the grimly
+facetious painter.
+
+The finest specimen of baroque architecture in the city is the church of
+Santa Barbara, now adjoining the Palace of Justice, and formerly the
+church of a convent founded in the time of Ferdinand VI. The building is
+in the form of a cross, with towers, and an ornamental façade. The dome
+is decorated with frescoes, and the marble altarpiece is especially
+graceful. Olivieri carved the figures of St Ferdinand, St Barbara, and
+Faith and Charity on the retablo. The tomb of Ferdinand VI. by Sabatini
+is in the transept. There is also a monument to General O’Donnell,
+designed by Jeronimo Suñol.
+
+San Ginés should be seen for the picture of the “Scourging of Christ” by
+Alonso Cano, and a statue of Christ by Vergara.
+
+Madrid compares unfavourably with other capitals as regards buildings.
+Of late years a good many new edifices have arisen, but these are
+massive and pretentious rather than imposing.
+
+The Plaza Mayor--originally the market-place of Madrid--is historically
+interesting as the scene of numerous autos de fé and bull-fights, while
+the architecture of the Casa Panaderia should be examined. The building
+contains pictures by Coello. In the middle of the square is the statue
+of Philip III. on horseback, cast in bronze, and the work of Juan de
+Bologna and his pupil Tacca.
+
+A monument of the time of Philip IV. is seen in the offices of the
+Ministry of State, formerly a prison. It was designed by the Italian
+Bautista Crescenti, with figures by Herrera. The Town Hall is
+seventeenth century, with a good façade, and a fine staircase. In the
+oratory of this building are pictures by Palomino.
+
+Very little remains of the old palace of the Buen Retiro, which has been
+converted into the Artillery Museum. The Palacio del Congreso (House of
+Commons), finished in 1850, is Corinthian in style. There is a fine
+allegorical group by Ponzano, who also designed the lions on the front.
+Within, there are frescoes of historic scenes.
+
+The largest square in Madrid is the Plaza de Oriente, constructed by
+order of Joseph Buonaparte. There are fourteen immense statues of kings
+in this open space, and a beautiful fountain with lions in bronze. The
+equestrian statue of Philip IV. is by Tacca, from a painting by
+Velazquez; its equilibrium is said to have been determined by Galileo.
+
+The Museum of Archæology, already mentioned, has many objects of
+antiquity dating from prehistoric times. There are a number of Roman
+remains, Moorish relics, treasures from China and Mexico, and
+curiosities of many kinds.
+
+In “Castilla La Nueva” Don Jose Quadrado refers to the old door of the
+Monte de Piedad, in the Plaza de las Descalzas, as an interesting relic.
+It is surmounted with a very ornate bell, and there are two female
+torsos, and some good carving on the frontage.
+
+Six miles from Madrid is the royal hunting lodge of El Pardo. The
+building was erected in the time of the Emperor, and reconstructed by
+Charles III. It stands on high ground in a fine park. The walls are
+adorned within with many interesting fresco paintings--the work of
+Velazquez, Bayeu, Ribera, and other less notable artists; and there are
+tapestries from designs by Goya and Teniers.
+
+Aranjuez, thirty miles from Madrid, is a royal residence of very great
+historical interest, for it was here that Charles V. and Philip II.
+spent many hours of retirement. The palace contains pictures by Mengs,
+Bayeu, Maella and Lopez. The Gabinete de China is lavishly decorated
+with porcelain, and is a wonderful example of this style of
+ornamentation, introduced to Spain by the Italian Gricci.
+
+The gardens at Aranjuez are exceedingly beautiful, some parts of them
+being formal, and others more wild. A fine avenue fringes the river, and
+there are fountains and statues in the grounds. The Countess D’Aulnoy,
+describing Aranjuez, writes: “I must confess the Gardens are too close
+and several of their alleys too narrow, but yet it ravishes one to walk
+there, and at our coming into them, I fancy’d myself in some enchanted
+Palace. The morning was cool, everywhere the Birds made a sweet melody,
+and the waters a pleasant murmuring Noise! the Trees and Hedges were
+loaden with excellent Fruit, and the Parterres were covered with most
+odoriferent Flowers; and I enjoyed all this in most pleasant Company.”
+
+The trees in the avenue at Aranjuez are of great age, with immense
+trunks and dense foliage, testifying to the fertility of the soil. In
+the Garden of the Primavera flowers and fruits flourish, for the summer
+climate in this sheltered region is almost tropical, though the
+surrounding hills are bare and unfertile. Innumerable nightingales haunt
+the gardens and groves in the springtime.
+
+
+THE ROYAL ARMOURY
+
+If the Prado is surpassed by one or two other galleries, Madrid can
+boast a collection of arms and armour which is eclipsed by no other. The
+Imperial Armoury of Vienna can alone be compared with this magnificent
+storehouse of the triumphs of a forgotten craft, the inception of which
+is due to Philip II. The Emperor Charles, Lord of Germany and Italy, was
+able to command the services of the greatest armourers of his own or any
+age. By stimulating the rivalry of the famous Colmans of Augsburg and
+the not less celebrated Negrolis of Milan, he brought the
+armour-smith’s art to its highest pitch of development--and this, too,
+at a time when new tactics and artillery seemed likely to drive it for
+ever from the field. The reign of Charles marks the zenith of the craft.
+The sons of Vulcan ranked among the most admired artists of their time,
+and the most eminent exponents of the sister arts were proud to
+embellish and to wait upon the works of their hands.
+
+Yet it was to supply the needs of no mere dilettante that the forges of
+Augsburg and Milan were kept glowing, that their anvils re-echoed
+unceasingly with ringing blows. Charles was a mighty War Lord. He used
+his armour in the tented field, his keen blade was waved aloft in the
+van of armies; and in times of peace, he yet loved to surround himself
+with the pomp and circumstance of glorious war. And when he laid aside
+the helmet for the monk’s cowl, he left his son the finest martial
+equipment any monarch had ever boasted before or since.
+
+Less of a soldier than his father, Philip II. was not slow to recognise
+the intrinsic value of the heritage. He ordered a house to be built
+specially for its reception, thus forming the foundation of a
+collection, which was added to from year to year by him and his
+successors. The manufacture of defensive armour practically ceased at
+the close of the seventeenth century, and the spoils of war became,
+alas! rarer in the course of the next hundred years. In the uprising
+against the French in 1808, the Armoury was plundered by the populace in
+their frantic hunger for weapons against the detested invader, and a
+year or two later the collection suffered considerably at the hands of
+the _Rey intruso_.
+
+In the forties, a complete re-arrangement took place by order of Queen
+Isabella II. A catalogue was issued in 1849, which was useful enough in
+its way, and made the priceless treasures it enumerated known to the
+world. But it displayed little critical or antiquarian skill, and
+perpetuated a score of picturesque and grotesquely misleading
+attributions. Different pieces were labelled as the sword of Bernardo
+del Carpio, the falchion of the Cid, the bit of Don Roderic, the helmet
+of Boabdil, the cuirass of Garcilaso de la Vega, etc. Doubtless in
+course of time the battle axe of Amadis de Gaul, the horn of Roland, and
+Mambrino’s helmet would have found their way into the catalogue. Luckily
+King Alfonso XII., soon after his accession, entrusted the collection to
+an antiquary of the new school, the late Count of Valencia de Don Juan.
+Years of labour and research, interrupted by a disastrous fire,
+resulted in a complete and admirable re-organisation and classification,
+and in the publication in 1898 of a catalogue which has conferred
+permanent lustre on the reputation of the erudite compiler.
+
+The collection is in no sense national. Spain, a country famed, from the
+time of the Romans, all over Europe, for the excellence of its
+sword-blades and the martial temper of its people, is hardly represented
+in this knightly arsenal. The major portion of the exhibits proceeded
+from Italian and Bavarian workshops. Historically the collection is less
+valuable than our ill-arranged armoury at the Tower. It includes few
+pieces anterior to the last years of the fifteenth century, and none at
+all of the fourteenth. The student comes here to view not the evolution,
+but the highest expression of the armourer’s craft. Those who have the
+time will of course examine the exhibits piece by piece in the order
+they are described in the admirable but decidedly bulky catalogue to
+which I have referred. Those who regard the great armour-smiths as great
+artists--and such they were--will prefer to examine their works
+separately and so to familiarise themselves with the technique and style
+peculiar to each.
+
+Koloman Colman, surnamed “Helmschmied,” was the greatest of the famous
+Augsburg family. Of the many superb suits he made for Charles, no fewer
+than seven are in the Royal Armoury. The earliest of these (numbered A.
+19) may be identified by the monogram K. D. stamped boldly on the
+pike-guard of the left shoulder. The letters stand for Karolus Dux, the
+wearer being at that time (about 1514) only Duke of Burgundy and heir to
+the crowns of Spain. The suit belongs to the older, more graceful style
+of the fifteenth century, but the tendency to exaggeration, which, later
+on, became so pronounced, is seen in the size of the shoulder-guards or
+pauldrons and of the shoes or sollerets. Every part of the body is
+protected by plates of steel, except the throat, the armpits, and the
+space between the tassets or thigh-guards, which are defended with
+chain-mail. The well-shaped helmet is of the close-fitting armet type,
+composed of several pieces. The breastplate is ridged down the middle,
+and decorated with the engraved collar of the Golden Fleece. The combs
+or elbow pieces are beautifully made, and over the right armpit is one
+of the pretty round pieces called rondels or palettes. This is missing
+on the left arm, where the huge pike-guard or pauldron covers the whole
+shoulder and left breast. Note the detachable lance-rest, engraved with
+the armourer’s mark and the Double Eagle. The decoration of the suit is
+chaste and tasteful, the borders of the various pieces being adorned
+with diamond-shaped reliefs. In itself light and elastic enough for wear
+in the field, the suit could be strengthened and supplemented at will
+for the tilt and tournament. The extra pieces are shown on a separate
+mounted figure (A. 26). The enormous arm-guards are, of course confined
+to the left or exposed side. Heavy clumsy pieces such as these left less
+opportunity for a display of the smith’s skill than the barding or
+horse-armour. This is singularly beautiful and was the work (says the
+learned author of the catalogue) of Daniel Hopfer, who often assisted
+Colman. The plates are gilded and etched with devices of the Golden
+Fleece, the Rose, and the Pomegranate. Hopfer is also credited with the
+curious concave target to be screwed to the shoulder at tournaments (A.
+37), which is trellised or divided by intersecting ridges to break the
+point of an enemy’s lance. The spaces are engraved with much skill with
+herons attacking an eagle, which clutches one in its talons. If this, as
+it seems to be, is an allusion to the alliances promoted by Francis I.
+against the Emperor after the Treaty of Madrid, it shows that the
+shield must have been made long after the suit.
+
+The horse-armour of the harnesses (A. 37-38), on the contrary, seems to
+have been made for the Emperor Maximilian, and were etched by Burgmaier,
+a celebrated engraver of his time. They are most elaborately decorated.
+The ear-coverings of the one are shaped like rams’ horns; and the
+poitrel (or breastplate) is embossed with grotesque faces. The
+crupper-plates are decorated with compositions representing Biblical
+episodes--David killing Goliath and Samson slaying the Philistines. If
+the second suit belonged to the mighty Maximilian, the forehead-plate
+must have been added later, as it bears the motto “Plus Oultre,” first
+adopted by Charles.
+
+We come next to the five harnesses made between 1519 and 1539 for the
+Emperor by the Augsburg firm. They are alike decorated with ornamental
+bands in the direction of their greatest length and exhibit little
+difference in design. Two, however, are distinguished by the ugly
+lamboys or bases, a kilting of armour introduced about this time to
+satisfy the craze for novelty and extravagance. One of these is called
+the oak-leaf suit, from the predominant device in the ornamentation. It
+is Helmschmied’s own work--probably about 1520. The various pieces are
+distributed over three separate figures (A. 49-56-57). The breastplate
+becomes globose, the rondels are replaced on both shoulders by the less
+graceful pike-guards. No less than six extra pieces are shown that could
+be attached to the helmet. Though we may regret the departure from the
+elegant simplicity of the older style, our admiration is excited by the
+exquisite skill displayed in the articulation of the gorget and the
+bases--made as flexible as if they were of silk. Their plates are
+detachable, and beneath the steel kilt were worn breeches of the same
+metal, wonderfully laminated and allowing the utmost freedom to the
+limbs. The bands common to all the suits exhibit a great variety of
+detail. Griffins, amorini, nymphs, grotesques, heraldical devices,
+flowing scrolls, floral emblems, hunting scenes, are all introduced and
+interwoven with an ingenuity only exceeded by the delicacy of their
+execution. The helmet at A. 57 is lightly and beautifully relieved with
+the figures of Centaurs and serpents fighting.
+
+Another beautiful headpiece, of the Burgonet type, is shaped like a
+dolphin’s head, and blackened and damascened. It is no doubt an example
+of Hopfer’s skill. The same hand may be traced in the decoration of the
+armet of the suit numbered A. 75. The reinforcing piece, in the form of
+an eagle’s head and beak, was in the possession of Sir Richard Wallace,
+and by him given to his Catholic Majesty.
+
+Helmschmied, who, as Count de Valencia has proved, visited Spain in
+1525, died in 1532. The last harness he made for the Emperor (A. 108)
+illustrates a transition in the fashion of armour. The tassets or
+hip-plates now extend down to the knee, and tend to assume the
+“lobster-tail” form as worn by Cromwell’s Ironsides.
+
+Desiderius Colman lacked the genius of his father. On the Cornucopia
+suit (A. 115-117), so called from the emblem predominating in the
+decoration, we recognise a close and successful imitation of
+Helmschmied’s work. The vertical bands were insisted upon by the
+Emperor, as they apparently added to his height. The figure, A. 164,
+looks as if he had stepped out of Titian’s picture at the Prado. It is
+made up of the harness he wore at the battle of Muhlberg in 1547. The
+pieces are inlaid with gold and delicately etched. Desiderius made this
+armour in 1544, and immediately after began work upon a suit for Prince
+Philip, according to designs supplied by Don Diego de Arroyo. The
+harness differs little from those worn by the Emperor. It is furnished
+with “bases” and with very flexible articulated leg-armour. The
+genouillères or separate knee-plates disappear, but the graceful rondels
+at the armpits, and coudes or elbow pieces are retained. On the next
+figure is shown a very fine tilting helm in three pieces, and next to
+this again, a headpiece of the “morion” type fluted and delicately
+etched.
+
+The suit numbered A. 217-A. 230 should be familiar to visitors to the
+Prado. Philip, as heir apparent, is shown wearing it in Titian’s picture
+(No. 454) and by Rubens (No. 1607). The Count of Benavente is
+represented in it by Velazquez (1090). Designed by Arroyo, the harness,
+which is composed of more pieces than any other in the collection, was
+made in 1549. The history of Philip’s magnificent armour (A. 239-A. 242)
+as related by the Count de Valencia, is of some interest. Hitherto
+Colman’s superiority to other armourers of the time had been
+acknowledged only as regarded field and tilting armour--the plainer and
+tougher work, in short. Burning to eclipse his Milanese competitors in
+their own line and to produce a harness of the most ornate character,
+Colman looked about for an assistant and found one in Georg Sigman, an
+artificer of skill, whom the municipality of Augsburg had hitherto
+refused to enrol as a master of his craft. Colman promised his powerful
+influence to the aspirant, and together they turned out the fine suit we
+see. The cuirass and all the pieces, except the jambs, coudes and
+vambraces, are composed of overlapping plates. The decoration is
+tasteful, consisting of longitudinal bands of blackened steel, etched
+with grotesques and foliage. The coudes are embossed and gilded with
+female figures upholding the order of the Golden Fleece, attended by
+warriors. The genouillères are decorated with masks and satyrs. Note the
+little brayette at the meeting of the limbs, a piece, stupidly enough,
+rarely shown in English collections. The helmet or burgonet is richly
+chased with classical compositions, with cartouches, wreaths, and
+foliage. Upon it the name of Colman and the date 1552 are stamped in
+full, with the initials and mark of his collaborator.
+
+The spirit of rivalry, of which this noble panoply is the offspring, is
+expressed very plainly on the shield (A. 241) attached thereto. It is
+circular, of one piece, blackened, and embossed. Round the boss runs a
+laurel wreath, with the name of the maker and the date. On the surface
+are disposed four medallions, encircled by wreaths and designed
+respectively with allegorical representations of Strength, Victory,
+Wisdom, and Peace. The intermediate space is lavishly adorned with
+figures, masks, and foliage, and cartouches. Less skilfully executed are
+the designs round the rim, where Colman has presumptuously symbolised
+his supposed triumph over his Milanese competitor by a composition in
+which a bull overthrows a man bearing a shield marked “Nigrol.” The
+shield will certainly not bear comparison with the Italian’s work or
+even with the suit to which it is attached, but in fairness to the
+German, it must be said that it is evidently unfinished. It wants the
+grip and the attachments for the lining. The saddle at A. 242 is the
+finer work, and is adorned with the figure of Aphrodite attended by
+Cupids. This is the latest specimen of the work of Desiderius Colman
+preserved to us. He was living in 1575 (says Dr Wendelin Boeheim), but
+when or where he died we know not.
+
+Little is known of Sigmund Wolf, except that he was living at Landshut
+in Bavaria as late as 1554, and was the teacher of Franz Grosschedel,
+another armour-smith of repute. To him is ascribed the harness made for
+Philip II., and styled the Burgundy Cross suit. The decoration consists
+in ornamented bands as usual, on the breastplate of one figure being
+engraved the figure of the Madonna. Another suit by the same maker (A.
+243-262) includes no fewer than eighty-five pieces, all of which are not
+at Madrid. The inordinate number of tilting-pieces show Philip’s
+fondness for martial exercises. The weight of the armour when complete
+would have been 37 kilogrammes. The helm is a superb example of Wolf’s
+skill and the leg armour reveals his eye for symmetry. A manteau d’armes
+or target is screwed to the left shoulder, as was usual in tilting
+suits.
+
+The armour with the lobster-tail tassets worn by the ill-fated Infante
+Carlos, son of Philip II., at the age of thirteen or fourteen, is
+attributed by Boeheim to Wilhelm von Worms of Nuremberg, and by Valencia
+(with a greater show of probability, it seems to me) to one of Wolf’s
+successors and namesakes. It is interesting to remark the difference in
+size of the left and right pauldrons, a proof that the prince was
+slightly deformed, as has so often been alleged. It is unfortunate that
+the armour of our own Richard III. has not been preserved, to set at
+rest the vexed question of his physical conformation.
+
+The fecundity of Bavaria in great armour-smiths about this time proves
+the truth of the adage that, given a Mæcenas, Maros will not be
+wanting. Perhaps the most magnificent suit in the whole armoury is No.
+A. 270, interesting doubly as having been made for that darling of
+romance, Dom Sebastian of Portugal, by the gifted craftsman, Anton
+Peffenhauser of Augsburg.
+
+Boeheim has brought to light several details of this great artificer’s
+life. Born at Munich in 1525, he was working twenty-two years later in
+Augsburg, where he married, first Regine Meixner, and secondly twenty
+years later, Regine Eitler (probably the sister of Susanne Eitler, who
+married “Helmschmied” in 1565). His skill, and possibly his connection
+with the Patriarch of the craft, procured Peffenhauser many exalted
+patrons. In 1566 he was at work on a blackened harness for Kaiser
+Maximilian II., and ten years later we find him attached to the
+electoral court of Saxony. Specimens of his work are to be seen at
+Dresden, Vienna, and St Petersburg. The present suit was made about
+1576. A medal preserved at Prague portrays Peffenhauser as a man of
+mature years, stern and dignified in countenance, with a pronouncedly
+aquiline nose and full beard.
+
+Dom Sebastian’s armour, says the Count of Valencia, is Peffenhauser’s
+masterpiece, and places him on a level with, if not above, the greatest
+German armourers of his time. True, he falls into the mistake of
+over-ornamentation, and his figures are incorrectly designed, but the
+composition and embossing are bolder than Colman’s, and, above all, his
+chiselling is of inimitable precision and clearness. As to the style of
+decoration, on comparing the capricious combinations of figures,
+scrolls, and other devices, with the designs published by Hefner
+Altenech, we are inclined to believe that it was the work of Hans
+Mielich of Munich (born 1516, died 1573), or some other German artist of
+the same date and equal ability.
+
+The suit consists of burgonet, breastplates, and backplates, gorget,
+pauldrons, rere and vambraces, coudes, gauntlets, taces, lobster-tail
+tassets, genouillères, and jambs. The nails, clasps, and plume-holder
+are gilded. The burgonet, wrought in one piece, is beautifully embossed
+with allegorical and mythological figures and with a battle-scene in
+which elephants are introduced--an allusion, doubtless, to the
+Portuguese conquests in the Indies. Mythological compositions also adorn
+the longitudinal bands traversing the suit from neck to ankle. The
+pauldrons, or shoulder-plates, display a bewildering and marvellous
+profusion of ornamented work. The elbow-guards are adorned with reliefs
+of the Cardinal Virtues, the knee-plates with beautiful emblematic
+groups. Thinking of this suit when still brightly burnished and gilded,
+one fancies that it was thus arrayed that Milton’s archangels went forth
+to battle for the lordship of the heavens.
+
+It is now time to examine the productions of the Italian schools of
+armourership. The most formidable competitors of the Augsburg family
+were the celebrated Missaglias of Milan, who became known exclusively by
+the name of Negroli from the year 1515 onwards. Herr Boeheim has found
+traces of a Tommaso da Missaglia, who was working at Milan in 1415. His
+son, Antonio, made a suit for the last Aragonese King of Naples. Some
+specimens of his handiwork are to be seen in Vienna. The members of the
+family with whom “Helmschmied” and his son were called upon to compete
+were Filippo, Giacomo, and Francesco Negroli. The suit A. 139, forged at
+Milan in 1539, and worn by Charles V., is surpassed in purity of outline
+and excellence of workmanship by no other in the collection. There is no
+trace here of the decadence of the craft. It is at once distinguished
+from the German suits by the horizontal direction of the bands. It was
+originally blackened, so as to show up the gold and silver of the
+decoration. The morion is surmounted by a laurelled comb, on each side
+of which run wide bands of gold damascening that meet in front to form a
+fantastic face in relief. Hence the name “de los mascarones” sometimes
+given to this harness. The date and maker’s names are stamped on the
+border. Over the helmet could be placed a re-inforcing piece or “coif”
+shaped like a serpent with scales of gold. The breastplate is adorned
+with a medallion, containing an image of the Virgin. The shoulder,
+elbow, and knee pieces all deserve close examination for their admirable
+enrichment with lions’ heads, scrolls, and foliations.
+
+The skill of the Negrolis must be judged, apart from this suit, by
+separate pieces of armour. We have, first, the helmet and target
+presented to the Emperor by the Duke of Mantua in 1533. The former is
+moulded in the likeness of a human head--said to be Charles’
+own--covered with golden curls, and encircled over the brow by a laurel
+wreath. The beavor is in the form of a curly beard, the lips showing
+above it. This cleverly executed, but tasteless, helmet bears the name
+of Negroli, and the date 1533. The target, made to match, has a lion’s
+head and mane at the boss, and a wide border, where medallions with the
+Imperial arms are shown upheld by griffins and interwoven amid foliage.
+
+Another Burgonet (D. 30), made for the Emperor by the same hands, forged
+in one piece and exquisitely damascened, is surmounted by the figure of
+a recumbent turbaned warrior--emblematic of the Ottoman Empire--whose
+fierce mustachios are firmly grasped by two female figures, representing
+Fame and Victory. Far exceeding these pieces in dignity and simplicity
+of conception, and in vigour and accuracy of execution, is the famous
+Medusa shield (D. 64) presented to Charles by the Municipality of Milan
+upon his entrance into the city in 1541. The Gorgon’s head, daringly and
+vigorously embossed, is super-imposed on the centre of the shield, and
+confined within a broad laurel wreath. Outside this again are three
+concentric bands. The first, narrow and richly inlaid with the precious
+metals; the second, blackened and divided into sections by panels
+bearing the inscription, “Is terror quod virtus anima e fortuna paret”;
+the third, damascened like the first, and divided by medallions
+containing the Imperial insignia. The rim is moulded into the form of a
+laurel wreath. Negroli’s name is shown on the steel grip. This is
+considered one of the very finest shields ever forged by an armourer.
+
+The swords (G. 33, 34) are believed to be the work of the same hands.
+Their middle surfaces and ricassi are inlaid with gold. The hilt of one
+terminates in a beautiful volute, of the other in a facetted pommel.
+
+The helmet, attributed in the old catalogues to Boabdil (D. 12), issued
+from the same workshop. It is forged in one piece and could be
+strengthened by a complete set of re-inforcing pieces for tilt and
+tournament. Probably it would have interested us more if the old
+tradition as to its ownership had not been discredited.
+
+Great potentates in the sixteenth century were fond of appearing in
+Roman garb. Charles V. was the possessor of a suit of armour of this
+character, presented to him by the Duke of Urbino, and made by
+Bartolommeo Campi of Pesaro. This armourer, after enjoying the patronage
+of several crowned heads, served in the army of the Duke of Alba as an
+engineer, and fell at the siege of Haarlem in 1573. The harness is
+composed of seven pieces of blackened steel, damascened and ornamented
+with bronze gilt. The cuirass, a wonderful work of art, is modelled on
+the muscles of the male breast, and on it is super-imposed the head of
+Medusa finished off with spiral volutes. At the shoulders are lions’
+heads, with fierce rolling eye-balls. The cuirass is fringed with a row
+of hanging bronze medallions, showing classic heads, masks, and other
+devices, beloved of the Renaissance artificer. Cothurni with satyrs’
+heads at the point, and a Bœotian casque superbly enriched, complete
+this splendid antique costume.
+
+The work of another eminent Italian artist is to be seen at A. 112. It
+was presented to Charles by the Duke of Mantua and forged by Caremolo
+Mondrone of Milan (1489-1543). It possesses an historic interest, as the
+suit in which the Emperor made his entry into Tunis. Though the
+decorative work has all but disappeared, the close fit and flowing lines
+recall the best days of the armourer’s craft.
+
+The next suit (A. 114) also testifies by the extreme delicacy of the
+azziminia in imitation of Kufic inscriptions, to the wonderful skill of
+the same artificer.
+
+That the very greatest artists were not unwilling to co-operate in the
+decoration of arms is attested by the magnificent “Plus Ultra” shield
+designed by Giulio Romano, who was living in Mantua in those days. It is
+forged in a single piece of steel and the whole surface is chiselled
+with an elaborate composition. In the centre is seen the Emperor, in his
+Roman suit, upholding the Imperial Eagle and standing upright in a
+vessel, at the prow of which is Fame. Over his head Victory hovers.
+Hercules, more to the left, shoulders his Pillars, and prepares to
+follow the Emperor in his onward course, to the obvious consternation of
+Neptune. Below the boat a river-god is seated near the figure of Africa
+or America, bound and enslaved. This is certainly one of the most
+remarkable productions of the armourer’s art anywhere to be seen.
+
+The armour at one time in the possession of Charles and his son is
+naturally the most interesting in the collection. The suits made for
+their successors illustrate the decline of the artistic movement. The
+harness was now worn chiefly for display. The connection between Spain
+and Bavaria was severed, and the days had long gone when Toledo blades
+were esteemed the finest weapons the world could produce. The suits made
+for Philip III., when Infante, by Lucio Piccinino of Milan, is worthy of
+the earlier period. It is profusely decorated with reliefs and
+azziminia. The burgonet is embossed with three masks, another appearing
+in the centre of the breastplate, above a panel containing a figure of
+Victory and upheld by two male figures. The other pieces (many of which
+are wanting) were all similarly adorned. The horse’s barding exhibits a
+similar wealth of ornamentation.
+
+Turned out in Spain itself at the Royal Arsenal of Pamplona in Navarre,
+in the year 1620, is the armour catalogued under the numbers A. 350-353.
+This was a suit intended for presentation by Philip III. to the Duke of
+Savoy, and is lavishly decorated. A curious feature of the next suit,
+also made in Navarre, is the seven indentations made by the bullets of
+an arquebus. Each is set with stones. These marks were intended to
+attest the thickness of the steel, but they do rather the contrary, for
+the backplate has been completely perforated. We are reminded of Don
+Quixote’s attempts to satisfy himself of the toughness of his helmet.
+
+At A. 13-20 are shown six charming little suits made for the boy
+princes, Philip, Ferdinand, and Charles. They are composed of closed
+helmets, gorgets, cuirasses, and the usual arm-guards. The surface is
+blued and divided diagonally by foliations between which appear the
+emblems of Spain and the Golden Fleece.
+
+The suit made for the Infante Baltasar Carlos (1629-1646) is little
+more than a costly toy, and preserves its gilding and blackening
+unimpaired. The suits A. 369 and A. 394 are historically interesting, as
+having been worn in the field by Prince Emmanuele Filiberto of Savoy,
+the victor of St Quentin, and Don Juan José, natural son of Philip IV.,
+respectively.
+
+The splendidly engraved collar and gorget catalogued as A. 434-441, are
+now known to portray the siege of Ostend (1601-1604) and battle of
+Nieuport (1600). The details are executed with marvellous clearness, and
+reflect the greatest credit on the unknown artificer. The horseman in
+the centre group on the gorget is probably the Archduke Albrecht, who
+distinguished himself by his valour in the battle. These pieces were
+worn over a buff jerkin, such as clothed Cromwell’s Ironsides.
+
+Many detached pieces in this grand collection are as full of interest as
+the complete harnesses. The sword, G. 21, once thought to be the
+“Colada” of the Cid, has lost little of its interest now that it has
+been identified with that equally famous blade, the “Lobera” of St
+Ferdinand. A part of the cloak in which the sainted king was buried is
+also shown with his long-necked spurs or “acicates.” Then we have (at G.
+13) the heavy weapon of Ferdinand the Catholic, and the sword of state
+used by the Catholic sovereigns when conferring the accolade. The sword,
+inscribed with the Great Captain’s name, was presented to him, the Count
+of Valencia thinks, by some Italian city. The sword numbered G. 30 also
+belonged to him. And who can gaze without wonderment on the Valencian
+blade with which Pizarro won for Spain the vast empire of Peru?
+
+From the New World comes a wonderful feather shield, made by the Mexican
+Indians under the direction of Spanish artists. On a wicker frame are
+depicted in feathers, mounted on skin, the battles of Navas de Tolosa,
+Tunis, and Lepanto, and the taking of Granada. In the centre a heron is
+seen defending its nest against serpents--a composition symbolical of
+the campaign against heresy. The whole is an extraordinary example of
+what can be achieved with such apparently impracticable materials.
+
+Included in the collection is a brigantine made for Charles V. composed
+of hundreds of pieces of steel sewn on leather, making a garment as
+flexible as a jersey, and yet endowed with extraordinary resisting
+power.
+
+Older, and from certain points of view more interesting than any of
+these exhibits, are the Visigothic crowns of Guarrazar, the companions
+of those in the Cluny museum. These were found one moonlit night in the
+year 1858 by two peasants, in the bed of a fountain, and only secured
+with difficulty by the government. Much of the treasure had already come
+into the possession of the goldsmiths of Toledo, and had been broken up
+or melted down. It is said to have comprised a beautiful golden dove,
+which, having been acquired by a jeweller, occasioned him so many qualms
+of conscience that he at last eased his mind by throwing it into the
+Tagus. The crowns were the offerings at shrines of King Swinthila and
+his successors. They consist of hoops studded with gems and dangling
+from a separate ornament of gold and rock-crystal. From the hoop hang
+pendants and letters in enamel, making up the inscription, _Swinthilanus
+Rex Offeret_. Adjacent are crosses and ornaments of the same period. An
+antique horse’s bit, ascribed by tradition to Witiza, is believed by the
+Count de Valencia to date from the Visigothic era.
+
+The collection comprises a superb assortment of swords, beautiful
+specimens of the famous Toledo blades. Among those of historic interest,
+I forgot to mention that of Hernando Cortés. The sword of Philip II.,
+numbered G. 47 has a magnificent hilt richly chased, with a spherical
+pommel. It is no doubt the work of Desiderius Colman, though believed,
+at one time, to have been designed by Benvenuto Cellini.
+
+Among the trophies are the sword of the Duke of Weimar, taken at
+Nordlingen in 1634, the arms taken from Francis I. at Pavia, Moorish
+arms from Tunis, the breastplate of the Elector of Saxony, taken at
+Mühlberg, swords and standards from Lepanto, and flags taken by the
+famous Admiral Alvaro de Bazán. The arms belonging to his late Catholic
+Majesty, Alfonso XII., have also been added to the collection by the
+Queen Dowager, who well knew the profound interest her august husband
+took in this superb military museum.
+
+
+THE ESCORIAL--LA GRANJA--EL PARDO
+
+No one visits Madrid without making an excursion to the Escorial, which
+is to the Spanish capital what the Pyramids are to Cairo. Indeed, there
+is more than one point of resemblance between these buildings. Both
+impress mainly by their size, both produce no sensations of pleasure in
+the beholder, both embody the solemn and crushing conception of the
+majesty of death entertained by great and despotic kings.
+
+The thoughts of Philip II., like those of the Pharaohs, turned
+perpetually graveward, and it is perhaps doing no injustice to a
+genuinely devout character to say that he pondered as much on the abode
+of the body after death as on the post-mortem vicissitudes of his soul.
+The pomp of death which, according to the sage, is to most men more
+terrible than death itself, had a rare fascination for the Pharaohs and
+the King of Spain. Philip in his tomb seemed a finer figure to Philip
+living than Philip on his throne. Death as a catastrophe is attractive,
+of course, to all manner of people, not otherwise morbid. But it was
+death in its most generally repugnant aspect that appealed to this
+strange, sombre sovereign of the Spains, and it was that predominating
+conception that inspired him in the erection of the Escorial. The
+building is his idea of the majesty and finality of Death expressed in
+stone.
+
+The story which immediately accounts for the founding of the Escorial is
+well known. On the 16th August 1557, the Spaniards commanded by
+Emmanuele Filiberto, Duke of Savoy, totally defeated the French under
+the walls of St Quentin. Philip arrived in time to assist at the taking
+of the town itself, to effect which it became necessary to demolish a
+convent dedicated to St Lawrence. By way of reparation to that saint, in
+thanksgiving for the victory, and in fulfilment of his father’s
+instructions to create a royal mausoleum, Philip determined to erect a
+vast monastery and palace under the invocation of St Lawrence. The
+present site having been chosen by a commission, the work was begun in
+the presence of the King himself, in the first week of April 1562. The
+plans were drawn by Juan Bautista de Toledo, an architect of
+distinction, who had studied at Rome and Naples. He died, however, in
+1563, a few days after the laying of the first stone and the work was
+then entrusted to his assistant, the more celebrated Juan de Herrera
+(born in Asturias 1530, died at Madrid 1597). Villacastin, the Master of
+the Works, on being invited to assist at the ceremony of laying the
+first stone, replied, “Let others lay the first, I will place the last!”
+His words came true, for he laid on June 23rd, 1582, the last stone,
+which may be seen marked with a black cross on entering the Patio de los
+Reyes.
+
+The real architect was Philip himself. His interest in the work was so
+intense, his attention to its details so minute, the idea of the whole
+so much his own and so tenaciously insisted upon, that Toledo and
+Herrera can have had little else to do than commit the scheme to paper.
+
+The Escorial is essentially the work of one man, and the expression if
+not of his personality, at least of the idea that obsessed him.
+
+It was the custom in Northern Europe to propitiate some half-forgotten
+infernal deities by burying a pig or a sheep alive in the foundations of
+every church. The monastery of San Lorenzo was similarly consecrated by
+human and animal sacrifices. After the Hermits of St Jerome (Charles
+V.’s favourite order) had established themselves in the incomplete
+edifice, it was whispered that a black dog persistently interrupted
+their chanting by his howlings. The animal was looked upon by the people
+as inspired by God thus to protest against the spoliation of the
+peasantry by the Hermits. It turned out that it was only one of the
+hounds of the Marquis de las Navas, bewailing his absent master; but the
+benevolent monks promptly hanged the poor brute from the roof of their
+cloister. In the same year a young man, twenty-four years of age, was
+(no doubt for some serious offence) burned at the stake on the spot in
+the neighbouring Jardin del Principe marked by a stone cross. Thus with
+most solemn rites was the great Christian temple consecrated to Death.
+
+The building constitutes an immense parallelogram, its sides nearly
+facing the cardinal points of the compass. The small rectangular annex
+called the Palacio de Infantes projecting from the middle of the eastern
+face, gives the plan a purely accidental resemblance to a gridiron,
+which, according to legend, was the instrument of the titular saint’s
+martyrdom. The dimensions, according to a Spanish writer, are 744
+Castilian feet from north to south, 580 from east to west, and 400,000
+square feet in area. The whole building is of grey granite, and appears
+to form an integral part of the rock on which it stands. In its
+simplicity and hugeness it might easily be mistaken for the work of
+Nature, not of man. Artistically this is perhaps its sole merit, yet, as
+I have said, it never fails to awe. The style is that of the second
+Renaissance, here called Greco-Roman, which prefers the Doric order and
+rejects all superfluous ornament. Each angle is capped by a square
+tower, surmounted by a pinnacle. The façades, devoid of all decoration,
+are relieved only by rows of small square windows. The upper stories are
+faced with blue slate and sheets of lead. The Escorial is rivalled in
+simplicity and severity by the Pyramids alone.
+
+The main entrance is in the middle of the west front. The lower stage is
+in the Doric style, four columns flanking the doorway on each side. The
+door itself is 20 feet high and 12 feet wide, and painted white with
+huge copper-gilt studs and knockers. Above is the second stage of the
+entrance in the Ionic style. Over the door is the colossal statue of St.
+Lawrence in granite, but with the head, hands, and feet in white marble.
+The sculptor, Monegro, received 20,900 reales for the Spanish
+coat-of-arms carved below.
+
+A vestibule opens upon the Patio de los Reyes, so called from the
+statues of the Kings of Judah in granite and marble, also by Monegro,
+which stand on pedestals above the cornice. Jehoshaphat is represented
+with an axe, Hezekiah with a ram, Manasseh with the compass and square,
+Josiah and Solomon with books, David with harp and sword. These kings
+were selected as having had most to do with the building of the Temple,
+to which the Escorial was often compared by Spanish writers. The Temple,
+as represented by the Mosque of Omar, is by far the more cheerful and
+ornate structure of the two.
+
+The eastern front of this court is formed by the west front of the
+church and the Escorial--undoubtedly the noblest part of the pile. It is
+rightly considered Herrera’s masterpiece. The shape is said to be that
+of a Greek cross, but seemed to me to be square. The west front is
+flanked by square towers considerably over 200 feet high, and
+terminating like those of the enceinte in pinnacles. Over the crossing
+rises a stately dome, supporting a graceful pyramid, above which rises
+an iron cross. These towers are the most ornamental features of the
+whole vast pile.
+
+The interior of the church, truly observes Mr Lomas, “conveys exactly
+the idea which English people attach to the word ‘temple,’ a place
+wherein the majesty of the invisible dwarfs everything human.” It is
+constructed on the model of the first plan of St Peter’s. The lantern is
+carried on four enormous piers, from which to eight pilasters in the
+walls spring twenty-four mighty arches, forming three naves. Giants
+would seem to have been at work here. On entering we find ourselves in
+the dark Lower Choir, which is separated from the rest of the church by
+three bronze railings and to which were confined the lay worshippers.
+Above it is the choir, which it is unusual to find in Spain raised in a
+gallery at the west end of the church, instead of blocking up the nave.
+Here Philip often joined the monks in their devotions, his seat being
+the one nearest the door in the south-east angle. He was absorbed in
+prayer when on November 8th, 1571, during Vespers, a messenger entered
+and announced to those assembled the glorious victory obtained by Don
+John of Austria over the Ottoman fleet. The King gave no sign that he
+was elated, or that he had even heard the intelligence, but at the
+conclusion of the office he ordered a Te Deum to be intoned. He was a
+man never elated by success or cast down by failure. The evil tidings of
+the Armada found him as unperturbed as the good news of Lepanto. From
+the same seat he assisted at the solemn requiem Mass chanted by night
+for the repose of the soul of Mary, Queen of Scots. It is not without a
+certain emotion that we gaze around in this gallery. The stalls are
+elegantly and chastely carved in precious woods, after the designs of
+Herrera. The lectern and crystal chandelier are hardly so good. The eye
+turns at once to the marble crucifix signed by Benvenuto Cellini, who
+placed it among his finest works. Philip, one day, covered the loins of
+the figure with his handkerchief, a precedent which we see still
+followed in many churches in Spain and in convent chapels in France.
+
+In the adjoining chambers, called the Antecoros, may be seen a statue
+converted into the “likeness” of St. Lawrence, and two pictures by
+Navarrete “el mudo.” That artist is said to have fallen foul of certain
+ecclesiastics by representing angels with beards, and an additional rule
+was laid down that neither cats and dogs nor any unbecoming figures were
+to be introduced into religious pictures, but only such things as
+incited to devotion. The frescoes are by Luca Giordano, as are also
+those which decorate the eight vaults of the church itself. In the choir
+library you may see the splendid antiphoners, beautifully bound and
+illuminated, and over a yard high by two yards broad.
+
+In the church is the simple tomb of Queen Mercedes, first wife of his
+late Majesty, Don Alfonso XII. The plain gold cross at her feet was the
+offering of the British community of Madrid, by whom, as indeed by the
+whole world, her untimely death was profoundly deplored. She is buried
+here and not in the mausoleum below, as she was not the mother of a
+king.
+
+The dome of the Pantheon is covered by the steep flight of steps leading
+to the chancel, so that Mass is literally celebrated above the bodies
+of the kings. The altar, which cost about £(?)40,000, is isolated, and
+is made of marble and jasper, a single slab of the latter stone forming
+the table. According to the inscription on a bronze plate let into the
+back of the altar, it contains relics of Saints Peter and Paul, Lawrence
+and Vincent, and a multitude of other saints, and was consecrated in
+presence of Philip by the Papal Nuncio, Camillo Caietano, Patriarch of
+Alexandria, on August 30th, 1595. The beauty of the reredos or retablo
+is obscured by the dark hue of the stone employed, and by the sombre
+colour assumed by the paintings in course of the years. The light also
+is very bad. The three stages into which the retablo is divided
+correspond to the three Grecian orders of architecture. The columns are
+of dark red and green jasper, with capitals and pedestals of bronze
+gilt. The statues represent (looking upwards) the Four Doctors of the
+Church, the Four Evangelists, St James and St Andrew, St Peter and St
+Paul. The paintings depict the Nativity and Adoration of the Magi, the
+Saviour bearing the Cross, the Scourging at the Pillar, the Martyrdom of
+Saint Lawrence, the Resurrection, the Descent of the Holy Ghost and the
+Assumption. The cross surmounting the whole was made from the wood of
+the Portuguese warship, “the Five Wounds.” The architect of this fine
+work was the Milanese Giacomo Trezzo, the painters Tibaldi and Zuccaro,
+the sculptors Leone and Pompeio Leoni. The sanctuary to the east
+contains the superb tabernacle, designed by Herrera and executed by
+Trezzo, with instruments invented by him for the purpose. It was
+restored in 1827 by “the pious and august” Ferdinand VII. after it had
+been rifled and damaged by the French. The reliquaries in the sanctuary
+contain ten entire bodies of saints, 144 heads, and 306 entire arms and
+legs. Among these relics is the thigh of Saint Lawrence, showing the
+roasted flesh and the holes made by the skewers.
+
+The sceptical foreigner will probably be more interested by the statues
+above the oratorios or royal tribunes surrounding the altar. We see
+Charles V. with his wife, daughters and sisters, Philip II. with all his
+wives, except Mary Tudor, and his son, the miserable Infante Carlos. It
+was not altogether a happy idea to represent a Christian prince attended
+at the _same time_ by his three wives. All these statues are faithful
+portraits. The oratorio on the Epistle side adjoins the bare, narrow
+chamber in which the devout king breathed his last, quitting without
+regret a world with which he had no sympathy and in which he moved as a
+melancholy exile.
+
+The church contains forty-eight side chapels and altars, adorned by the
+paintings of Coello, Navarrete, and others of less note. The best
+pictures are to be seen in the Sacristia. Here there are several works
+of Titian, Tintoretto, El Greco, Zurbaran, and Ribera. The most
+interesting canvas is the “Santa Forma” by Claudio Coello. The heads are
+portraits of Charles II. and his ministers. The incident depicted is the
+ceremony of the Veneration of the Sacred Wafer, which being trodden upon
+and defiled by Protestants at Gorinchem in Holland, is said to have
+exuded blood. It is preserved behind the picture and exhibited twice a
+year.
+
+Immediately under the high altar is the Pantheon, the last resting-place
+of the kings and queens of Spain. It is an octagonal chamber, lined with
+precious marbles, which also in the dreadfully sensible presence of
+death, seem to be decaying. No such rich chamber was desired by Philip.
+It dates from 1554.
+
+Twenty-six marble urns placed in niches round the chamber contain all
+that was mortal of the monarchs of Spain and their consorts from
+Charles V. to Alfonso XII., Philip V. and Ferdinand VI. excepted. There
+are tombs, too, awaiting the living. Ascending the steps we pass the
+sealed door of the Pudridero, where the bodies are kept five years
+before being placed in the Pantheon, and may visit the burial chambers
+reserved to the Infantes and Infantas. Several of the vaults are still
+empty. They are in purer, colder style than the heavier Pantheon of the
+kings. As one ascends to the living world from these awful chambers, the
+question suggests itself, what is the object of it all? The Pyramids of
+Nile ought to have convinced man once for all of the hopelessness of any
+effort to preserve his body unprofaned and solemnly housed through all
+the years. No matter how great the dynasty, how strong the tomb, the day
+must come when the jealously and reverently guarded ashes will form the
+prey of some ghoulish invader. With Rameses exposed to the gaze of
+wondering Cockneys, with Alexander’s tomb an object of curiosity to
+tourists in the museum at Stamboul, with the tombs of the kings of Judah
+explored on allfours by Cook’s trippers, how can one hope for an eternal
+immunity from profanation for the Invalides, for Westminster, for the
+Escorial? Kings ought to have learnt the lesson that in the pages of
+history alone can they look for an earthly immortality.
+
+The convent occupies the southern part of the building. It was
+inhabited, as I have said, by the religious known as the Hermits of St
+Jerome or Hieronymites, an Order established or recognised by Pope
+Gregory XI. in 1373. If it still exists it counts very few members and
+has played an insignificant part in ecclesiastical history compared with
+the spiritual descendants of Benedict, Dominic, Francis, Bruno, and
+Ignatius. For some reason or other Charles V. held the Hermits in
+particular esteem, and it was this predilection that determined his son
+to offer them the new monastery in 1561. The Order is likely to be best
+remembered by the ecclesiologist for the peculiar plan of its
+churches--cruciform, with diagonal lines extending from the ends of the
+cross-piece to the head of the upright limb.
+
+The granite cloisters in the Doric style are, or rather were, decorated
+with frescoes after designs of Tibaldi, now shockingly “restored.” In
+the centre of the Patio de los Evangelistas is a little octagonal
+temple, covering a fountain. It is one of Herrera’s best works, in which
+granite and marble have been combined with admirable skill. The white
+statues of the Evangelists at the corners were sculptured by Monegro;
+the appropriate inscriptions are in Latin, Greek, Hebrew and Syriac.
+
+The three Chapter Rooms of the monastery form a picture gallery of high
+interest. Titian is represented by a Last Supper--sadly restored;
+Tintoretto, by “Christ washing His Disciples’ feet,” “Christ at the
+house of the Pharisee,” and “Queen Esther”--all bought from the
+Collection of our Charles I. by the Spanish Ambassador--and by an “Ecce
+Homo,” “Entombment,” “Adoration of the Shepherds,” and “Annunciation”;
+Velazquez, by “The sons of Jacob”--perhaps the best work in the
+collection; El Mudo, by the “Martyrdom of St James”; El Greco, by the
+“Dream of Philip II. (Glory, Purgatory, and Hell)”; Ribera, by several
+canvasses. There is a good “Martyrdom of St. Lawrence” by Titian in the
+old chapel, and a few good pictures, especially by El Mudo, in the upper
+cloisters, reached by a grand staircase. One of the halls is called the
+Aula de Moral, being reserved for conferences on points of morality.
+
+The Library is decidedly of more interest than the Convent. The books,
+oddly enough, are arranged with the faces, instead of the backs,
+outwards. The cases of ebony and cedar were designed by Herrera and
+harmonise well with the marble pavement and tables. There are several
+portraits of sovereigns here, and in cases are arranged some of the
+rarer books, such as the prayer-books of Charles V., Isabel the
+Catholic, Philip III., etc., a Virgil of the fifteenth century, and an
+eleventh century Codex, with the four Gospels written in letters of
+gold. This priceless work was begun by order of Conrad II., Emperor of
+the Romans. Eighteen pounds’ weight of gold is said to have been
+employed in the illumination.
+
+The beginning of the collection was Philip’s own library, of 4000
+volumes, to which was added in 1614 the valuable library of the Sultan
+of Morocco. It has of course been increased by other collections from
+time to time. The Arabic MSS., though not as numerous as might be
+expected, are extremely valuable. Gayangos, that patient Spanish
+Orientalist, I am informed, never had the opportunity of inspecting
+them.
+
+The palace occupies the northern side of the huge edifice. It forms the
+least meritorious part of Herrera’s design, and was not improved by the
+alterations effected by order of Charles IV. The halls are dull, dreary,
+and altogether in the style of the eighteenth century--a sufficient
+condemnation. Those were days when every monarch wanted a Versailles:
+we see the same effort at imitation at Caserta, at the Superga, at
+Wilhelmshöhe and Philippsruhe. There is, of course, a Hall of Battles,
+celebrating with the exception of the pictures of the fight at St
+Quentin, Lepanto, and Higueruela, victories over the Dutch and Flemings.
+National self-glorification may be carried too far, but in England we
+are too forgetful of our glorious past. We do not dream of adorning our
+palaces with pictures of Crecy, Poitiers, Agincourt, Blenheim,
+Trafalgar, and Waterloo. You may search England in vain for monuments to
+William the Conqueror, the founder of the monarchy, to Edward, our great
+justiciar, to the Black Prince, to de Montfort or to Langton, to whom we
+owe our constitutional liberties. One unacquainted with our history
+might suppose we sprang into existence a bare century ago. In a
+generally conservative country like ours, this complete detachment from
+the past appears strangely contradictory.
+
+This vast, empty palace contains little of interest except the two rooms
+inhabited by Philip. Within them all is austerity and simplicity--as
+befitted a king who was a monk at heart. The walls are whitewashed, the
+flooring of brick. The footstools remind us of the gout from which the
+sad king suffered--certainly not from over-indulgence in the good things
+of life. In this room he worked from four in the morning till midnight,
+his labours interrupted only by his fervent devotions. The adjoining
+chamber is the oratorio, of which I have already spoken, where he could
+assist at the celebration of Mass. Here, at the end of a two months’
+illness, patiently borne, he died, grasping the very crucifix with which
+his father had been consoled during his last moments. His death, at any
+rate, was happier and more dignified than that of his victorious rival,
+Elizabeth, writhing out her life at Richmond in an ecstasy of remorse
+and chagrin.
+
+Adjacent to the Escorial are several blocks of buildings, such as the
+Campaña, containing the domestic offices, and the Casa del Principe, the
+Petit Trianon of the palace, surrounded by gardens. In these may be seen
+the cross marking the spot where the baker’s boy was burnt at the stake
+in Philip’s reign. A queer site for a palace dedicated to the “menus
+plaisirs”!
+
+The Escorial has been the scene of some important historical events,
+notably of the arrest and imprisonment of the Infante Ferdinand, on the
+charge of high treason against his father in 1807. He was afterwards
+Ferdinand VII. The prince was confined in the Prior’s cell and managed
+to communicate with his friends by the aid of a fishing line. Charles
+IV. had no option but to pardon his son, whose intrigues resulted
+indirectly in the spoliation of the palace which had been his prison, by
+the French a year or two later.
+
+Not without relief will the visitor leave these interminable halls and
+corridors over which broods the presence of death, and seek the little
+Silla del Rey, or King’s Chair, a mile and a half from the pile. It is a
+natural seat, formed of granite rocks, where Philip used to watch the
+progress of the building operations. It is worth visiting as affording
+one of the pretty views to be obtained in the midst of a generally
+uninviting district.
+
+After a visit to the Escorial, the Palace of La Granja will seem what it
+was intended to be--the house of life and gaiety. At any other time it
+would seem a rather dull and depressing imitation of Versailles. It is
+called the Grange or Farm and appropriately enough is in the midst of
+charming scenery. Trees afford a shade not too often to be found in
+barren, scorched Castile. And in the background the snowy Guadarrama
+lift their heads above the pine forests. On the whole one does not
+blame Philip V. for his choice of a royal domain, or wonder why the
+present King’s father and mother spent much of their time here, soon
+after their marriage. Yet at this height of 4000 feet above the sea, it
+must be an Arctic spot at all seasons except summer. La Granja--or San
+Ildefonso, to give it its official name--is the residence of the Court
+in summer. If the Escorial expresses in stone the character of its
+founder, the same cannot be said of this palace, for the fifth Philip
+was of almost as gloomy a temper as the first. He spent very little time
+at the pleasaunce he had decreed, for he died a few months after its
+completion in 1746. Here in 1724 he abdicated the throne in favour of
+his son, Don Luis, on whose death eight months later he was constrained
+to resume the royal authority.
+
+The palace itself is not a very interesting structure. The principal
+façade dates from 1737, and is buttressed by columns and pilasters,
+supporting an entablature and balustrade. Over the middle rises an attic
+story, also surmounted with a balustrade, supported by four Caryatides
+representing the seasons, between them being the coat-of-arms of Spain
+and the Bourbons. This front was designed by Juvarra, and is the most
+tasteful portion of the building, to which additions have been made at
+different epochs with little regard to harmony or good taste. The
+interior, however, reflects the taste of the present august occupants.
+Much of the heavy rubbish accumulated in preceding centuries has been
+relegated to the lumber room, and the vast halls and corridors have been
+refurnished throughout. Rich tapestries cover the walls, and the palace
+still contains upwards of 300 pictures, though the finest works of art
+have gone to fill the galleries of Madrid. The chapel is only worth
+visiting for the tombs of Philip V. and his Italian Queen.
+
+But if the Palace of San Ildefonso hardly rewards the visitor for his
+journey from Madrid, the park is a thing of beauty and a joy at least
+during a long day. Here flourish the elm, the lime, the pine, and the
+chestnut, forming delicious woods. In the ornamental gardens exists the
+very finest system of fountains the world has seen. Philip V. far
+surpassed the achievements of the Roi Soleil in this direction. The
+first visit is naturally to the lake, a beautiful expanse of water on
+the bank of which is situated the important piscicultural establishment,
+founded in 1867 by the King-Consort Francisco.
+
+The gardens are filled with statues of mythological characters, grouped
+with great skill among the foliage. Those most admired are the Lucretia,
+Daphne, Phœbus, and America. Especially beautiful is the group of Diana
+and her nymphs surprised by Actæon, in the centre of a magnificent
+fountain. Contemplating the play of the waters Philip V. is said to have
+exclaimed “This has amused me three minutes and cost me three millions.”
+A still finer and taller column of water issues from the Trumpet of
+Fame, breaking in a shower of crystalline drops 130 feet above the water
+level; while miniature rainbows interlace and form an aureole round the
+head of the figure. In the centre of another lake, Latona is seen,
+embracing her children, while her enemies, transformed into frogs, vomit
+forth jets of water in impotent rage, which cross and recross, forming
+arches in bewildering variety.
+
+There is nothing equal to this to be seen elsewhere. The achievements of
+the immortal Mr Brock with fire have been eclipsed by Renato Firmin with
+the conflicting element. Spain can boast the finest display of
+hydrotechnics in the world.
+
+Before we leave this favourite home of His Catholic Majesty it is worth
+while to recall a few of the events of which it has been the theatre.
+On the 17th September 1832, Ferdinand VII. lay here dying. All those
+round him--his family, his ministers, even the garrison--were devoted to
+the interests of Don Carlos, and even his confessor ceased not to
+importune the dying king to revoke the Pragmatic Sanction and to decree
+the exclusion of his own infant daughter from the throne. Queen
+Cristina, in the face of such pressure, remained inactive and
+despairing. With his hand guided, it is said, by the Bishop of Leon,
+Ferdinand at last traced his feeble signature to the decree which
+disinherited his child. The triumph of the Carlist faction seemed
+complete. Suddenly at the doors of the palace appeared the Queen’s
+sister, Doña Luisa Carlota, a woman of such spirit that no one
+there--minister or officer or prelate--dared bar her way to the King’s
+bedside. The court presently resounded with her shrill denunciations of
+the Queen’s want of courage, of the King’s weakness. She summoned to her
+presence the trembling minister, Calomarde, and when he offered his
+hand, struck him on the face. “White hands do not wound” stammered the
+statesman and fled from the presence of the royal mænad. Before such a
+tempest of righteous indignation, intriguers and schemers retired. Force
+at the last can always break through the meshes of treachery. Many of
+those who witnessed the memorable scene must have thought of the furious
+bull at Madrid which bore down before it the most dexterous of
+banderilleros, the bravest of espadas, and breaking over the barriers,
+dispersed a whole population. Before nightfall the decree was revoked
+and the succession of the Infanta Isabella confirmed anew by royal
+decree. Bravo Luisa Carlota!
+
+Four years later, Cristina, now regent, had to face alone and
+unprotected, a mob headed by the palace guard, which broke into her
+room, loudly demanding the re-establishment of the Constitution of 1812.
+The Queen, unmoved and tactful, asked the deputation if they knew what
+the constitution was. According to the Honourable John Hay (see his
+“Castilian Days”) they replied, “No, but we hear it is a good thing, and
+will make salt cheaper.” The story like most good ones, is certainly
+untrue, and may be classed with the legend that in 1893 when there was
+an agitation in Belgium for an extended franchise, some peasant women
+presented themselves at the Town Hall with buckets to carry away their
+share of the “Suffrage!”
+
+The only other royal residence which can form the goal of an excursion
+from Madrid is El Pardo, a shooting-box on a large scale, six miles
+from the capital. The hunting seat built here by Enrique III. was
+replaced by a palace in 1543. The building is very simple, and contains
+but a single court. The walls in the interior are hung with tapestries
+after the designs of Goya (made in Madrid) and Teniers (made at Les
+Gobelins). Students of Spanish art should visit this palace for a sight
+of the best of the very few remaining works of Gaspar Becerra--the
+Legend of Perseus and Andromeda. The chapel contains a copy of Ribalta’s
+altar-piece in Magdalen Chapel, Oxford. Over the staircase is a fine
+equestrian portrait of Don John of Austria, attributed to Ribera. These
+works of art having been inspected, there is little to detain you at El
+Pardo. The shooting in the adjacent covers is excellent, but few of my
+readers will have the time or opportunity to prove this for themselves.
+
+
+
+
+VII
+
+ALCALÁ DE HENARES
+
+
+Twenty-one miles from Madrid, on a plain two thousand feet above
+sea-level, is the little town of Alcalá de Henares, whose annals are so
+intimately associated with the history of Spain that it deserves more
+than passing mention. In 1510, Alcalá was a famous University town,
+esteemed equally with Salamanca, and frequented by the most learned
+professors, doctors, and students of that age. Here, it is claimed, was
+born the great Miguel Cervantes, and in the church of Santa Maria he was
+baptised in 1547. Catharine of Aragon, first of the wives of Henry VIII.
+of England, was a native of the place. But long before the sixteenth
+century, Alcalá de Henares was a town of importance, for the Romans
+settled here, and named the centre Complutum, while the Moors, at a
+later date, fortified the Roman station and called it the “stronghold”
+or “castle.”
+
+Until the University, founded here by Cardinal Ximenez, was removed to
+Madrid, Alcalá de Henares was a town of note, populated by over ten
+thousand students. As early as the thirteenth century the Court
+frequently sat here to administer the _fueros_, and Alcalá was one of
+the first bishoprics founded in Spain. Cervantes speaks of the town of
+his birth as “the famous Complutum”; and Erasmus, in a letter to Vives,
+relates that “the cultivation of languages and polite letters has given
+celebrity to the University of Alcalá, whose principal ornament is that
+illustrious and truly worthy old man, Anthony de Nebrija, who has
+outstripped many Nestors.”
+
+The students of the Alcalá University were a very merry community. Many
+are the tales repeated of their frolics, their escapades, and their
+Bohemianism. They prided themselves upon the carelessness of their
+dress, and at holiday time sang to the guitar for chance coppers thrown
+from the windows. Yet there were many serious students in the colleges,
+which numbered about twenty, and many youths sat at the feet of the sage
+teachers and learned lecturers who were retained by Cardinal Ximenez for
+the instruction of the pupils. Cervantes was among the students of
+Alcalá before he went to Madrid; but we read that he was not much
+inclined to follow the academic course, preferring poetry and romance to
+the dry tomes of theology and philosophy.
+
+The ancient University was first established on the site of the present
+Colegio de San Ildefonso, which was built in 1583. Two celebrated
+architects, Gumiel and Gil de Hontañon, designed the building, and
+showed great taste in planning the front and the patios. The
+amphitheatre, in which the honours of the college were bestowed upon
+diligent students, and the chapel, are fairly preserved, and contain
+some interesting memorials of the days of prosperity and culture at
+Alcalá. In design the chapel is a curious mixture of the Renaissance and
+Morisco styles of architecture.
+
+Ximenez, more correctly called Cisneros, is one of the most impressive
+figures in Spanish history. He was a shrewd politician, a profound
+pietist, a promoter of learning, an ascetic, and an exemplar in works of
+charity. He was, however, tainted with fanaticism, and at his direction
+many hundreds of ancient Arabic books were burned, a step the wisdom of
+which is still a matter of controversy. From 1516 till his death in
+1518, the Cardinal held the regency of Castile, an office which provoked
+the resentment of many old and noble houses in the kingdom, for, though
+Ximenez was of high birth, he came of an impoverished family. Upon being
+challenged by the grandees for his authority, the Cardinal led a
+deputation to the window of his palace, and pointing to a body of armed
+men in the courtyard, said: “By these powers I govern Castile until
+Prince Carlos shall arrive or shall supersede me.”
+
+The worsting of the French invaders in Navarre was due to the militant
+Cardinal’s tactics. He dismantled the forts, except Pamplona, which he
+rendered almost unassailable, and having garrisoned the capital of the
+kingdom, he defied the troops of France. To him also Spain owed the
+establishment of a militia, or citizen army, though the institution
+found little favour with the populace. Although Ximenez undoubtedly
+checked the study of Hebrew and Arabic in Spain, it must be remembered
+that his energy and his zeal secured the University of Alcalá de
+Henares, and that he produced here the great Polyglot Bible hence called
+the Complutensian. The books which this censor permitted to be used were
+“Catechisms, solid and simple explanations of Christian doctrine, and
+other writings calculated to enlighten the minds of the people.”
+
+A noteworthy figure connected with the history of Alcalá de Henares was
+the learned and liberal-minded Nebrija, a reformer of a very different
+cast of intellect from that of Cardinal Ximenez who proved, however, his
+generous protector. Antonio de Nebrija was the Erasmus of Spain. He
+spent ten years of study in Italy, and returned to lecture at the
+University of Alcalá and to encourage learning among his countrymen.
+Although Nebrija encountered strong opposition in certain quarters, he
+strove till his old age to improve education in Spain, and contrived to
+gain the countenance of many persons of high position. Queen Isabella
+the Catholic was herself amongst his pupils.
+
+The surroundings of Alcalá de Henares are austere and bleak; and if it
+were not for the hills that screen the town from the north, it would be
+considerably colder and more wind-swept than it is. A stream meanders by
+the town, and elms and poplars grow on this green upland of the sierras;
+but the environs of Alcalá cannot be called sylvan. Towards Meco, at one
+time a Moorish settlement, the country is of a softer and more pastoral
+character, enlivened by numerous mountain rivulets. This village is
+about four miles from Alcalá.
+
+The Archbishop’s Palace is one of the monuments of the place, and it is
+now used as a repository for historical archives. Berruguete and other
+celebrated architects planned the building, which has some interesting
+patios and a fine staircase, showing the ornate tendency of the age in
+which the palace was designed.
+
+The Colegiata has been restored. Its chief object of interest is the
+beautiful monument to Cardinal Ximenez, by Fancelli, an Italian
+sculptor. Juan Francés executed the reja, or screen, of the chapel in
+this edifice, and the saints Justo and Pastor, to whom the Colegiata is
+dedicated, were buried in the vault.
+
+In Santa Maria, an unimposing church, Cervantes was christened; and upon
+the house where he was born we shall find an inscription containing a
+tribute to his genius. Several towns in Spain claim to be the birthplace
+of the author of “Don Quixote,” and it is not absolutely proved that he
+was born at Alcalá de Henares. There is, however, scarcely any doubt
+that he was baptised here, for the registers contain an entry of his
+baptism, and, as children in Spain were christened almost immediately
+after their birth, there is perhaps the strongest claim to be set forth
+by the townspeople, who aver that Alcalá is “the real birthplace of the
+immortal Cervantes.”
+
+Still following the windings of the river Henares, we may reach
+Guadalajara in a rail journey of about fourteen miles from Alcalá. Here
+the Castilian landscape is of a less severe aspect, and the Roman and
+Moorish associations of the town tempt the traveller to linger for a
+while. The situation of Guadalajara is elevated, and the Romans made it
+a fortified place, and built an aqueduct from the hills.
+
+The Palace of the Duke del Infantado is the most interesting building in
+the town. It is in the blended styles of the Goths and the reconciled
+Moors, and the patios are beautifully decorated, though much of the
+ornamentation of the interior has suffered the impairment of age and
+neglect.
+
+On our way from Madrid to these fascinating towns of Castile we gain a
+glimpse of the stern order of the natural surroundings amongst which
+Cervantes was reared. This is not “the sunny Spain” of the south, but
+the Spain of the hardy Castilians, and the country of wind-searched
+highlands, where vegetation is thin, and whole districts are without
+foliage and shade. The towns and villages are often in green oases of
+the dreary table-land, but some of them are among the rocks of this
+sterile region, and exposed to snowstorms and hurricanes. Were it not
+for the system of irrigation which the Spaniards learned from the Moors,
+the plight of the farmer upon these table-lands would be melancholy
+indeed; but even in the bleakest territory the system of artificially
+watering the parched, sun-baked soil works wonders, and grain crops
+smile here and there among the savage hill-slopes of the despoblados or
+wastes, and almost everywhere flocks gain pasturage in the summer.
+
+
+
+
+VIII
+
+THE BULL-FIGHT
+
+
+The origin and antiquity of bull-fighting in Spain is a subject that has
+engaged the minds of many writers, and led to much research and
+interminable discussion. It is most probable that those who incline to
+the opinion that this pastime was instituted by the Romans are in the
+right, though there is undoubted evidence that the Moors, if they did
+not introduce the _corrida_, or _lidia_, adopted it, and carried
+bull-fighting to perfection. The sport, however, seems to accord more
+with the character of the Roman than the Moorish conquerors of Spain,
+for the Romans possessed a passion for scenes of combat in the arena
+between gladiators and fierce animals, whereas there is no such strong
+testimony to show that the Moors took an equal delight in these feats of
+the circus.
+
+The _taurilia_ of the Romans resembled the fights with bulls that may be
+witnessed to-day in every large town of Spain. Whatever may have been
+the origin of these contests, it is certain that, since the days of the
+Moors, the bull-fight has endured as the chief recreation of all classes
+of the population. There is in no other country any sport that can be
+compared with it in importance and in the sway of its fascination upon
+the public. The passion for horse-racing in England is not general, and
+the diversion owes its popularity in a large degree to the chances of
+gambling which it offers. Eliminate betting from the turf, and you will
+find that those who “follow racing” simply from an enthusiasm for
+rearing and running horses, and those who enjoy the amusement from the
+mere pleasure of watching competitions in speed between horses form an
+almost insignificant minority. In this country where horse-racing is
+regarded as a national pastime, the proportion of the populace that
+takes any interest in the breeding of the horses, the technique of
+riding, and racing _per se_ is greatly restricted. But this is not the
+case with bull-fighting in Spain. Here every one from the noble to the
+mule-driver is learned in all the rules of the game, keenly critical of
+the exploits of the performers in the ring, and ever ready to talk with
+fervour upon the absorbing topic.
+
+The hold which this pastime has upon the Spanish imagination is so
+strong that it is a part of the national character, as deep-seated as
+the sentiments of piety and loyalty, and as powerful as the feeling of
+patriotism. King or peasant, man or woman, every native of Spain is a
+lover of the _corrida_; every child plays at bull-fighting as soon as he
+can walk; and every youth, who would be thought manly and a true son of
+Spain, yearns to emulate the courage and the dexterity of the _espada_.
+
+Hundreds of volumes have been written in Spain upon the art of
+bull-fighting, the history of the ring, the lives of eminent _toreros_,
+and the records of famous arenas. Bull-fighting has produced an array of
+ardent chroniclers, poets, and hosts of journalists, and it has
+quickened the brush or pencil of artists from before the time of Goya
+down to Zuloaga.
+
+The breeding of bulls for the ring may be described as one of the
+national industries of Spain. Noblemen endeavour to keep up the breed
+and the fighting qualities of bulls, and the rearing of bulls is the
+proper occupation of a gentleman. The beautiful Duchess of Alba, the
+friend of Goya, was an enthusiastic admirer of the sport, and a breeder
+of bulls. The _vacadas_ or breeding establishments of Andalusia produce
+the finest fighting bulls. They are considered fit for the combat, or
+warrantable, at the age of five years, when their value averages about
+£50 each. Over a thousand of these highly-bred animals are killed in the
+bull-rings of Spain annually, while the number of horses gored to death
+is very much larger.
+
+In the old days bull-fights were mimic representations of warfare, in
+which the true caballero aspired to take part and to distinguish
+himself. The _toreros_ were amateurs belonging to high families, and
+several of the kings of Spain were expert exponents of the art of the
+_espada_. Accidents and deaths in the arena were of common occurrence,
+sometimes several knights were killed during a single performance. At
+all royal _fêtes_ a bull-fight was part of the amusement provided. If a
+prince was born, or married, the event was celebrated by a grand display
+of bull-fighting, while the coronation of a sovereign was always made
+the occasion for a brilliant spectacle in the ring. In Madrid these
+fights were held in the Plaza Mayor, a big quadrangle in the centre of
+the city. The plaza is surrounded by houses of several storeys high,
+having balconies and an arcade. The Panaderia, or Royal Bakery, served
+as a royal stand, and here the Court assembled in the balconies to
+witness the feats of the grandees, who engaged the fierce bulls with
+lances. No one of vulgar rank was permitted to take part in the
+contest.
+
+In the early days the torero sometimes encountered the bull with a
+spear, on foot, as may be seen in old bull-fighting prints. The use of
+horses in the ring came later. Dogs were often set upon the bulls, to
+incense them, and up to the year 1840 bears and other animals were
+introduced into the ring. These _combats_ have been abandoned. In the
+old bull-fighting bills we read of “a grand fight between a big elephant
+and two big bulls.” The dogs were of proven courage, and bred for
+strength and endurance. They often succeeded in pinning the bull by the
+nose, and holding his head down; but frequently they lost their lives on
+the points of his horns. Théophile Gautier, in “Wanderings in Spain,”
+describes this bull-baiting by dogs.
+
+Despite the passion which the Spaniard has always exhibited for the
+bull-fight, the amusement has been more than once condemned by the
+Church and State. But such edicts and acts have been withdrawn, and the
+crowd has once more thronged the amphitheatre. Pope Pius V. issued a
+proclamation against bull-fighting in the year 1567, but in 1576 Pope
+Clement VIII. revoked the measure. At a much later date the _corrida_
+was interdicted by Godoy, but the sport was again revived, and
+continues to flourish at the present time. The opponents of the ring
+to-day are in a minority, but their number is slowly increasing, and
+there seems to be something in the nature of a humanitarian crusade
+against the sport. One or two publicists are certainly opposed to the
+pastime.
+
+Nevertheless, tauromachy will die very slowly in Spain. Bull-fighting
+holds the popular imagination as by a powerful spell, and it is a
+deep-rooted institution of the country, revered by high and low. Only at
+the Plaza de Toros does the Spaniard lose his restraint and gravity, and
+shout and cheer until he is hoarse. The poorest mendicant in Madrid will
+go without food for a day, to get a seat at the fight. And what can
+diminish the admiration of the populace for the _torero_? Is he not the
+idol of the aristocracy, the hero of the people? He earns more than a
+Minister of State, and infinitely more than a great writer. When he
+kills a bull with a clever thrust, or smilingly receives the furious
+onslaught of the beast upon his dangling _capa_, the Plaza de Toros
+shakes with the vociferations of the multitude. Flattered by _hidalgos_,
+courted by handsome _doñas_, applauded by the crowd--the popular
+_espada_ is the greatest man in Spain. Crowds assemble around his
+hotel, to acclaim him as he comes forth clad for the fray, in his
+glitter of tinsel, and glory of silk, plush and diamonds.
+
+From six to eight bulls are baited and killed at each entertainment.
+Gautier says that, when he attended a bull-fight in Madrid, eight bulls
+and fourteen horses were done to death, and a _chulo_ slightly wounded.
+On feast days, in the eighteenth century, as many as six bulls were
+killed in the morning and twelve in the afternoon.
+
+The training place or “university” of bull-fighters is at Seville, and
+the most daring of the schools of _toreros_ are of the South of Spain.
+Madrid is the scene of the _espada’s_ triumph, or of his defeat, for
+though the spectators at the _corrida_ are ever ready to lavish applause
+upon the clever performer with the lance or sword, they are cruelly
+critical, and show little mercy towards the timorous or bungling artist.
+Even the famous Bombita, the Madrid favourite, has known that ominous
+stillness that succeeds an ill-rendered thrust at a bull of unusual
+agility. The public will load Fuentes with their gold, and cheer him to
+the echo when he displays his coolness and dexterity, but the same
+public will not hesitate to hiss the best _espada_ who ever stepped into
+the ring, when he commits an impropriety or misses the opportunity of
+an instant to deliver a thrust of the blade.
+
+As in the old days of the tournament, fair ladies smile upon and favour
+the bold _torero_. There are instances of the exactions of these
+high-born patronesses of the sport, which have resulted in death for the
+_espada_ who courted their approbation. It is recorded that a royal lady
+was so fascinated by an exceptionally agile feat performed by a _torero_
+that she wished to see it repeated. The desire was conveyed to the
+performer. “It is more than my life is worth,” he said. “It is the wish
+of the lady,” returned the messenger. Bowing low, the _torero_ said: “I
+dedicate my life to Her Royal Highness.” Again the bull charged; but
+this time the unlucky athlete was caught on the horns of the beast,
+whence he was removed--a corpse.
+
+It is the custom in England to speak of the _espada_ and of
+bull-fighters collectively as “matadors.” The word is altogether
+inappropriate to the sport. We hear of young gentlemen attending fancy
+dress balls in London, attired as “a Spanish matador,” or as a
+“toreador.” A bull-fighter in Spain is a _torero_ in the general sense,
+though the word really means one who engages the bull on foot. The
+performer with the sword, the most important functionary in the ring, is
+known as the _espada_; and the man who charges the animal on horseback,
+with a spear or lance as a weapon, is called a _picador_. Throwers of
+the darts are termed _banderilleros_; wavers of the gaudy cloaks, and
+the assistants of the _espadas_, are called _chulos_. These are the
+grades of _toreros_ in their order of precedence.
+
+
+
+
+IX
+
+THE ART OF THE BULL-FIGHTER
+
+
+The Plaza de Toros, or bull ring, of Madrid, is a great structure
+designed by Capra and Rodriguez Ayuso in 1874. It is in the Moorish
+style of architecture, with a fine façade and an imposing entrance arch.
+According to one Spanish writer, the total number of seats is 12,605,
+but other writers give 15,000 and 14,000 as the number. Philip V. built
+the first bull-fighting arena in Madrid, in 1747, although he was by no
+means an enthusiast of the sport. The cost of the present building was
+3,000,000 reales.
+
+The seats are divided into boxes and open galleries, the boxes, or
+_palcos de sombra_--seats in the shade--being in the best position for
+watching the contests during the hot months. In early spring a seat in
+the sun is to be preferred, for the air of Madrid is keen at this
+season.
+
+The sight of the Plaza de Toros on the day of a great _corrida_ leaves
+an impression that will not quickly fade from the memory. In the
+_palcos_ are the rank, beauty, and wealth of Madrid, while packed in
+the humbler seats is a vast mass of the people. The ladies wear
+_mantillas_, and carry fans, which flutter the whole time; and
+animation, devoid of any trace of rough behaviour, characterises the
+immense crowd. A tense hush falls on the throng when the first bull of
+the day bounds in from the dark _toril_, and confronts his gaily-attired
+persecutors in the big arena. During the fight the spectators grow
+excited almost to the verge of frenzy. There is a roar of voices, and
+the sound of canes struck upon the benches, an indescribable din, which
+reaches its height when a popular _espada_ delivers a dexterous thrust
+of the blade into the neck of the baffled and infuriated _toro_. While
+the combat proceeds, there are alternating comments of “Bravo toro,” as
+the bull shows courage, and groans and hisses when the animal displays
+cowardice or apathy. Both the bull and the men must act their parts with
+zeal, energy and bravery, or the crowd is disappointed, and wont to
+express disapprobation in an unqualified manner.
+
+On the day of a _corrida_ Madrid is roused into a mood of joyous
+expectancy. The town is _en fête_; the streets are thronged, and every
+kind of vehicle is seen in the procession to the Plaza de Toros. For an
+hour the carriages stream in, and the crowd on foot files along to the
+tiers of seats. Overhead is the vivid sky and a burning sun, which
+brightens all that it shines upon. Thousands of fans are waving;
+thousands of dark eyes gleam from the _palcos_. Presently the music
+begins, from the large orchestra a stirring air thrills the arena, and
+almost drowns the voices of the crowd. One is reminded of a scene in the
+amphitheatre in the days of the grandeur of Rome, when gladiatorial
+contests attracted a vast concourse of all classes of the population,
+for the same love of daring and agility still sways the passion of the
+people, and the same indifference is evinced when blood flows.
+
+The tournament opens with an imposing procession of the bull-fighters,
+arrayed in all the glory of their gala costumes, in which there is a
+plentiful glitter of tinsel, and spangles, and gold braid. Two
+_alguaciles_, or mounted men in a bygone garb of the police, ride in
+front of the troop of _toreros_. The two _espadas_, who are taking the
+leading part in the _corrida_ to-day, come next, and they are followed
+by the _picadores_, or spearmen, who are well protected with pads and
+leg-guards. Next come the _banderilleros_ or dart-throwers, a nimble
+company, in bright silk and velvet, and the rear of the procession is
+made up of _muleteros_, with the gaily trapped mules that are used to
+drag the corpses of the bulls from the ring.
+
+A bugle note rings out like a challenge, and the key of the _toril_, or
+bulls’ den, is thrown by the President into the arena. The ring is now
+cleared of all the combatants except a trio of _picadores_, who, sitting
+astride their wretched nags, await the entry of the bull. Amid the hush,
+_toro_ rushes into the arena, a huge black beast, with elongated horns,
+a thick, brawny neck, a sleek, shining coat, and a pair of flashing,
+angry eyes. He paws the ground, and snorts, and catching sight of the
+gaudy colours of the _picadores_, lowers his head, and charges them. His
+assault is received on the blunt point of the _garrocha_, or spear; and,
+incensed by the pain, he pauses, lashing his tail, and deliberating a
+second attack. Perchance the bull is not especially fierce or
+courageous. He has led a placid life on the plains, and has followed the
+herd-boy as sheep follow a shepherd. But to-day he must fight and die,
+and if he is indifferent at the sight of his assailants, means must be
+employed to anger him.
+
+But a valiant bull needs no such incitement to fury. He is angry with
+every one, indignant at the whole proceedings, and he charges the
+_picadores_ with terrific vehemence. Sometimes a rider is unhorsed, and,
+handicapped by his pads and protectors, he is in peril till the
+attendants divert the attention of _toro_.
+
+The hapless horses are the worse sufferers, for they cannot escape from
+the ring. They serve as butts for the bull’s horns; they are frequently
+ripped open, and sometimes lifted off their feet by the horns of their
+maddened enemy. To English eyes it is a heartrending spectacle to see a
+sorry old horse, which has patiently served man all his life, urged up
+to the sharp horns of the bull, and made to receive his cruel charges.
+The wounded horses lie quivering and expiring in the ring; a look of
+supplication and suffering in their eyes fills the unaccustomed
+spectator with compassion, and the sight of their terrible injuries
+sickens the sensitive.
+
+The _banderilleros_ now appear, armed with steel barbed darts, adorned
+with coloured papers, and with coolness and dexterity, they approach
+_toro_, and throw their stinging missiles at his neck and shoulders. The
+bull winces, shakes his head, and turns upon his tormentors. He chases
+one of them across the ring; the pursued _banderillero_ vaults over the
+high wooden barrier, and the horns of the bull resound against the wood
+with a dull crash. Another dart-thrower runs up, and deftly plants his
+weapons in the bull’s flesh. Again _toro_ turns, and as he runs with
+lowered horns, a third _banderillero_ stands in his course, leaps aside
+at the crucial instant, and delivers his darts.
+
+An expert _banderillero_ will sit on a chair and await the rush of
+_toro_. The agility and daring of these performers is very
+extraordinary. If the bull is apathetic, drastic means are used to stir
+his anger. The _banderillas de fuego_, or fire darts, are used to arouse
+his fury. These instruments of irritation are provided with explosives,
+which startle and infuriate the bull with their noise and their sting.
+Now and then, a nimble and frenzied bull, when pursuing a
+_banderillero_, will even leap over the high barrier of the arena,
+causing tremendous consternation among the spectators. Sometimes a
+plucky bull-fighter grows bolder, and dares the bull by every imaginable
+device until, in a fatal moment, he receives a thrust of the horn, and
+falls bleeding to the ground.
+
+Before entering the perilous arena, the _toreros_ receive the sacrament
+from the priest who is always in attendance at bull-fights. During the
+_corrida_ the _padre_ remains in waiting in the chapel of the Plaza de
+Toros, ready to minister, if need be, to a fighter borne dying from the
+scene.
+
+The last great act in the drama is the _suerte de matar_. It is then
+that the _espada_ steps into the ring, carrying his red cloth over one
+arm, while the other arm is engaged with the sword. Bowing to the
+President, the _espada_ turns around and faces the bull, who is now
+somewhat fatigued from his exercise in chasing the _banderilleros_ and
+butting at the horses of the _picadores_. The bull, whose neck bristles
+with the darts, stands slowly moving his tail, and staring at his new
+aggressor in sullen anger. Waving the _muleta_, or red cloth, the
+_espada_ advances to _toro_, and impudently flutters the cloth in his
+face. The bull charges; the _muleta_ receives his horns, and is tossed
+in the air, while the _espada_ skips aside. Again and again the bull
+attempts to impale the man, but only succeeds in striking the _muleta_.
+Baffled and exasperated, _toro_ pauses as though in sober reflection.
+How can he outwit that smiling, calm assailant who fixes him with an
+insolent stare? The bull walks round and round the motionless _espada_,
+trying, as it were, to find a weak point for a charge, but the swordsman
+follows every movement with a shrewd and practised eye, and even
+divines what ruse the bull intends to adopt.
+
+It is a wonderful display of coolness and courage. There are moments in
+the fight between the bull and the _espada_ when a deep hush spreads
+among the spectators; and, then, as the man swerves aside from the
+on-rush of the beast, a deafening roar goes up from the crowd. The last
+act is protracted at the discretion of the _espada_, who is always
+delighted to exhibit his cleverness and nimbleness to his thousands of
+admirers in the _palcos_ and galleries. A master of the art of the
+_espada_ has an extensive _répertoire_ of tricks and passes of the
+sword, which he loves to display, and he will risk his life a dozen
+times in the afternoon in exhibiting his skill and prowess. Often the
+bull is stupid. He must be made to prove his mettle. But usually _toro_
+is already mad with anger when called upon to fight the last duel with
+the _espada_. It is curious to note how the _muleta_ enrages the bull,
+who seems to hate it more than the _banderillas_ or the pike of the
+_picador_.
+
+At length the _espada_ determines that _toro_ shall die. There is only
+one legitimate way to kill him. The thrust must be delivered in the
+neck, and the point of the sword should reach the heart. Before this
+death-stroke there is a stillness and tense feeling in the Plaza. Will
+the _espada_ blunder, or will the blade go home at the first thrust. A
+rapt excitement is on the faces of the crowd. And now the bull makes his
+last headlong rush; there is a flash of steel in the sunshine, and the
+sword pierces the black hide, and the blade disappears up to the hilt.
+_Toro_ staggers, turns and makes a final assault on the _espada_, only
+to receive the _muleta_ on his horns. The bull falls, and blood gushes
+from his wound. He lies dying amid the thunderous din of applause. An
+attendant appears with a narrow-bladed dagger. He stoops over the bull
+and plunges the weapon into the spine, near the head. With a shudder,
+_toro_ dies. During the babel of voices discussing the fight, the mules
+are driven into the ring, traces are fixed to the horns of the dead
+bull, and the corpse is dragged out; and with scarcely an interval,
+another victim is turned into the arena.
+
+In “Childe Harold,” Lord Byron records his impressions of a bull-fight:
+
+ “Thrice sounds the clarion; lo! the signal falls,
+ The den expands, and Expectation mute
+ Gapes round the silent circle’s peopled walls.
+ Bounds with one lashing spring the mighty brute,
+ And, wildly staring, spurns, with sounding foot,
+ The sand, nor blindly rushes on his foe;
+ Here, there, he points his threatening front, to suit
+ His first attack, wide waving to and fro
+ His angry tail; red rolls his eye’s dilated glow.
+
+ Foil’d, bleeding, breathless, furious to the last,
+ Full in the centre stands the bull at bay--
+ ’Mid wounds, and clinging darts, and lances brast,
+ And foes disabled in the brutal fray:
+ Shake the red cloak, and poise the ready brand;
+ Once more through all he bursts his thundering way--
+ Vain rage! the mantle quits the conynge hand,
+ Wraps his fierce eye--’tis past--he sinks upon the sand!”
+
+Every literary man who has visited Madrid, from the Chevalier de
+Bourgoanne to Mr Arthur Symons, has given us his impressions of the
+sport of bull-fighting. De Bourgoanne, in his “Travels in Spain” (1789),
+writes of the severity with which the spectators at the Madrid
+bull-fights criticised any deficiencies on the part of the _toreros_.
+Speaking of the final act of the _corrida_, the Chevalier states that,
+“if the animal immediately falls, the triumph of the conqueror is
+celebrated by a thousand acclamations; but if the blow be not decisive,
+if the bull survives and again strives to brave the fatal knife, the
+murmurs are not less numerous. The _espada_, whose address was about to
+be extolled to the skies, is considered only as a clumsy butcher. He
+instantly endeavours to recover from his disgrace, and disarm the
+severity of his judges.”
+
+De Bourgoanne found the Madrileños divided in their admiration for the
+two celebrated _espadas_ of that day. One coterie swore by Costillares;
+another avowed that Romero was the better exponent of the art of
+tauromachy. This extravagant enthusiasm of the Madrid populace, aroused
+by the bull-fight, greatly bewildered the French traveller; but he
+admits that, in spite of the indifference evinced by the spectators at
+the _corrida_, the Spaniard is not lacking in compassion nor “devoid of
+every amiable and delicate emotion.” He relates that the government was
+alive to “the moral and political inconvenience of that kind of frenzy,”
+and the economists declared that the destruction of so many robust bulls
+was prejudicial to agriculture. “The reigning monarch,” writes the
+Chevalier, “who endeavours to polish the manners of his nation and to
+turn its attention towards more useful objects, wishes to destroy in it
+an inclination in which he perceives nothing but inconvenience; but he
+is too wise to employ violent means.”
+
+An American traveller, writing anonymously in 1831, says that a
+bull-fight always drew several thousand people to the Plaza. In the
+winter, states this observer, the _corridas_ took the form of combats
+with young bulls, whose horns were covered with pads or balls. These
+bulls were called _novillos embolados_, and they were baited by novices
+and amateurs. This writer describes the tragic encounter of a notable
+_torero_, known as El Sombrerero, who was so called because he had been
+a hatter. El Sombrerero was the foremost _espada_ in Spain in his time,
+and he was wont to perform the most valiant feats in the ring. He was
+once fighting an exceptionally savage bull, which swerved suddenly in a
+charge, and caught his opponent upon the point of his horns. The
+_espada_ was lifted off, and carried from the ring in a state of
+insensibility. He recovered of his injuries, and resolved to abandon
+bull-fighting and to return to his trade of hat-making. But the small
+earnings of this occupation did not satisfy him, and El Sombrerero went
+back to the ranks of the bull-fighters. He had, however, lost his nerve,
+and in a fight at Granada he was hissed for his timidity in engaging a
+very fierce bull.
+
+Manuel Romero was one of the most popular of _toreros_ in 1830. He was a
+short, rather stout man, though well built and extremely nimble. His
+features had “an air of cold-blooded ferocity as became one whose
+business it was to incur danger and to deal death.” Romero wore a very
+resplendent dress in the ring, with much lace and jewellery.
+
+Théophile Gautier describes a _corrida_ with the zest of one who found a
+genuine delight in the spectacle. It is somewhat curious that men of
+refined instincts can look on unconcernedly at the sufferings of horses
+and bulls; but human nature presents such singular anomalies in
+abundance. Gautier relates how Sevilla, a famous _picador_, had his
+horse lifted off its legs, and tossed in the air by the bull, while the
+rider maintained his coolness and retained his seat in the saddle.
+Antonio Rodriguez was a celebrated picador of this day (1840), and
+Gautier pays a tribute to his valour and extraordinary agility. The
+favourite _espadas_ of this date were Juan Pastor and Joaquin Rodriguez.
+
+Is the courage of the Spanish _torero_ declining? There are one-time
+_aficionados_ of bull-fighting who declare that the art is not so
+exciting, scientific, and well studied as in bygone days, and yet there
+is scarcely any decline in the absorbing interest devoted to the
+_corridas_ in all parts of the Peninsula. Prosper Mérimée, in his
+“Lettres à une Inconnue,” written in 1859, supports the view that
+bull-fighting has deteriorated. He writes: “I was present at a
+bull-fight on Monday, and it amused me a very little indeed. I was
+unlucky enough to know all too early in life what a degree of excellence
+this sport can attain to, and after having seen Montes, I really cannot
+look at his degenerate successors with any degree of pleasure. The
+animals have degenerated, too, as well as the men.”
+
+No doubt there are many able exponents of bull-fighting still left in
+Spain, and there are writers in abundance who could probably prove that
+the sport is as stirring as ever. We, who have not seen Montes and
+Romero, and other dead heroes of the Plaza de Toros, are scarcely in a
+position to decide whether the bull-fighter’s art has degenerated. If
+the daring of the _espada_ of to-day is called into question, it must be
+said that while there are men who will stand motionless as statues, and
+allow a furious bull to sniff at them, and others who will stand still
+to the rush of a bull, and receive the beast on the point of the sword,
+there are still fighters prepared to risk their lives in exhibitions of
+intrepidity. There remain some _toreros_ who perform the perilous feat
+of vaulting over the bull with a pole, and many who expose themselves to
+a deadly thrust of the horns while planting the darts in the animal’s
+neck. The coolness of several of the leading professors of bull-fighting
+is unquestioned, and it cannot be denied that the patrons of the ring
+are not still exacting in their desire for hair-raising performances.
+
+It is perhaps correct to state that there is a little more sympathy for
+the horses than in the old days of the _lidia_. Many Spanish people
+express disgust at the sight of the mangled carcasses of the miserable,
+worn-out horses, which are forced to end their hard lives in this cruel
+manner. But your true _aficionado_ has no scruples of pity, and he will
+assert that a bull does not fight at his best until he has seen blood
+flow.
+
+Perhaps the greatest of all bull-fighters was Frascuelo. The Spaniards
+declare that no _torero_ has taken his place. Guerra, his rival, was a
+fine fighter, but he has retired, and lives on his laurels at Cordova.
+Frascuelo was the leader of what may be called the dare-devil school of
+bull-fighters. He was always at close quarters with the bull, and he
+strove to out-do the most daring _espadas_ of his day. Bombita, or
+Bombita-Chico, is a young _torero_ of great courage and especially
+popular in Madrid, where he was born.
+
+Mazzantini is now only seen occasionally in the Plaza de Toros. He is a
+big stalwart man, but past his prime, though he is still esteemed by his
+admirers as the best fighter in Spain. Conejito, who was wounded in
+Barcelona in 1903, is another favourite of the public. But the first
+exponent of bull-fighting is, in the opinion of the majority, the
+handsome and plucky Fuentes. This _torero_ is not only a proficient
+_espada_; he plays all the parts in the ring except that of _picador_.
+Fuentes exercises a weird power over his bulls. He fixes the bull with
+his keen eyes as he approaches him, and steps backward, slowly followed
+by the enraged and fascinated _toro_, in whose neck he deliberately
+sticks a dart. The spell of this man’s eyes has a subtle influence which
+seems to utterly bewilder a bull. Again and again the bull advances to
+the attack, only to turn aside from the glare of the _espada’s_ eyes.
+
+The favourite device of Bombita is to kneel on the ground, shaking the
+_muleta_ in the bull’s face. In such a position it is, of course, almost
+impossible for the _espada_ to skip aside when the bull charges, and the
+art of the trick lies in receiving the horns upon the red cloth. Guerra,
+sometimes called Guerrita, used to allow the bull to pass so close to
+him that his side was often scratched by the point of the horn.
+
+Every stratagem and feat of the _espada_ in the final _suerte_ of the
+ring has its technical name, such as _pase de pecho_, _pase natural_,
+and _paso por alto_, and all these tricks are closely watched and
+criticised by the vast concourse of spectators. Fuentes has written
+learnedly upon the theory and practice of his art, describing the
+various _pases_ minutely. Those who are interested in the literature of
+the bull-ring will find a complete account of the life of the bull from
+the placid days of youth upon the plains, down to the last tragic scene
+in the Plaza, in _Los Toros_, an illustrated pamphlet by E. Contreras y
+R. de Palacio. Fuller and more advanced “tauromachian” literature may be
+purchased in Madrid. Among the works of note are Bedoya’s _Historia del
+Toreo_, _Annales del Toréo_, by Velazquez, and _En la Plaza_, by Pascual
+Millan. There are several magazines and journals much read by the
+devotees of the sport, such as _La Lidia_ and _El Toréo_. Bull-fighting
+is a subject of perennial interest in Madrid, and the _literatura
+taurina_, issued in the city, would fill many book-shelves.
+
+Pascual Millan describes the bull-fight as “a grand spectacle in which
+art, bravery, nobility, light, sun, colour, animation, and beauty” all
+play a part. This writer asserts that the theories of bull-fighting can
+rarely be carried into practice, as there is nothing stable or fixed in
+the art. Pepe-Illo, a famous _espada_, wrote a treatise on the conduct
+of the fighter in the arena, which was highly interesting; but, had his
+views been put into practice, they would “have excluded every
+bull-fighter from the arena.” Señor Millan thinks that rules are
+impossible; that everything done in the ring is the outcome of
+inspiration on the spur of the moment. Lagartijo sums up the matter
+thus: “Bull-fighting is very simple: you place yourself in front of the
+bull, the bull comes and you move away; you do not move away, then the
+bull moves you away. And there you are.”
+
+The directions as to moving aside when the bull charges are plain
+enough, and the counsel is obvious. But in the method of avoiding the
+horns of the bull lies the art of the _espada_, and in this movement he
+reveals his genius, and displays adroitness, grace, and daring. No
+proficient performer ever allows _toro_ to chase him about the ring. He
+bounds aside as the bull bears down upon him, and receives the furious
+attack of the beast upon the fluttering _muleta_. Sometimes the red
+cloth is waved aloft, high over the bull’s horns, causing the animal to
+rear upon his hind legs in a savage effort to wreak his rage on the
+offending _muleta_. An expert _torero_ knows perfectly well that the
+bull directs his fury at the fluttering cloth or cloak rather than at
+the man who manipulates it.
+
+The boldest of bull-fighters, Espartero, stood so pluckily in the path
+of a charging bull that he was more than once thrown several yards by a
+violent butt from the beast’s horns. This fighter used to employ his
+fists upon the bull’s head, and his method was always to fight at the
+closest quarters. It was said that Espartero suffered more fear of
+hunger than of death by the horns of a bull; and in his desire for fame
+and wealth, he continually courted tragedy in the ring and behaved with
+reckless daring. Espartero was killed in 1894 during a fight with the
+first bull of the day.
+
+Guerra retired in 1899, and his leave-taking was a source of much regret
+among the _aficionados_ of bull-fighting, who declared that he was the
+last of the great _toreros_. Pascual Millan, the chronicler of modern
+bull-fighting, asserts that the successors of Guerra cannot be compared
+with him for refinement and grace in their displays. He gives prominence
+to Antonio Fuentes, “the only one who came into the ring with some
+foundation, bringing a certain personal note which raised him a few
+inches above the common level.” Among the living exponents of the art of
+the _espada_ may be mentioned Torerito, Torres, Reverte, Ronal,
+Algabeño, and above all, “Bombita.”
+
+The _corrida_ may seem to assume an undue importance in the life of
+Spain. It is, however, to be regarded as a reflection of the Spanish
+character, and bull-fighting in Madrid cannot be dismissed as a mere
+recreation of the mob. Bull-fighting is taken seriously among a
+serious-minded people, who regard it as one of the great institutions of
+the country. It is a survival of the warlike temper, a manifestation of
+the love of courage and the admiration for endurance, and it remains as
+the last vestige of the traditions of the age of chivalry in Spain.
+
+This intense enthusiasm, this profound interest in the killing of bulls
+is bewildering to the foreigner, who cannot accept the sport in such a
+serious spirit. It is almost as grave a matter as a canon of the Church
+whether an _espada_ wields the sword in accordance with the tradition of
+the ring. The writers upon bull-fighting are divided into schools of
+critics and eulogists, who dissect every _pase_ minutely, or extol the
+“æsthetics” of a finished artist with the darts or the sword. There are
+volumes of serious literature upon the _lidia_, which amaze the stranger
+who peruses them. We have nothing like it in the sporting literature of
+England. Our books upon hunting or racing are not written with all the
+earnestness and fervour of treatises on matters of faith; but the
+taurine monographs of Spain are composed in the temper of piety, and the
+rules of the ring are set down as though they were the articles of a
+creed. When a famous jockey appears in the street, he is not mobbed by a
+crowd of admirers; but the _espada_ in Spain is acclaimed everywhere as
+a great hero and the darling of the people.
+
+Bull-fighting is a deep-rooted passion of the people of Spain, and it
+has to be reckoned with in any examination of the Spanish character. Its
+ethics and its sociological significance cannot be discussed here. We
+must accept the _corrida_, whether we approve of it or not, as one of
+the chief institutions of the capital of Spain. Madrid is the Mecca of
+the bull-fighter.
+
+
+
+
+X
+
+CAFÉ LIFE OF THE MADRILEÑOS
+
+
+In every part of Spain the _café_ is a popular resort and the rendezvous
+of friends. Here all classes foregather to discuss the news, to
+criticise the new bull-fighter, to extol a favourite dancer, to transact
+business, to play at dominoes or draughts, to read the journals, to sip
+coffee, and to smoke cigarettes. Many hours of each day are dedicated by
+the Madrileño to the _café_. He goes there as a matter of routine for
+his morning _refresco_, and again in the evening for his coffee with a
+dash of spirit.
+
+The _cafés_ are comfortable, and they provide for different classes of
+customers. They are never decorated in a resplendent manner; but, as
+Gautier observed, “this want of splendour is amply compensated by the
+excellence and variety of the refreshments.” Gautier mentions the Café
+de Levante among others, and this is still a favourite resort of
+men-about-town. In the Calle de Alcalá are three representative
+coffee-houses, the Café de Madrid, the Café Suizo, and the Café de
+Fornos. The Café Inglés is in the Calle de Sevilla. The houses of
+refreshment in the Puerta del Sol are the resort of all types of Madrid
+character, from the diplomat to the professional swindler. From nine
+o’clock in the evening until two in the morning these _cafés_ are
+thronged. The customary beverage is _café con leche_ (coffee with milk)
+or black coffee, with a drop of cognac. Light wines and spirits are also
+provided, but these are used sparingly by the majority of the
+Madrileños, for, whatever may be the faults of the Spaniard,
+immoderation in the use of alcohol is certainly not one of them.
+
+To attract the attention of the waiters at the _cafés_, you clap your
+hands, or make a hissing sound between your closed teeth. The coffee is
+usually excellent, and the spirit is brought to you in a bottle marked
+with measures. The crowds in the Madrid _cafés_ lack the picturesqueness
+of those in some of the smaller towns of Castile, Murcia, and Andalusia,
+where the dress of the provinces is still worn. You will see no majas in
+the capital; the grisettes of Madrid cannot be distinguished from the
+rest of the female population. The _capa_ is, however, still worn by men
+of almost all ranks, and these, and the broad-brimmed hats, give a touch
+of the romantic to the throngs in the coffee-houses of the Puerta del
+Sol.
+
+There are wine-shops and taverns in Madrid, but the seats are not
+luxurious, and there is no display of carved mahogany and engraved
+glass, and no separation of the classes. The “accommodation” may be
+somewhat rude; still the wine is good and cheap, and the tone and
+atmosphere of the _posada_ are more wholesome than those of the London
+public-house. A glass of the wine of the country can be bought for a
+penny in these taverns, and the finest wines cost only a few pence the
+glass. Immense wine-barrels flank the walls, and there is an array of
+spirit and fruit syrup bottles behind the counter.
+
+The chief hotels of Madrid are the Hotel de la Paz, Hotel del Universo,
+the Roma, and the Hotel de Paris. They are centrally situated, and
+fairly well appointed. The meals are _almuerzo_ and _comida_,
+corresponding to luncheon and dinner. There is no meal in Spain
+resembling the hearty English breakfast. The Spaniard takes a cup of
+chocolate and a dry roll upon rising, and goes about his business or his
+pleasure until eleven or twelve o’clock, when _almuerzo_, the first real
+meal of the day, is served.
+
+Some of the Spanish dishes are only palatable to English people after a
+taste for them has been sedulously cultivated. Many of the viands are
+flavoured with garlic. The _menu_ for _comida_ consists of soup, fish,
+an egg dish, meat, sometimes a _puchero_ or stew, and cakes and fruit.
+Table wine is usually provided free of charge. Every man smokes in the
+dining-room, both during and after meals.
+
+Among the best restaurants are the Fornos, the Italiano and the
+Inglés.
+
+ PRINTED BY
+ TURNBULL AND SPEARS
+ EDINBURGH
+
+[Illustration: PLATE 1.
+
+MADRID
+
+_Specially drawn for The Spanish Series_]
+
+[Illustration: PLATE 2.
+
+ARMS OF MADRID]
+
+[Illustration: PLATE 3.
+
+GENERAL VIEW OF MADRID.]
+
+[Illustration: PLATE 4.
+
+VIEW OF MADRID FROM THE TEJA.]
+
+[Illustration: PLATE 5.
+
+GENERAL VIEW OF MADRID.]
+
+[Illustration: PLATE 6.
+
+VIEW OF MADRID FROM SAN ISIDRO.]
+
+[Illustration: PLATE 7.
+
+THE FOUNTAIN OF CYBELE AND CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 8.
+
+THE NORTHERN RAILWAY STATION AND ROYAL PALACE.]
+
+[Illustration: PLATE 9.
+
+PUERTA DEL SOL.]
+
+[Illustration: PLATE 10.
+
+PUERTA DEL SOL.]
+
+[Illustration: PLATE 11.
+
+CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 12.
+
+CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 13.
+
+CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 14.
+
+CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 15.
+
+CARRERA DE SAN JERÓNIMO.]
+
+[Illustration: PLATE 16.
+
+CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 17.
+
+CALLE DE SEVILLA.]
+
+[Illustration: PLATE 18.
+
+CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 19.
+
+PLAZA DE CASTELAR.]
+
+[Illustration: PLATE 20.
+
+CALLE DE TOLEDO.]
+
+[Illustration: PLATE 21.
+
+IN OLD MADRID.]
+
+[Illustration: PLATE 22.
+
+PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 23.
+
+PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 24.
+
+PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 25.
+
+PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 26.
+
+CALLE DE ALCALÁ AND STATUE OF AGUIRRE.]
+
+[Illustration: PLATE 27.
+
+PASEO DE LA CASTELLANA.]
+
+[Illustration: PLATE 28.
+
+PLAZA DE ISABEL II.]
+
+[Illustration: PLATE 29.
+
+PLAZA DE ORIENTE.]
+
+[Illustration: PLATE 30.
+
+PLAZA MAYOR.]
+
+[Illustration: PLATE 31.
+
+PLAZA MAYOR.]
+
+[Illustration: PLATE 32.
+
+PLAZA MAYOR AND STATUE OF PHILIP III.]
+
+[Illustration: PLATE 33.
+
+CALLE DE SERRANO.]
+
+[Illustration: PLATE 34.
+
+CALLE DE LA PRINCESA ON GOOD FRIDAY.]
+
+[Illustration: PLATE 35.
+
+ENTRANCE TO THE PARK OF ALFONSO XIII.]
+
+[Illustration: PLATE 36.
+
+CASA DE CAMPO. THE LAKE.]
+
+[Illustration: PLATE 37.
+
+TOLEDO BRIDGE.]
+
+[Illustration: PLATE 38.
+
+TOLEDO BRIDGE.]
+
+[Illustration: PLATE 39.
+
+TOLEDO BRIDGE.]
+
+[Illustration: PLATE 40.
+
+SEGOVIA BRIDGE.]
+
+[Illustration: PLATE 41.
+
+ENTRANCE TO THE RETIRO.]
+
+[Illustration: PLATE 42.
+
+ENTRANCE TO THE RETIRO.]
+
+[Illustration: PLATE 43.
+
+PRINCIPAL ENTRANCE TO THE RETIRO.]
+
+[Illustration: PLATE 44.
+
+RETIRO. THE PARTERRE.]
+
+[Illustration: PLATE 45.
+
+RETIRO. THE LAKE.]
+
+[Illustration: PLATE 46.
+
+RETIRO. THE CRYSTAL PALACE.]
+
+[Illustration: PLATE 47.
+
+Retiro. Arab Pavilion.]
+
+[Illustration: PLATE 48.
+
+RETIRO. ARAB TEMPLE.]
+
+[Illustration: PLATE 49.
+
+GATE OF ALCALÁ.]
+
+[Illustration: PLATE 50.
+
+GATE OF HIERRO.]
+
+[Illustration: PLATE 51.
+
+GATE OF TOLEDO.]
+
+[Illustration: PLATE 52.
+
+CHAMBER OF DEPUTIES.]
+
+[Illustration: PLATE 53.
+
+THE CORTES. TWO BRONZE LIONS IN FRONT OF THE PALACE.]
+
+[Illustration: PLATE 54.
+
+INTERIOR OF THE CHAMBER OF DEPUTIES.]
+
+[Illustration: PLATE 55.
+
+INTERIOR OF THE CHAMBER OF DEPUTIES.]
+
+[Illustration: PLATE 56.
+
+RECEPTION ROOM AT THE CHAMBER OF DEPUTIES. DECORATED BY DON A. MÉLIDA.]
+
+[Illustration: PLATE 57.
+
+RECEPTION ROOM AT THE CHAMBER OF DEPUTIES. DECORATED BY DON A. MÉLIDA.]
+
+[Illustration: PLATE 58.
+
+FAÇADE OF THE HOSPITAL. CALLE FUENCARRAL.]
+
+[Illustration: PLATE 59.
+
+LA LATINA.]
+
+[Illustration: PLATE 60.
+
+PORTAL OF THE HOSPITAL OF THE CONCEPTION OR “LA LATINA” IN THE CALLE DE
+TOLEDO.]
+
+[Illustration: PLATE 61.
+
+STAIRCASE OF LA LATINA.]
+
+[Illustration: PLATE 62.
+
+PORTAL AND STAIRCASE OF THE HOSPITAL DE LA LATINA.]
+
+[Illustration: PLATE 63.
+
+ARABIAN PALACE OF THE PRADO.]
+
+[Illustration: PLATE 64.
+
+ARABIAN PALACE OF THE PRADO.]
+
+[Illustration: PLATE 65.
+
+LUJANES TOWER.]
+
+[Illustration: PLATE 66.
+
+THE AGUIRRE SCHOOL.]
+
+[Illustration: PLATE 67.
+
+THE SPANISH THEATRE.]
+
+[Illustration: PLATE 68.
+
+THE ROYAL THEATRE.]
+
+[Illustration: PLATE 69.
+
+THE TREASURY OFFICE IN THE CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 70.
+
+PALACE OF THE MARQUÉS DE PORTUGALETE.]
+
+[Illustration: PLATE 71.
+
+PALACE OF THE MARQUÉS DE LINARES.]
+
+[Illustration: PLATE 72.
+
+THE BANK OF SPAIN.]
+
+[Illustration: PLATE 73.
+
+THE WAR OFFICE.]
+
+[Illustration: PLATE 74.
+
+SOUTHERN FAÇADE OF THE MUSEUM AND THE STATUE OF MURILLO.]
+
+[Illustration: PLATE 75.
+
+THE PRADO GALLERY. NORTH FAÇADE.]
+
+[Illustration: PLATE 76.
+
+THE PRADO GALLERY.]
+
+[Illustration: PLATE 77.
+
+THE NEW EXCHANGE.]
+
+[Illustration: PLATE 78.
+
+THE TOWN HALL.]
+
+[Illustration: PLATE 79.
+
+THE NORTHERN RAILWAY STATION.]
+
+[Illustration: PLATE 80.
+
+CÍRCULO DE CONTRIBUYENTES.]
+
+[Illustration: PLATE 81.
+
+THE SENATE HOUSE.]
+
+[Illustration: PLATE 82.
+
+HISPANO-AMERICAN BANK.]
+
+[Illustration: PLATE 83.
+
+THE SPANISH ACADEMY.]
+
+[Illustration: PLATE 84.
+
+THE ATOCHA STATION.]
+
+[Illustration: PLATE 85.
+
+NATIONAL LIBRARY.]
+
+[Illustration: PLATE 86.
+
+THE NATIONAL LIBRARY AND MUSEUM.]
+
+[Illustration: PLATE 87.
+
+NATIONAL LIBRARY. DETAIL OF THE FAÇADE.]
+
+[Illustration: PLATE 88.
+
+NATIONAL LIBRARY AND MUSEUM. EAST FAÇADE.]
+
+[Illustration: PLATE 89.
+
+NATIONAL LIBRARY. SPHINX.]
+
+[Illustration: PLATE 90.
+
+THE EQUITABLE BUILDINGS IN THE CALLE DE ALCALÁ.]
+
+[Illustration: PLATE 91.
+
+STATUE OF MARÍA CRISTINA AND MUSEUM OF REPRODUCTIONS.]
+
+[Illustration: PLATE 92.
+
+INTERIOR OF THE NEW EXCHANGE.]
+
+[Illustration: PLATE 93.
+
+THE HOME OFFICE.]
+
+[Illustration: PLATE 94.
+
+ASTRONOMICAL OBSERVATORY.]
+
+[Illustration: PLATE 95.
+
+THE EXCHANGE.]
+
+[Illustration: PLATE 96.
+
+THE WAR OFFICE.]
+
+[Illustration: PLATE 97.
+
+THE TOWN HALL.]
+
+[Illustration: PLATE 98.
+
+MINISTERIO DE FOMENTO.]
+
+[Illustration: PLATE 99.
+
+HERMITAGE OF SAN ISIDRO.]
+
+[Illustration: PLATE 100.
+
+REFUGE OF OUR LADY OF MERCY.]
+
+[Illustration: PLATE 101.
+
+CHURCH OF SAN FRANCISCO EL GRANDE.]
+
+[Illustration: PLATE 102.
+
+SAN FRANCISCO EL GRANDE.
+
+GENERAL VIEW FROM THE CHOIR.]
+
+[Illustration: PLATE 103.
+
+SAN FRANCISCO EL GRANDE. THE CONCESSION OF THE JUBILEE OF THE
+PORCIÚNCULA.]
+
+[Illustration: PLATE 104.
+
+SAN FRANCISCO EL GRANDE. LEFT SIDE OF THE CUPOLA.]
+
+[Illustration: PLATE 105.
+
+CRYPT IN THE ALMUDENA CATHEDRAL.]
+
+[Illustration: PLATE 106.
+
+THE CATHEDRAL. PARTIAL VIEW OF THE CRYPT.]
+
+[Illustration: PLATE 107.
+
+CHURCH OF LAS CALATRAVAS.]
+
+[Illustration: PLATE 108.
+
+LAS CALATRAVAS.]
+
+[Illustration: PLATE 109.
+
+CHURCH OF EL BUEN SUCESO.]
+
+[Illustration: PLATE 110.
+
+GENERAL VIEW OF THE CHURCH EL BUEN SUCESO.]
+
+[Illustration: PLATE 111.
+
+CHURCH OF SAN JOSÉ.]
+
+[Illustration: PLATE 112.
+
+CHURCH OF SAN ISIDRO EL REAL.]
+
+[Illustration: PLATE 113.
+
+INTERIOR OF THE CHURCH OF SAN ISIDRO.]
+
+[Illustration: PLATE 114.
+
+CHURCH OF LA VIRGEN DEL PUERTO.]
+
+[Illustration: PLATE 115.
+
+CHURCH OF LAS SALESAS. THE SUFFERING CHRIST.]
+
+[Illustration: PLATE 116.
+
+CHURCH OF SAN CAYETANO.]
+
+[Illustration: PLATE 117.
+
+ALTAR PIECE IN THE BISHOP’S CHAPEL.]
+
+[Illustration: PLATE 118.
+
+DOOR IN THE BISHOP’S CHAPEL.]
+
+[Illustration: PLATE 119.
+
+THE BISHOP’S CHAPEL. LEFT SIDE OF THE DOOR.]
+
+[Illustration: PLATE 120.
+
+THE BISHOP’S CHAPEL. RIGHT SIDE OF THE DOOR.]
+
+[Illustration: PLATE 121.
+
+THE BISHOP’S CHAPEL. UPPER PART OF THE DOOR.]
+
+[Illustration: PLATE 122.
+
+THE BISHOP’S CHAPEL. SEPULCHRE OF THE BISHOP OF PLASENCIA.]
+
+[Illustration: PLATE 123.
+
+THE BISHOP’S CHAPEL. SEPULCHRE OF DON FRANCESCO DE VARGAS.]
+
+[Illustration: PLATE 124.
+
+THE BISHOP’S CHAPEL. SEPULCHRE OF DOÑA INES DE CARVAJAL.]
+
+[Illustration: PLATE 125.
+
+PARISH CHURCH OF ST ANDREW. SEPULCHRE OF SAN ISIDRO PLOUGHMAN, PATRON
+SAINT OF MADRID.]
+
+[Illustration: PLATE 126.
+
+INTERIOR OF THE CHURCH OF SAN JERÓNIMO.
+
+FROM A PICTURE IN THE PRADO OF THE PRINCE OF THE ASTURIAS (FERDINAND
+VII.) TAKING THE OATH OF ALLEGIANCE IN 1789.]
+
+[Illustration: PLATE 127.
+
+VIEW OF THE INTERIOR OF THE CHURCH OF SAN JERÓNIMO.]
+
+[Illustration: PLATE 128.
+
+SAN ANTONIO DE LA FLORIDA.]
+
+[Illustration: PLATE 129.
+
+CHURCH OF SAN ANTONIO DE LA FLORIDA.]
+
+[Illustration: PLATE 130.
+
+INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.]
+
+[Illustration: PLATE 131.
+
+FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
+
+[Illustration: PLATE 132.
+
+FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
+
+[Illustration: PLATE 133.
+
+FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
+
+[Illustration: PLATE 134.
+
+FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
+
+[Illustration: Plate 135.
+
+GROUP OF ANGELS IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
+
+[Illustration: PLATE 136.
+
+GROUP OF ANGELS IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]
+
+[Illustration: PLATE 137.
+
+INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.]
+
+[Illustration: PLATE 138.
+
+SAN ANTONIO DE LA FLORIDA. PAINTING IN THE PRINCIPAL CHAPEL, BY GOYA.]
+
+[Illustration: PLATE 139.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE CENTRES OF THE INTRADOS OF
+THE CHOIR AND PRINCIPAL CHAPEL ARCHES, BY GOYA.]
+
+[Illustration: PLATE 140.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE SPRINGINGS OF THE INTRADOS
+OF THE PRINCIPAL CHAPEL ARCHES, BY GOYA.]
+
+[Illustration: PLATE 141.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE SPRINGINGS OF THE INTRADOS
+OF THE CHOIR ARCHES, BY GOYA.]
+
+[Illustration: PLATE 142.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE INTRADOS OF THE CHAPEL ARCH,
+LEFT SIDE, BY GOYA.]
+
+[Illustration: PLATE 143.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE INTRADOS OF THE CHAPEL ARCH,
+RIGHT SIDE, BY GOYA.]
+
+[Illustration: PLATE 144.
+
+SAN ANTONIO DE LA FLORIDA. TRIANGLES FORMED BY THE DOME ADJOINING THE
+PRINCIPAL CHAPEL, BY GOYA.]
+
+[Illustration: PLATE 145.
+
+SAN ANTONIO DE LA FLORIDA. TRIANGLES FORMED BY THE DOME ADJOINING THE
+CHOIR, BY GOYA.]
+
+[Illustration: PLATE 146.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS AT THE LEFT SIDES OF THE WINDOWS OF
+THE DOME, BY GOYA.]
+
+[Illustration: PLATE 147.
+
+SAN ANTONIO DE LA FLORIDA. PAINTINGS AT THE RIGHT SIDES OF THE WINDOWS
+OF THE DOME, BY GOYA.]
+
+[Illustration: PLATE 148.
+
+SAN ANTONIO DE LA FLORIDA. FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE
+CENTRE, BY GOYA.]
+
+[Illustration: PLATE 149.
+
+SAN ANTONIO DE LA FLORIDA. SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE
+CENTRE, BY GOYA.]
+
+[Illustration: PLATE 150.
+
+SAN ANTONIO DE LA FLORIDA. CENTRE OF THE COMPOSITION ON THE CUPOLA
+FACING THE ENTRANCE, BY GOYA.]
+
+[Illustration: PLATE 151.
+
+SAN ANTONIO DE LA FLORIDA. FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE
+CENTRE, BY GOYA.]
+
+[Illustration: PLATE 152.
+
+SAN ANTONIO DE LA FLORIDA. SECOND GROUP ON THE CUPOLA TO THE RIGHT OF
+THE CENTRE, BY GOYA.]
+
+[Illustration: PLATE 153.
+
+THE PRADO.]
+
+[Illustration: PLATE 154.
+
+THE PRADO.]
+
+[Illustration: PLATE 155.
+
+THE PRADO GALLERY.]
+
+[Illustration: PLATE 156.
+
+THE PRADO. THE VELAZQUEZ GALLERY.]
+
+[Illustration: PLATE 157.
+
+MADRID PICTURE GALLERY]
+
+[Illustration: PLATE 158.
+
+MADRID PICTURE GALLERY.]
+
+[Illustration: PLATE 159.
+
+SCENE IN THE LIFE OF SANTO DOMINGO DE GUZMAN, BY PEDRO BERRUGUETE.
+
+PRADO.]
+
+[Illustration: PLATE 160.
+
+ECCE HOMO, BY LUIS DE MORALES.
+
+PRADO.]
+
+[Illustration: PLATE 161.
+
+THE BAPTISM OF CHRIST, BY NAVARRETE.
+
+PRADO.]
+
+[Illustration: PLATE 162.
+
+PORTRAIT OF DON CARLOS, SON OF PHILIP II., BY ALONSO SÁNCHEZ COELLO.
+
+PRADO.]
+
+[Illustration: PLATE 163.
+
+THE INFANTAS ISABEL CLARA EUGENIA AND CATALINA MICAELA, DAUGHTERS OF
+PHILIP II., BY ALONSO SÁNCHEZ COELLO.
+
+PRADO.]
+
+[Illustration: PLATE 164.
+
+JACOB RECEIVING THE BLESSING OF HIS FATHER ISAAC, BY RIBERA.
+
+PRADO.]
+
+[Illustration: PLATE 165.
+
+VISION OF ST PETER THE APOSTLE TO ST PETER NOLASCO, BY ZURBARÁN.
+
+PRADO.]
+
+[Illustration: PLATE 166.
+
+LOS BORRACHOS, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 167.
+
+THE FORGE OF VULCAN, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 168.
+
+THE SURRENDER OF BREDA, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 169.
+
+PHILIP IV., BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 170.
+
+QUEEN ISABEL OF BOURBON, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 171.
+
+DON BALTASAR CARLOS, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 172.
+
+PHILIP IV. IN HUNTING COSTUME, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 173.
+
+DON BALTASAR CARLOS IN HUNTING COSTUME, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 174.
+
+DUKE OF OLIVARES, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 175.
+
+ÆSOP, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 176.
+
+ST ANTONY ABBOT VISITING ST PAUL, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 177.
+
+LAS HILANDERAS, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 178.
+
+LAS MENINAS, BY VELAZQUEZ.
+
+PRADO.]
+
+[Illustration: PLATE 179.
+
+OUR LADY OF THE IMMACULATE CONCEPTION, BY MURILLO. PRADO.]
+
+[Illustration: PLATE 180.
+
+EL TIÑOSO: ST ELIZABETH OF HUNGARY TENDING THE SICK IN HER HOSPITAL, BY
+MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 181.
+
+FATHER CABANILLAS, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 182.
+
+THE CHILD JESUS AS SHEPHERD, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 183.
+
+DETAIL OF PLATE 179, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 184.
+
+THE VISION OF ST BERNARD, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 185.
+
+THE VIRGIN OF THE ROSARY, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 186.
+
+THE CHILD ST JOHN, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 187.
+
+THE CHILDREN, JESUS AND ST JOHN, KNOWN BY THE NAME OF “LOS NIÑOS DE LA
+CONCHA,” BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 188.
+
+THE HOLY FAMILY AND THE BIRD, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 189.
+
+HEAD OF THE HOLY SHEPHERD (FRAGMENT), BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 190.
+
+LA PORCIÚNCULA (THE VISION OF ST FRANCIS), BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 191.
+
+THE MARTYRDOM OF ST ANDREW THE APOSTLE AT PATRAS, BY MURILLO.
+
+PRADO.]
+
+[Illustration: PLATE 192.
+
+THE DREAM OF THE ROMAN SENATOR AND HIS WIFE, WHICH PRODUCED THE CHURCH
+OF ST MARIA MAGGIORE AT ROME, BY MURILLO.]
+
+[Illustration: PLATE 193.
+
+THE ROMAN SENATOR AND HIS WIFE TELLING THEIR DREAM TO POPE LIBERIUS, BY
+MURILLO.]
+
+[Illustration: PLATE 194.
+
+THE ANNUNCIATION, BY EL GRECO,
+
+PRADO.]
+
+[Illustration: PLATE 195.
+
+THE HOLY FAMILY, BY EL GRECO.
+
+PRADO.]
+
+[Illustration: PLATE 196.
+
+THE CRUCIFIXION, BY EL GRECO.
+
+PRADO.]
+
+[Illustration: PLATE 197.
+
+THE DEAD CHRIST IN THE ARMS OF GOD THE FATHER, BY EL GRECO.
+
+PRADO.]
+
+[Illustration: PLATE 198.
+
+CHARLES IV., BY GOYA.
+
+PRADO.]
+
+[Illustration: PLATE 199.
+
+QUEEN MARIA LUISA, BY GOYA.
+
+PRADO.]
+
+[Illustration: PLATE 200.
+
+THE NUDE MAJA, BY GOYA.
+
+PRADO.]
+
+[Illustration: PLATE 201.
+
+THE DRAPED MAJA, BY GOYA.
+
+PRADO.]
+
+[Illustration: PLATE 202.
+
+THE FAMILY OF CHARLES IV., BY GOYA.
+
+PRADO.]
+
+[Illustration: PLATE 203.
+
+GOYA AT THE AGE OF 80, BY V. LÓPEZ.
+
+PRADO.]
+
+[Illustration: PLATE 204.
+
+JESUS AND MARY MAGDALENE, BY CORREGGIO.
+
+PRADO.]
+
+[Illustration: PLATE 205.
+
+THE HOLY FAMILY AND THE LAMB, BY RAFAEL.
+
+PRADO.]
+
+[Illustration: PLATE 206.
+
+A CARDINAL, BY RAFAEL.
+
+PRADO.]
+
+[Illustration: PLATE 207.
+
+MADONNA AND CHILD, WITH ST BRIDGET AND ST HULPUS, BY TITIAN.
+
+PRADO.]
+
+[Illustration: PLATE 208.
+
+THE CROWN OF THORNS, BY DOMINGO TIEPOLO.
+
+PRADO.]
+
+[Illustration: PLATE 209.
+
+PORTRAIT OF ALBRECHT DÜRER, BY HIMSELF.
+
+PRADO.]
+
+[Illustration: PLATE 210.
+
+QUEEN ARTEMISIA, BY REMBRANDT.
+
+PRADO.]
+
+[Illustration: PLATE 211.
+
+VILLAGE FÊTE, BY TENIERS.
+
+PRADO.]
+
+[Illustration: PLATE 212.
+
+GALLERY OF THE ARCHDUKE LEOPOLD IN BRUSSELS, BY TENIERS.
+
+PRADO.]
+
+[Illustration: PLATE 213.
+
+THE THREE GRACES, BY RUBENS.
+
+PRADO.]
+
+[Illustration: PLATE 214.
+
+THE HOLY FAMILY, BY RUBENS.
+
+PRADO.]
+
+[Illustration: PLATE 215.
+
+VAN DYCK AND COUNT BRISTOL, BY VAN DYCK.
+
+PRADO.]
+
+[Illustration: PLATE 216.
+
+THE LAST SUPPER, BY JUAN DE JUANES.
+
+PRADO.]
+
+[Illustration: PLATE 217.
+
+THE CATHOLIC SOVEREIGNS ADORING THE VIRGIN, BY JUAN DE BORGOÑA. PRADO.]
+
+[Illustration: PLATE 218.
+
+A GOTHIC KING, BY ALONSO CANO.
+
+PRADO.]
+
+[Illustration: PLATE 219.
+
+THE WATER FROM THE ROCK, BY JUAN DE LAS ROELAS, EL CLÉRIGO.
+
+PRADO.]
+
+[Illustration: PLATE 220.
+
+A SOUL IN PAIN, BY RIBALTA.
+
+PRADO.]
+
+[Illustration: PLATE 221.
+
+PORTRAIT OF PHILIP II., BY PANTOJA DE LA CRUZ.
+
+PRADO.]
+
+[Illustration: PLATE 222.
+
+PORTRAIT OF PEDRO BERRUGUETE. 15TH CENTURY.
+
+COLLECTION OF DON JOSÉ DE LAZARO GALDEANO.]
+
+[Illustration: PLATE 223.
+
+ARCHITECTURE, PAINTING, AND SCULPTURE, BY G. SUÑOL.
+
+ALLEGORIC GROUP INTENDED FOR THE FAÇADE OF THE PRADO.]
+
+[Illustration: PLATE 224.
+
+THE EMPEROR CHARLES V.
+
+PRADO MUSEUM.]
+
+[Illustration: PLATE 225.
+
+THE EMPRESS ISABEL OF PORTUGAL, WIFE OF CHARLES V.
+
+THE PRADO.]
+
+[Illustration: PLATE 226.
+
+A SATYR AND CHILDREN DANCING.
+
+THE PRADO.]
+
+[Illustration: PLATE 227.
+
+MARBLE RELIEF. LIFE-SIZE FIGURES.
+
+THE PRADO.]
+
+[Illustration: PLATE 228.
+
+MARBLE RELIEF. BACCHANTES. LIFE-SIZE FIGURES.
+
+THE PRADO.]
+
+[Illustration: PLATE 229.
+
+BRONZE HEADS.
+
+THE PRADO.]
+
+[Illustration: PLATE 230.
+
+TAPESTRY. THE BAPTIST TAKING LEAVE OF HIS PARENTS TO DEVOTE HIMSELF TO
+PENITENCE.]
+
+[Illustration: PLATE 231.
+
+TAPESTRY. THE VIRGIN ENTHRONED, GIDEON SHOWING THE LAMB’S SKIN, AND
+OTHER SCENES.]
+
+[Illustration: PLATE 232.
+
+EFFIGY OF ST FERDINAND, KING OF SPAIN.
+
+CHAPEL ROYAL.]
+
+[Illustration: PLATE 233.
+
+(1 TO 5) CROWNS AND VOTIVE CROSSES OF GUARRAZAR.
+
+(6) REMAINS OF ST FERDINAND’S ROBE.
+
+(7) MOORISH SPURS OF ST FERDINAND.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 234.
+
+C 1. SPANISH MAN-AT-ARMS, 15TH CENTURY.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 235.
+
+C 4. SPANISH CROSSBOWMAN, 15TH CENTURY.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 236.
+
+C 2. SPANISH HALBERDIER, 15TH CENTURY.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 237.
+
+MACE-BEARER OF THE 16TH CENTURY WITH SURCOAT DISPLAYING THE ARMS OF
+CASTILE AND LEON.]
+
+[Illustration: PLATE 238.
+
+A 26. TILTING HARNESS OF CHARLES V.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 239.
+
+A 112. ARMOUR PRESENTED TO CHARLES V. BY THE DUKE OF MANTUA.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 240.
+
+ARMOUR OF CHARLES V. MADE BY DESIDERIO COLMAN.
+
+(1849 CATALOGUE.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 241.
+
+A 231. ARMOUR MADE FOR PRINCE PHILIP (II.) BY WOLF OF LANDSHUT (1550).
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 242.
+
+ARMOUR OF CHARLES V., AUGSBURG OR NUREMBERG MAKE.
+
+(1849 CATALOGUE.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 243.
+
+A 37. TILTING HARNESS OF CHARLES V. MADE BY DESIDERIO COLMAN,
+HELMSCHMIED.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 244.
+
+A 65. TILTING HARNESS OF CHARLES V.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 245.
+
+A 149. ARMOUR OF CHARLES V. (1541).
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 246.
+
+A 243. EQUESTRIAN ARMOUR OF PHILIP II. MADE BY SIGMUND WOLF OF LANDSHUT.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 247.
+
+ARMOUR OF KING PHILIP II.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 248.
+
+ARMOUR OF PHILIP II., ENGRAVED WITH THE ROYAL ARMS OF ENGLAND.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 249.
+
+A 290. ARMOUR OF KING SEBASTIAN OF PORTUGAL.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 250.
+
+A 290. ARMOUR OF KING SEBASTIAN, BACK PLATE (DETAILS).
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 251.
+
+A 291. ARMOUR OF PHILIP III. MADE BY LUCIO PICININO OF MILAN.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 252.
+
+ARMOUR MADE AT PAMPLONA FOR THE DUKE OF SAVOY (1620).
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 253.
+
+HALF ARMOUR OF PHILIP IV.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 254.
+
+MILANESE BRIGANTINE WHICH BELONGED TO CHARLES V.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 255.
+
+B 1. BOY’S HALF ARMOUR MADE IN ITALY FOR THE INFANTE, AFTERWARDS PHILIP
+III.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 256.
+
+D 1. BOY’S HALF ARMOUR MADE FOR THE INFANTE, AFTERWARDS PHILIP III.
+(SECOND VIEW.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 257.
+
+B 4. HALF ARMOUR PRESENTED TO THE INFANTE, AFTERWARDS PHILIP III., BY
+THE DUKE OF TERRANOVA.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 258.
+
+B 18. BOY’S HALF ARMOUR MADE FOR THE INFANTE FERNANDO, SON OF PHILIP
+III.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 259.
+
+HALF ARMOUR BELONGING TO PRINCE PHILIP, AFTERWARDS PHILIP IV.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 260.
+
+A 434. GORGET. SUBJECT: THE SIEGE OF OSTEND, 1601.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 261.
+
+A 434. GORGET OF PHILIP II.
+
+SUBJECT: THE BATTLE OF NIEUPORT.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 262.
+
+HELMET OF PHILIP II. MADE AT AUGSBURG IN 1549.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 263.
+
+A 243. HELMET OF PHILIP II. MADE BY WOLF OF LANDSHUT IN 1554.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 264.
+
+A 290. BURGONET OF KING SEBASTIAN OF PORTUGAL.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 265.
+
+A 292. BURGONET MADE FOR PHILIP III. BY LUCIO PICININO.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 266.
+
+A 350. HELMET FOR THE DUKE OF SAVOY (SIDE VIEW).
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 267.
+
+D 3. BURGONET OF CHARLES V. DESIGNED BY GIULIO ROMANO.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 268.
+
+M 5. HELMET OF FRANCIS I. OF FRANCE, TAKEN AT THE BATTLE OF PAVIA.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 269.
+
+1511. SATIN AND VELVET TURBAN FOUND IN THE PALACE OF MUSTAFA, BEY OF
+ORAN, IN 1722.
+
+1533. STEEL TURBAN OF ALI PASHA, TURKISH ADMIRAL AT LEPANTO.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 270.
+
+D 63. THE “PLUS ULTRA” SHIELD DESIGNED BY GIULIO ROMANO.
+
+D 10. SHIELD, EARLY 17TH CENTURY.
+
+DESIGN: WARRIORS IN COMBAT.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 271.
+
+D 69. ITALIAN SHIELD, 16TH CENTURY.
+
+DESIGN: THE TRIUMPH OF LOVE.
+
+D 68. SHIELD OF AUGSBURG MAKE, 16TH CENTURY.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 272.
+
+D 79. SHIELD PRESENTED TO PHILIP III. BY THE DUKE OF SAVOY IN 1603.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 273.
+
+D 86. MOORISH LEATHER SHIELD, END OF 15TH CENTURY.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 274.
+
+M 6. SHIELD AND SWORD OF FRANCIS I. OF FRANCE, TAKEN AT THE BATTLE OF
+PAVIA. DESIGN: THE GALLIC COCK ATTACKING A WARRIOR AND PUTTING HIM TO
+FLIGHT.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 275.
+
+A 242. POMMEL AND CANTLE OF SADDLE OF PHILIP II.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 276.
+
+A 291. CANTLE-PLATES OF SADDLE MADE BY LUCIO PICININO.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 277.
+
+TURKISH SADDLE GIVEN TO CHARLES III.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 278.
+
+TROPHY FORMED OF SEVERAL PIECES OF ARMOUR OF PHILIP II.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 279.
+
+ARMOUR OF A GREYHOUND.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 280.
+
+1987, 1992. SPANISH ARQUEBUSES, END OF 16TH CENTURY.
+
+1955. PETRONEL, 16TH CENTURY.
+
+1961. SPANISH ARQUEBUS, WITH OCTAGONAL BARREL INLAID WITH MOTHER OF
+PEARL AND IVORY, 16TH CENTURY.
+
+1972, 1977, 1946. KEYS OR CRANKS TO COCK THE ARQUEBUSES.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 281.
+
+DOUBLE BREECH-LOADING CANNON, IN BRONZE, USED IN SPAIN AT THE END OF THE
+15TH CENTURY.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 282.
+
+SEDAN CHAIR OF PHILIP V.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 283.
+
+SEDAN CHAIR OF FERDINAND VI.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 284.
+
+SEDAN CHAIR OF CHARLES IV.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 285.
+
+SEDAN CHAIR OF PHILIP V.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 286.
+
+SEDAN CHAIR OF CHARLES III.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 287.
+
+CAMPAIGN LITTER OF THE EMPEROR CHARLES V.
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 288.
+
+CARRIAGE GIVEN BY NAPOLEON I. TO CHARLES IV.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 289.
+
+THE CROWN COACH.
+
+(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)
+
+ROYAL ARMOURY.]
+
+[Illustration: PLATE 290.
+
+GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]
+
+[Illustration: PLATE 291.
+
+GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]
+
+[Illustration: PLATE 292.
+
+GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]
+
+[Illustration: PLATE 293.
+
+ROYAL ACADEMY OF HISTORY.
+
+EXTERIOR OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]
+
+[Illustration: PLATE 294.
+
+ROYAL ACADEMY OF HISTORY.
+
+PART OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]
+
+[Illustration: PLATE 295.
+
+ROYAL ACADEMY OF HISTORY.
+
+PAINTINGS ON THE EXTERIOR OF THE TRIPTYCH-RELIQUARY FROM THE STONE
+MONASTERY IN ARAGON.]
+
+[Illustration: PLATE 296.
+
+STATUE OF PHILIP III. IN THE PLAZA MAYOR.]
+
+[Illustration: PLATE 297.
+
+STATUE OF PHILIP IV. IN THE PLAZA DE ORIENTE.]
+
+[Illustration: PLATE 298.
+
+STATUE OF ESPARTERO THE PEACE-MAKER.]
+
+[Illustration: PLATE 299.
+
+STATUE OF GENERAL CONCHA, MARQUÉS DEL DUERO.]
+
+[Illustration: PLATE 300.
+
+STATUE OF VELAZQUEZ.]
+
+[Illustration: PLATE 301.
+
+STATUE OF MURILLO.]
+
+[Illustration: PLATE 302.
+
+RETIRO. STATUE OF GOYA.]
+
+[Illustration: PLATE 303.
+
+STATUE OF CERVANTES.]
+
+[Illustration: PLATE 304.
+
+CERVANTES.]
+
+[Illustration: PLATE 305.
+
+STATUE OF CALDERÓN DE LA BARCA.
+
+(THE WORK OF J. FIGUERAS.)]
+
+[Illustration: PLATE 306.
+
+ISABEL THE CATHOLIC. BRONZE GROUP IN THE CASTELLANA.
+
+(THE WORK OF OMS.)]
+
+[Illustration: PLATE 307.
+
+MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 308.
+
+MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 309.
+
+MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 310.
+
+MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 311.
+
+MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]
+
+[Illustration: PLATE 312.
+
+MONUMENT TO COMMEMORATE THE 2ND OF MAY.]
+
+[Illustration: PLATE 313.
+
+FOUNTAIN OF NEPTUNE IN THE PRADO.]
+
+[Illustration: PLATE 314.
+
+THE FOUNTAIN OF CYBELE.]
+
+[Illustration: PLATE 315.
+
+THE PRADO, WITH THE FOUNTAIN OF THE FOUR SEASONS.]
+
+[Illustration: PLATE 316.
+
+THE ROYAL PALACE FROM THE CASA DE CAMPO.]
+
+[Illustration: PLATE 317.
+
+ROYAL PALACE. THE CHANGING OF THE GUARD (HALBERDIERS).]
+
+[Illustration: PLATE 318.
+
+THE PALACE.]
+
+[Illustration: PLATE 319.
+
+THE PALACE FROM THE PLAZA DE ORIENTE.]
+
+[Illustration: PLATE 320.
+
+THE ROYAL PALACE.]
+
+[Illustration: PLATE 321.
+
+FAÇADE OF PALACE.]
+
+[Illustration: PLATE 322.
+
+PALACE AND PLAZA DE LA ARMERIA.]
+
+[Illustration: PLATE 323.
+
+THE QUEEN MOTHER LEAVING THE PALACE.]
+
+[Illustration: PLATE 324.
+
+PRINCIPAL STAIRCASE.]
+
+[Illustration: PLATE 325.
+
+DETAIL OF THRONE ROOM.]
+
+[Illustration: PLATE 326.
+
+GENERAL VIEW OF THRONE ROOM.]
+
+[Illustration: PLATE 327.
+
+THE THRONE.]
+
+[Illustration: PLATE 328.
+
+ROOM OF CHARLES III.]
+
+[Illustration: PLATE 329.
+
+THE QUEEN’S ROOM.]
+
+[Illustration: PLATE 330.
+
+ROOM OF MIRRORS.]
+
+[Illustration: PLATE 331.
+
+GASPARINI ROOM OF CHARLES III.]
+
+[Illustration: PLATE 332.
+
+HALL OF COLUMNS.]
+
+[Illustration: PLATE 333.
+
+THE WEDDING.
+
+THE KING AND QUEEN LEAVING THE CHURCH AND ENTERING THE ROYAL COACH.]
+
+[Illustration: PLATE 334.
+
+A BATTLE OF FLOWERS.]
+
+[Illustration: PLATE 335.
+
+HIS MAJESTY THE KING OF SPAIN.]
+
+[Illustration: PLATE 336.
+
+H.M. QUEEN VICTORIA OF SPAIN.]
+
+[Illustration: PLATE 337.
+
+THE KING AND QUEEN OF SPAIN.]
+
+[Illustration: PLATE 338.
+
+H.M. QUEEN VICTORIA.]
+
+[Illustration: PLATE 339.
+
+HER MAJESTY THE QUEEN MOTHER.]
+
+[Illustration: PLATE 340.
+
+DON CARLOS OF BOURBON.]
+
+[Illustration: PLATE 341.
+
+MEDAL STRUCK IN HONOUR OF THE ROYAL MARRIAGE.]
+
+[Illustration: PLATE 342.
+
+A LADY WITH A MANTILLA.]
+
+[Illustration: PLATE 343.
+
+MANTILLAS.]
+
+[Illustration: PLATE 344.
+
+AN OUT-DOOR PELOTA COURT, WITH SIX PLAYERS, THREE AGAINST THREE.]
+
+[Illustration: A PELOTA COURT.]
+
+[Illustration: PLATE 345.
+
+A TARTAÑA.]
+
+[Illustration: THE HARVEST CART.]
+
+[Illustration: PLATE 346.
+
+SKETCHES IN SPAIN.]
+
+[Illustration: PLATE 347.
+
+SKETCHES IN SPAIN.]
+
+[Illustration: PLATE 348.
+
+A DANCER.]
+
+[Illustration: AN ORANGE SELLER.]
+
+[Illustration: PLATE 349.
+
+THE COUNSELLOR OF THE VILLAGE.]
+
+[Illustration: FULL LIST OF LOTTERY RESULTS.]
+
+[Illustration: PLATE 350.
+
+BULL-FIGHTERS AT THE TAVERN.]
+
+[Illustration: A SPANISH GIRL.]
+
+[Illustration: PLATE 351.
+
+VIEW OF THE MONASTERY OF THE ESCORIAL.]
+
+[Illustration: PLATE 352.
+
+VIEW OF THE MONASTERY (EAST SIDE).]
+
+[Illustration: PLATE 353.
+
+THE COLONNADE OF THE MONASTERY.]
+
+[Illustration: PLATE 354.
+
+UPPER CLOISTER OF THE MONASTERY.]
+
+[Illustration: PLATE 355.
+
+LOWER CLOISTER OF THE MONASTERY.]
+
+[Illustration: PLATE 356.
+
+THE EVANGELISTS’ COURT.]
+
+[Illustration: PLATE 357.
+
+PRINCIPAL STAIRCASE OF THE MONASTERY.]
+
+[Illustration: PLATE 358.
+
+INTERIOR OF THE CHURCH.]
+
+[Illustration: PLATE 359.
+
+PANTEON OF THE KINGS.]
+
+[Illustration: PLATE 360.
+
+PANTEON OF THE INFANTES.]
+
+[Illustration: PLATE 361.
+
+CHAPTER ROOM. (MONASTERY.)]
+
+[Illustration: PLATE 362.
+
+SACRISTY. (MONASTERY.)]
+
+[Illustration: PLATE 363.
+
+ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.
+
+(SACRISTY OF THE MONASTERY.)]
+
+[Illustration: PLATE 364.
+
+RETABLO AT THE HIGH ALTAR.
+
+(BASILICA OF THE MONASTERY.)]
+
+[Illustration: PLATE 365.
+
+LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.]
+
+[Illustration: PLATE 366.
+
+THE TABERNACLE IN THE ESCORIAL CHURCH.]
+
+[Illustration: PLATE 367.
+
+CHOIR STALLS. (BASILICA OF THE MONASTERY.)]
+
+[Illustration: PLATE 368.
+
+LIBRARY OF THE MONASTERY.]
+
+[Illustration: PLATE 369.
+
+APOLLO AND MERCURY, BY PEREGRINO TIBALDI.
+
+(FRESCO ON THE ARCH OF THE ESCORIAL LIBRARY.)]
+
+[Illustration: PLATE 370.
+
+RECEPTION HALL. (PALACE.)]
+
+[Illustration: PLATE 371.
+
+HALL OF AMBASSADORS. (PALACE.)]
+
+[Illustration: PLATE 372.
+
+DINING-HALL. (PALACE.)]
+
+[Illustration: PLATE 373.
+
+POMPEIAN HALL. (PALACE.)]
+
+[Illustration: PLATE 374.
+
+“CASA DEL PRINCIPE” OR LOWER LODGE.]
+
+[Illustration: PLATE 375.
+
+COFFEE-ROOM. (CASA DEL PRINCIPE.)]
+
+[Illustration: PLATE 376.
+
+THE LAST SUPPER, BY TITIAN. (THE ESCORIAL.)]
+
+[Illustration: PLATE 377.
+
+THE HOLY FAMILY, BY RAFAEL.
+
+(CASA DEL PRINCIPE AT THE ESCORIAL.)]
+
+[Illustration: PLATE 378.
+
+ST MAURICE AND OTHER MARTYRS, BY EL GRECO.
+
+(CHAPTER HALL OF THE ESCORIAL.)]
+
+[Illustration: PLATE 379.
+
+THE DREAM OF PHILIP II., BY EL GRECO.
+
+(CHAPTER HALL OF THE ESCORIAL.)]
+
+[Illustration: PLATE 380.
+
+COUNTRY DANCE, BY GOYA.]
+
+[Illustration: PLATE 381.
+
+THE WASHERWOMEN, BY GOYA.
+
+(TAPESTRY IN THE ESCORIAL PALACE.)]
+
+[Illustration: PLATE 382.
+
+THE CHINA MERCHANT, BY GOYA.
+
+(TAPESTRY IN THE ESCORIAL PALACE.)]
+
+[Illustration: PLATE 383.
+
+THE GRAPE-SELLERS, BY GOYA.
+
+(TAPESTRY IN THE ESCORIAL PALACE.)]
+
+[Illustration: PLATE 384.
+
+CHILDREN PICKING FRUIT, BY GOYA.
+
+(TAPESTRY IN THE ESCORIAL PALACE.)]
+
+[Illustration: PLATE 385.
+
+THE KITE, BY GOYA.
+
+(TAPESTRY IN THE ESCORIAL PALACE.)]
+
+[Illustration: PLATE 386.
+
+A SMOKER, BY TENIERS.
+
+(CASA DEL PRINCIPE AT THE ESCORIAL.)]
+
+[Illustration: PLATE 387.
+
+THE STORY OF THE PASSION.
+
+DIPTYCH, IN IVORY, OF THE 13TH CENTURY.
+
+(FROM THE CAMARÍN OF ST THERESA.)]
+
+[Illustration: PLATE 388.
+
+EGYPTIAN BRONZES. AMON-RA AND ISIS.
+
+NATIONAL ARCHÆOLOGICAL MUSEUM.]
+
+[Illustration: PLATE 389.
+
+EGYPTIAN BRONZES. OSIRIS AND OSOR-API.
+
+NATIONAL ARCHÆOLOGICAL MUSEUM.]
+
+[Illustration: PLATE 390.
+
+ALCALÁ DE HENARES. PASEO DE CERVANTES.]
+
+[Illustration: PLATE 391.
+
+ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]
+
+[Illustration: PLATE 392.
+
+ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]
+
+[Illustration: PLATE 393.
+
+ALCALÁ DE HENARES. FAÇADE OF THE ARCHIVES.]
+
+[Illustration: PLATE 394.
+
+COURT OF THE ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]
+
+[Illustration: PLATE 395.
+
+ALCALÁ DE HENARES.
+
+CHAPEL OF THE “OIDOR.” ACTUAL STATE OF THE NORTH WALL.]
+
+[Illustration: PLATE 396.
+
+ALCALÁ DE HENARES. ACTUAL STATE OF THE SOUTH WALL.]
+
+[Illustration: PLATE 397.
+
+ALCALÁ DE HENARES.
+
+CHAPEL OF THE “OIDOR.” ACTUAL STATE OF THE FRIEZE ROUND THE NORTH
+WALL.]
+
+[Illustration: PLATE 398.
+
+ALCALÁ DE HENARES. THE UNIVERSITY.]
+
+[Illustration: PLATE 399.
+
+ALCALÁ DE HENARES. FAÇADE OF THE UNIVERSITY.]
+
+[Illustration: PLATE 400.
+
+ALCALÁ DE HENARES.
+
+LONGITUDINAL SECTION OF THE CHAPEL OF SAN ILDEFONSO IN THE UNIVERSITY.]
+
+[Illustration: PLATE 401.
+
+ALCALÁ DE HENARES.
+
+DETAILS OF THE FAÇADE OF THE UNIVERSITY.]
+
+[Illustration: PLATE 402.
+
+ALCALÁ DE HENARES. DETAILS OF THE FAÇADE OF THE UNIVERSITY.]
+
+[Illustration: PLATE 403.
+
+ALCALÁ DE HENARES.
+
+PASEO DE LA ESTACIÓN.]
+
+[Illustration: PLATE 404.
+
+ALCALÁ DE HENARES.
+
+MOORISH PALACE.]
+
+[Illustration: PLATE 405.
+
+ALCALÁ DE HENARES.
+
+INTERIOR OF THE CATHEDRAL.]
+
+[Illustration: PLATE 406.
+
+ALCALÁ DE HENARES.
+
+INTERIOR OF THE CATHEDRAL.]
+
+[Illustration: PLATE 407.
+
+ALCALÁ DE HENARES.
+
+THE CATHEDRAL. NAVE.]
+
+[Illustration: PLATE 408.
+
+ALCALÁ DE HENARES.
+
+SEPULCHRE OF DON ALONSO CARRILLO, ARCHBISHOP OF TOLEDO.]
+
+[Illustration: PLATE 409.
+
+ALCALÁ DE HENARES.
+
+SEPULCHRE OF CARDINAL FRANCISCO XIMÉNEZ DE CISNEROS.]
+
+[Illustration: PLATE 410.
+
+ALCALÁ DE HENARES.
+
+SEPULCHRE OF THE ARCHBISHOP OF TOLEDO, DON ALFONSO CARRILLO DE ACUÑA.]
+
+[Illustration: PLATE 411.
+
+ALCALÁ DE HENARES.
+
+DETAILS OF THE SEPULCHRE OF CARDINAL FRANCISCO XIMÉNEZ DE CISNEROS.]
+
+[Illustration: PLATE 412.
+
+ALCALÁ DE HENARES.
+
+CHAPEL OF SANTIAGO IN THE CHURCH OF SANTA MARÍA.]
+
+[Illustration: PLATE 413.
+
+ALCALÁ DE HENARES.
+
+CHAPEL OF SANTIAGO IN THE CHURCH OF SANTA MARÍA.]
+
+[Illustration: PLATE 414.
+
+ALCALÁ DE HENARES. STAIRCASE IN THE ARCHBISHOP’S PALACE.]
+
+[Illustration: PLATE 415.
+
+ALCALÁ DE HENARES.
+
+DETAILS OF THE WESTERN COURT AND ENTRANCE COURT, ARCHBISHOP’S PALACE.]
+
+[Illustration: PLATE 416.
+
+ALCALÁ DE HENARES.
+
+LONGITUDINAL SECTION AND DETAILS OF THE ARCHBISHOP’S PALACE.]
+
+[Illustration: PLATE 417.
+
+ALCALÁ DE HENARES.
+
+FRONTISPIECE of a Book called “Vita Cristi Cartuxano.”]
+
+[Illustration: PLATE 418.
+
+MUÑOZA BULLS, THE PROPERTY OF THE DUKE OF VERAGUA, BY JOAQUÍN DÍEZ.]
+
+[Illustration: PLATE 419.
+
+TESTING A “BECERRO,” OR YOUNG BULL, AT TABLADA, NEAR SEVILLE, BY JOAQUÍN
+DÍEZ.]
+
+[Illustration: PLATE 420.
+
+SELECTING BULLS FROM THE HERD OF THE DUKE OF VERAGUA AT “LA MUÑOZA,” BY
+JOAQUÍN DÍEZ.]
+
+[Illustration: PLATE 421.
+
+THE TOILET OF THE TOREADOR BEFORE THE BULL-FIGHT, BY V. ESQUIVEL.]
+
+[Illustration: PLATE 422.
+
+BEFORE THE BULL-FIGHT BY B. FERRANDIZ.]
+
+[Illustration: PLATE 423.
+
+TOREADORS PREPARING TO ENTER THE ARENA, BY J. AGRASOT.]
+
+[Illustration: PLATE 424.
+
+ENTERTAINING THE BULL-FIGHTER, BY ALARCÓN.]
+
+[Illustration: PLATE 425.
+
+“HERE COMES THE BULL!” BY P. FRANCÉS.
+
+NATIONAL EXHIBITION OF BEAUX-ARTS, 1887.]
+
+[Illustration: PLATE 426.
+
+“THE UNINVITED GUEST,” BY E. MÉLIDA.]
+
+[Illustration: PLATE 427.
+
+HEAD OF A BULL, BY JOAQUÍN DÍEZ.]
+
+[Illustration: PLATE 428.
+
+PRINCIPAL FAÇADE OF THE NEW PLAZA DE TOROS.]
+
+[Illustration: PLATE 429.
+
+PRINCIPAL ENTRANCE TO THE NEW PLAZA DE TOROS.]
+
+[Illustration: PLATE 430.
+
+INTERIOR OF THE NEW PLAZA DE TOROS.]
+
+[Illustration: PLATE 431.
+
+BULL-FIGHT. ENTRANCE OF THE “CUADRILLA.”]
+
+[Illustration: PLATE 432.
+
+BULL-FIGHT. A PICADOR INCITING THE BULL.]
+
+[Illustration: PLATE 433.
+
+BULL-FIGHT. THE PICADOR.]
+
+[Illustration: PLATE 434.
+
+BULL-FIGHT. THE PICADOR.]
+
+[Illustration: PLATE 435.
+
+BULL-FIGHT. A “QUITE.”]
+
+[Illustration: PLATE 436.
+
+BULL-FIGHT. A “QUITE” OF EL GALLO.]
+
+[Illustration: PLATE 437.
+
+BULL-FIGHT. LAGARTIJO AFTER A “RECORTE.”]
+
+[Illustration: PLATE 438.
+
+BULL-FIGHT. THE BANDERILLAS.]
+
+[Illustration: PLATE 439.
+
+BULL-FIGHT.
+
+FRASCUELO IRRITATING THE BULL WITH A CLOAK BEFORE KILLING HIM.]
+
+[Illustration: PLATE 440.
+
+BULL-FIGHT. LAGARTIJO IRRITATING THE BULL WITH A CLOAK BEFORE KILLING
+HIM.]
+
+[Illustration: PLATE 441.
+
+BULL-FIGHT. THE BULL BEING DRAGGED OUT OF THE ARENA.]
+
+[Illustration: PLATE 442.
+
+LADIES AT THE BULL-FIGHT.]
+
+[Illustration: PLATE 443.
+
+THE PROCESSION.]
+
+[Illustration: ENTRANCE OF THE BULL.]
+
+[Illustration: PLATE 444.
+
+THE PICADOR.]
+
+[Illustration: AT CLOSE QUARTERS.]
+
+[Illustration: PLATE 445.
+
+A TURN WITH HIS BACK TO THE BULL.]
+
+[Illustration: FIXING THE BANDERILLAS.]
+
+[Illustration: PLATE 446.
+
+THE MATADOR.]
+
+[Illustration: THE FINAL STROKE.]
+
+[Illustration: PLATE 447.
+
+BULL-FIGHT. LEAP OVER THE BULL’S NECK.]
+
+[Illustration: PLATE 448.
+
+BULL-FIGHT. LEAP WITH THE POLE.]
+
+[Illustration: PLATE 449.
+
+BULL-FIGHT. BANDERILLAS.]
+
+[Illustration: PLATE 450.
+
+TOREADOR WOUNDED DURING A BULL-FIGHT, BY LIZCANO.]
+
+[Illustration: PLATE 451.
+
+GUERRITA. BANDERILLERO.]
+
+[Illustration: ANTONIO FUENTES.]
+
+[Illustration: PLATE 452.
+
+LUIS MAZZANTINI AND CUADRILLA.]
+
+[Illustration: PLATE 453.
+
+BULL-FIGHT.
+
+LAST MOMENTS OF A TOREADOR AFTER BEING ATTACKED IN THE ARENA, BY R.
+NOVAS.]
+
+ * * * * *
+
+THE SPANISH SERIES
+
+Crown 8vo. Gilt Top. Price 3/6 net.
+
+
+“Mr. A. CALVERT’S Spanish Series will be heartily welcomed by all
+students of Spanish art, for it is not too much to say that never before
+has an attempt been made to present to the public so vast a number of
+reproductions from quite acceptable photographs of Spanish works of art
+at so low a price.”--_The World._
+
+“ ...Calculated to give English readers a most comprehensive survey of
+this fascinating land, and to convey a clear idea of its historic
+greatness. The get-up of the books is in every way worthy of a series of
+this magnitude.”--_Sketch._
+
+“Every volume in the Spanish Series has taught us to expect a high
+standard of excellence.”--_Daily News._
+
+ GOYA with 612 illustrations
+ TOLEDO “ 510 “
+ MADRID “ 453 “
+ GALICIA ---
+ SEVILLE “ 300 “
+ MURILLO “ 165 “
+ CORDOVA “ 160 “
+ EL GRECO “ 136 “
+ VELAZQUEZ “ 136 “
+ THE PRADO “ 220 “
+ THE ESCORIAL “ 278 “
+ SCULPTURE IN SPAIN “ 140 “
+ VALENCIA AND MURCIA “ 300 “
+ ROYAL PALACES OF SPAIN “ 164 “
+ VIZCAYA AND SANTANDER
+ SPANISH ARMS AND ARMOUR “ 386 “
+ GRANADA AND THE ALHAMBRA “ 460 “
+ LEON, BURGOS AND SALAMANCA “ 462 “
+ CATALONIA AND BALEARIC ISLANDS “ 250 “
+ THE ROYAL TAPESTRIES AT MADRID “ 200 “
+ VALLADOLID, OVIEDO, SEGOVIA, }
+ ZAMORA, AVILA AND ZARAGOZA } “ 413 “
+
+ * * * * *
+
+_UNIFORM WITH THIS VOLUME_
+
+
+EL GRECO
+
+A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
+
+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 alloted 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.
+
+
+VELAZQUEZ
+
+A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
+
+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. The
+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 PRADO
+
+A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. WITH 220
+PLATES
+
+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 the miracles of art.
+
+ * * * * *
+
+_UNIFORM WITH THIS VOLUME_
+
+
+VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 413 PLATES
+
+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
+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 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.
+
+
+VALENCIA AND MURCIA
+
+A GLANCE AT AFRICAN SPAIN, WITH 300 ILLUSTRATIONS
+
+Every traveller to the fertile Provinces which form the subject of this
+volume has been forcibly impressed by their outward resemblance to the
+more favoured parts of Northern Africa. And here, only to a degree less
+than in Andalusia, the Moors made themselves very much at home, and have
+left behind them ineffaceable impressions.
+
+In this delightful region the dusky invaders established themselves at
+Valencia, which they dubbed the City of Mirth. The history of the land
+is alike a fevered dream of mediævalism. Across its pages flit the
+shadowy forms of Theodomir, and the Cid and Jaime lo Conqueridor,
+standing out against a back-ground of serried hosts and flaming cities.
+The people to-day are true children of the sun, passionate, vivacious,
+physically well proportioned. The country is a terrestrial paradise,
+where the flowers ever blossom and the sun ever shines. To-day the
+Valencian supplements the bounty of Nature by enterprise and industry.
+His ports pulsate with traffic, and side by side with memorials of the
+life of a thousand years ago, modern social Spain may be studied at
+Alicante and El Cabanal, the Brighton and Trouville of the Peninsula.
+
+ * * * * *
+
+_UNIFORM WITH THIS VOLUME_
+
+
+THE ROYAL TAPESTRIES
+
+AT MADRID
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE COLLECTION OF BEAUTIFUL
+TAPESTRIES IN THE ROYAL PALACE AT MADRID. WITH OVER 200 PLATES
+
+The Royal Palace at Madrid contains the most valuable and interesting
+collection of Tapestries in Europe. These were for the most part woven
+in Flanders, some in the early fifteenth century, at a time when the
+industry in that country had reached its zenith. At a later period the
+work of the Flemish artists was imitated in Spain itself with no little
+success. Among the designers of these superb works of art were Quentin
+Matsys, Pieter Breughel, and the Divine Raphael himself. Not
+artistically only but historically the collection is of rare interest.
+
+
+SPANISH ARMS AND ARMOUR
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
+WITH 386 PLATES
+
+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 rearrangement, 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.
+
+
+GRANADA AND THE ALHAMBRA
+
+WITH AN ACCOUNT OF THE MOSLEM RULE IN SPAIN AND OF THE ARCHITECTURE, AND
+THE DECORATION OF THE MOORISH PALACE, AND 460 PLATES
+
+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.
+
+ * * * * *
+
+_UNIFORM WITH THIS VOLUME_
+
+
+LEON, BURGOS AND SALAMANCA
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 PLATES
+
+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.
+
+
+CATALONIA AND THE BALEARIC ISLANDS
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 250 PLATES
+
+Catalonia is the Spain of to-day and of the future. There are those who
+believe that Catalonia contains all the elements essential to the
+complete regeneration of Spain, and that she will raise the whole
+country to her industrial level. But the old county of Barcelona has a
+glorious and stirring past, as well as a promising future. Her history
+goes back to the days of Charlemagne, and has to tell of merchant
+princes and of hazardous commercial enterprise reminding one of the
+Italian maritime republics. The Balearic Islands, one of which (Minorca)
+was long an English possession, constitute one of the most flourishing
+provinces of the Kingdom. Delightful as a place of sojourn or residence,
+Majorca and her sister isles reveal many and conspicuous traces of that
+prehistoric race which once offered bloody sacrifices to the Sun on all
+the shores of the Inland Sea.
+
+
+THE ESCORIAL
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
+MONASTERY AND MAUSOLEUM. WITH PLANS AND 278 PLATES
+
+The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
+its gaunt, grey walls in one of the bleakest and most impossible
+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.
+
+ * * * * *
+
+_UNIFORM WITH THIS VOLUME_
+
+
+GALICIA
+
+THE LAND AND THE PEOPLE. A HISTORICAL AND DESCRIPTIVE ACCOUNT.
+ILLUSTRATED
+
+The old kingdom of Galicia may not inaptly be termed the Wales of Spain.
+Its people approximate closely to the old Celtic type, with a large
+admixture of the Teutonic blood of that strange forgotten tribe, the
+Suevi, who held sway here for two centuries. Though every traveller in
+Spain has met the sturdy patient Gallegos in the capacity of porters,
+servants, and workers, few trouble to visit their country, a pleasant
+land of green hills, deep valleys smiling lakes, brawling streams and
+long fjords like gulfs.
+
+
+ROYAL PALACES OF SPAIN
+
+A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
+THE SPANISH KINGS. WITH 164 PLATES.
+
+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 Aranjuez to
+Rio Frio, and from El Prado, 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.
+
+
+VIZCAYA AND SANTANDER
+
+SOME ACCOUNT OF THE CANTABRIAN LAND AND OF SPANISH NAVARRE. BY ALBERT F.
+CALVERT
+
+Whether or not the Basques be the aboriginal inhabitants of the
+Peninsula, they are at least the oldest of its peoples, and among the
+most interesting. Their language, their customs their _fueros_ of local
+code, above all their mysterious origin, have been the themes of
+discussion and speculation among the learned for centuries--and are
+likely to continue so. Meanwhile they flourish exceedingly, and their
+towns, or at least their sea-ports hum with life and energy.
+
+
+
+
+
+End of the Project Gutenberg EBook of Madrid, by Albert F. Calvert
+
+*** END OF THE PROJECT GUTENBERG EBOOK 63020 ***
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