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+*** START OF THE PROJECT GUTENBERG EBOOK 64923 ***
+
+                          THE SPANISH SERIES
+
+
+                               CATALONIA
+                         & THE BALEARIC ISLES
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                          GOYA
+                          TOLEDO
+                          MADRID
+                          SEVILLE
+                          MURILLO
+                          CORDOVA
+                          EL GRECO
+                          VELAZQUEZ
+                          THE PRADO
+                          THE ESCORIAL
+                          VALENCIA AND MURCIA
+                          SCULPTURE IN SPAIN
+                          ROYAL PALACES OF SPAIN
+                          GRANADA AND ALHAMBRA
+                          SPANISH ARMS AND ARMOUR
+                          LEON, BURGOS AND SALAMANCA
+                          CATALONIA AND THE BALEARIC ISLES
+                          VALLADOLID, OVIEDO, SEGOVIA,
+                             ZAMORA, AVILA AND ZARAGOZA
+
+
+
+
+                               CATALONIA
+                         & THE BALEARIC ISLES
+
+                     AN HISTORICAL AND DESCRIPTIVE
+                           ACCOUNT BY ALBERT
+                      F. CALVERT, WITH 250 PLATES
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                   NEW YORK: JOHN LANE COMPANY: MCMX
+
+
+
+
+                              PRINTED BY
+                       BALLANTYNE & COMPANY LTD
+                    TAVISTOCK STREET COVENT GARDEN
+                                LONDON
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+THE PRINCIPALITY OF CATALONIA                                          1
+
+BARCELONA                                                              8
+
+GERONA                                                                23
+
+THE VALLEY OF THE TER                                                 36
+
+LERIDA                                                                40
+
+TARRAGONA                                                             52
+
+POBLET                                                                63
+
+SANTA CREUS                                                           69
+
+VALLBONA                                                              72
+
+MONTSERRAT                                                            73
+
+CARDONA                                                               83
+
+TORTOSA                                                               84
+
+THE BALEARIC ISLANDS                                                  86
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+        TITLE                                                        PLATE
+
+  General View of Barcelona                                            1
+  General View of Barcelona                                            2
+  Barcelona: View from the Funicular Railway Station                   3
+  Barcelona: Panorama from Monjuich                                    4
+  Barcelona: Panorama from Monjuich                                    5
+  Barcelona: Panorama from Monjuich                                    6
+  Barcelona: The Docks                                                 7
+  Barcelona: General View of the Port                                  8
+  Barcelona: Detail of the Port                                        9
+  Barcelona: View from Miramar                                        10
+  Barcelona: Rambla del Centro                                        11
+  Barcelona: Rambla del Centro                                        12
+  Barcelona: Rambla de las Flóres                                     13
+  Barcelona: Rambla de las Flóres                                     14
+  Barcelona: Paseo de Colón                                           15
+  Barcelona: Paseo de Colón and Hotel                                 16
+  Barcelona: Paseo de Colón and Statue of Lopez                       17
+  Barcelona: Rambla de los Estudiantes                                18
+  Barcelona: Paseo de Gracia                                          19
+  Barcelona: Paseo de Gracia                                          20
+  Barcelona: Rambla de Cataluña                                       21
+  Barcelona: Plaza de Cataluña                                        22
+  Barcelona: Rambla de Santa Monica and the Bank                      23
+  Barcelona: La Gran Via and Statue of Güel y Ferrer                  24
+  Barcelona: Plaza de Cataluña                                        25
+  Barcelona: Plaza de Cataluña                                        26
+  Barcelona: Plaza de la Paz                                          27
+  Barcelona: Plaza del Palacio                                        28
+  Barcelona: Plaza del Palacio                                        29
+  Barcelona: Plaza Real                                               30
+  Barcelona: Plaza del Rey                                            31
+  Barcelona: Plaza Antonio López                                      32
+  Barcelona: Calle de Ferdinand VII.                                  33
+  Barcelona: Calle de Balmes                                          34
+  Barcelona: Calle de Aragón                                          35
+  Barcelona: Güell Park                                               36
+  Barcelona: Entrance to the Güell Park                               37
+  Barcelona: Entrance to the Park                                     38
+  Barcelona: Lake in the Park                                         39
+  Barcelona: Lake in the Park                                         40
+  Barcelona: The “Cascada” in the Park                                41
+  Barcelona Park: Details of the “Cascada”                            42
+  Barcelona: Fountain in the Park                                     43
+  Barcelona: The Cathedral                                            44
+  Barcelona: The Cathedral                                            45
+  Barcelona Cathedral: Principal Entrance                             46
+  Barcelona Cathedral: Right-hand Side Door                           47
+  Barcelona Cathedral: Door of the Piedad                             48
+  Barcelona Cathedral: Door of Santa Eulalia                          49
+  Barcelona Cathedral: Exterior Door of Santa Lucia                   50
+  Barcelona Cathedral: Interior Door of Santa Lucia
+       and Sepulchre of Mossen Borra                                  51
+  Barcelona: Interior of the Cathedral                                52
+  Barcelona: Interior of the Cathedral                                53
+  Barcelona Cathedral: Detail of the Choir                            54
+  Barcelona Cathedral: The High Altar                                 55
+  Barcelona: The Archive of the Cathedral                             56
+  Barcelona Cathedral: Cloisters and Principal Interior Door          57
+  Barcelona: Chapel in the Cloisters of the Cathedral                 58
+  Barcelona: Cloisters of the Cathedral                               59
+  Barcelona: Cloisters and Door of the Cathedral                      60
+  Barcelona: Cloisters of the Cathedral                               61
+  Barcelona: Cloisters of the Cathedral                               62
+  Barcelona: Chapel in the Cloisters of the Cathedral                 63
+  Barcelona Cathedral: Fountain in the Cloisters                      64
+  Barcelona Cathedral: Fountain in the Cloisters                      65
+  Barcelona: Fountain in the Cloisters of the Cathedral               66
+  Barcelona: Fountain in the Cloisters of the Cathedral               67
+  Barcelona Cathedral: Door in the Cloisters                          68
+  Barcelona Cathedral: Iron Grating in the Cloisters                  69
+  Barcelona Cathedral: Grating in the Cloisters                       70
+  Barcelona Cathedral: Door in the Cloisters                          71
+  Barcelona: Santa Maria del Mar                                      72
+  Barcelona: Church of Santa Maria del Mar                            73
+  Barcelona: Church of Santa Maria del Mar. Gate of the Immaculada    74
+  Barcelona: Church of Santa Maria del Mar. Detail of Left Door       75
+  Barcelona: Detail of the Door of the Church of Santa Maria del Mar  76
+  Barcelona: Church of Santa Maria del Pino                           77
+  Barcelona: Byzantine Doorway in the Church of San Pablo             78
+  Barcelona: Cloisters of San Pablo                                   79
+  Barcelona: Cloisters of San Pablo                                   80
+  Barcelona: Façade of the Church of Santa Ana                        81
+  Barcelona: Cloisters of the Church of Santa Ana                     82
+  Barcelona: Cloisters of the Church of Santa Ana                     83
+  Barcelona: Church of the Sagrada Familia                            84
+  Barcelona: Church of Las Salesas                                    85
+  Barcelona: Church of Las Salesas                                    86
+  Barcelona: Church of the Conception                                 87
+  Barcelona: Church of Santa Agueda                                   88
+  Barcelona: The Town Hall                                            89
+  Barcelona: The Town Hall                                            90
+  Barcelona: Old Façade of the Town Hall                              91
+  Barcelona: Exterior Detail of the Town Hall                         92
+  Barcelona: Chapel of San Jorge in the Town Hall                     93
+  Barcelona: Courtyard of the Town Hall                               94
+  Barcelona: Entrance to the Courtyard of the Audiencia               95
+  Barcelona: Upper Part of the Courtyard of the Town Hall             96
+  Barcelona: The University                                           97
+  Barcelona: Cloisters of the University                              98
+  Barcelona: Cloisters of the University, Upper Part                  99
+  Barcelona: Palacio de Justicia                                     100
+  Barcelona: Diputacion Provincial                                   101
+  Barcelona: Diputacion Provincial                                   102
+  Barcelona: The Exchange                                            103
+  Barcelona: The Custom House                                        104
+  Barcelona: Clinical Hospital                                       105
+  Barcelona: Municipal School of Music                               106
+  Barcelona: Catalana del Gas                                        107
+  Barcelona: La Maison Dorée                                         108
+  Barcelona: Casa de la Canongia                                     109
+  Barcelona: Private House of the Eighteenth Century                 110
+  Barcelona: A Shop in the Calle Fernando                            111
+  Barcelona: New Building in the Paseo de Gracia                     112
+  Barcelona: House of the Shoemakers                                 113
+  Barcelona: House in the Calle de Caspe                             114
+  Barcelona: Arco de Triunfo                                         115
+  Barcelona: Teatro Principal                                        116
+  Barcelona: Old Towers in the Plaza Nueva                           117
+  Barcelona: Tower of Santa Agueda                                   118
+  Barcelona: Convent of Santa Clara. Old Palace of
+      the Kings of Aragon                                            119
+  Barcelona: Apeadero de la Calle de Aragon                          120
+  Barcelona: Hotel Colón                                             121
+  Barcelona: Staircase in a Private House in the Calle de Moncada    122
+  Barcelona: Staircase in a Private House in the Calle de Moncada    123
+  Barcelona: Frontón                                                 124
+  Barcelona: The Bull-Ring                                           125
+  Barcelona: Monument to Columbus                                    126
+  Barcelona: Monument to Columbus                                    127
+  Barcelona: Detail of the Monument to Columbus                      128
+  Barcelona: Monument to Columbus                                    129
+  Barcelona: Monument to Güell                                       130
+  Barcelona: Fountain in the Plaza de Palacio                        131
+  Barcelona: Statue of General Prim                                  132
+  Barcelona: Rambla de Cataluña, Monument to Clavé                   133
+  Barcelona: Statue of Lopez, and Paseo de Colón                     134
+  Barcelona: Plaza del Duque de Medinacelli                          135
+  Barcelona: Monument to Ruis and Toulet                             136
+  Barcelona: View of Tibidabo                                        137
+  Barcelona: Funicular Railway Station, Tibidabo                     138
+  Barcelona: Tibidabo Station and Casa Arnus                         139
+  Barcelona: The Devil’s Bridge at Martorell                         140
+  Barcelona: Interior Court of the Convent of Montesion              141
+  Barcelona: Exterior of the Convent of Montesion                    142
+  Barcelona: Convent of Montesion Cloisters                          143
+  Monastery of Pedralves, near Barcelona                             144
+  Barcelona: Rambla de Canaletas during the Fêtes of 1888            145
+  Barcelona: The Fêtes of 1888. Inauguration of the Monument
+       to Columbus                                                   146
+  Barcelona: Exhibition of 1888. H.M. the Queen leaving
+        the Exhibition                                               147
+  Barcelona: Exhibition of 1888. Palace of Beaux-Arts                148
+  General View of Tarragona                                          149
+  Tarragona: General View from the Cathedral, looking South          150
+  Tarragona: General View from the Cathedral, looking East           151
+  Tarragona: General View                                            152
+  Tarragona: General View from the Pier                              153
+  Tarragona: Panoramic View                                          154
+  Tarragona: View of the Port                                        155
+  Tarragona: View of the Harbour from the Town                       156
+  Tarragona: General View of the Cathedral                           157
+  Tarragona: Façade of the Cathedral                                 158
+  Tarragona: Façade of the Cathedral                                 159
+  Tarragona: Tower and Side of the Cathedral                         160
+  Tarragona: Façade of the Cathedral                                 161
+  Tarragona Cathedral: Centre of the Portal                          162
+  Tarragona: Left-hand Side Door of the Cathedral                    163
+  Tarragona Cathedral: Statues of the Portico                        164
+  Tarragona Cathedral: Detail of the Portico                         165
+  Tarragona: Byzantine Door of the Cathedral                         166
+  Tarragona: Right-hand Side Door of the Cathedral                   167
+  Tarragona Cathedral: The Principal Nave                            168
+  Tarragona Cathedral: Tomb of Jaime de Aragon                       169
+  Tarragona: Cloisters of the Cathedral                              170
+  Tarragona: Door of the Chapel of San Pablo                         171
+  Tarragona: La Muralla Ciclopea                                     172
+  Tarragona: Puerta de San Antonio and Roman Walls                   173
+  Tarragona: Roman Walls and Tower                                   174
+  Tarragona: Tower of the Scipiones                                  175
+  Tarragona: Gate of San Antonio and the Roman Wall                  176
+  Tarragona: Palace of Pilatos, now the Prison                       177
+  Tarragona: La Portella, A Cyclopean Doorway                        178
+  Tarragona: A Cyclopean Doorway                                     179
+  Tarragona: A Roman House                                           180
+  Tarragona: Arco de Bará                                            181
+  Tarragona: The Roman Aqueduct                                      182
+  Tarragona: The Roman Aqueduct                                      183
+  Tarragona: The Seminary                                            184
+  Tarragona: Cross of San Antonio (sixteenth century)                185
+  Tarragona: Ancient Roman Convent                                   186
+  Poblet (Tarragona): General View of the Monastery                  187
+  Poblet (Tarragona): Church of the Monastery                        188
+  Poblet (Tarragona): Door of the Monastery                          189
+  Poblet (Tarragona): Chapel of San Jorge                            190
+  Poblet (Tarragona): Temple in the Cloisters                        191
+  Poblet (Tarragona): Cloisters and Palace of King Martin            192
+  Poblet (Tarragona): Interior View of the Cloisters                 193
+  Poblet (Tarragona): Interior View of the Cloisters                 194
+  Santa Creus (Tarragona): General View of the Church
+      of the Monastery                                               195
+  Santa Creus (Tarragona): Door of the Cloisters                     196
+  Santa Creus (Tarragona): Interior of the Cloisters                 197
+  Santa Creus (Tarragona): Interior Side View of the Cloisters       198
+  Montserrat: View of the Monastery                                  199
+  Monastery of Montserrat                                            200
+  View of the Monastery of Montserrat, taken from St. Michael        201
+  Montserrat: General View of Monastery from the South               202
+  Montserrat: View of the Monastery from the South                   203
+  Montserrat: General View                                           204
+  Montserrat: View of the Monastery from the West                    205
+  Montserrat: The Monastery                                          206
+  Montserrat: Grotto of the Virgin                                   207
+  Montserrat: The Virgin’s Cave                                      208
+  Montserrat: View from the Grotto of the Virgin                     209
+  Montserrat: The Cave of Juan Guarin the Hermit                     210
+  Montserrat: Remains of the Ancient Monastery                       211
+  Montserrat: Door of the Church                                     212
+  Montserrat: Interior of the Church                                 213
+  Montserrat: View of the Peaks                                      214
+  Montserrat: The Devil’s Rock                                       215
+  Montserrat: Miranda Peak                                           216
+  View of Montserrat, taken from Monistol Station                    217
+  View of Monistol, taken from Montserrat                            218
+  Tortosa: General View                                              219
+  Tortosa: Courtyard in the Institute                                220
+  The Court, San Francisco, Palma, Mallorca                          221
+  Gran Hotel, Palma, Mallorca                                        221
+  Palace of the Almudaina, Palma, Mallorca                           222
+  Windmill and Electrical Works, Palma, Mallorca                     223
+  View of the “Real Club de Regatas,” Palma, Mallorca                224
+  Market and Church of San Nicolas, Palma, Mallorca                  225
+  San Francisco, Palma, Mallorca                                     225
+  View from the Harbour, Palma, Mallorca                             226
+  View of the Bay, Palma, Mallorca                                   227
+  The Almudaina and Cathedral, Palma, Mallorca                       228
+  Puerta de Santa Margarita, Palma, Mallorca                         229
+  The Cathedral, Palma, Mallorca                                     229
+  Paseo del Borne, Palma, Mallorca                                   230
+  Arabian Baths, Palma, Mallorca                                     230
+  View of the Gorch Blau, Mallorca                                   231
+  The Gorch Blau, Mallorca                                           231
+  Interior of San Francisco, Palma, Mallorca                         232
+  Arab Baths, Palma, Mallorca                                        233
+  The Quay, Palma, Mallorca                                          234
+  Mills, Palma, Mallorca                                             235
+  The River, Seller, Mallorca                                        236
+  General View of Alcudia, Mallorca                                  237
+  The Cathedral, Palma, Mallorca                                     238
+  The Church of the Monastery, Lluch, Mallorca                       238
+  La Cartuja, Valldemosa, Mallorca                                   239
+  Puerta del Muelle, Alcudia, Mallorca                               239
+  Interior of the Church, Lluch, Mallorca                            240
+  Transport of Musts, Balearic Islands                               241
+  General View of Deya, Mallorca                                     242
+  Castle of Bellver, Mallorca                                        243
+  General View of San Antonio (Pityusae Isles)                       244
+  Ruins of the Torre d’ea Galines, Alazor, Menorca                   245
+  Villa Carlos, Mahon, Menorca                                       246
+  View of the Port, Mahon, Menorca                                   246
+  The Harbour, Mahon, Menorca                                        247
+  A View in the Town, Mahon, Menorca                                 247
+  The Quay, Mahon, Menorca                                           248
+  Paseo del Borne, Ciudadela, Menorca                                249
+  View of the Port, Mahon, Menorca                                   250
+  The Port and Town, Ciudadela, Menorca                              251
+  Threshing, San Antonio (Pityusae Isles)                            252
+  A Street in Algendar, Ferrerias, Menorca                           252
+  A View showing the Arabian Towers, Ibiza (Pityusae Isles)          253
+  River Pareys                                                       254
+  Portal of d’alt or d’en Servera, Mahon, Menorca                    255
+  Monument to the French Prisoners who died in 1808,
+       Island of Cabrera, Menorca                                    256
+
+
+
+
+CATALONIA
+
+
+
+
+THE PRINCIPALITY OF CATALONIA
+
+
+Every stranger who crosses the Pyrenees knows that Catalonia differs in
+many important respects from every other province in the kingdom. He has
+heard that the natives speak of going into Spain as if they lived
+outside of it; he knows that they speak a tongue different from the
+Castilian; that their enterprise and activity distinguish them
+favourably among King Alfonso’s subjects, and they have kept well
+abreast of every other European community. All this is true, and it
+would be easy to enumerate many other peculiarities. The tendency,
+however, is to exaggerate the points of difference between Spaniard and
+Catalan, and to lose sight of their fundamental affinity. The language
+of Catalonia, though not a mere dialect as some suppose, is as
+essentially Spanish as the Castilian. It was spoken by those Hispani who
+were driven out of Spain by the Saracens and returned in the ninth
+century to settle in the north-east corner of the country. Thus Catalan
+language and people were born in the very heart of the Peninsula and
+have since been confined to a portion of it only by political causes.
+There is, of course, no such essential difference between Catalans and
+Castilians as between Welsh and English, Bretons and French. Both are
+branches of the great Iberian family. If Catalonia were an independent
+State, it would be its affinity to Spain that would impress us most, and
+set us wondering, as we do in Portugal, how two countries so much alike
+could continue politically distinct.
+
+The superior enterprise and energy of the Catalans may be attributed
+less, I think, to racial differences than to historical and geographical
+causes. Far removed from the scene of the secular struggle with the
+Moor, and dwelling on the marge of the sea which was the principal
+commercial arena of the ancient and mediæval world, the people of
+Catalonia had from a very remote period opportunities for development
+denied to the inhabitants of every other part of Spain. The Moors were
+expelled from Barcelona at the beginning of the ninth century. Catalonia
+had thus a start of more than four centuries over Seville, and of six
+over Malaga--to say nothing further of the incontestable advantages of
+her geographical position.
+
+Without wishing, it need hardly be said, to depreciate the progressive
+tendencies of the Catalans, I confess I am inclined to attribute them,
+not to any racial superiority over other Spaniards, but mainly to the
+causes I have indicated.
+
+Catalonia thus bears witness to the aptitude of the Spaniard, for the
+most active forms of commercial and industrial life, to his ability to
+keep in the van of progress. The lead given by Barcelona will inevitably
+be followed by all the other towns in the kingdom, now that the special
+circumstances which retarded their development have been removed. In the
+most populous city of Spain I fail to recognise a miracle or the work of
+another people than the Spanish. I see instead the results of Spanish
+enterprise and capacity singular only in having had the opportunity to
+assert itself.
+
+From the day--it was in the year 813--that the fleet of the Count of
+Ampurias gloriously defeated a Saracen squadron off the Balearic Isles,
+Catalonia has looked seaward. It was on the wave that the men of
+Barcelona found glory and riches. They were the rivals of the Pisans,
+Genoese and Venetians, and can boast a maritime history far longer and
+hardly less glorious than our own. It is recorded in one of the best
+historical works ever written, the “Memorias sobre la Marina de
+Barcelona,” by Don Antonio de Capmany y Palau, published in 1779. The
+learned author contrasts the naval eminence of Barcelona with that of
+other powers, and assigns the city a higher rank than England and
+Portugal. In the middle of the Eleventh century, laws regulating and
+favouring commerce and providing for the suppression of piracy were
+decreed by Count Ramon Berenguer II. In the year 1114, the third Count
+of that name assisted, with his own fleet, the Pisans in the reduction
+of the Island of Majorca; in 1147 Almeria was attacked and plundered by
+the allied fleets of Barcelona and Genoa; and in the following year
+another naval victory added Tortosa to the principality.
+
+The conquests of the great King James of Aragon gave a great impetus to
+the commerce of Barcelona as well as to the development of arts and
+letters. The extension of the city’s relations to the Levant and Egypt
+led to the appointment of consuls in all the parts frequented by
+Catalans. A Maritime Code was promulgated in 1258, and soon became very
+generally adopted throughout the Mediterranean. A second time the hardy
+sailors of Barcelona drove the pirates from their nest in the Balearics,
+the islands this time remaining definitely annexed to the crown of
+Aragon. All the ships were furnished by the city on this occasion, and
+the King named as commander Ramon de Plegarnoás, a rich citizen, expert
+in naval affairs.
+
+In the thirteenth century, Aragon (or in other words, as regards the
+sea, Barcelona) was the most formidable power in the Mediterranean. Her
+merchant princes competed successfully with the traders of Genoa and
+Venice, at the farthest ports of Egypt and Syria. King James when
+appealing to the States of Aragon for a subsidy to carry on the war
+against the infidel, reminded them that if Majorca were lost, Catalonia
+would lose the dominion and absolute power she exercised over the sea.
+Montaner, the Froissart of his nation, has bequeathed to us a stirring
+chronicle of the expedition (in which he took part) of the Catalans to
+Greece under the leadership of Roger de Flor. In the year 1332, Philip
+of France, when about to embark on the Crusades, was advised to entrust
+the management of the expedition exclusively to the Genoese and
+Catalans, these being provided with the best ships and seamen, and the
+most experienced in naval matters. As late as the year 1467, the Grand
+Signior found it expedient to pay an indemnity to the King of Aragon to
+secure immunity for his coasts from the persistent attacks of the
+dreaded privateers of Barcelona. It is with reason that Capmany
+attributes to the seamanship of the Barcelonese the extension of the
+power of Aragon over the kingdoms of Naples, Sicily and Sardinia. Upon
+the consolidation of Spain at the beginning of the sixteenth century and
+the rise of the great modern States, the city was eclipsed as a sea
+power. Its merchants looked with little favour on the discovery of
+America, an enterprise promoted by Castile. Of the reception of Columbus
+here by the Catholic Kings, not one word is said in the archives of the
+city.
+
+Soon after, Barcelona just escaped becoming the scene of a discovery
+almost as important as that of the New World. Here, says O’Shea, on
+January 17, 1543, a ship of 200 tons was launched, propelled by two
+wheels driven by steam. The inventor was Blasco de Garay, and the trial
+was successfully made in the presence of a royal commission. The King’s
+treasurer, one Ráongo, for some personal motive it is said, drew up a
+report unfavourable to the invention, declaring the ship made only six
+miles in two hours, and that the boiler was likely to burst. Perhaps
+this report was not ill-founded, for though Garay received a grant of
+200,000 maravedis in addition to his expenses, he made no further
+progress with his invention. The fate of this and many other experiments
+with steam in the sixteenth, seventeenth and eighteenth centuries seems
+to prove that our ancestors rather failed to recognise the necessity of
+any improvement in the means of locomotion, than wanted the skill to
+effect it. It will be remembered that Mr. Shandy thought that on
+economical grounds alone the inventors of mechanical means of transport
+should be discouraged. A useful invention with which the Barcelonese may
+fairly be credited, is marine insurance.
+
+
+
+
+BARCELONA
+
+
+Barcelona has remained true to her traditions. She is still, as of old,
+a city of merchant princes, a hive of industry, at once the Liverpool
+and Manchester of Spain. To those who visit the capital of Catalonia
+after an acquaintance only with the moribund cities of Old Castile, this
+vision of España Moderna comes as a shock and a revelation. The first
+impression is not pleasing. You approach the city through a vast
+wilderness of suburbs, teeming with life, and breathing apparently
+through grimy factory chimneys. We realise that we have returned to the
+civilised twentieth century. But the brighter side of modernity is soon
+revealed. In its heart Barcelona is clean, bright, and spacious. The
+boulevards are unequalled in Europe--except perhaps by Budapest--and the
+street prospects are worthy of Washington. The Rambla is the most
+delightful of promenades; in the Calle Fernando the contents of every
+shop window tempt the unthrifty. A noble, beautiful modern metropolis,
+still worthy of Cervantes’ encomium: “Flor de las bellas ciudades del
+mundo, honra de España, reglo y delicia de sus moradores, y
+satisfacción de todo aquello que de una grande famosa, rica, y bien
+fundada ciudad, puede pedir un discreto y curioso deseo.”
+
+Barcelona is richer in monuments of the past than many a more
+ancient-looking city. Foremost among these is the Cathedral in the very
+heart of the town, one of the grandest examples of Gothic architecture
+in Spain. Its extreme sombreness and apparently massive character
+produce a similar impression to that created by the much larger
+Cathedral of Seville.
+
+Street thinks very highly of this church, and remarks on the skill with
+which the architect has contrived to make it appear much larger than it
+really is. He observes “the architecture of Cataluña had many
+peculiarities, and in the fourteenth and fifteenth centuries, when most
+of the great buildings of Barcelona were being erected, they were so
+marked as to justify me, I think, in calling the style as exclusively
+national or provincial, as ... was our own Norfolk middle-pointed....
+Besides this, there was one great problem which I may venture to say
+that the Catalan architects satisfactorily solved, the erection of
+churches of enormous and almost unequalled internal width.”
+
+The primitive Cathedral was built by Count Ramón Berenguer between 1046
+and 1058, and considerably enlarged in the year 1173. The building, not
+yet satisfying the needs of the thriving city, was entirely rebuilt at
+the beginning of the fourteenth century. The design is attributed by
+Street to Jaime Fabre, a native of Majorca, who was succeeded as master
+of the works in 1388 by Master Roque. The last stone of the vault was
+placed on September 26, 1448.
+
+In plan the church is externally a parallelogram, semicircular at the
+east end. The transepts do not project beyond the line of chapels
+opening off the aisles, and form each the basis of a tower, 170 feet
+high. The old timber roofs of these towers have been removed (as from
+our castles) laying bare simply the vaulting covered with tiles. Over
+the Puerta de San Ivo by which you enter the north transept, a series of
+reliefs illustrates a combat between a knight and a dragon. The former
+is not St. George, the patron of Aragon, but a legendary hero, one
+Villardell, who by Divine favour was armed with a miraculous sword. With
+this he slew the monster which had been let loose by the Saracens, and
+exultingly cried, “Well done, good sword, and stout arm of Villardell!”
+But at that instant some drops of the dragon’s blood fell on his arm,
+and he at once expired. He was thus punished for taking the credit of
+the victory to himself.
+
+The west front, only finished ten years ago, compares very unfavourably
+with the older portions. The dome over the first or westernmost bay of
+the nave is also modern. Little else of the exterior can be seen.
+Inside, as I have said, the church is extremely sombre, and very
+conducive to what an eminent divine called Gothic devotion. This is due
+partly to the dark colour of the stone, and partly to the smallness of
+the windows, which are filled with beautiful fifteenth-century stained
+glass. The windows of the chapels in the south aisle open into a
+corresponding row of chapels in the adjacent cloister. Everything, in
+fact, has been done to keep out the torrid rays. The chapels are
+continued all round the church, there being no fewer than twenty-seven.
+The choir is, as usual, in the middle of the nave, being separated by
+the crossing from the chancel. Twenty massive and somewhat inelegant
+clustered columns separate the nave from the aisles and the chancel from
+the ambulatory, and from their capitals spring the nineteen arches
+forming the vaulted roof. Nave and aisles are alike 83 feet high. The
+cathedral is dedicated to a local martyr, Santa Eulalia, whose body
+since the year 1339 has reposed in the crypt beneath the chancel. The
+shrine of the saint was the work of Fabre and is in Italian Gothic
+style. The ark is sculptured with scenes from the saint’s life.
+
+There is little remarkable about the High Altar. The choir-stalls are
+richly carved, and date from the late fifteenth century. Like the stalls
+of St. George’s Chapel at Windsor, they are decorated with coats of
+arms--those of the knights of the Order of the Golden Fleece, in
+commemoration of the chapter held here by Charles V. (then only King of
+Spain) in 1519. Among the Knights present were the Kings of Denmark and
+Poland, the Prince of Orange, and the Duke of Alva. The rear wall of the
+choir is beautifully adorned with columns, and reliefs of Bartolomé
+Ordonez, and Pedro Vilar of Zaragoza, representing scenes from the life
+of the titular. It is a fine example of the Spanish Renaissance style.
+Before beginning an examination of the chapels, attention may be called
+to the huge Saracen’s head hanging from the organ in the north
+transept--a common feature in Catalan churches, and symbolising the
+reconquest of their sites from the infidel.
+
+A floor runs round the church above the side chapels and is carried
+across the west front. The upper rooms were never used as places of
+worship. The chapels are closed by mediæval grilles of wrought iron.
+They date mostly from the sixteenth and seventeenth centuries, and
+present no very interesting features. This is fortunate for the
+painstaking sightseer, as the obscurity renders an examination
+difficult. A crucifix in the uppermost chapel in the chevet is a
+memorial of the battle of Lepanto, where it was carried on the prow of
+Don Juan’s flagship. The image is believed by some to have bent its head
+to avoid the Turkish bullets. In the chapels of San Miguel Arcángel and
+Nuestra Señora del Patrocinio, close by, are the fine Gothic tombs of
+Bishop Berenguer de Palau (died 1240) and of one of his successors,
+Poncio de Gualba (died 1334). Leaving the ambulatory by the north, the
+chapel on the right contains another good Gothic monument to Bishop
+Escaler. The finest tomb, on the whole, is that of Doña Sancha de
+Cabrera, lady of Noalles, in the chapel of San Clemente, in the south
+aisle; and three chapels farther on is the sarcophagus of the great
+Catalan saint, Ramon de Penafort. The two wooden urns covered with
+crimson velvet in the wall between the south transept and the sacristy
+enshrine the ashes of Count Ramon Berenguer the Old, and his consort,
+Almodis (died 1070). Opening off the south aisle, close to the main
+entrance, is the large square chapel of the Holy Sacrament, or of St.
+Olegarius, with a fine star-vaulting, the seventeenth-century monument
+of the titular, and some paintings of Villadomat, a local artist of some
+repute, who lived in the first half of the eighteenth century. There are
+also some paintings of merit by the Tramullas, father and son, of
+Perpignan, but generally speaking this fine cathedral is poor in
+painting and statuary.
+
+Cloisters are nearly always charming, and those adjoining the Cathedral
+on the south side are certainly so, with their palms and fruit trees and
+fountains. One of these last is adorned with a statue of St. George, a
+jet of water serving as a tail to the horse. In one corner is a
+goose-pond. I saw nothing of the cats who, Street says, were prowling
+about the cloisters and church, and contrived to get into the
+choir-stalls just before service, whence they were forthwith chased by
+the choristers and such of the clergy as happened to be there. I have
+witnessed such scenes in French churches, where they are very
+distracting to the devout. The cloister was begun by Master Roque and
+finished in 1448. The architecture has been variously criticised, and
+the tombs for the most part are poor. On these the profession of the
+deceased is indicated by the implements of his trade lightly graven. The
+resting-place of Mosém (Monseigneur) Borrà, the jester of Alfonso V. of
+Aragon, is distinguished by the cap and bells. In the Chapel of the
+Conception there used to be, says O’Shea, a picture painted by order of
+the municipality in gratitude for the cessation of the plague in 1651,
+at the intercession of the Virgin. The keys of the city, made in
+silver, were presented to her on that occasion. In the chapel of Santa
+Lucia, at the south-west angle of the cloister, Street recognised a
+fragment of the old cathedral. The entrance into the south transept is
+of the same date. By the graceful Puerta Santa Eulalia we pass into the
+street.
+
+We presently pass the Bishop’s Palace, an eighteenth-century structure
+incorporating some late Romanesque arcading. But leaving other
+interesting buildings in this the oldest quarter of Barcelona for the
+moment, we will seek the next most notable church in the town, that of
+Santa Maria del Mar. It occupies the site of the earliest shrine of
+Santa Eulalia, over which Bishop Aetius built a temple in the thousandth
+year of our era. This modest church was replaced by another in the year
+1329, which was restored and reconsecrated after a disastrous fire in
+1383 under the reign of Pedro the Ceremonious. All classes of the
+community assisted in the work. Those who could not give money gave
+their labour, and in commemoration of this two small bronze figures
+carrying stone and timber adorn the principal door. The edifice is a
+good example of the Catalan church in its breadth and height of nave and
+simplicity of plan. Like the cathedral, it forms a parallelogram rounded
+at the east end, and presents an unbroken line of wall to the exterior.
+Churches of this type usually consist of nave only, but Santa Maria del
+Mar has two aisles. Enormous octagonal columns carry the main arches and
+the groining ribs which all spring from their capitals. The wall rib
+towards the nave is carried up higher than the main arches, so as to
+allow space between them for a small circular and traceried clerestory
+window in each bay. The arches of the apse are very narrow, and
+enormously stilted. There are small windows above them, but they are
+modernised. The aisles are groined on the same level as the main arches,
+a few feet, therefore, below the vault of the nave, and they are lighted
+by a four-light traceried window in each bay, the sill of which is above
+the string-course formed by continuing the abacus of the capitals of the
+groining shafts. Below this are three arches in each bay, opening into
+side chapels between the main buttresses. Each of these chapels is
+lighted by a traceried window of two lights, and the outer wall presents
+a long unbroken line, until above the chapels, when the buttresses rise
+boldly up to support the great vaults of the nave and aisles.[A] The
+interior, though still simple and dignified, has been marred by modern
+restorations. Another peculiarity remains to be noted: the choir is
+placed behind the high altar. Of this latter, a costly but
+churrigueresque erection, the less said the better. The royal pew in the
+south aisle, recalling the days when Barcelona was a capital, was
+connected with the palace by a gallery now destroyed. The church
+contains some good glass and examples of the art of Villadomat, a
+painter of whom Catalonia can boast. His fate was extremely sad: for the
+last seventeen years of his long life, he was paralysed in both hands.
+
+[A] Street, “Gothic Architecture in Spain.”
+
+Standing on the sinister spot where, twelve years ago, twelve people
+were killed and fifty others injured by a miscreant’s bomb, we survey
+the fine west front. This is flanked by two octagonal towers, of the
+telescope kind, and has a magnificent rose-window, above which I rather
+felt that an attic or story gable was wanted. The portal is richly
+moulded, and adorned with sculpture. The doors are faced with iron.
+
+The churches of Santa Maria del Pino and of Santos Justo and Pastor are
+on the same plan, with slight modifications. Adjoining the former is a
+tall detached belfry, producing a fine effect. The church was
+consecrated in 1453, and derived its name according to one account from
+an image of the Virgin found in the trunk of a pine. The west front,
+Street considers to have been designed by the architect of the north
+transept door of the cathedral. Unlike Santa Maria del Mar, there are
+no chapels in the apse, though they are found between the buttresses of
+the nave. There is no aisle. In this church Villadomat is buried.
+
+Santos Justo-y-Pastor is another single-nave church, founded in 1345, on
+the oldest church site in the city. It has been modernised inside and
+out. In the days of the ordeal by combat the parties, fully armed, made
+oath in this church, on the altar of San Felio, as to the justice of
+their cause and to use no “constellated or enchanted weapons.” We read
+that James I. declared null and void the issue of an encounter between
+Arnuldo de Cabrera and Bernardo de Cantellas on the ground that the one
+had worn certain jewels believed to be enchanted, and that the other had
+been invested with a shirt rendered impenetrable by a spell. To-day, I
+understand, an oath taken in this church as to the last wishes of a
+citizen who has died intestate, will be sufficient grounds for the issue
+of letters of administration accordingly. Here also Jews were sworn with
+both hands placed on the Decalogue, and according to a long and terrific
+formula. This is given at length by Don Pablo Piferrer in the original
+Catalan, and is calculated to appal the most hardened perjurer.
+
+Barcelona, it will have been seen, abounds in ancient and interesting
+churches. San Pablo del Campo was founded in the first decades of the
+tenth century by Count Wilfred II., who was buried in it, as his epitaph
+on a Roman tablet attests. Destroyed by Al Mansûr, the church was
+rebuilt on the same plan in 1117 by Jinbert Jintardo and his wife
+Rotlandis. The west front has retained much of its primitive Romanesque
+character. The symbolical sculpture is crude and curious. The interval
+is very striking in its simplicity. The cloister is more ornate and the
+decoration is considered by some to mark the transition from the
+Romanesque to the Moorish style. More eastern in character is the
+venerable church of San Pere de las Puellas, believed to date from the
+tenth century. It is so called from the nuns who formerly inhabited the
+adjoining convent and who, at the time of Al Mansûr’s invasion, cut off
+their lips and noses to avoid the amorous attentions of the Moors.
+
+There remain to be visited the old chapel royal of Santa Agueda, now
+converted into an archæological museum, where Alfonso el Casto was
+baptized, where the order of Montesa was established, and where the
+claims of the candidates to the crown of Aragon were discussed in 1410.
+
+Santa Ana, built in 1146 in imitation of the church of the Holy
+Sepulchre (as it was then), with a curious fourteenth-century cloister
+placed at an angle to the main building, and the simple graceful arches
+of the chapel of Montesion, where are hung the Turkish ensigns won by
+Spanish valour at Lepanto.
+
+One instinctively searches at Barcelona for monuments of civic state
+befitting a city of such antiquity and dignity. Happily such are not
+lacking and have been preserved to us. The noble Gothic façade of the
+Town Hall (Casa Consistorial), erected in 1373, has been recently
+restored, fortunately with good taste. The Council Chamber (Salon de
+Ciento), formed of two bays which support an artesonado roof, is lined
+by a collection of portraits of Catalan worthies, among whom we
+distinguish Capmany, Villadomat and Montaner. A finer building and
+preserving more of its primitive character is the Diputacion, the old
+Parliament House of Catalonia, and now the seat of the Provincial Court.
+This monument, declares Piferrer, “is the admiration of foreigners and
+the honour of Barcelona. He who seeks for originality of style, let him
+examine all its parts and be convinced that many are of a character
+entirely new.” Built in the early fifteenth century, it underwent
+frequent restorations and enlargements, and was rebuilt in great part in
+1609 by Maestre Pere Blai, who spared the best portions of the old work.
+The principal façade is cold and devoid of interest, except for the
+figure of St. George above the entrance. To that saint is dedicated the
+chapel, with its fine ogival portal, and the adjoining wall damascened
+(to quote Piferrer) with reliefs. The chapel is the repository of an
+exquisite altar frontal, worked with the design of St. George and the
+Dragon, and designed by Antonio Sadarni, in 1458. The pillars sustaining
+the galleries of the patio, at one time much admired for their daring
+and ingenious execution, were bending and giving way under the strain
+till restored and strengthened a few years ago by Don Miguel Garriga y
+Roca, a local architect.
+
+The halls breathe the dignity and gravity of a great corporation. The
+majestic Salon del Tribunal with its dome and hangings is adorned with
+portraits of the Kings of Spain, and paintings by Fortuny, one
+representing the victory of Marshal Prim over the Moors at Tetuan.
+Catalonia keeps ever green the memory of her heroes.
+
+The rapid extension of the most populous city of Spain has fortunately
+spared several noble monuments of bygone ages and beliefs. About an
+hour’s walk from the Tibidabo brings one to the Romanesque monastery of
+San Cucufat (or Cugat) del Valles, founded by Charlemagne on the site of
+a Roman camp, and rebuilt between 1009 and 1014. The exterior is
+fortified with battlements and flanking towers, the main entrance being
+pierced through a tall square gatehouse, and having been defended by a
+drawbridge. The Abbey Church is in the finest Romanesque style, with an
+octagonal lantern, apse, nave, and aisles. The interior is plain and
+sombre, despite the abominable baroque chapels which have been added to
+the right aisle. The church contains but one tomb of importance--that of
+the builder or founder, the Abbot Otho, who was also Bishop of Gerona,
+and flourished at the dawn of the eleventh century.
+
+The cloister of San Cugat has afforded the Romanesque sculptors the
+opportunity of gratifying their most exuberant fancy in stone. The
+capitals reveal an extraordinary profusion and variety of
+designs--Biblical scenes being associated with fables, conventional
+designs, and animals’ heads. Examples of the quaint and more childlike
+conceptions of a rather later age (fourteenth century) may be found in
+some curious paintings, set in retablos, still adorning the church. They
+are specimens of a style peculiar to Catalonia, Valencia, and the
+Balearic Islands, at the period “which analogies [says one authority]
+with the early Tuscan and old Cologne schools.”
+
+
+
+
+GERONA
+
+
+Gerona deserves to be, but through some freak of fortune is not, as
+famous as Saragossa. Its many sieges, especially those that took place
+in the Peninsular War, are among the many proofs of the Spaniard’s
+extraordinary tenacity in the defence of positions. Numantia, Saguntum,
+Saragossa, Gerona, and Cartagena--can any other country boast so many
+and such glorious instances of heroism and resistance to an overwhelming
+foe? These five names should be inscribed on the national escutcheon.
+They might even one day have more than a sentimental value, and cause
+potential invaders to think twice before violating Spanish soil.
+
+Gerona, then, has covered itself with glory, not once, but repeatedly.
+The very paynim Moors were invigorated by the heroic atmosphere, for we
+read that as long ago as 785 they defied the arms of Louis the Pious,
+till the Christian townsfolk, thinking that enough had been done for the
+renown of Gerona, arose and expelled them. In the succeeding centuries
+the Geronese grew used to this business of sieges, and their assailants
+grew more wary. In 1285 the French King, Philippe le Hardi, sat down
+before the town and contentedly starved it into submission. Gerona
+yielded under protest, and took care to place it on record that she was
+not taken by force but by hunger, as the inscription not “per forsa, mes
+per fam” over the Puerta de la Cárcel to this day testifies. More than
+four centuries later came another Philippe from beyond the Pyrenees,
+welcomed by all Spaniards except Catalans. Gerona stubbornly held out
+for Austrian Charles, and her garrison of 2000 men bade defiance to
+Philippe’s 9000. The Bourbon won; and to punish the recalcitrant city
+abolished her University. But a hundred years after, Gerona recovered
+her laurels. Her garrison of three hundred men, commanded by Colonel
+O’Daly, withstood successfully the repeated assaults of 6000 French
+under Duhesme, and beheld in August 1808 the hurried and inglorious
+flight of the besiegers. Of the great siege of 1809 you may read in the
+pages of Napier. The commander and hero of the defence was Mariano
+Alvarez--a much finer fellow than Palafox; and had he not been stricken
+with fever and rendered unconscious, the town might not have
+surrendered, as it ultimately did after a seven months’ siege. It had
+cost Napoleon 15,000 men. Here, as at Saragossa, the women fought beside
+the men and worked the guns, under the banner of St. Barbara.
+Unconquerable Gerona! Well might the heirs to the crown of haughty
+Aragon have been proud to bear the title of your prince.
+
+Towns with such stories invariably reflect them in their physiognomies.
+Gerona’s aspect is eloquent of history and legend. Her balconied
+houses--yellow and white--seem to rise out of the waters of the river
+Oñar, reminding one at moments of a Venetian canal. But to dispel such
+an illusion you have but to lift your eyes to the castled hill of
+Montjuich, in which the defensive power of the town resides and whose
+sides have borne the brunt of every battle that has raged round Gerona.
+Penetrating into the labyrinth of streets behind the river front, we
+find them dark, narrow, and silent enough to be haunts of the muse of
+history; but here and there--often, indeed--we find animated squares and
+thoroughfares that show us that Gerona is not outside the brisk
+Catalonian current.
+
+The vast cathedral lifts its towers near the river’s marge. It was
+founded, after the expulsion of the Moors, by Louis the Pious, in 786,
+and was rebuilt in the year 1016. It was consecrated by the Archbishop
+of Narbonne, on the French side, assisted by bishops both Cispyrenean
+and Transpyrenean. Extensive alteration and restoration went on in the
+fourteenth century, among the architects being two from Narbonne.
+Perhaps I may be pardoned the digression when I remark that natural
+boundaries seem to have been of less importance in the Middle Ages than
+now; a fact which may, it seems to me, be partly attributed to the
+relative facility with which great mountain barriers could be passed by
+the usual means of conveyance in those days. If you travel only on
+horseback, a mountain pass presents little more difficulty than a high
+road. Street, who extracted these particulars of the cathedral’s history
+from various Spanish works, tells us of the deliberations as to the
+adoption of the architect Guillermo Boffy’s plan for a nave of a single
+span. Fortunately the twelve architects composing the jury (Pascasio de
+Xulbe, Juan de Xulbe, Pedro de Valfogona, Guillermo de la Mota,
+Bartolomé Gual, Antonio Canet, Guillermo Abiell, Arnaldo de Valleras,
+Antonio Antigoni, Guillermo Sagrera, Jehan de Guinguamps, and Boffy
+himself) pronounced in favour of the plan, and the work was put in hand
+that same year, 1417. The first stone of the campanile was not laid till
+1581, and the west front was begun as lately as 1607.
+
+This grand church consists, then, of a single nave 73 feet wide, four
+bays in length, and terminating in the usual semicircular east end. The
+west front, in the poor style of the seventeenth century, calls for no
+remark, and gives no promise of the grandeur of the interior. Street
+thinks the exterior could never have looked very well. Even the south
+door, executed in 1458, does not merit praise, though its terra-cotta
+statues are curious and well preserved.
+
+The vast nave is blocked and greatly marred by the central choir, moved
+into this ill-chosen position long after the completion of Boffy’s work.
+Three arches separate the east end from the nave. Above them are three
+large round windows. Street praises this arrangement and says that it
+enhances this effect of vastness. “In short, had this nave been longer
+by one bay, I believe that scarcely any interior in Europe could have
+surpassed it in effect.”
+
+The high altar is of alabaster with a silver frontal, and belonged to
+the old cathedral. It was the gift of Ermesindes, the wife of Count
+Ramon Borel (1038). The reredos is a very rich and interesting work
+plated with silver. It was completed in 1348. The subjects in the three
+tiers of niches relate respectively to the lives of the saints, the life
+of the Blessed Virgin, and the life of Our Lord. The work is crowned by
+the figures of Christ and His Mother, and the saints Narcissus and
+Feliu. Of the same period is the baldachin, the vault of which is
+covered with sacred subjects, while the shafts are adorned with
+heraldic achievements. Behind the reredos is the bishop’s throne, formed
+of a single piece of marble. “Here, when the bishop celebrated
+pontifically, he sat till the oblation and returned to it again to give
+the benediction to the people.”
+
+In addition to the objects of interest to which the architect of our Law
+Courts calls attention--the wooden wheel of bells, &c.--the cathedral
+contains several tombs worthy of examination. In the choir is buried
+Count Ramon Berenguer, surnamed Cap d’Estopa; in the presbytery, on the
+gospel side, is the tomb of Bishop Berenguer de Anglesola; Doña
+Ermesindes lies between the chapels of Corpus and San Juan; Bishop
+Bernardo de Pau in the chapel of San Pablo.
+
+Adjoining the church is the dark gloomy cloister, which existed in the
+early twelfth century, and in which Street recognised “one of the main
+branches of the stream by which Romanesque art was introduced into
+Spain” from south-eastern France. The galleries, with marble columns and
+stone roofs, enclose a court with tall trees and a cistern in the
+centre. Numerous black memorial tablets let into the walls have failed
+to keep alive the memory of the dead.
+
+The archives of the cathedral contain a Bible, at one time believed to
+have been the gift of Charlemagne, and enriched with the signature of
+Charles V. of France. Another treasure is an illuminated code dating
+from the tenth century, and relating to the Apocalypse--a chapter in
+Holy Writ which at that period, when the end of the world was believed
+to be at hand, greatly occupied the minds of men.
+
+Not far from the cathedral, and nearer to the river Oñar, is the
+collegiate church of San Feliu or San Felix rising proudly above the
+town. Its tall campanile is visible from every part of the town and is a
+familiar landmark for miles around. It was built in 1392, and is in
+three stages: the first or lower stage, quite plain, the second adorned
+with graceful windows, the third putting forth shoots in the shape of
+tapering finials. “It is seldom,” says Street, “that the junction of
+tower and spire is more happily managed than it is here; and before the
+destruction of the upper part of the spire the whole effect must have
+been singularly graceful.” Though the church seems to have been almost
+entirely rebuilt in the fourteenth century, as a foundation, St. Feliu
+dates back to the eighth century and was used by the Christians during
+the Moorish occupation, which, by the way, only lasted sixty-eight
+years. The interior seems, like the cathedral’s, to have consisted of a
+single nave, but to this aisles have been added, the whole terminating
+in a tri-apsidal chevet. The west front dates from the seventeenth
+century. The high altar has some good paintings and sculpture, the
+canopies over the tomb of San Feliu and the statues of the Virgin and
+St. Narcissus being especially notable. The modern chapel of the
+last-named saint is gorgeously enriched with jasper of many colours. In
+this church is buried the heroic Don Mariano Alvarez de Castro, beneath
+a monument, dating from 1880, executed in Carrara marble and in the
+reddish yellow stone of the country. The tomb is crowned by a mourning
+female figure, which I have been told is a portrait of the general’s
+wife. The sepulchre of San Feliu dates from the thirteenth century and
+is sculptured with compositions representing scenes from the saint’s
+life. Leaving San Feliu by the south door, we pass through the dark and
+massive Portal de Sobreportas, formed by two huge round towers,
+connected by a modern intervening story, and at the end of a long gloomy
+lane reach a Capuchin convent. The object of our visit is a soi-disant
+Moorish bath, covered in by a graceful little pavilion with eight
+slender columns.
+
+The oldest church at Gerona appears to be the little oratory of San
+Nicolas, built in the form of a cross with its arms ending in apses,
+surmounted by domes. The height of the nave is not much more than that
+of a tall man. Hardly inferior in antiquity is the church of San Pedro
+de Galligans. This is named, not after the Gauls, as one might be
+tempted to suppose, but after a little stream called the Galligans,
+which at this point flows into the Oñar. Like every other religious
+edifice in Gerona, its foundation is attributed to Charlemagne, but
+(according to Piferrer) the earliest mention of the church occurs in the
+year 992, while the actual fabric was building at the time a third part
+of the coinage of Gerona was given by Count Ramon Berenguer III. to the
+Benedictine monastery of which his brother was abbot. Street inclines to
+think San Pedro was built by the architect of the church at Elne in
+Roussillon. The principal apse here, as at Avila, projects beyond the
+town wall; on the south side of it are two smaller apses side by side,
+opening into the south transept; the north transept expands into apses
+on the north and east and is crowned by a fine octagonal steeple with
+two rows of round-headed windows. The west front is approached by steps,
+many of them bearing Romano-Gothic inscriptions; there is a single
+round-arched western door with good fern-leaf carving on its capitals,
+and above this a rose-window. Within, the church consists of a nave,
+separated by tall, massive columns from the aisles. The capitals are
+rude, but offer great variety of design and execution. There is a
+clerestory, but no windows to the aisles, which are more like
+corridors. On the south side is a cloister probably carved coeval with
+the church, but terribly damaged during the siege, and now converted
+into the Provincial Museum.
+
+“The whole character of this church,” remarks Street, “is very
+interesting. The west front reminded me much of the best Italian
+Romanesque, and the rude simplicity of its interior--so similar in its
+mode of construction to the great church at Santiago in the opposite
+corner of the Peninsula--suggests the probability of its being one of
+the earliest examples of which Spain can boast.”
+
+From San Pedro we may follow the course of the little river Galligans to
+the deserted monastery of San Daniel, dating as a building from the
+eleventh century. In 1015 the original foundations were sold by Bishop
+Pedro Roger to Count Ramon Borell III. and his wife Ermesindes, for one
+hundred ounces of gold. The Countess erected a monastery, which was
+completed by the less fortunate wife of Ramon Cap d’Estopa. The west
+front and nave are Gothic, the chancel and lantern in good Romanesque
+style. In front of the sanctuary a flight of steps leads down to the
+shrine of the titular saint, whose tomb dates from the fourteenth
+century.
+
+       *       *       *       *       *
+
+North of Gerona lies FIGUERAS, accounted the strongest fortress in
+Spain. Like so many other “impregnable” strongholds, it has been taken
+again and again, so often, in fact, as to give rise to the saying,
+“Figueras belongs to Spain in peace, and to France in war.” It is only
+fair to add that in several instances its fall has been due to
+treachery. In a miserable chamber in the castle of San Fernando died
+Mariano Alvarez de Castro, a prisoner in the hands of the French. The
+guide-books speak of a religious procession which takes place here on
+the last Monday in May, and is called the Profaso de la Tramontana,
+after the north wind, which blows here with great violence.
+
+In the vicinity of Figueras is the church of Villabertrán, dating from
+the end of the eleventh century. Designed by a priest it exhibits,
+remarks a Spanish writer, in every detail the ecclesiastical bias. All
+animal figures are excluded as tending to disturb religious
+recollection. The interior is nobly designed but destitute of all
+ornament. “In this temple everything appeals to the reason, nothing to
+the imagination; these low dark vaults dissipate illusions; the thought
+of death oppresses the mind; but the eyes discern a gleam of light in
+the darkness of the sanctuary, and the soul hungrily seeks a gleam of
+faith in the gloom of doubt.”
+
+Of a similarly severe character is the adjacent cloister. The campanile
+of the church alone presents any airy or graceful features. The whole
+foundation would have been spared even by Knox or Calvin.
+
+On the bay of Rosas, the town of Castellón de Ampurias recalls the great
+city of Empurias which was founded by the Greeks, and utterly perished
+at the end of the twelfth century. It was among those great maritime
+powers which for long resisted the encroachments of the Carthaginians,
+and which fell in turn before the irresistible arms of Rome--reminders
+for us of the days when the fate of the Mediterranean still hung in the
+balance, and it was yet uncertain whether the civilisation of Europe
+should be Hellenic, Punic or Latin. The destruction of Empurias is
+ascribed partly to the Saracens, partly to the Normans. Whoever
+accomplished the work did it thoroughly, for nothing but the name
+survives of this once rich and puissant colony of Hellenes.
+
+Castellón de Ampurias is a Latin foundation, with which time has dealt
+unkindly. Its parish church of Santa Maria is a noble monument of its
+prime. It was consecrated in 1064 and finished in the late Gothic
+period. To this last style belongs the west porch, with a pointed arch
+of six orders, and the figures of the Twelve Apostles beneath canopies
+in the jambs. The tympanum shows a relief of the Adoration of the Magi.
+Contrasting strikingly with this carefully chiselled and graceful Gothic
+work is the stern square campanile to the left, a remnant of the
+Romanesque days. The interior is early Gothic. The combination of this
+with the preceding style is strikingly shown in the principal apse. The
+altar, a single piece of marble, is carved with reliefs which exhibit
+(says Pi y Margall) the artist’s breadth of imagination rather than his
+skill.
+
+Further inland is the venerable abbey of San Pedro de Roda, founded in
+the tenth century, and abandoned by the religious in the year 1799.
+To-day the monastic buildings are in utter ruin, but enough of the
+church remains to fill us with admiration for the loftiness of its nave,
+the harmonious admixture of the Romanesque with the pure classic forms,
+the skilful decoration of the various parts, and the sombre majesty of
+the whole.
+
+
+
+
+THE VALLEY OF THE TER
+
+
+The river Ter, which washes the walls of Gerona, is born among the snows
+of the Puigmal, the loftiest of the Eastern Pyrenees. Its stream is
+still ice-cold when it flows past the little town of San Juan de las
+Abadesas, which changed its name from Ripollet upon the foundation of an
+abbey within its precincts by Wilfred the Hairy, Count of Barcelona, in
+the year 877. The Count’s daughter was the first Abbess. The present
+abbatial church replaced the original structure in 1150. It is strictly
+cruciform, consisting of a nave and transept without aisles. There are
+only two columns in the church, these being planted at the entrance to
+the presbytery. The chancel is in the florid late Gothic style,
+contrasting oddly with the extreme simplicity of the rest of the fabric.
+Behind the altar is a figure of Christ, sculptured in the year 1250; in
+the forehead, it is believed, is contained a Host, which has preserved
+its integrity for seven centuries, and which it was found impossible to
+remove in the year 1598. The church has two choirs, both blocking the
+nave. The north and south porches were reserved respectively for men
+and women. The adjoining cloister is in good fifteenth-century style,
+and was probably designed or improved by the architect of the Palacio de
+la Diputacion at Barcelona.
+
+Five or six miles farther down the valley stands Ripoll, one of the
+towns that suffered most severely during the Carlist wars. It has,
+however, long since recovered from its reverses. Unfortunately the
+damage done to the monastery founded by Wilfred the Hairy cannot be
+repaired. As the Mausoleum of the counts from the ninth to the twelfth
+century, it possessed great interest. The church, built by Bishop Oliva
+about the thousandth year of our era, is roofless. The nave terminates
+in an apse, and there are three smaller apses opening from the east into
+each transept. The special glory of the building is its west porch,
+formed by a rounded arch with three shafts in each jamb. The middle
+shafts are carved into life-size figures of St. Peter and St. Paul; the
+others are most beautifully chiselled. The orders of the arch are
+variously treated; caprices, grotesques, masques, mythological designs
+being interwoven with more appropriate religious symbols. One series of
+reliefs appears to represent the twelve months.
+
+The façade on either side of this portal is similarly decorated with
+graphic reliefs in six courses, the lowest representing scenes in which
+centaurs, lions, &c., figure; above this is a row of figures of knights,
+princes, and prelates; above this, battle scenes, then come two rows of
+sacred figures and subjects, and finally the figure of God the Father
+attended by angels and princes. The whole of this portal is of profound
+interest to students of the Romanesque.
+
+The interior of the church was restored as lately as twenty years ago.
+All styles seem to have entered into its architecture. Instead of
+columns, massive piers support the vaulting, and mark off the aisles
+from the nave. The chancel--merely a shallow apsidal prolongation of the
+nave--is strewn with the ruins of the high altar and the roof.
+
+The cloister of the monastery is the most interesting part. It is
+composed of an upper and lower gallery of round arches, uninterrupted by
+any piers or buttresses. The harmony of the whole is admirable. The
+columns are of Gerona marble, and pinkish grey in hue. Variety is
+imparted by the capitals whereon the unknown sculptor has expended his
+fanciful, nervous genius. The upper gallery was not completed till the
+end of the fourteenth century, though the cloister had been begun as far
+back as 1172.
+
+Farther down stream is Vich, a town constantly referred to in the annals
+of the Carlist wars. As the history of that insurrection is not well
+known to foreigners, visitors are more likely to be interested in the
+monuments that have survived those troubled times. The cathedral was
+built in 1040--a date which sounds promising; but alas! the architects
+of the eighteenth century have forestalled us, and have worked their
+wicked will upon a once noble church. The artistic eye will not linger
+upon the exterior, but it may find some refreshment in the majestic
+nave, divided from the aisles by six clustered columns, with Corinthian
+capitals. When the church was rebuilt, all the tombs were swept away,
+and none of the altars spared, except the high altar, which is a
+meritorious work of the early fifteenth century. As at Ripoll, there is
+a fine cloister built five hundred years ago. The gallery, with its
+pointed openings and trefoil and quatrefoil tracery, is built over a
+substructure with round arched open vaults. The centre of the quadrangle
+is occupied by the statue and monument of the philosopher Balmes, who
+was born at Vich and died in 1848, aged only thirty-eight years. He is
+buried in the cathedral nave.
+
+Outside this church there is little to be seen in the old Catalan town.
+The remains of a Roman temple are worth examination, and the artist may
+find plenty of material for sketches in the picturesque Plaza Mayor.
+
+From Vich it is about forty-five miles to Barcelona.
+
+
+
+
+LERIDA
+
+
+Lerida is another of those Catalan cities that remind one of the saying
+about new wine in old bottles. Seen from afar it is clearly one of those
+old human hives that have existed on the same spot ever since man felt
+the need of a permanent abode--you have the hill-site, the walls, the
+towers, the flowing river, the mediæval aspect. You observe with delight
+a humpbacked bridge, such as (with a total disregard for beasts of
+burden) our pious ancestors loved to build. And over all rises the
+cathedral--or, as we shall soon learn, what was the cathedral. But on a
+closer inspection we find that time has by no means left Lerida
+untouched. Already she has overflowed into the opposite side of the
+stream, and there is a big new suburb with wide white streets,
+spaciously planned squares, and avenues along which the trees are
+beginning to grow. And as you cross the humpbacked bridge, you observe
+that the centre arch is quite new, and as you enter the old town, you
+are astonished by the stir and the modernity of it all. It is just like
+Smyrna or Damascus. Every one has been too busy to build the town over
+again. Its poor old rickety houses, in which men designed to lead only
+the sedatest of lives, have been hastily requisitioned for the service
+of modern industry and commerce. The low rooms are packed with
+merchandise, the frail houses seem like to burst. The underground
+cellars come in very handily. Lerida is very much alive. Some day she
+will have to pull her house down and build a new one altogether.
+
+Probably no one would have come to Lerida--no strangers of the
+uncommercial variety, that is--if Street had not told us about the old
+cathedral, since turned into a barracks. Nor without his detailed and
+professional description would the average traveller be able to make
+much of the building. The purposes to which it has been put have
+obscured the outlines of the features of the original fabric. But you
+cannot overlook it for it stands high on the hill like a citadel, which,
+indeed, it has now become.
+
+Lerida--which the Catalans, by the way, call Lleyda--was known to the
+Romans as Ilerda, and when they turned Christian, they built a church on
+this site. This, it is supposed, became a mosque during the brief
+Moorish period, to be reconsecrated on the reappearance of the
+Christians. The first stone of the actual building was laid on July 22,
+1203, in the presence of King Pedro II., and the consecration took
+place on October 31, 1278.
+
+(People often wonder why we do not build cathedrals nowadays equal to
+the old. One of the reasons may be that we are in too great a hurry. In
+the Middle Ages no man expected to see the completion of the work he
+began. They were animated by a strong communal sense, different from the
+individualism of to-day.)
+
+The excellent bishop and chapter of Lerida in the year 1707 thought the
+cathedral too old for their requirements, and having already
+commissioned a military architect to build them a new church in the city
+below, thither they removed. By a fair exchange the military took
+possession of the cathedral. They willingly display it to you, and the
+non-commissioned officer who shows you round seems less in a hurry to
+get the visit over than your clerical cicerone usually is.
+
+The lay traveller in attempting to understand this church has always to
+refer himself to the explanation of Street or else to that of Piferrer,
+which is certainly not so intelligible. In plan, then, the church is
+cruciform with three eastern apses and square transept arms. Another
+apse projects eastward from the south transept, which is flanked on the
+other side by a semicircular chapel, pointing south. Over the crossing
+rises an octagonal lantern, roofed like the whole church with stone,
+and pierced in each face with double windows with varied tracery. At its
+north-west angle is a slender octagonal staircase turret, rising from
+the south-west angle of the north transept. There is a similar but
+stouter tower, detached from the lantern, rising over the south
+transept. These towers give the whole pile a romantic and beautiful
+appearance.
+
+The principal portal, called in the Catalan dialect the Puerta dels
+Fillols, opens into the middle of the south aisle. “This [says our
+authority] is an example of singularly rich transitional work, with an
+archivolt enriched with chevrons, mouldings, dog-tooth, intersecting
+arches, and elaborate foliage. There is the usual horizontal cornice
+over the arch, and above this is a fourteenth-century statue of the
+Blessed Virgin Mary and Our Lord. The horizontal cornice is carried on
+moulded corbels, between which and the wall are carvings of wyverns and
+other animals; whilst the soffit of the cornice in each compartment is
+carved with delicate tracery panels, in some of which I thought I
+detected some trace of Moorish influence. The cornice has a delicate
+trailing branch of foliage; and the labels and two or three orders of
+the arch, in which sculpture of foliage is introduced, are remarkable
+for the singular delicacy and refinement of the lines of the foliage,
+and for the exceeding skill with which they have been wrought. There is
+none of that reckless dash which marks our carvers nowadays, but in its
+place a patient elaboration of lovely forms, which cannot too much be
+praised. The mouldings here are all decidedly characteristic by a
+later--probably fifteenth-century--vaulted porch, which occupies the
+space between two added chapels. The effect is very good and
+picturesque.”
+
+The transept doors are also very fine, especially the southern one. The
+cornice is beautifully sculptured and the wheel window above reveals in
+its details the influence of the Italian Romanesque. These entrances
+make us regret the effacement of the west porch, which is concealed by
+the vast square cloister covering that side of the church. This
+remarkable building, now occupied by troops, is the grandest, Street
+declared, he had ever seen. In its present desecrated state, it must be
+confessed it needs a highly trained eye to appreciate its beauty. The
+arcades are walled up, and there is some ground for supposing that when
+in ecclesiastical occupation the galleries were used as dormitory and
+refectory. The details vary greatly. The bays vary in width, the
+sculpture is of all sorts of design, and of all periods. Adjoining this
+vast cloister on the north side is a long barrel-vaulted hall, lighted
+only at one end. On the west side the cloister is entered through an
+enormous western doorway with a pointed arch. South of this and almost
+detached from the cloister stands that beautiful octagonal steeple which
+served Pedro Balaguer as a model for the Micalet Tower at Valencia. It
+is 170 feet high and divided into five stages, “the whole construction
+being of the most dignified and solid description.”
+
+Concerning the position of this tower, Street remarks: “Here, as often
+happens with detached campaniles, the grouping of the steeple with the
+church from various points of view is very diversified, and often very
+striking. From its great height above the valley it is seen on all
+sides, and generally at some distance. From the south, the grand size of
+the cloister, which connects the steeple with the church, gives it
+somewhat the effect of being in fact at the west end of an enormous
+building, of which the cloister may be the nave; whilst the steeple
+rears its whole height boldly to the right, and makes the whole scheme
+of the work utterly unintelligible, until after a thorough
+investigation.”
+
+The interior of the church is now cut horizontally by a plank flooring,
+and no features of interest can be distinguished, except in a single
+apsidal chapel, which is still used as such, and where is buried a
+natural son of King Pedro the Catholic, who died in 1254. Whitewash has
+obscured all the details of capitals and columns.
+
+Adjacent to the cathedral on the north side is the ruin of a once noble
+hall, with traces of Moorish influence in its carving--possibly the
+remains of a chapter-house or episcopal palace.
+
+Far exceeding the cathedral in antiquity is the church of San Lorenzo
+hard by, though it is not safe to accept the tradition of its Gothic
+origin. It was certainly built prior to the twelfth century. Originally
+just an apse and a nave, with walls eight feet thick and a span of
+thirty-three feet, aisles each ending in an apse were added to it at a
+much later period. They communicate with the nave by very simple pointed
+arches, and their windows have good traceries of the late thirteenth
+century. “The apse has a semi-dome and is lighted by three round-headed
+windows, five inches wide in the clear, and has a corbel-table under the
+eaves outside.”
+
+The octagonal campanile dates from the fifteenth century, to which
+period belongs the western gallery. There is a good deal of pointed work
+in the church, which is gloomy and religious. The high altar, dating
+from about 1400, has a reredos which is highly praised by some critics.
+
+Lerida was the Salamanca of Aragon. Her university, founded in 1300 by
+Jaime II., numbered the profligate Calixtus III. among its professors,
+and Vicente Ferrer--the “angel of the judgment”--among its alumni. Ford
+reminds us that Horace speaks of the place as a seat of learning in
+Roman times, to which the troublesome youths of the capital were
+banished. The town, like its Castilian prototype, has been famed for
+arms as well as learning. It sustained a severe siege from Felipe IV.
+himself in 1640, and withstood the assaults of the great Condé in 1640.
+It owned the loss of its university to its devotion to the Archduke
+Charles in the War of Succession, and (more directly) to the defeat
+sustained close by, by the Bourbon king. At the same time the military
+authorities made the clergy give up their cathedral.
+
+Probably none of the ancient edifices of Lerida will interest you as
+much as the market-place, surrounded by quaint old houses; entering, you
+find the whole house is a great wine-press, the grapes, trodden on the
+ground floor, pouring their juice into the cellars below.
+
+       *       *       *       *       *
+
+Higher up the Segre is the historic town of Balaguer, the Bargusia of
+Livy, and the capital of the ancient county of Urgel. The counts had
+their residence in the “Beautiful Castle” (“Castillo hermoso”) which
+overlooked the town and has now totally disappeared. There are a few
+ruins of the once famous priory of Santo Domingo. The site of the
+castle is occupied by the church of Santa Maria, built in 1351. It is a
+dignified, simple edifice, of a single nave with lateral chapels. The
+Trappist monastery of Bellpuig de las Avellanas a little way out of the
+town is another and better preserved monument of the piety of the old
+Counts of Urgel whose line expired with Jaime el Desdichado at the
+beginning of the fifteenth century.
+
+Still going northward, and without crossing the limits of the old
+country, we reach the venerable town of Agramunt, notable for its late
+Romanesque church with a portal similar to the Puerta dels Fillols at
+Lerida. We reach at last Seo de Urgel at the very foot of the Pyrenees.
+As a see, the place is of immemorial antiquity. Its bishops (who are
+co-sovereigns with France of the Republic of Andorra) attained the
+zenith of their power and splendour in the eleventh century. The town
+has figured in every border war and was the seat of the audacious
+reactionary caucus which called itself a regency and declared Ferdinand
+VII. unfit to govern while he was obedient to the constitution.
+
+The actual cathedral was consecrated by Bishop Eribal in 1040, but its
+construction lasted well on into the next century. It resembles a church
+of southern France more than one of Cataluña. The façade is divided
+vertically by two buttresses, horizontally by string courses into three
+stages, the lowest of which is pierced by the simple round arched west
+porch, the middle by three round-headed windows, the highest forming a
+sort of attic, by a round-headed window and two _rosaces_. The interior
+is divided into a nave and aisles with transept and lantern. The
+treasury is interesting for its collection of documents dating back to
+the time of the Carlovingian kings.
+
+Returning from Lerida to Barcelona we pass the castle of Bellpuig, the
+seat of the great family of Anglesola--a massive fortress of red stone,
+restored in the sixteenth century. Its magnificent staircase still gives
+one some idea of the pomp and state of its former lords. The village
+extends from the castle to the church--a situation which inspired the
+erudite topographer of this country (Piferrer) with reflections that
+remind one of Don Quixote’s address to the goatherds. The church
+contains the tomb of Don Ramon de Cordova, one of the ablest lieutenants
+of Gonzalo de Cordova. His effigy, armed and holding his helmet,
+reclines in a sleeping posture on an urn adorned with reliefs of marine
+gods and monsters and upheld on the backs of sirens, whose hands are
+webbed; the sepulchral arch is formed by six Ionic columns, against
+which lean figures expressive of mourning; over the tomb is a relief of
+the Entombment. In niches on each side of the arch are two life-size
+figures emblematic of Victory; above them, two figures leaning forth
+from medallions appear to extend laurels toward the hero. The plinth and
+cornice of this superb tomb are adorned with reliefs illustrating the
+victories and achievements of the deceased, who was as distinguished as
+an admiral as a general. His body remains in the urn practically
+incorrupt. The tomb is the work of Juan Nolano.
+
+This work has been brought here from the ruined Franciscan friary,
+founded a few miles from Bellpuig by the knight in the year 1507. The
+cloister is fairly well preserved. The two lower galleries--a third has
+been added since the foundation--are in debased Gothic style. The second
+gallery is formed by eleven rectangular columns, like those of the Lonja
+at Valencia, with four bands of moulding wreathed round each and
+gathered in at the capitals. The convent church is also of interest and
+is connected with the cloister by a fine staircase.
+
+From Bellpuig we pass on to Cervera, to which Philip V. transferred the
+university from Lerida in 1717. This is the famous body which
+proclaimed, in the enlightened reign of Fernando VII., its horror of the
+fatal habit of thinking (“Lejos de nosotros a mania funesta de pensar”).
+Notwithstanding, it was closed in 1823, and finally suppressed or rather
+transferred to Barcelona in 1842. This singular university was housed
+in a building opened in 1740, which still dominates the whole town; it
+is a huge tasteless structure, a rather suitable home for learned fools.
+Nothing seems to have been determined with regard to its ultimate
+destiny, and the whole town has a frustrate and somewhat hopeless air.
+The church of Santa Maria is not devoid of beauty and interest. One of
+the porches appears to be a survival of an earlier Romanesque structure,
+and is surmounted by a relief of St. Martin sharing his cloak with the
+beggar. The tombs are also worthy of note.
+
+
+
+
+TARRAGONA
+
+
+Tarragona stands high and nobly on the coast of Cataluña looking east
+towards Rome, as her million citizens did when the Cæsars ruled, and she
+gave her name to the vast province of Tarraconensis. The Phœnicians were
+here, of course, before the Romans; they called the place Tarchon, and
+found it already strengthened by walls which remain to this day. Publius
+and Cneius Scipio wrested the town from Carthage, and afterwards the
+lords of the world gratified the city with the titles of _victrix_,
+_togata_, and _turrita_. “It had a mint and temples to every god,
+goddess and tutelar; nay, the servile citizens erected one to the
+emperor, _Divo_ Augusto, thus making him a god while yet alive.” Since
+that time, Tarragona has not flourished, though it was for a brief
+interval the capital of the Visigoths. Desolated by the Moors, it was
+given at the reconquest to a Norman adventurer whose wife, in his
+absence, proved as doughty a warrior as he. And now shrunk and
+depopulated, the once imperial city stares in a sort of mellow calm for
+ever seaward, as if plunged in reveries on the glorious past.
+
+High over the town, on the crest of the slope, towers the cathedral.
+“This,” says Street (and none will disagree with him), “is one of the
+most noble and interesting churches in Spain. It is one of a class of
+which I have seen others upon a somewhat smaller scale (as, _e.g._, the
+cathedrals at Lerida and Tudela) and which appears to me, after much
+study of old buildings in most parts of Europe, to afford one of the
+finest types from every point of view that it is possible to find. It
+produces in very marked degree an extremely effective internal effect,
+without being on an exaggerated scale, and combines in the happiest
+fashion the greatest solidity of construction with a lavish display of
+ornament in some parts to which it is hard to find a parallel.” Roughly
+speaking, it may be described as Romanesque, with adornment of the
+Gothic period. The delicacy and richness of the later style has relieved
+the crudeness of the earlier, while the severity of the original plan
+has kept in check the tendency to be profuse of ornament.
+
+Schemes were on foot to rebuild the church at the end of the eleventh
+century and Street thinks the oldest part--that is, the eastern
+apse--may date from 1131, though the greater portion of the fabric
+(including the nave and its aisles and the cloister) seems to have been
+executed at the end of the twelfth and during the first half of the
+thirteenth century; and it is very possible, therefore, that the brother
+Bernardus, who died in 1256, may have been the architect of the larger
+part of the existing fabric, both of the church and its cloister.
+
+The west front is striking; it was begun in 1278, but not completed for
+another hundred years. The lower half is occupied by a deep-set portal
+of four orders, rising to a point. The jambs are occupied by figures of
+saints under canopies, and these are continued round the two buttresses
+which flank the doorway and end in pinnacles. The shaft is formed by a
+statue of the Madonna upon a pedestal, the sides of which exhibit in
+relief the scenes of the Creation and Fall. “These subjects are very
+fitly placed here, the Fall in the centre coming just under the feet of
+her who bears Our Lord in her arms, and thus restores the balance to the
+world.” (Street.) The tympanum is pierced with rich geometrical tracery.
+Over and behind the cross surmounting this grand doorway is an enormous
+rose-window. The whole is surmounted by a gable, the central portion of
+which has disappeared, giving a somewhat ruinous appearance to the
+church when seen from a distance. Flanking this, the front of the nave,
+are the round-arched entrances to the aisles, with round windows above,
+betraying Norman influence. Ford states that the great rose-window is
+Norman work.
+
+The interior is grand and impressive in the extreme, though a trifle
+marred by the heaviness of the pillars. There is no triforium. The
+pointed windows of the clerestory are filled with glass vividly
+coloured, much of it modern, some of it the work of Juan Guas, specimens
+of whose craftmanship are to be seen at Toledo. The aisles are half the
+height of the nave, the intervening space being pierced with small
+rose-windows. At festivals the arches are hung with precious tapestries,
+designed after the Italian fashion with scenes from the histories of
+Joshua, Samson, David, and Cyrus. They are believed to have been
+presented by some potentate to the chapter about the year 1600.
+
+While the columns are massive and plain, the bases are finely moulded
+and the capitals are carved with exuberant foliage. The choir screen is
+of marble and jasper; the stalls are plainly and chastely carved. Over
+the crossing rises a low, simple, but effective octagonal lantern. “The
+old outside roof is destroyed; but the finish of the lanterns of Lerida
+and of the old cathedral of Salamanca made it pretty certain that it was
+intended to have a pyramidal or domical stone roof.” The transepts are
+square, except for an apsidal recess at the east side of each. The nave
+and aisles end in apses--the oldest part of the edifice. The roof of the
+chancel apse is considerably lower than the choir’s, and the wall-space
+is pierced with a small rose-window. This part of the church is pure
+Romanesque. The high altar, however, is Gothic, and adorned with
+admirable reliefs, illustrating the martyrdom and apotheosis of St.
+Thecla, the patron of Tarragona. The centre is occupied by a colossal
+statue of the Virgin, covered by a very high peaked canopy of wood. To
+the right of the altar is the tomb of Archbishop Alfonso de Aragon, who
+died in 1514, and to the left a tomb older by two hundred years, that of
+Juan de Aragon, Patriarch of Alexandria. The remains of Cyprian, a
+Visigothic bishop of the see, are contained in an urn behind the
+reredos. The tombs are not very fine or numerous for a cathedral so
+ancient and so splendid.
+
+At the south side of the chancel, at its junction with the apse, is a
+very remarkable stone turret stair, leading up to a square tower which
+rises over the end of the south aisle. There was probably at one time a
+corresponding steeple on the north side.
+
+The chapels, though they have undergone considerable restoration, are
+interesting and possess much architectural interest. In the beautiful
+north transept is the fourteenth-century chapel of the Tailors (de los
+Sastres). Close by is the Capilla del Sacramento, formerly a Roman work,
+and incorporated with the cathedral by Archbishop Augustin (1561-1586)
+whose fine tomb, by Pere Blay, it contains. The chapel was at one time
+the canon’s refectory. Several ancient tombs from the other parts of the
+cathedral have been placed in this transept. On the opposite side of the
+church is the gorgeous eighteenth-century chapel of St. Thecla.
+
+The cloister adjoins the north-east angle of the cathedral--a most
+unusual position. The door communicating with it is the finest in the
+building. It is a round-arched doorway richly and curiously sculptured
+in the Romanesque style. This cloister is considered one of the best of
+the many beautiful works of the kind in Spain. “Each bay has three
+round-arched openings divided by coupled shafts, and above these two
+large circles pierced in the wall. The arches and circular windows are
+richly moulded and adorned largely with delicate dog-tooth enrichments.
+Some of the circular windows above the arcade still retain their
+filling-in, which was of a very delicate interlacing work, pierced in a
+thin slab of stone, and evidently Moorish in its origin, though at the
+same time probably the work of Christian hands, as in some of them the
+figure of Christ is very beautifully introduced.” The sculptors have
+adorned the capitals with all sorts of quaint conceits, notably in one
+case with a pictorial rendering of the story of the rats who went to
+bury the cat without first tying her limbs. On another capital there is
+shown a spirited gladiatorial combat; on another, a cock-fight. These
+purely secular subjects where the sculptor seems to have indulged his
+humour and fancy absolutely without restraint, remind us of the
+“topical” carvings at Oviedo. Their humour has not escaped O’Shea, who,
+speaking of the Adoration of the Magi, carved on one of the pillars of
+the doorway from the church, says: “The three kings of the east are
+economically sleeping three in the same bed, and wakened early by a
+winged valet de chambre, that they may rise and proceed on their journey
+to Bethlehem.” The words “6th Company,” &c., to which this writer and
+others call attention, to be seen on the walls, are reminders of the
+passage of British troops here.
+
+The chapter-house, the scene of many important councils, opens out of
+the south gallery of the cloister. The door is Norman. The exterior,
+like that of the cloister and cathedral generally, is most striking. The
+apse and the Tailors’ chapel are particularly fine seen from the
+outside.
+
+Contented with their magnificent cathedral the people of Tarragona have
+done little to adorn their city with smaller churches. Adjacent to the
+seminary there stands the graceful little chapel of San Pablo, the
+origin of which is still a matter of conjecture. Its architectural
+features suggest the first half of the thirteenth century, with the
+exception of its west porch, which belongs to no recognised style. The
+chapel is first mentioned in a document of the year 1234.
+
+These edifices apart, the Middle Ages have done little for _Tarraco
+togata_. Its remaining monuments belong to its infancy and prime. The
+Cyclopean walls, now declared a national monument, extend from near the
+Puerta del Rosario to the crest of the hill on which the city stands,
+and thence to the eastern angle of the ancient prætorium, now converted
+into a prison. The base of this wall is formed by huge blocks of unhewn
+stones, uncemented, and with their interstices filled by smaller stones.
+The character of the work bespeaks the primitive nature of the builders.
+On this rude foundation rests the more regular work of the Roman
+conquerors. The _enceinte_ formed by these walls is of the shape of an
+irregular polygon, measuring three-quarters of a mile across, and open
+on one side. The angles are defended by square towers, and the curtains
+are pierced by gates, to some of which the name “Puerta ciclopea” is
+given. The Puerta del Rosario, called in the Middle Ages “Portal de
+Predicadors,” is about eight yards thick and is roofed by an enormous
+block of stone about 36,000 kilogrammes in weight. On the stones
+composing the Roman part of the wall, Iberian letters are traced. These
+were merely masons’ marks for the guidance of the native workmen, and
+form no words. The Torre del Arzobispo was raised in Christian times on
+the old Roman tower. The wall extending to the Torre del Capiscol is
+attributed to the Scipios, and dates in any case from their time. The
+principal Roman gate, called the Puerta del Socarro, is a noble work
+formed by three concentric arches. Passing through this we obtain a fine
+view of the strip of wall built by order of Hadrian, and may re-enter
+the city by the eighteenth-century gate of San Antonio, which pierced a
+wall built or restored by Norman adventurers in the twelfth century.
+
+Within the city itself not much remains from Roman times. The sites of
+the forum, the prætorium, and the great temples may be traced easily
+enough, and stones hewn by Roman hands and commemorating often enough
+Roman dead, are embedded in the walls of houses and churches all over
+the town. The local museum contains a few of the spoils of antiquity.
+There is a beautiful statue of Dionysus in Parian marble, and a great
+variety of votive inscriptions. For more substantial memorials of the
+Roman era we must leave the city and follow the Barcelona road some four
+or five miles. Here we reach the celebrated monument known as the Tomb
+of the Scipios, consisting of a rectangular base and an upper body, on
+one face of which are sculptured in high relief the figures of two
+warriors. The cornice is engraved with a legend in which the words
+“perpetuo remane” are alone decipherable. There is no ground whatever
+for supposing that the figures represent the brothers Scipio or that
+this monument marks their resting-place. It is more probably the
+sepulchre of some wealthy Roman settler.
+
+The Arco de Bara is one of the best preserved monuments in Spain. The
+arch itself is flanked on each side by two fluted columns of the
+Corinthian order, supporting an entablature. It is simple and majestic,
+like all the Roman works of the kind. An inscription records its
+restoration in commemoration of the pacification of Spain during the
+regency of Maria Christina and by order of Don Juan van Halen, the
+Spanish general who in 1830 assisted at the defence of Brussels against
+the Dutch.
+
+The noblest handiwork bequeathed to Cataluña by the conquerors of the
+world is, however, the Aqueduct, which may be compared favourably as
+regards preservation and solidity with the more famous work of the same
+kind at Segovia. Where it spans a valley it is composed of two series of
+arches, eleven below and twenty-five above, and rising to a height of
+217 metres. The stone of which it is built was Obtained from the caves
+of Monte Loreto, where the quarries may still be seen.
+
+Then there is Centcellas, on the banks of the little river Francoli,
+supposed to be on the site of the villa where Hadrian lodged. Part of
+the old _Thermæ_ remains--a stone chamber square without and circular
+within; while another building seems to incorporate the ruins of an
+early Christian structure, including a mosaic of the Ravenna type.
+
+
+
+
+POBLET
+
+
+About thirty-four miles from Tarragona, near the station of La Espluga,
+stands the ancient fane of Poblet, the Escorial of Aragon. It bears
+(according to tradition) the name of a hermit who in the first part of
+the twelfth century was three times captured by the Saracens and as
+often was miraculously released, whereupon the paynim king, recognising
+that he had to do with a man protected by heaven, endowed him with all
+the lands hereabouts, to be enjoyed by him and his brother hermits. In
+proof of this story, the religious triumphantly pointed to a
+venerable-looking parchment inscribed with Arabic characters, which they
+said and believed was the original deed of gift, and as no one could
+read it no one was able to throw doubt on the story. In 1496 a Moorish
+prince examined the document and contented himself with observing that
+it was not dated in the twelfth century but in the year 1217. However,
+no one paid any attention to this assertion, and the legend was repeated
+till on the dismantling of the monastery in the last century the
+document at last came under the critical eye of Don Pascual de
+Gayangos, who confirmed the Moor’s correction and pronounced the
+so-called deed simply a general permit to the monks to pass through and
+travel freely in the Moorish dominions south of the Ebro.
+
+The foundation of the abbey may now be ascribed with safety to Count
+Ramon Berenguer IV., who, having conquered the territory of Lerida,
+bestowed the lands of Poblet on the Cistercians of Fontfroide near
+Narbonne, who, to the number of twelve, took possession of the site in
+the year 1150, Don Esteban being abbot. The monastery soon rose fair and
+strong, and prospered exceedingly under the favour of the Kings of
+Aragon, who made of it their official place of sepulture. The wealth of
+the community was enormous, the power of the abbot extended over
+fifty-six villages, but from all this prosperity resulted a falling away
+from monastic simplicity, till the holy men would not sit down to table
+unless two partridges were placed on their dishes. In the seventeenth
+and eighteenth centuries, they could find no better employment for their
+wealth than in loading their beautiful abbey with the atrocious
+sculpture and ornament of the period; and then in 1835 came the
+anti-clericals and swept out the monks and their _baroque_ rubbish with
+them. What the mob spared, the collectors and villagers
+annexed--precious manuscripts, vestments, statuary, all were carted
+away; and ruinous and forlorn, as it now stands, Poblet would have
+rejoiced the heart of the author of the stern Cistercian rule.
+
+It is a vast and embattled pile that greets the eyes of the traveller,
+encircled by a crenellated wall which is pierced by a richly sculptured
+gate built in 1460 and so richly gilded a hundred years later as to
+merit the name of the Puerta Dorada. Enclosed by these outer
+fortifications is another line of wall twice as high as the first,
+which, together with its twelve towers, was built in the fourteenth
+century. To the right of the entrance and still in the outer ward we
+have the little church of San Jorge, built by Alfonso V. in honour of
+the patron saint of Aragon in 1541, and the chapel of Santa Catalina,
+believed to have formed part of the primitive building. In the outer
+ward may also be distinguished the remains of numerous other buildings,
+such as the Abbot’s house, the Hospice, and the Bridewell, reserved for
+female offenders against the Abbot’s jurisdiction.
+
+The inner ward is reached through a gatehouse of the Edwardine type,
+flanked by heavily machicolated drum-towers, and decorated with the
+escutcheons of Aragon and Castile. We approach the church, founded by
+Ramon Berenguer, but substantially the work of his son and successor.
+The ugly Græco-Roman façade marks the ancient west front, which is
+approached across an atrium called the Galilee. The church is in the
+form of an elongated Latin cross. The simplicity of the
+architecture--its absolute freedom from ornament--illustrated the early
+Cistercian ideals. The aisles are of seven bays, and the chapels are
+confined to the south aisle and apse. There were once seventeen altars
+in the church, of which only four were kept up by the monastery, the
+rest being at the charge of individuals and corporations. All these,
+including the high altar, have been stripped of their ornamentations and
+accessories, and of the once magnificent choir only a fragment of the
+screen remains. Piferrer, who saw the monastery in its prime, gives a
+detailed account of it, and enumerated the tombs it contained. He speaks
+of the imposing entrance to the royal mausoleum, between the chancel and
+the choir. On the Epistle side lay Don Alfonso of Barcelona (II. of
+Aragon), opposite him was the sarcophagus of James the Conqueror, near
+him lay Pedro the Ceremonious. In addition to these monarchs Juan I.,
+Martin, Fernando I., Alfonso V. and Juan II. of Aragon were buried here,
+with eight queens, thirty-six infantes and nine infantas. Here lies
+Carlos Prince of Viana, the illustrious scion of the house of Navarre;
+here were the last resting-places of Aurembiax, Countess of Urgel and
+the last princess of her house; here lay the proud Cardonas and the
+noble knights and ladies of the Moncada and Anglesola lines. Nearly all
+the tombs that had not already been despoiled of their carving and
+marbles have been removed to Tarragona. Of those remaining, the best
+preserved is that of the Infanta Juana, with its figures relieved
+against thick blue glass.
+
+The north side of the church abuts on the great cloister, dating in its
+greater part from the thirteenth century. The windows on the south side
+are round-headed, those on the other three sides pointed, with good
+traceries. Through a round-headed arch we enter the chapter-house,
+divided into three aisles by four pillars, so slender as in no way to
+interrupt the view of the whole. The groining springs so gracefully from
+the capitals that the pillars themselves have the appearance of shooting
+up and bending like the branches of a tree. Then there is the library
+which once contained 10,145 volumes, including 385 valuable codices, and
+250 MSS. in various styles of handwriting--forming a complete museum of
+calligraphy. This library is a noble chamber divided by four columns.
+Its walls were once hung with the portraits of the Kings of Aragon and
+their great nobles. Reminiscent of the brave days of old is the charming
+façade of the palace built by good King Martin and intended by him to
+be a retreat in his old age. He died before its completion and the work
+was abandoned.
+
+You may still traverse miles of cloister and hall at Poblet strewn with
+broken tablets, overgrown with shrubs and climbing plants. One of the
+most beautiful of the galleries is the Novices’ Dormitory, roofed in
+with timber; then there are the locutorium, the only spot where
+conversation was permitted between the recluses; the infirmary and the
+beautiful cloister of San Fernando, built in 1415 by order of the first
+king of that name, the little chapel of the saint, founded by the Count
+of Barcelona, and the royal apartments, built in 1375.
+
+
+
+
+SANTA CREUS
+
+
+Santa Creus is the sister foundation of Poblet from which it is distant
+about five leagues. It was also founded by Ramon Berenguer IV. and
+belonged to the Cistercian Order. Not so large as Poblet, this abbey of
+the Holy Crosses is equally severe and chaste, and of the two, is
+distinguished more by its artistic harmony. The church is one of the
+most finished works of the age and style. Its front is discovered
+immediately on entering the monastery, raised on a terrace above the
+long and spacious court round which are grouped the conventual
+buildings. The battlements above the façade are a recent and incongruous
+addition. The west porch is finely moulded and chiselled, and with the
+rich foliage of the capitals creates a good impression. Another door,
+symmetrical and elegant, leads into a cloister on the south side of the
+church and was at one time flanked by the statues of Don Jaime II. and
+his wife Blanca. The wall on this side bears an inscription to Bernard
+Ranc, which is assumed to be the name of the architect. The church was
+begun in the year 1174, and opened to public worship in 1211. It
+preserves its altar, on which the light falls through a rose-window in
+the apse. The principal objects of interest in the interior are the
+noble tomb of Don Pedro the Great (who defeated the French and bound
+Sicily to the throne of Aragon) and of Jaime II., who conquered Sardinia
+and harried the Moors of Granada. King Pedro’s tomb consists of a great
+porphyry urn supported by lions, which is believed to have been taken
+from the infidels; and on this rests the stone coffin carved with
+figures in high relief under pinnacled canopies. The tomb is covered by
+a beautiful stone baldachin, with three traceried circles on each side
+upheld by slender columns with elaborately carved capitals. The tomb of
+Don Jaime is on the same plan, but is further adorned by the effigies of
+the king and queen in the Cistercian habit, placed here, it seems
+likely, long after the completion of the rest of the work. The tomb was
+designed by Bertran Riquer, the architect of the royal palace of
+Barcelona.
+
+The church communicates with a spacious cloister with four sides of
+seven bays, built at the beginning of the fourteenth century by order of
+Queen Blanca. The traceries of the windows remaining here and there are
+late Gothic, and contrast oddly with the severe lines and rude capitals
+of the shafts. As at Poblet, in a corner of the cloister is a hexagonal
+chamber said to have been a lavatory. A great number of persons of
+distinction seem to have been buried in this cloister, in attendance,
+one might say, upon their lords within the church. Among these was the
+knight Queralt, who may been seen in effigy in a suit of fine mail, with
+surcoat and greaves and girt with two-handed sword. Some of the figures
+of divine persons to be seen over the tombs were evidently carved by
+late fourteenth-century sculptors.
+
+Here, as at Poblet, the Kings of Aragon had their habitations in life as
+in death, and the courts of the ruined palaces of Don Pedro and Don
+Jaime still bear some traces of the glory and culture of the greatest
+maritime power of the Mediterranean of a bygone age.
+
+
+
+
+VALLBONA
+
+
+Vallbona, the third great royal abbey of Cataluña, is situated in the
+province of Lerida, but on the borders of Tarragona, in a singularly
+wild and remote district. Like Poblet, it is named after a hermit who in
+the year 1157 founded here and at Colobres, monasteries for both sexes.
+Twenty years later, both houses were formed into a single community of
+Cistercian nuns, under the headship of Doña Oria de Ramiro. The pious
+Anglesola of Vallbona is buried before the high altar in the company of
+James the Conqueror. The church is gloomy, silent and severe. It is
+entered through a Romanesque porch in the north transept, the west front
+presenting an unbroken wall. Vallbona has also a noble cloister, with a
+fine gallery in the Pointed style; on the north and the remaining
+galleries in the Romanesque. In Piferrer’s time, pictures and monuments
+relieved the excessive severity of the royal nunnery of Aragon, but now
+there reigns a desolation and poverty which might have affrighted even
+the hermit founder.
+
+
+
+
+MONTSERRAT
+
+
+Montserrat, easily accessible from Barcelona, is one of the four or five
+renowned shrines of Christendom. The legend of its institution is one of
+the quaintest and at the same time silliest in the annals of hagiology.
+In the time, it seems, of Count Wilfred, the Henry of Barcelona, there
+dwelt on the mountain a hermit named Guarin whose sanctity was famed
+even to the ends of the earth. Church bells rang of their own accord
+when he passed, and the forces of nature were at his beck and call. This
+being so, when Richildis, the Count’s daughter (she was beautiful, of
+course), became possessed of a devil, Guarin was at once called in to
+turn him out. Such a task was a mere matter of an Ave and an invocation
+on the part of the holy man; but the devil thus incontinently expelled
+from the person of Richildis appears to have passed into the body of the
+hermit. He conceived an unlawful passion for the maiden, who remained
+with him after her cure, to learn the arts of sanctity. He succumbed to
+temptation and consummated his crime by murdering the girl, cutting off
+her head and burying her in his cave.
+
+Stricken with remorse immediately after, the erstwhile holy man hurried
+to Rome and confessed his crime. The Pope ordered him to return to
+Montserrat on his hands and knees and never to resume an erect posture
+till his pardon should be miraculously announced.
+
+So faithfully did Guarin carry out the penance imposed that he crawled
+for seven years about the mountain that he had once illumined with his
+sanctity, living on grubs and roots and becoming to all intents and
+purposes a wild animal. One day Count Wilfred, while out hunting,
+noticed this strange beast and had him taken to his stables at
+Barcelona. There Guarin abode some months, saying never a word but
+pleasing his captors by his docility. One day he was led into the castle
+to amuse the Count and his Court. But before he could perform any
+tricks, the infant son of the Count, a baby but three months old, cried
+out, “Arise Guarin, for God has pardoned you.” Whereupon the strange
+beast rose up on his hind legs, praising God, and confessing his
+enormous crimes.
+
+In these days men were very much alive, and thrilled to the passions of
+love and hate. But, touched by the miracle, the Count forgave the
+murderer of his daughter, and set out with him for Montserrat to
+disinter the body buried seven years before. But lo, when the fair form
+was revealed, it throbbed with life, and a red line only showed where
+her head had been severed from her neck.
+
+Richildis was so grateful for her restoration to life that she
+determined to devote the rest of it to the service of God. The Count
+founded a monastery for both sexes, of which his daughter was abbess and
+Guarin became a humble lay-brother.
+
+A mere fairy tale, yet it is full of what was best in the mediæval
+spirit--the conviction that no misfortune was irreparable, no crime
+unredeemable, no sinner unreclaimable, that for all men and all things
+there was indeed mercy and plentiful redemption.
+
+Upon the invasion of the Arabs in 976 the nuns abandoned their convent,
+but the monastery remained and was recognised as a regular community
+about the time of Fernando and Isabel.
+
+It is not, of course, to pray before the shrine of Guarin that pilgrims
+climb the ragged sides of the saw-edged mountain. Long before the hermit
+immortalised his name by his crime and his repentance, a miraculous
+image of the Virgin, said to have been carved by St. Luke, and brought
+to Spain by St. Peter, had been hidden, to save it from the infidels, in
+one of the caverns. Nearly two hundred years after, its whereabouts was
+revealed to some shepherds by lights and mysterious melodies. These
+manifestations were repeated every Saturday--that being the day of the
+week specially consecrated to the Virgin by the Church. The Bishop came
+over to investigate the phenomenon, and on entering the cave whence the
+sounds proceeded, they found the heavy image carved by St. Luke. So
+heavy was it that it resisted all efforts to remove it; so there it
+remained till the end of the sixteenth century, when it was found
+possible to enshrine it in the present church.
+
+Most of those who have seen the image are not favourably impressed, so
+it is worth while to quote another opinion than the present writer’s. “I
+cannot conceive [writes Mr. Herbert Vivian] that any one who has been
+privileged to behold it can deny the imposing majesty of its expression.
+It inspires awe rather than the sympathy and compassion which we are
+accustomed to associate with Our Blessed Lady. Indeed, those who change
+its vestments on holy days, say that it fills them with fear, that they
+do not dare to look it in the face. In the Virgin’s right hand is a
+globe, from which springs a fleur-de-lis. The crowns worn by her and the
+infant Christ are of prodigious valve, being of pure gold and containing
+no fewer than 3500 precious stones, many of them of exceeding size and
+purity. Like everything else at Montserrat, they are of modern origin,
+all the old valuables having been carried off by French troopers in
+1811. In front of the image are two little staircases of walnut-wood by
+which those who wish to kiss its hand may ascend and descend.”
+
+As buildings, the church and monastery of Montserrat are wholly
+destitute of interest. But they have their memories. Ignatius Loyola,
+during the process of conversion, passed long hours at the feet of the
+Virgin of Montserrat; Don John of Austria, before the altar of the
+Immaculate Conception, swore to maintain the doctrine of the Virgin’s
+freedom from original sin, against all and sundry, at the sword’s point,
+and the victory of Lepanto was gained perhaps in fulfilment of that vow.
+
+There is a monastic seminary on the mountain, also an extremely ancient
+and aristocratic foundation. The boys have some curious customs. On the
+feast of St. Nicholas, the patron of youth, they elect one of their
+number Bishop, who entertains them all to dinner and heads the visits
+which they pay to all the monks in turn.
+
+But if as a shrine Montserrat has little to attract the curious, as a
+mountain it is without rival for picturesque and strange grandeur. So
+fantastic is the conformation that in all ages it has been regarded with
+a certain superstitious awe. The caves with which it is honeycombed are
+full of mystery and fascination. They extend and ramify in all
+directions, constituting a veritable subterranean city. At all times
+they have served as asylums to the natives of the surrounding country
+when threatened by invaders. On one occasion the French discovered a
+party of peasants in such a retreat and would have attacked them had not
+one of the Catalans told them that a single explosion would bring all
+the surrounding rocks upon their heads. Whether this was true or false
+the soldiers did not care to prove, and they hastily withdrew.
+
+There are plenty of people in Cataluña still who believe in the
+wonder-working properties of the Virgin of Montserrat, and newly married
+couples come up by the funicular railway to spend a night on the
+mountain, in the hope of thereby assuring themselves of a numerous
+family.
+
+We may trace the footprints of St. Ignatius to Manresa, a name dear to
+the Jesuit in all lands, and borne by the Manchester of Cataluña. It is
+a lively, picturesque town, built on an amphitheatre of hills on the
+left bank of the Cardoner. High over the factories towers the Collegiate
+Church begun in 1328 and finished, probably, a hundred years later. It
+is one of those wide-naved churches characteristic of the principality,
+its span of nave is, in fact, greater than that of any cathedral with
+aisles, except Palma. An interesting peculiarity is the flying
+buttresses built partly in and partly outside the church. Over the first
+roof rises an impressive bell tower. The interior is disappointing. The
+side chapels are Gothic. There is some good glass in the clerestory
+windows, and the organ displays one of those Saracens’ heads we so often
+find in Catalan churches. In the archives are some interesting pictures
+by local artists, reminding one of Byzantine work, and there also is
+preserved that altar frontal which excited the fervent admiration of
+Street. In a vault beneath the presbytery are treasured the relics of
+St. Agnes and St. Maurice, translated here from Vienne on the Rhône in
+the time of Berenguer III.
+
+The fine old church of the Carmen commemorated a miracle reputed to have
+occurred in the year 1345. The town having been laid under an interdict
+by the Bishop of Vich, the innocence of the townsfolk was demonstrated
+by a light which penetrated through the windows of the church, filling
+it with radiance. But these mediæval traditions are obscured by the
+glory of St. Ignatius, whose name the citizens delight to honour. In the
+church of Santo Domingo was formerly shown a black cross which the saint
+used to bear on his shoulder while he prostrated himself before the
+altars in turn. The church of the Cueva--an odius _baroque_ work--is
+raised over the cave wherein during ten months he underwent the dolorous
+process of his spiritual regeneration. In the Jesuit College you may see
+one of his fingers, his books, and the bricks that served him as a
+pillow. There is not a spot nor a house in Manresa that the citizens
+will not fail to point out as in some way, however slight, associated
+with the immortal founder of the Society of Jesus.
+
+Not far from Manresa is the flourishing town of Tarrassa, which occupies
+the site of the old episcopal city of Egara. The primitive _arx_ or
+citadel gave place in Christian times to a cathedral which was destroyed
+by Al Mansûr, and the site is now occupied by the three interesting
+Romanesque churches of San Miguel, Santa Maria, and San Pedro.
+
+The oldest of these is undoubtedly San Miguel, which is distinguished
+from other Catalan churches by many peculiarities. The plan is
+rectangular, over the centre of the roof rises a lantern, resting on a
+quadrangle of columns. The capitals of these columns are evidently part
+of an older and different structure. Beneath the church is a crypt which
+is believed to have been the baptistery of the old Roman cathedral.
+
+Santa Maria was consecrated in 1112 by Raimundo Guillen, Bishop of
+Barcelona, and was served by Augustine canons down to 1592. It is
+contemporary with the church of San Pedro and both present an aspect of
+extreme antiquity accentuated by the Roman tablets and fragments
+incorporated with the structure. Close by are the ruins of a fortress
+and a chapel attributed by tradition to the Templars. On the other side
+of the prettily named Rio Vallparadis are to be seen the fragments of a
+tower and castle.
+
+About six miles from Manresa, on the banks of the Llobregat, is a little
+monastery of San Benito de Bages, now a private residence. “All here,”
+says Piferrer, “invites man to lift his eyes to God, and to banish the
+frivolous recollections of this world. The building’s antiquity, the
+modesty and simplicity of its plan alike contribute to still the voice
+of passions and to excite more tranquil thoughts.”
+
+The thoughts of the former occupants, however, were evidently not always
+tranquil, for the little apses opening into the transepts have been
+squared off, apparently for defensive reasons, and the tower looks as if
+it had been constructed for the same object. The church is dark and
+sombre, like a vault, and the cloister has the same funereal aspect,
+only slightly relieved by the interesting carvings of courtiers and
+warriors on the rude capitals.
+
+Piferrer states that the chapel was built in the middle of the tenth
+century and that it was consecrated in 972 in presence of Count Borrell
+and his Court by the Bishop of Vich. In the year 1067 it was
+incorporated with the Abbey of San Ponce de Tomeras near Narbonne; the
+foundation received women, who were subject, like the monks, to the rule
+of St. Benedict. At the end of the sixteenth century the community was
+united to that of Montserrat.
+
+
+
+
+CARDONA
+
+
+Cardona is a picturesque walled town on the road from Manresa to
+Solsona. It is crowned by a strong castle built by the Cordona family,
+which traces its descent from Foulques, the ancestor of the
+Plantagenets. Within the castle is the collegiate church of San Vicente,
+dedicated in the eleventh century. It is a fine example of the
+Romanesque. Its aisles are marked off from the nave by square pillars;
+the nave is broad, the aisles narrow, without chapels. A very low
+lantern rises above the crossing and the presbytery is raised by a few
+steps above the level of the nave. There is not a single moulding in the
+whole church, or any curve other than a semicircle. Of the sepulchres of
+the mighty lords of the castle only two remain. Within this fortress
+died St. Ramon Nonnat in the year 1240. The chapel dedicated to his
+memory dates from 1682.
+
+
+
+
+TORTOSA
+
+
+Tortosa, on the banks of the Ebro, close to its mouth, is the
+southernmost of the cities of Cataluña. It is an ancient place where
+Roman and Visigothic coins were struck. It fell into the hands of the
+Saracens in 716 and was reconquered in 1147 and consecrated in 1441.
+Among the architects were the two Xulbes, whose opinion was taken on the
+question of the nave at Gerona. Though disfigured by a classical façade
+the church produces a good effect. Its aisles are separated from the
+nave by twenty columns, which sweep round the east end in a graceful
+semicircle so as to form a double apse. To the nine Gothic arches of the
+chancel correspond as many apsidal chapels, whose windows overlook the
+high altar. The reredos dates from 1351. There are five chapels in each
+of the aisles. The windows are filled with transparent marble instead of
+glass.
+
+The Collegio Real of Tortosa is in the best Plateresque style. The
+cloister is formed by three tiers of galleries, the columns and
+balconies being adorned with medallions and escutcheons. The original
+building belonged till the year 1528 to the Dominicans and was then
+reconstructed by order of Carlos I. with a view to serving as a seminary
+for Moorish converts. The College is now a barracks.
+
+The Convent of Santa Clara, dating from the thirteenth century and
+restored by order of Jaime II. of Aragon, is another precious memorial
+of Tortosa’s more prosperous days.
+
+
+
+
+THE BALEARIC ISLANDS
+
+
+The Balearic archipelago no longer deserves the name of the Forgotten
+Isles bestowed upon it a dozen years ago by a French traveller. Much has
+since been written about the islands in our own and other languages, and
+yachtsmen often put in at what the Genoese Admiral classed with June,
+July and August, as one of the four best harbours in the Mediterranean.
+But the influx of tourists has not been large, and the isles run no
+immediate risk of losing their marked local characteristics. The remote
+past keeps a firm grip on Mallorca and Menorca; as in Egypt, you never
+cease to feel dead stony eyes are staring at you across
+thousand-year-long vistas. In the aisles the monuments of antiquity
+belong to the very dawn of human history, appearing almost the works of
+nature, even as those who reared them seem hardly to have emerged into
+full manhood. At every turn, as in Sardinia, you are met by the rude
+handiwork of that primitive Mediterranean race, which passed away in the
+struggle between Latins, Greeks and Semites. Every one knows now that
+the word Balearic is derived from a Greek word meaning _to throw_, and
+that it refers to the extraordinary dexterity of the natives in the use
+of the sling. This was their national weapon, their sole means of attack
+and defence. In summer, as their only clothing, each man wore three
+slings--one round his head, one round his loins, and one at his wrist.
+To train their children in its use, the mothers, we are told, would not
+let them have their bread or meat till they had brought it down from a
+bough or ledge by means of the sling.
+
+Of all their dexterity they had need when strange men with black curling
+beards and dark stern faces--men that they had never seen--came sailing
+into their harbours and tempted them down from their perches with a
+display of bright rare stuffs and gewgaws. Poor simple white savages, it
+is likely enough that they had thought themselves till then the only men
+in the world. Then came the attempts of the Phœnicians to enslave and to
+subdue them, and wildly the islanders fought for their freedom, knowing
+as little as the creatures of the jungle do of the forces arrayed
+against them. The wild birds were netted at last. In the sixth century
+before Christ, the Carthaginians were masters of the archipelago, and
+dragged the slingers off to serve in their armies. Mago, a Punic leader,
+gave his name to Puerto Mahon. Then came a time when the natives felt
+the grasp of the Semites relax. Their power had been crushed by the
+Romans and the islands enjoyed a brief interval of liberty. But in the
+year 123 _B.C._, the conquerors of Carthage remembered their neglected
+heritage, and sent Cecilius Metellas to take possession. He founded the
+cities of Palma and Pollensa, which still retain their Latin names, and
+brought with him some thousands of Italian and Spanish colonists, who
+soon tamed the wildness of the aborigines. Thence onward for centuries
+the archipelago prospered quietly, safe beneath the outspread wings of
+the Roman eagle. Upon the break-up of the empire it passed through
+various hands to the Visigoths, to be wrested from them in the eighth
+century by the Arabs. Under this new dominion the islands became a nest
+of pirates, who ultimately founded a kingdom embracing parts of the
+Spanish mainland and of Sardinia. The depredations of the Balearic Moors
+excited the anger of Christendom, and Pope Pascual II. preached a
+crusade against them. Constituting themselves the ministers of Europe’s
+vengeance, the Pisans and Catalans inflicted a severe punishment on the
+Pirates and sacked the rich city of Palma. Over a hundred years later,
+in 1227, Don Jaime I. of Aragon reduced the whole group of islands in a
+memorable campaign, and annexed them finally to Christendom. The
+conqueror constituted his new possessions into a kingdom for his second
+son and namesake, from whose grandson, Jaime II., they were taken by
+Pedro IV. in the year 1347 and incorporated with the kingdom of Aragon.
+
+But history had not yet done with the islands. The old rancour between
+the peasantry and the nobles came to a head at the beginning of the
+sixteenth century, in the war of the Germania or brotherhood. The
+viceroy took refuge in the Citadel of Ibiza, while the nobles defended
+themselves in the castle of Alcadia against the desperate attacks of the
+peasantry led by Juan Colom. The arrival of a royal squadron commanded
+by Don Juan de Valesco led to the extinction of the revolt. Ruled by
+Carthaginians, Romans, and Moors, the islands excited the cupidity of
+another race of conquerors. Seized by the English in 1708, Menorca
+remained in their possession till 1781, when it was retaken by the
+French and Spaniards. The failure to relieve the garrison cost Admiral
+Byng his life. We again took possession of the island in 1793 to
+surrender it finally to Spain at the peace of Amiens nine years later.
+
+Mallorca (it is as easy to call it by its proper name as by its variant
+Majorca) is the largest and most beautiful of the islands. Towards the
+north and south-west it presents an iron-bound wall of rock to the
+turbulent waters of the Catalan seas; on the south the plain stretches
+to the shore, and here we find the little harbour of Santa Ponza, at
+which the conqueror Jaime I. disembarked his army on September 10, 1229.
+
+Hard by is the estate of Ben Dinat, so named, it is averred, because the
+conqueror expressed in those two words his satisfaction with a meal of
+bread and garlic served him at this spot. It is more probable that the
+name is that of some long-forgotten Moor. Then comes the little harbour
+and tower of Portopi and round the next promontory the lovely bay of
+Palma, with the capital of the Balearics smiling a welcome to the
+stranger. The walls that once surrounded the city have been demolished:
+the turrets that rise above the house-tops are those of the Cathedral
+and the Exchange (Lonja). We enter the town through the Water Gate, a
+building not without majesty, and crowned by a statue of the Blessed
+Virgin. The streets, as in most Spanish towns, are narrow and shady,
+often rewarding the curiosity of the passer-by with glimpses of
+Renaissance patios, graceful balconies, and turret windows. Among the
+most interesting houses of the Butifarras (big sausages), as the
+nobility of the island used to be called, are the Casa de Vivot and the
+palace of the Counts of Montenegro. But Palma is a living city, and side
+by side with these dignified memories of the past we find handsome
+modern buildings such as the Bank of Spain and the Hall of Provincial
+Deputation. Nor does Palma want for wide breathing-spaces and
+promenades. It has the fine Paseo del Borne and the Boulevards
+constructed round the bay and on the site of the old fortifications.
+Close to the landing-stage the new-comer’s attention is first attracted
+by the Exchange or Lonja. Charles V. on visiting the island for the
+first time hastened at once to see it, eagerly demanding if it belonged
+to the Church or to the State, and was visibly relieved on hearing that
+it was a civil edifice. The Lonja is a quadrangular building, surmounted
+by a crenellated balustrade and flanked at each angle with an octagonal
+tower of six stages, one of these rising above the balustrade. The walls
+are strengthened with graceful pilasters, and pierced in their lower
+story by ogival windows with good traceries. The door is square and
+enclosed within an ogival arch. The interior forms a single great hall,
+the roof of which is supported by only four slender fluted columns, from
+which the arches spring like palm branches. This interesting building
+was designed and begun by Antonio Sagrera in the year 1426. Like the
+numerous other Spanish Lonjas, it has long been deserted by the
+mercantile community.
+
+The cathedral towers above the whole city and is one of the most
+important churches in the kingdom. The name of the architect is unknown,
+but the foundations were laid by order of Jaime the Conqueror soon after
+he had annexed the island. The plan is rectangular, the walls supported
+by massive flying buttresses, surmounted with pinnacles and turrets. The
+south front is the finest and is pierced by the beautiful Puerta del
+Mirador, in florid Gothic style, the work of Pedro Morey, who died in
+1394. The west porch is an elaborate work, finished in 1601. On the
+north side is the noble square bell-tower.
+
+The interior is remarkable for the enormous span of the nave, the widest
+in Spain. It rises to a height of 147 feet and is sustained by
+relatively slender columns. The nave terminates in the beautiful Capilla
+Real, founded in 1282, wherein is the modest tomb of the last King of
+Mallorca. The wooden gallery running round the wall is strongly
+suggestive of Saracenic influence. Opening into this chapel are the
+Capillas de Santa Eulalia, containing a Gothic altar and the tomb of a
+Bishop of Palma, and San Mateo, in which ends one of the aisles. In the
+chapel of St. Jerome is the fine tomb of the Marques de la Romana, who
+did such good service to Spain by bringing from Denmark the Spanish
+troops in Napoleon’s service. Another notable sepulchre is that of
+Bishop Gil Sancho Munoz, successor elect to Pope Benedict XIII. (1447).
+The choir is in decadent Gothic style, but the carving is very good and
+reveals imagination and fertility of resource on the part of the artist.
+The statues of St. Bruno and St. John were brought here from the
+chapter-house of Valledemosa. The old Moorish palace of Almudaina,
+adjacent to the cathedral, is the residence of the Captain-General and
+seat of the High Court. It is provided with a chapel built by Jaime II.
+
+The only other church worthy of mention at Palma is that of San
+Francisco de Asis, remarkably like the cathedral for the span of its
+nave and for the tomb of the famous Raymond Lull, Mallorca’s most
+illustrious son. This famous philosopher was born in 1235 and is said to
+have been converted from evil courses in his youth by finding that his
+mistress was devoured by cancer--such reasons for a change of life being
+frequent in the Middle Ages. He imagined himself called upon to
+overthrow the religion of Mohammed not by the old methods, but by a
+“great art” of logic which he devised. Like some liberal Catholics of
+later days, he held that the dogmas of his Church could and should be
+demonstrated by reason, and not by mere exhortations to believe. To
+combat Islam he rightly considered necessary that missionaries should
+understand the language of their adversaries. His exertions induced the
+Pope to found one or two chairs of Arabic and Syriac, and his
+philosophy, strange to say, met with no censure from ecclesiastical
+authorities. Lull was credited with immense and preternatural wisdom by
+his generation, and was popularly believed to have discovered the
+Philosopher’s Stone. He undertook several journeys to Northern Africa in
+his zeal for souls, and on the last of these visits received such severe
+injuries from a Moslem mob that he succumbed on board ship within sight
+of his native isle (1315).
+
+A picture of his funeral may be seen at the Town Hall, which is a rather
+imposing Renaissance building adorned by one of those heavy projecting
+eaves, carved and once painted, that one sees at Granada. Another house
+that should be noticed is the Casa Bonapart, said to have been founded
+by an ancestor of the Imperial family in 1411.
+
+In the suburbs of Palma is the fine old castle of Bellver, founded by
+the last King of Mallorca. It is composed of a vast keep, strengthened
+by bastions and surrounded by a moat. Connected with this stronghold by
+a bridge of two tiers is the massive Torre del Homenage. The castle has
+received many distinguished and involuntary guests. Here was confined
+Jovellanas, the able Minister of Carlos IV., and here was shot General
+Lacy for conspiring against the tyrant Fernando VII. Arago the
+Astronomer took refuge here, when the mob, suspecting that he was
+signalling to the French when he was simply making observations, sought
+his life.
+
+Seven miles from Palma is Raxa, the seat of the Conde de Montenegro, who
+has an exceedingly valuable collection of antiquities. Here may be seen
+a curious chart of the world, drawn in 1439, according to the
+instructions of Amerigo Vespucci. It is partly obliterated by the ink
+spilt over it when it was being spread out for examination by George
+Sand.
+
+That gifted Frenchwoman slayed at the suppressed Carthusian monastery of
+Valldemosa, and there she wrote the romance “Spiridion,” at which Mr.
+Titmarsh poked his fun. It is a beautiful, decayed old place, once a
+royal palace, and decorated with frescoes illustrating its history.
+
+We again come to the traces of Raymond Lull at Miramar, the beautiful
+seat of the Archduke Ludwig Salvator, who kindly placed a hospice at the
+disposal of travellers. This was originally the college established by
+the philosopher for the study of Oriental tongues. The ill-fated
+Maximilian of Mexico borrowed the name of his palace near Triente from
+this enchanting spot.
+
+In addition to the capital, Mallorca contains three or four towns of
+importance, such as Manacor, Alcudia, and Pollensa, but these present
+few features of interest. The scenery in the vale of Soller is radiant
+and smiling, the soil being of amazing fertility, such as the Barranco
+and Gorch Blau, or Blue Gorge. Between Pollensa and Soller in the heart
+of the hills is the sanctuary of Our Lady of Lluch, the origin of which
+is accounted for by a legend similar to that of Lourdes. To accommodate
+the pilgrims who flocked to the spot, a hospice was built, which in
+course of time was converted into a school of religious music. Here as
+at Miramar every stranger can have three days’ free lodging, including
+fire, light, and the indispensable oil and olives.
+
+On the other side of the island are the caves of Anta, rivalling those
+of Han and Adelsberg. “The most fantastic part of this subterranean
+region,” says Mr. Vuillier, “goes by the significant name of L’Infierno.
+It is a nightmare in stone. Tongues of petrified flame seem to lick the
+walls. An enormous lion squats in one corner, staring at unhewn tombs
+overhung by rigid cypresses. Strange forms of antediluvian monsters lurk
+half-seen in the obscurity. Many of the stalactites when rapped sharply
+with a stick emit musical notes, some like the vibration of a
+harp-string, others like the deep resonance of a church bell. These are
+in an immense hall as vast as a cathedral nave.... In silence and
+darkness, the forces of nature have for centuries been hewing and
+shaping an architecture more sublime than ever was conceived in the
+wildest dream of the Gothic craftsman.”
+
+Menorca, the second largest of the islands, is bare and bleak and flat
+round the coast, though at one point in the interior it rises to a
+height of nearly 6000 feet. Here and there are picturesque spots,
+notably the Barranco of Algendar; but speaking generally the island is
+the Holland of the Mediterranean. Cleanliness, well-being, industry and
+good conduct are the characteristics of the inhabitants, who live
+farther outside the world of romance even than most Latin people. We
+flatter ourselves of course that they learned their good qualities from
+our ancestors, when they ruled the island, and certainly there are
+frequent reminders of our influence to be traced in the daily life of
+Menorca. “Ashes to Ashes,” though seldom heard now, was in Ford’s time
+an oath or exclamation often on the lips of the natives, and children
+use English words when playing marbles, a game that we taught them among
+other perhaps less useful arts. We sent to the island a Governor Kasie,
+who made roads and built market-halls, and did all that a worthy and
+unimaginative English gentleman might feel it is his duty to do in such
+a position; but the natives do not sigh once more to be under our
+dominion, as they are sometimes polite enough to tell English folk they
+do, and a Spanish writer actually refers to our paternal government as
+the Babylonish captivity.
+
+Puerto Mahon was founded, as we have said, by the Carthaginians, and was
+appropriately enough occupied by us, the Carthaginians of later days.
+Its harbour is one of the best in the Mediterranean, and is very
+strongly fortified. Except for the forts, the town contains no public
+monuments of interest. The streets are very clean and rather quiet, and
+you remark the absence of the running water in the gutters
+characteristic of so many European towns. The streets are well paved,
+often with tombstones from the English cemetery; the dustman goes his
+rounds as he does in London, and many of the houses have English
+windows. The domestic life is held in high honour at Mahon, and the
+chief occupation and delight of the women is cleaning their houses. “It
+is an amusing spectacle” says M. Vuillier, “to see them armed with
+brooms of dwarf palm and immense pails of lime-water, gossiping along
+the walls from early morning, while they scrub and wash as if their
+lives depended upon it, fastening their brooms to long poles the better
+to reach the higher parts of the wall. Should a death occur in a house
+the walls are not whitened for a week, a fortnight or even a month,
+according to the closeness of the relationship or the degree of grief
+felt for the deceased. In rare cases the walls are not touched for six
+months.” The traveller comments on the absence of the tribe of unwelcome
+bedfellows, so persistent in their attentions in other parts of Spain.
+
+This does not sound very interesting. Mahon is not, however, wholly
+devoid of the picturesque element. The old gate of Barbarossa is named
+after that famous pirate, by whom the city was surprised and sacked in
+1536, and the fortifications still bear traces of the siege of 1781.
+Ciudadela, the old capital, at the opposite end of the island, is more
+suggestive of old times and memories. The streets are quaint and
+arcaded, and lined with fine old mansions: and there is an old palace,
+and a vast dim cathedral, which no one has ever properly explored. Ten
+minutes will be enough in which to exhaust the sights of Ciudadela, and
+you may then go and look at the Buffador, a blow-hole like those to be
+seen at Sark.
+
+The people of Menorca have long since abandoned their native
+dress--presuming that they ever had one; but M. Vuillier remarked the
+continuance of the old custom, observable in other countries, of
+strewing the path of a bridal party with obstacles and building a wall
+before the house of the bride and bridegroom, the morning after their
+marriage. We see one of the innumerable survivals here of marriage by
+capture. The people are strangely fond of the practice of vaccination,
+and will perform it on each other with the least possible excuse. In
+blood-letting they also entertain an ineradicable belief.
+
+Speaking of Alazor, a large village, Ford says: “It is worth the
+traveller’s while to go into any of the peasants’ houses and convince
+himself that in no other part of the world do the lower (_i.e._,
+working) classes live in greater comfort and even luxury. A man who has
+only a franc and a half a day as wages, and a little bit of garden, has
+a large and commodious house, well furnished, exquisitely clean, and
+always with a spare bed for the stranger. The character of the people is
+in exact harmony with their surroundings. They are polite and
+hospitable, crime is unknown, and their hygienic condition being so
+favourable they are healthy and long-lived. If is difficult to write of
+them without exaggeration and using too many terms of admiration for the
+good and wholesome life they lead.”
+
+To the economist, then, the island of Menorca must be of interest, but
+it is infinitely more so to the archæologist. From end to end it is
+strewn with the works of prehistoric man, whose record in stone is hard
+to read. These megalithic remains present a strong resemblance to the
+mirage of Sardinia and Malta, but have also local characteristics which
+have puzzled and delighted the learned. M. Cartailhac has traced the
+sites of many ancient villages. The most considerable may be seen at
+Torre d’ea Galines, south of Alazor. There, on the summit of a slight
+eminence, a vast pile of stones is all that remains of the “city” to
+which the naked aborigines fled wildly the instant a sail rose above the
+horizon. In the constant and arduous struggle waged by the present
+inhabitants with the stones and the rock, the limits of the stronghold
+have, ages ago, disappeared, and if it had an outer wall it can no
+longer be traced. The dwellings were grouped together so closely that no
+streets can be distinguished. No chariot or beast of burden could have
+been known to the citizens. They communicated with each other by
+corridors leading from cabin to cabin. Here and there the doorways
+remain intact and uphold a heavy lintel of stone.
+
+In each of these villages is to be found a single huge monument,
+composed of two blocks of stone, arranged =T=-shape. It is surrounded by a
+semicircular wall of unhewn stones, which probably once rose higher and
+higher and supported a roof of flat stones. These monuments are termed
+altars by the people of Menorca, and such they may, in fact, have been,
+but nothing definite can be said on this point.
+
+Equally uncertain are the nature and purpose of the monuments called
+talayots, a word allied to the Arabic term for watch-tower. These are
+structures of uncemented blocks of stone in the form of a tower,
+slightly conical or cylindrical, sometimes square at the base. None of
+them is wholly intact. Whether the summit was a dome or a platform we
+have no means of knowing. “I observed, however, at Torranba de Salort,”
+says M. Cartailhac, “a detail which throws some light on this point. The
+tower is among the highest at the summit and at two steps from the
+centre lies a great stone more than a metre in diameter, in the shape of
+a thick mushroom, almost circular, flat on one side and with a
+protuberance on the other. It is possible that this block once crowned
+the culminating-point of the edifice.”
+
+Among the largest talayots are those of Torre Ilafuda. They measure
+sixteen metres across the base and fourteen at the summit. The stones
+are laid horizontally and are carefully adjusted. The walls are three or
+four metres thick, and skilfully constructed. The interior usually forms
+a single chamber, and where this was large the roof was supported by a
+column formed of huge blocks of stone. The wall itself is often threaded
+by a passage to the roof or upper chamber, so narrow that it could only
+have been ascended by crawling. The entrance to the talayot is through
+a square opening large enough to permit a short man to walk through
+upright. All sorts of theories and guesses have been made as to what
+these towers originally were. Near every =T=-shaped altar one or two are
+to be found; there was always one at least on every town site. Perhaps,
+suggests our authority, they existed before all the other structures and
+were used as centres by a later population. Though they are often placed
+on eminences, it has been established that they were not fortresses; it
+can be proved more or less satisfactorily that they were not
+dwelling-places, storehouses, or tombs.
+
+The boat-shaped piles, called navetas or naves, on the other hand had
+clearly a sepulchral character. The front or prow is slightly concave.
+The entrance measures about half a metre across and three-quarters of a
+metre in height, the edges are grooved as though to admit some sort of
+door. Inside, the passage widens and conducts you to a second opening as
+narrow as the first, through which you penetrate into the mortuary
+chamber itself. Filled now with rubbish, filth and carrion, these are
+the tombs of the fathers of the Mediterranean races, whose bones are
+brought to light each time the Menorcan ploughs his stubborn soil.
+
+Stones must always have been a plague to the people of the island, and
+this, besides accounting for their selection of the sling as their
+peculiar weapon, may partially explain, as Ford reasonably remarks, the
+abundance of these monuments. “The erection of a large tumulus was not a
+piece of barbaric extravagance. It provided an unperishable monument for
+the person it was intended to honour (?) and it got rid of an immense
+mass of loose stone which greatly impeded agriculture.”
+
+“One fact,” adds this lively writer, “is very curious. The Menorcans,
+even now, are in the habit of constructing just such tumuli as the
+talayots for the use of their cattle, though of smaller stones. In the
+distance they present an appearance not at all unlike the older
+structures.”
+
+       *       *       *       *       *
+
+Ibiza, the third largest island of the group, is one of those spots
+which can afford no sort of justification for its existence. It is a
+mere backwater, a stagnant pool of humanity, interesting, though, as a
+place buried beneath prejudices and customs hundreds of years old. How
+should they be blown away in so out-of-the-way an island? The town
+stands on a fine harbour and reminds one rather of Guernsey. The
+collegiate church, formerly a cathedral, was founded by the Archbishop
+of Tarragona, in the thirteenth century, at the time the island was
+granted to him by Jaime the Conqueror. It is uninteresting, except for
+the view from the belfry. Better worth a visit is the fortified church
+of San Antonio at the other end of the island, wherein the people took
+refuge at the approach of the Corsairs. It is flanked with two massive
+towers and the apse has a parapet pierced with embrasures for guns. The
+walls are nearly eight feet thick, and the doorway is protected by a
+machicolation.
+
+There is little else to be seen at Ibiza during the short time the
+traveller will be disposed to stay there, but M. Vuillier, who lingered
+there longer than he had intended, is able to tell us much that is
+interesting about the people and their customs. The islanders are a
+savage primitive stock. The recognised form of salutation between man
+and maid is for the former to hurry after the latter and without any
+warning discharge his gun into the ground at her feet. After spending
+the evening at her house, he fires at the ceiling, so that it should be
+easy to tell at a glance on going into a house for the first time if the
+daughters have been much sought after. The men do not confine their
+shooting to this sort of practice, however; duels, assassinations, and
+vendettas are frequent, and the feuds partake of the mysterious brutal
+character of those of Kentucky and Tennessee. In such a country animals
+fare badly, and one is not surprised to learn that throwing stones at a
+live cock is one of the favourite pastimes. When the youths come
+a-courting, each sits with the girl for a few minutes in turn and if he
+overstays the allotted period is punished by the others with the knife
+or pistol. Abduction is the rule rather than the exception; but for all
+the anxiety shown to possess them, the women have a wretched time, being
+hardly allowed to stir out of their dingy poverty-stricken cabins.
+Altogether it must be as difficult to make yourself happy at Ibiza as at
+any spot on or off the planet.
+
+Of the remaining islands of the group, only one deserves mention and
+that only for its sad memories. This is Cabrera. It is little better
+than a bare rock, incapable of affording subsistence to more perhaps
+than two or three score of men, yet here during the Peninsular War the
+Spaniards were thoughtless enough to confine 5500 French soldiers, the
+victims of Dupont’s surrender at Bailen. Their sufferings were more
+severe than those of many a shipwrecked mariner. Each man was allowed
+only 24 ounces of bread and a few beans every four days. There was but
+one spring in the island and the thirst-maddened men would fight each
+other desperately to get a drink from this. Murder was common, and in
+one instance a man was detected in the act of preparing a meal from the
+remains of a comrade. It is touching to relate that for many months the
+men made a pet of a donkey they found wandering on the island, and it
+was not till the boat which brought them their miserable ration was long
+overdue that the poor famished wretches could find it in their hearts to
+kill and eat their only four-footed companion. As time went on, the
+captives made some attempt to cultivate their island, and their lot
+greatly improved, as the Spaniards continued to send the same rations,
+though their number was now reduced by two-fifths. Finally, in 1814, the
+last survivors were taken off by a French transport. The bones of those
+who died on the island were interred by the crew of a French warship and
+a monument was erected over their remains.
+
+[Illustration: PLATE 1
+
+GENERAL VIEW OF BARCELONA]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF BARCELONA]
+
+[Illustration: PLATE 3
+
+BARCELONA: VIEW FROM THE FUNICULAR RAILWAY STATION]
+
+[Illustration: PLATE 4
+
+BARCELONA: PANORAMA FROM MONJUICH]
+
+[Illustration: PLATE 5
+
+BARCELONA: PANORAMA FROM MONJUICH]
+
+[Illustration: PLATE 6
+
+BARCELONA: PANORAMA FROM MONJUICH]
+
+[Illustration: PLATE 7
+
+BARCELONA: THE DOCKS]
+
+[Illustration: PLATE 8
+
+BARCELONA: GENERAL VIEW OF THE PORT]
+
+[Illustration: PLATE 9
+
+BARCELONA: DETAIL OF THE PORT]
+
+[Illustration: PLATE 10
+
+BARCELONA: VIEW FROM MIRAMAR]
+
+[Illustration: PLATE 11
+
+BARCELONA: RAMBLA DEL CENTRO]
+
+[Illustration: PLATE 12
+
+BARCELONA: RAMBLA DEL CENTRO]
+
+[Illustration: PLATE 13
+
+BARCELONA: RAMBLA DE LAS FLÓRES]
+
+[Illustration: PLATE 14
+
+BARCELONA: RAMBLA DE LAS FLÓRES]
+
+[Illustration: PLATE 15
+
+BARCELONA: PASEO DE COLÓN]
+
+[Illustration: PLATE 16
+
+BARCELONA: PASEO DE COLÓN AND HOTEL]
+
+[Illustration: PLATE 17
+
+BARCELONA: PASEO DE COLÓN AND STATUE OF LÓPEZ]
+
+[Illustration: PLATE 18
+
+BARCELONA: RAMBLA DE LOS ESTUDIANTES]
+
+[Illustration: PLATE 19
+
+BARCELONA: PASEO DE GRACIA]
+
+[Illustration: PLATE 20
+
+BARCELONA: PASEO DE GRACIA]
+
+[Illustration: PLATE 21
+
+BARCELONA: RAMBLA DE CATALUÑA]
+
+[Illustration: PLATE 22
+
+BARCELONA: PLAZA DE CATALUÑA]
+
+[Illustration: PLATE 23
+
+BARCELONA: RAMBLA DE SANTA MONICA AND THE BANK]
+
+[Illustration: PLATE 24
+
+BARCELONA: LA GRAN VIA AND STATUE OF GÜELL Y FERRER]
+
+[Illustration: PLATE 25
+
+BARCELONA: PLAZA DE CATALUÑA]
+
+[Illustration: PLATE 26
+
+BARCELONA: PLAZA DE CATALUÑA]
+
+[Illustration: PLATE 27
+
+BARCELONA: PLAZA DE LA PAZ]
+
+[Illustration: PLATE 28
+
+BARCELONA: PLAZA DEL PALACIO]
+
+[Illustration: PLATE 29
+
+BARCELONA: PLAZA DEL PALACIO]
+
+[Illustration: PLATE 30
+
+BARCELONA: PLAZA REAL]
+
+[Illustration: PLATE 31
+
+BARCELONA: PLAZA DEL REY]
+
+[Illustration: PLATE 32
+
+BARCELONA: PLAZA ANTONIO LOPEZ]
+
+[Illustration: PLATE 33
+
+BARCELONA: CALLE DE FERDINAND VII.]
+
+[Illustration: PLATE 34
+
+BARCELONA: CALLE DE BALMES]
+
+[Illustration: PLATE 35
+
+BARCELONA: CALLE DE ARAGÓN]
+
+[Illustration: PLATE 36
+
+BARCELONA: GÜELL PARK]
+
+[Illustration: PLATE 37
+
+BARCELONA: ENTRANCE TO THE GÜELL PARK]
+
+[Illustration: PLATE 38
+
+BARCELONA: ENTRANCE TO THE PARK]
+
+[Illustration: PLATE 39
+
+BARCELONA: LAKE IN THE PARK]
+
+[Illustration: PLATE 40
+
+BARCELONA: THE LAKE IN THE PARK]
+
+[Illustration: PLATE 41
+
+BARCELONA: THE “CASCADA” IN THE PARK]
+
+[Illustration: PLATE 42
+
+BARCELONA PARK: DETAILS OF THE “CASCADA”]
+
+[Illustration: PLATE 43
+
+BARCELONA: FOUNTAIN IN THE PARK]
+
+[Illustration: PLATE 44
+
+BARCELONA: THE CATHEDRAL]
+
+[Illustration: PLATE 45
+
+BARCELONA: THE CATHEDRAL]
+
+[Illustration: PLATE 46
+
+BARCELONA CATHEDRAL: PRINCIPAL ENTRANCE]
+
+[Illustration: PLATE 47
+
+BARCELONA CATHEDRAL: RIGHT-HAND SIDE DOOR]
+
+[Illustration: PLATE 48
+
+BARCELONA CATHEDRAL: DOOR OF THE PIEDAD]
+
+[Illustration: PLATE 49
+
+BARCELONA CATHEDRAL: DOOR OF SANTA EULALIA]
+
+[Illustration: PLATE 50
+
+BARCELONA CATHEDRAL: EXTERIOR DOOR OF SANTA LUCIA]
+
+[Illustration: PLATE 51
+
+BARCELONA CATHEDRAL: INTERIOR DOOR OF SANTA LUCIA AND SEPULCHRE OF
+MOSSEN BORRA]
+
+[Illustration: PLATE 52
+
+BARCELONA: INTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 53
+
+BARCELONA: INTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 54
+
+BARCELONA CATHEDRAL: DETAIL OF THE CHOIR]
+
+[Illustration: PLATE 55
+
+BARCELONA CATHEDRAL: THE HIGH ALTAR]
+
+[Illustration: PLATE 56
+
+BARCELONA: THE ARCHIVE OF THE CATHEDRAL]
+
+[Illustration: PLATE 57
+
+BARCELONA CATHEDRAL: CLOISTERS AND PRINCIPAL INTERIOR DOOR]
+
+[Illustration: PLATE 58
+
+BARCELONA: CHAPEL IN THE CLOISTER OF THE CATHEDRAL]
+
+[Illustration: PLATE 59
+
+BARCELONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 60
+
+BARCELONA: CLOISTERS AND DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 61
+
+BARCELONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 62
+
+BARCELONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 63
+
+BARCELONA: CHAPEL IN THE CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 64
+
+BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS]
+
+[Illustration: PLATE 65
+
+BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS]
+
+[Illustration: PLATE 66
+
+BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 67
+
+BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 68
+
+BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS]
+
+[Illustration: PLATE 69
+
+BARCELONA CATHEDRAL: IRON GRATING IN THE CLOISTERS]
+
+[Illustration: PLATE 70
+
+BARCELONA CATHEDRAL: GRATING IN THE CLOISTERS]
+
+[Illustration: PLATE 71
+
+BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS]
+
+[Illustration: PLATE 72
+
+BARCELONA: SANTA MARIA DEL MAR]
+
+[Illustration: PLATE 73
+
+BARCELONA: CHURCH OF SANTA MARIA DEL MAR]
+
+[Illustration: PLATE 74
+
+BARCELONA: CHURCH OF SANTA MARIA DEL MAR. GATE OF THE IMMACULADA]
+
+[Illustration: PLATE 75
+
+BARCELONA: CHURCH OF SANTA MARIA DEL MAR. DETAIL OF LEFT DOOR]
+
+[Illustration: PLATE 76
+
+BARCELONA: DETAIL OF THE DOOR OF THE CHURCH OF SANTA MARIA DEL MAR]
+
+[Illustration: PLATE 77
+
+BARCELONA: CHURCH OF SANTA MARIA DEL PINO]
+
+[Illustration: PLATE 78
+
+BARCELONA: BYZANTINE DOORWAY IN THE CHURCH OF SAN PABLO]
+
+[Illustration: PLATE 79
+
+BARCELONA: CLOISTERS OF SAN PABLO]
+
+[Illustration: PLATE 80
+
+BARCELONA: CLOISTERS OF SAN PABLO]
+
+[Illustration: PLATE 81
+
+BARCELONA: FAÇADE OF THE CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 82
+
+BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 83
+
+BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 84
+
+BARCELONA: CHURCH OF THE SAGRADA FAMILIA]
+
+[Illustration: PLATE 85
+
+BARCELONA: CHURCH OF LAS SALESAS]
+
+[Illustration: PLATE 86
+
+BARCELONA: CHURCH OF LAS SALESAS]
+
+[Illustration: PLATE 87
+
+BARCELONA: CHURCH OF THE CONCEPTION]
+
+[Illustration: PLATE 88
+
+BARCELONA: CHURCH OF SANTA AGUEDA]
+
+[Illustration: PLATE 89
+
+BARCELONA: THE TOWN HALL]
+
+[Illustration: PLATE 90
+
+BARCELONA: THE TOWN HALL]
+
+[Illustration: PLATE 91
+
+BARCELONA: OLD FAÇADE OF THE TOWN HALL]
+
+[Illustration: PLATE 92
+
+BARCELONA: EXTERIOR DETAIL OF THE TOWN HALL]
+
+[Illustration: PLATE 93
+
+BARCELONA: CHAPEL OF SAN JORGE IN THE TOWN HALL]
+
+[Illustration: PLATE 94
+
+BARCELONA: COURTYARD OF THE TOWN HALL]
+
+[Illustration: PLATE 95
+
+BARCELONA: ENTRANCE TO THE COURTYARD OF THE AUDIENCIA]
+
+[Illustration: PLATE 96
+
+BARCELONA: UPPER PART OF THE COURTYARD OF THE TOWN HALL]
+
+[Illustration: PLATE 97
+
+BARCELONA: THE UNIVERSITY]
+
+[Illustration: PLATE 98
+
+BARCELONA: CLOISTERS OF THE UNIVERSITY]
+
+[Illustration: PLATE 99
+
+BARCELONA: CLOISTERS OF THE UNIVERSITY, UPPER PART]
+
+[Illustration: PLATE 100
+
+BARCELONA: PALACIO DE JUSTICIA]
+
+[Illustration: PLATE 101
+
+BARCELONA: DIPUTACION PROVINCIAL]
+
+[Illustration: PLATE 102
+
+BARCELONA: DIPUTACION PROVINCIAL]
+
+[Illustration: PLATE 103
+
+BARCELONA: THE EXCHANGE]
+
+[Illustration: PLATE 104
+
+BARCELONA: THE CUSTOM HOUSE]
+
+[Illustration: PLATE 105
+
+BARCELONA: CLINICAL HOSPITAL]
+
+[Illustration: PLATE 106
+
+BARCELONA: MUNICIPAL SCHOOL OF MUSIC]
+
+[Illustration: PLATE 107
+
+BARCELONA: CATALANA DEL GAS]
+
+[Illustration: PLATE 108
+
+BARCELONA: LA MAISON DORÉE]
+
+[Illustration: PLATE 109
+
+BARCELONA: CASA DE LA CANONGIA]
+
+[Illustration: PLATE 110
+
+BARCELONA: PRIVATE HOUSE OF THE EIGHTEENTH CENTURY]
+
+[Illustration: PLATE 111
+
+BARCELONA: A SHOP IN THE CALLE FERNANDO]
+
+[Illustration: PLATE 112
+
+BARCELONA: NEW BUILDING IN THE PASEO DE GRACIA]
+
+[Illustration: PLATE 113
+
+BARCELONA: HOUSE OF THE SHOEMAKERS]
+
+[Illustration: PLATE 114
+
+BARCELONA: HOUSE IN THE CALLE DE CASPE]
+
+[Illustration: PLATE 115
+
+BARCELONA: ARCO DE TRIUNFO]
+
+[Illustration: PLATE 116
+
+BARCELONA: TEATRO PRINCIPAL]
+
+[Illustration: PLATE 117
+
+BARCELONA: OLD TOWERS IN THE PLAZA NUEVA]
+
+[Illustration: PLATE 118
+
+BARCELONA: TOWER OF SANTA AGUEDA]
+
+[Illustration: PLATE 119
+
+BARCELONA: CONVENT OF SANTA CLARA. OLD PALACE OF THE KINGS OF ARAGON]
+
+[Illustration: PLATE 120
+
+BARCELONA: APEADERO DE LA CALLE DE ARAGON]
+
+[Illustration: PLATE 121
+
+BARCELONA: HOTEL COLÓN]
+
+[Illustration: PLATE 122
+
+BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA]
+
+[Illustration: PLATE 123
+
+BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA]
+
+[Illustration: PLATE 124
+
+BARCELONA: FRONTÓN]
+
+[Illustration: PLATE 125
+
+BARCELONA: THE BULL-RING]
+
+[Illustration: PLATE 126
+
+BARCELONA: MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 127
+
+BARCELONA: MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 128
+
+BARCELONA: DETAIL OF THE MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 129
+
+BARCELONA: MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 130
+
+BARCELONA: MONUMENT TO GÜELL]
+
+[Illustration: PLATE 131
+
+BARCELONA: FOUNTAIN IN THE PLAZA DE PALACIO]
+
+[Illustration: PLATE 132
+
+BARCELONA: STATUE OF GENERAL PRIM]
+
+[Illustration: PLATE 133
+
+BARCELONA: RAMBLA DE CATALUÑA, MONUMENT TO CLAVÉ]
+
+[Illustration: PLATE 134
+
+BARCELONA: STATUE OF LOPEZ, AND PASEO DE COLÓN]
+
+[Illustration: PLATE 135
+
+BARCELONA: PLAZA DEL DUQUE DE MEDINACELLI]
+
+[Illustration: PLATE 136
+
+BARCELONA: MONUMENT TO RUIS AND TOULET]
+
+[Illustration: PLATE 137
+
+BARCELONA: VIEW OF TIBIDABO]
+
+[Illustration: PLATE 138
+
+BARCELONA: FUNICULAR RAILWAY STATION, TIBIDABO]
+
+[Illustration: PLATE 139
+
+BARCELONA: TIBIDABO STATION AND CASA ARNUS]
+
+[Illustration: PLATE 140
+
+BARCELONA: THE DEVIL’S BRIDGE AT MARTORELL]
+
+[Illustration: PLATE 141
+
+BARCELONA: INTERIOR COURT OF THE CONVENT OF MONTESION]
+
+[Illustration: PLATE 142
+
+BARCELONA: EXTERIOR OF THE CONVENT OF MONTESION]
+
+[Illustration: PLATE 143
+
+BARCELONA: CONVENT OF MONTESION CLOISTERS]
+
+[Illustration: PLATE 144
+
+MONASTERY OF PEDRALVES, NEAR BARCELONA]
+
+[Illustration: PLATE 145
+
+BARCELONA: RAMBLA DE CANALETAS DURING THE FÊTES OF 1888]
+
+[Illustration: PLATE 146
+
+BARCELONA: THE FÊTES OF 1888. INAUGURATION OF THE MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 147
+
+BARCELONA: EXHIBITION OF 1888. H.M. THE QUEEN LEAVING THE EXHIBITION]
+
+[Illustration: PLATE 148
+
+BARCELONA: EXHIBITION OF 1888. PALACE OF BEAUX-ARTS]
+
+[Illustration: PLATE 149
+
+GENERAL VIEW OF TARRAGONA]
+
+[Illustration: PLATE 150
+
+TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING SOUTH]
+
+[Illustration: PLATE 151
+
+TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING EAST]
+
+[Illustration: PLATE 152
+
+TARRAGONA: GENERAL VIEW]
+
+[Illustration: PLATE 153
+
+TARRAGONA: GENERAL VIEW FROM THE PIER]
+
+[Illustration: PLATE 154
+
+TARRAGONA: PANORAMIC VIEW]
+
+[Illustration: PLATE 155
+
+TARRAGONA: VIEW OF THE PORT]
+
+[Illustration: PLATE 156
+
+TARRAGONA: VIEW OF THE HARBOUR FROM THE TOWN]
+
+[Illustration: PLATE 157
+
+TARRAGONA: GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 158
+
+TARRAGONA: FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 159
+
+TARRAGONA: FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 160
+
+TARRAGONA: TOWER AND SIDE OF THE CATHEDRAL]
+
+[Illustration: PLATE 161
+
+TARRAGONA: FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 162
+
+TARRAGONA CATHEDRAL: CENTRE OF THE PORTAL]
+
+[Illustration: PLATE 163
+
+TARRAGONA: LEFT-HAND SIDE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 164
+
+TARRAGONA CATHEDRAL: STATUES OF THE PORTICO]
+
+[Illustration: PLATE 165
+
+TARRAGONA CATHEDRAL: DETAIL OF THE PORTICO]
+
+[Illustration: PLATE 166
+
+TARRAGONA: BYZANTINE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 167
+
+TARRAGONA: RIGHT-HAND SIDE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 168
+
+TARRAGONA CATHEDRAL: THE PRINCIPAL NAVE]
+
+[Illustration: PLATE 169
+
+TARRAGONA CATHEDRAL: TOMB OF JAIME DE ARAGON]
+
+[Illustration: PLATE 170
+
+TARRAGONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 171
+
+TARRAGONA: DOOR OF THE CHAPEL OF SAN PABLO]
+
+[Illustration: PLATE 172
+
+TARRAGONA: LA MURALLA CICLOPEA]
+
+[Illustration: PLATE 173
+
+TARRAGONA: PUERTA DE SAN ANTONIO AND ROMAN WALLS]
+
+[Illustration: PLATE 174
+
+TARRAGONA: ROMAN WALLS AND TOWER]
+
+[Illustration: PLATE 175
+
+TARRAGONA: TOWER OF THE SCIPIONES]
+
+[Illustration: PLATE 176
+
+TARRAGONA: GATE OF SAN ANTONIO AND THE ROMAN WALL]
+
+[Illustration: PLATE 177
+
+TARRAGONA: PALACE OF PILATOS, NOW THE PRISON]
+
+[Illustration: PLATE 178
+
+TARRAGONA: LA PORTELLA, A CYCLOPEAN DOORWAY]
+
+[Illustration: PLATE 179
+
+TARRAGONA: A CYCLOPEAN DOORWAY]
+
+[Illustration: PLATE 180
+
+TARRAGONA: A ROMAN HOUSE]
+
+[Illustration: PLATE 181
+
+TARRAGONA: ARCO DE BARÁ]
+
+[Illustration: PLATE 182
+
+TARRAGONA: THE ROMAN AQUEDUCT]
+
+[Illustration: PLATE 183
+
+TARRAGONA: THE ROMAN AQUEDUCT]
+
+[Illustration: PLATE 184
+
+TARRAGONA: THE SEMINARY]
+
+[Illustration: PLATE 185
+
+TARRAGONA: CROSS OF SAN ANTONIO
+
+(SIXTEENTH CENTURY)]
+
+[Illustration: PLATE 186
+
+TARRAGONA: ANCIENT ROMAN CONVENT]
+
+[Illustration: PLATE 187
+
+POBLET (TARRAGONA): GENERAL VIEW OF THE MONASTERY]
+
+[Illustration: PLATE 188
+
+POBLET (TARRAGONA): CHURCH OF THE MONASTERY]
+
+[Illustration: PLATE 189
+
+POBLET (TARRAGONA): DOOR OF THE MONASTERY]
+
+[Illustration: PLATE 190
+
+POBLET (TARRAGONA): CHAPEL OF SAN JORGE]
+
+[Illustration: PLATE 191
+
+POBLET (TARRAGONA): TEMPLE IN THE CLOISTERS]
+
+[Illustration: PLATE 192
+
+POBLET (TARRAGONA): CLOISTERS AND PALACE OF KING MARTIN]
+
+[Illustration: PLATE 193
+
+POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS]
+
+[Illustration: PLATE 194
+
+POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS]
+
+[Illustration: PLATE 195
+
+SANTA CREUS (TARRAGONA): GENERAL VIEW OF THE CHURCH OF THE MONASTERY]
+
+[Illustration: PLATE 196
+
+SANTA CREUS (TARRAGONA): DOOR OF THE CLOISTERS]
+
+[Illustration: PLATE 197
+
+SANTA CREUS (TARRAGONA): INTERIOR OF THE CLOISTERS]
+
+[Illustration: PLATE 198
+
+SANTA CREUS (TARRAGONA): INTERIOR SIDE VIEW OF THE CLOISTERS]
+
+[Illustration: PLATE 199
+
+MONTSERRAT: VIEW OF THE MONASTERY]
+
+[Illustration: PLATE 200
+
+MONASTERY OF MONTSERRAT]
+
+[Illustration: PLATE 201
+
+VIEW OF THE MONASTERY OF MONTSERRAT, TAKEN FROM ST. MICHAEL]
+
+[Illustration: PLATE 202
+
+MONTSERRAT: GENERAL VIEW OF MONASTERY FROM THE SOUTH]
+
+[Illustration: PLATE 203
+
+MONTSERRAT: VIEW OF THE MONASTERY FROM THE SOUTH]
+
+[Illustration: PLATE 204
+
+MONTSERRAT: GENERAL VIEW]
+
+[Illustration: PLATE 205
+
+MONTSERRAT: VIEW OF THE MONASTERY FROM THE WEST]
+
+[Illustration: PLATE 206
+
+MONTSERRAT: THE MONASTERY]
+
+[Illustration: PLATE 207
+
+MONTSERRAT: GROTTO OF THE VIRGIN]
+
+[Illustration: PLATE 208
+
+MONTSERRAT: THE VIRGIN’S CAVE]
+
+[Illustration: PLATE 209
+
+MONTSERRAT: VIEW FROM THE GROTTO OF THE VIRGIN]
+
+[Illustration: PLATE 210
+
+MONTSERRAT: THE CAVE OF JUAN GUARIN THE HERMIT]
+
+[Illustration: PLATE 211
+
+MONTSERRAT: REMAINS OF THE ANCIENT MONASTERY]
+
+[Illustration: PLATE 212
+
+MONTSERRAT: DOOR OF THE CHURCH]
+
+[Illustration: PLATE 213
+
+MONTSERRAT: INTERIOR OF THE CHURCH]
+
+[Illustration: PLATE 214
+
+MONTSERRAT: VIEW OF THE PEAKS]
+
+[Illustration: PLATE 215
+
+MONTSERRAT: THE DEVIL’S ROCK]
+
+[Illustration: PLATE 216
+
+MONTSERRAT: MIRANDA PEAK]
+
+[Illustration: PLATE 217
+
+VIEW OF MONTSERRAT, TAKEN FROM MONISTOL STATION]
+
+[Illustration: PLATE 218
+
+VIEW OF MONISTOL, TAKEN FROM MONTSERRAT]
+
+[Illustration: PLATE 219
+
+TORTOSA: GENERAL VIEW]
+
+[Illustration: PLATE 220
+
+TORTOSA: COURTYARD IN THE INSTITUTE]
+
+[Illustration: PLATE 221
+
+THE COURT, SAN FRANCISCO, PALMA, MALLORCA
+
+GRAN HOTEL, PALMA, MALLORCA]
+
+[Illustration: PLATE 222
+
+PALACE OF THE ALMUDAINA, PALMA, MALLORCA]
+
+[Illustration: PLATE 223
+
+WINDMILL AND ELECTRICAL WORKS, PALMA, MALLORCA]
+
+[Illustration: PLATE 224
+
+VIEW OF THE “REAL CLUB DE REGATAS,” PALMA, MALLORCA]
+
+[Illustration: PLATE 225
+
+MARKET AND CHURCH OF SAN NICOLAS, PALMA, MALLORCA
+
+SAN FRANCISCO, PALMA, MALLORCA]
+
+[Illustration: PLATE 226
+
+VIEW FROM THE HARBOUR, PALMA, MALLORCA]
+
+[Illustration: PLATE 227
+
+VIEW OF THE BAY, PALMA, MALLORCA]
+
+[Illustration: PLATE 228
+
+THE ALMUDAINA AND CATHEDRAL, PALMA, MALLORCA]
+
+[Illustration: PLATE 229
+
+PUERTA DE SANTA MARGARITA, PALMA, MALLORCA
+
+THE CATHEDRAL, PALMA, MALLORCA]
+
+[Illustration: PLATE 230
+
+PASEO DEL BORNE, PALMA, MALLORCA
+
+ARABIAN BATHS, PALMA, MALLORCA]
+
+[Illustration: PLATE 231
+
+VIEW OF THE GORCH BLAU, MALLORCA
+
+THE GORCH BLAU, MALLORCA]
+
+[Illustration: PLATE 232
+
+INTERIOR OF SAN FRANCISCO, PALMA, MALLORCA]
+
+[Illustration: PLATE 233
+
+ARAB BATHS, PALMA, MALLORCA]
+
+[Illustration: PLATE 234
+
+THE QUAY, PALMA, MALLORCA]
+
+[Illustration: PLATE 235
+
+MILLS, PALMA, MALLORCA]
+
+[Illustration: PLATE 236
+
+THE RIVER, SOLLER, MALLORCA]
+
+[Illustration: PLATE 237
+
+GENERAL VIEW OF ALCUDIA, MALLORCA]
+
+[Illustration: PLATE 238
+
+THE CATHEDRAL, PALMA, MALLORCA
+
+THE CHURCH OF THE MONASTERY, LLUCH, MALLORCA]
+
+[Illustration: PLATE 239
+
+LA CARTUJA, VALLDEMOSA, MALLORCA
+
+PUERTA DEL MUELLE, ALCUDIA, MALLORCA]
+
+[Illustration: PLATE 240
+
+INTERIOR OF THE CHURCH, LLUCH, MALLORCA]
+
+[Illustration: PLATE 241
+
+TRANSPORT OF MUSTS, BALEARIC ISLANDS]
+
+[Illustration: PLATE 242
+
+GENERAL VIEW OF DEYA, MALLORCA]
+
+[Illustration: PLATE 243
+
+CASTLE OF BELLVER, MALLORCA]
+
+[Illustration: PLATE 244
+
+GENERAL VIEW OF SAN ANTONIO (PITYUSAE ISLES)]
+
+[Illustration: PLATE 245
+
+RUINS OF THE TORRE D’EA GALINES, ALAZOR, MENORCA]
+
+[Illustration: PLATE 246
+
+VILLA CARLOS, MAHON, MENORCA
+
+VIEW OF THE PORT, MAHON, MENORCA]
+
+[Illustration: PLATE 247
+
+THE HARBOUR, MAHON, MENORCA
+
+A VIEW IN THE TOWN, MAHON, MENORCA]
+
+[Illustration: PLATE 248
+
+THE QUAY, MAHON, MENORCA]
+
+[Illustration: PLATE 249
+
+PASEO DEL home, CIUDADELA, MENORCA]
+
+[Illustration: PLATE 250
+
+VIEW OF THE PORT, MAHON, MENORCA]
+
+[Illustration: PLATE 251
+
+THE PORT AND TOWN, CIUDADELA, MENORCA]
+
+[Illustration: PLATE 252
+
+THRESHING, SAN ANTONIO (PITYUSAE ISLES)
+
+A STREET IN ALGENDAR, FERRERIAS, MENORCA]
+
+[Illustration: PLATE 253
+
+A VIEW SHOWING THE ARABIAN TOWERS, IBIZA (PITYUSAE ISLES)]
+
+[Illustration: PLATE 254
+
+RIVER PAREYS]
+
+[Illustration: PLATE 255
+
+PORTAL OF D’ALT OR D’EN SERVERA, MAHON, MENORCA]
+
+[Illustration: PLATE 256
+
+MONUMENT TO THE FRENCH PRISONERS WHO DIED IN 1808, ISLAND OF CABRERA,
+MENORCA]
+
+*** END OF THE PROJECT GUTENBERG EBOOK 64923 ***
diff --git a/64923-h/64923-h.htm b/64923-h/64923-h.htm
new file mode 100644
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+++ b/64923-h/64923-h.htm
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+  <head>  <link rel="coverpage" href="images/cover.jpg" />
+<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
+<title>
+  The Project Gutenberg eBook of Catalonia and the
+Balearic Isles, by Albert F. Calvert.
+</title>
+<style type="text/css">
+
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+  </head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 64923 ***</div>
+<hr class="full" />
+
+<div class="figcenter">
+<a href="images/cover.jpg">
+<img src="images/cover.jpg" height="550" alt="[The image
+of the book-cover is unavailable.]" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+C A T A L O N I A<br />
+&amp; THE BALEARIC ISLES
+<span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span></p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table summary="">
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">&nbsp; &nbsp; Zamora, Avila and Zaragoza</span><br />
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span></p>
+
+<h1><span class="redd">CATALONIA</span></h1>
+
+<div class="ptt"><div class="pttt"><big>
+&amp;&nbsp;  THE &nbsp; BALEARIC&nbsp;  ISLES</big><br />
+AN HISTORICAL AND DESCRIP-<br />
+TIVE
+&nbsp; ACCOUNT &nbsp; BY &nbsp; ALBERT<br />
+F. CALVERT, WITH &nbsp; 250 &nbsp; PLATES<br />
+</div></div>
+
+<p class="c"><span class="redd">LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+NEW YORK: JOHN LANE COMPANY: MCMX<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>
+<br /><br /><br />
+
+<small>
+<span class="smcap">Printed by</span><br />
+BALLANTYNE &amp; COMPANY LTD<br />
+<span class="smcap">Tavistock Street Covent Garden<br />
+London</span><br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+<tr><td class="smcap"><a href="#THE_PRINCIPALITY_OF_CATALONIA">The Principality of Catalonia</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+<tr><td class="smcap"><a href="#BARCELONA">Barcelona</a></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr>
+<tr><td class="smcap"><a href="#GERONA">Gerona</a></td><td class="rt" valign="bottom"><a href="#page_23">23</a></td></tr>
+<tr><td class="smcap"><a href="#THE_VALLEY_OF_THE_TER">The Valley of the Ter</a></td><td class="rt" valign="bottom"><a href="#page_36">36</a></td></tr>
+<tr><td class="smcap"><a href="#LERIDA">Lerida</a></td><td class="rt" valign="bottom"><a href="#page_40">40</a></td></tr>
+<tr><td class="smcap"><a href="#TARRAGONA">Tarragona</a></td><td class="rt" valign="bottom"><a href="#page_52">52</a></td></tr>
+<tr><td class="smcap"><a href="#POBLET">Poblet</a></td><td class="rt" valign="bottom"><a href="#page_63">63</a></td></tr>
+<tr><td class="smcap"><a href="#SANTA_CREUS">Santa Creus</a></td><td class="rt" valign="bottom"><a href="#page_69">69</a></td></tr>
+<tr><td class="smcap"><a href="#VALLBONA">Vallbona</a></td><td class="rt" valign="bottom"><a href="#page_72">72</a></td></tr>
+<tr><td class="smcap"><a href="#MONTSERRAT">Montserrat</a></td><td class="rt" valign="bottom"><a href="#page_73">73</a></td></tr>
+<tr><td class="smcap"><a href="#CARDONA">Cardona</a></td><td class="rt" valign="bottom"><a href="#page_83">83</a></td></tr>
+<tr><td class="smcap"><a href="#TORTOSA">Tortosa</a></td><td class="rt" valign="bottom"><a href="#page_84">84</a></td></tr>
+<tr><td class="smcap"><a href="#THE_BALEARIC_ISLANDS">The Balearic Islands</a></td><td class="rt" valign="bottom"><a href="#page_86">86</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td><small>TITLE</small></td>
+<td class="rt"><small>PLATE</small></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_1">General View of Barcelona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_1">1</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_2">General View of Barcelona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_2">2</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_3">Barcelona: View from the Funicular Railway Station</a></td>
+<td valign="bottom" class="rt"><a href="#plt_3">3</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_4">Barcelona: Panorama from Monjuich</a></td>
+<td valign="bottom" class="rt"><a href="#plt_4">4</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_5">Barcelona: Panorama from Monjuich</a></td>
+<td valign="bottom" class="rt"><a href="#plt_5">5</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_6">Barcelona: Panorama from Monjuich</a></td>
+<td valign="bottom" class="rt"><a href="#plt_6">6</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_7">Barcelona: The Docks</a></td>
+<td valign="bottom" class="rt"><a href="#plt_7">7</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_8">Barcelona: General View of the Port</a></td>
+<td valign="bottom" class="rt"><a href="#plt_8">8</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_9">Barcelona: Detail of the Port</a></td>
+<td valign="bottom" class="rt"><a href="#plt_9">9</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_10">Barcelona: View from Miramar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_10">10</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_11">Barcelona: Rambla del Centro</a></td>
+<td valign="bottom" class="rt"><a href="#plt_11">11</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_12">Barcelona: Rambla del Centro</a></td>
+<td valign="bottom" class="rt"><a href="#plt_12">12</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_13">Barcelona: Rambla de las Flóres</a></td>
+<td valign="bottom" class="rt"><a href="#plt_13">13</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_14">Barcelona: Rambla de las Flóres</a></td>
+<td valign="bottom" class="rt"><a href="#plt_14">14</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_15">Barcelona: Paseo de Colón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_15">15</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_16">Barcelona: Paseo de Colón and Hotel</a></td>
+<td valign="bottom" class="rt"><a href="#plt_16">16</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_17">Barcelona: Paseo de Colón and Statue of Lopez</a></td>
+<td valign="bottom" class="rt"><a href="#plt_17">17</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_18">Barcelona: Rambla de los Estudiantes</a></td>
+<td valign="bottom" class="rt"><a href="#plt_18">18</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_19">Barcelona: Paseo de Gracia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_19">19</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_20">Barcelona: Paseo de Gracia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_20">20</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_21">Barcelona: Rambla de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_21">21</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_22">Barcelona: Plaza de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_22">22</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_23">Barcelona: Rambla de Santa Monica and the Bank</a></td>
+<td valign="bottom" class="rt"><a href="#plt_23">23</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_24">Barcelona: La Gran Via and Statue of Güell y Ferrer</a></td>
+<td valign="bottom" class="rt"><a href="#plt_24">24</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_25">Barcelona: Plaza de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_25">25</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_26">Barcelona: Plaza de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_26">26</a>
+
+<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_27">Barcelona: Plaza de la Paz</a></td>
+<td valign="bottom" class="rt"><a href="#plt_27">27</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_28">Barcelona: Plaza del Palacio</a></td>
+<td valign="bottom" class="rt"><a href="#plt_28">28</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_29">Barcelona: Plaza del Palacio</a></td>
+<td valign="bottom" class="rt"><a href="#plt_29">29</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_30">Barcelona: Plaza Real</a></td>
+<td valign="bottom" class="rt"><a href="#plt_30">30</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_31">Barcelona: Plaza del Rey</a></td>
+<td valign="bottom" class="rt"><a href="#plt_31">31</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_32">Barcelona: Plaza Antonio López</a></td>
+<td valign="bottom" class="rt"><a href="#plt_32">32</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_33">Barcelona: Calle de Ferdinand VII.</a></td>
+<td valign="bottom" class="rt"><a href="#plt_33">33</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_34">Barcelona: Calle de Balmes</a></td>
+<td valign="bottom" class="rt"><a href="#plt_34">34</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_35">Barcelona: Calle de Aragón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_35">35</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_36">Barcelona: Güell Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_36">36</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_37">Barcelona: Entrance to the Güell Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_37">37</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_38">Barcelona: Entrance to the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_38">38</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_39">Barcelona: Lake in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_39">39</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_40">Barcelona: Lake in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_40">40</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_41">Barcelona: The “Cascada” in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_41">41</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_42">Barcelona Park: Details of the “Cascada”</a></td>
+<td valign="bottom" class="rt"><a href="#plt_42">42</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_43">Barcelona: Fountain in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_43">43</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_44">Barcelona: The Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_44">44</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_45">Barcelona: The Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_45">45</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_46">Barcelona Cathedral: Principal Entrance</a></td>
+<td valign="bottom" class="rt"><a href="#plt_46">46</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_47">Barcelona Cathedral: Right-hand Side Door</a></td>
+<td valign="bottom" class="rt"><a href="#plt_47">47</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_48">Barcelona Cathedral: Door of the Piedad</a></td>
+<td valign="bottom" class="rt"><a href="#plt_48">48</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_49">Barcelona Cathedral: Door of Santa Eulalia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_49">49</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_50">Barcelona Cathedral: Exterior Door of Santa Lucia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_50">50</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_51">Barcelona Cathedral: Interior Door of Santa Lucia and Sepulchre of Mossen Borra</a></td>
+<td valign="bottom" class="rt"><a href="#plt_51">51</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_52">Barcelona: Interior of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_52">52</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_53">Barcelona: Interior of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_53">53</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_54">Barcelona Cathedral: Detail of the Choir</a></td>
+<td valign="bottom" class="rt"><a href="#plt_54">54</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_55">Barcelona Cathedral: The High Altar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_55">55</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_56">Barcelona: The Archive of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_56">56</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_57">Barcelona Cathedral: Cloisters and Principal Interior Door</a></td>
+<td valign="bottom" class="rt"><a href="#plt_57">57</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_58">Barcelona: Chapel in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_58">58</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_59">Barcelona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_59">59</a>
+
+<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_60">Barcelona: Cloisters and Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_60">60</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_61">Barcelona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_61">61</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_62">Barcelona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_62">62</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_63">Barcelona: Chapel in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_63">63</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_64">Barcelona Cathedral: Fountain in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_64">64</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_65">Barcelona Cathedral: Fountain in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_65">65</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_66">Barcelona: Fountain in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_66">66</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_67">Barcelona: Fountain in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_67">67</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_68">Barcelona Cathedral: Door in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_68">68</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_69">Barcelona Cathedral: Iron Grating in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_69">69</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_70">Barcelona Cathedral: Grating in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_70">70</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_71">Barcelona Cathedral: Door in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_71">71</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_72">Barcelona: Santa Maria del Mar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_72">72</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_73">Barcelona: Church of Santa Maria del Mar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_73">73</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_74">Barcelona: Church of Santa Maria del Mar. Gate of the Immaculada</a></td>
+<td valign="bottom" class="rt"><a href="#plt_74">74</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_75">Barcelona: Church of Santa Maria del Mar. Detail of Left Door</a></td>
+<td valign="bottom" class="rt"><a href="#plt_75">75</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_76">Barcelona: Detail of the Door of the Church of Santa Maria del Mar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_76">76</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_77">Barcelona: Church of Santa Maria del Pino</a></td>
+<td valign="bottom" class="rt"><a href="#plt_77">77</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_78">Barcelona: Byzantine Doorway in the Church of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_78">78</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_79">Barcelona: Cloisters of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_79">79</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_80">Barcelona: Cloisters of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_80">80</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_81">Barcelona: Façade of the Church of Santa Ana</a></td>
+<td valign="bottom" class="rt"><a href="#plt_81">81</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_82">Barcelona: Cloisters of the Church of Santa Ana</a></td>
+<td valign="bottom" class="rt"><a href="#plt_82">82</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_83">Barcelona: Cloisters of the Church of Santa Ana</a></td>
+<td valign="bottom" class="rt"><a href="#plt_83">83</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_84">Barcelona: Church of the Sagrada Familia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_84">84</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_85">Barcelona: Church of Las Salesas</a></td>
+<td valign="bottom" class="rt"><a href="#plt_85">85</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_86">Barcelona: Church of Las Salesas</a></td>
+<td valign="bottom" class="rt"><a href="#plt_86">86</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_87">Barcelona: Church of the Conception</a></td>
+<td valign="bottom" class="rt"><a href="#plt_87">87</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_88">Barcelona: Church of Santa Agueda</a></td>
+<td valign="bottom" class="rt"><a href="#plt_88">88</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_89">Barcelona: The Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_89">89</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_90">Barcelona: The Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_90">90</a>
+
+<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_91">Barcelona: Old Façade of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_91">91</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_92">Barcelona: Exterior Detail of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_92">92</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_93">Barcelona: Chapel of San Jorge in the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_93">93</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_94">Barcelona: Courtyard of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_94">94</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_95">Barcelona: Entrance to the Courtyard of the Audiencia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_95">95</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_96">Barcelona: Upper Part of the Courtyard of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_96">96</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_97">Barcelona: The University</a></td>
+<td valign="bottom" class="rt"><a href="#plt_97">97</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_98">Barcelona: Cloisters of the University</a></td>
+<td valign="bottom" class="rt"><a href="#plt_98">98</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_99">Barcelona: Cloisters of the University, Upper Part</a></td>
+<td valign="bottom" class="rt"><a href="#plt_99">99</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_100">Barcelona: Palacio de Justicia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_100">100</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_101">Barcelona: Diputacion Provincial</a></td>
+<td valign="bottom" class="rt"><a href="#plt_101">101</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_102">Barcelona: Diputacion Provincial</a></td>
+<td valign="bottom" class="rt"><a href="#plt_102">102</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_103">Barcelona: The Exchange</a></td>
+<td valign="bottom" class="rt"><a href="#plt_103">103</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_104">Barcelona: The Custom House</a></td>
+<td valign="bottom" class="rt"><a href="#plt_104">104</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_105">Barcelona: Clinical Hospital</a></td>
+<td valign="bottom" class="rt"><a href="#plt_105">105</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_106">Barcelona: Municipal School of Music</a></td>
+<td valign="bottom" class="rt"><a href="#plt_106">106</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_107">Barcelona: Catalana del Gas</a></td>
+<td valign="bottom" class="rt"><a href="#plt_107">107</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_108">Barcelona: La Maison Dorée</a></td>
+<td valign="bottom" class="rt"><a href="#plt_108">108</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_109">Barcelona: Casa de la Canongia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_109">109</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_110">Barcelona: Private House of the Eighteenth Century</a></td>
+<td valign="bottom" class="rt"><a href="#plt_110">110</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_111">Barcelona: A Shop in the Calle Fernando</a></td>
+<td valign="bottom" class="rt"><a href="#plt_111">111</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_112">Barcelona: New Building in the Paseo de Gracia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_112">112</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_113">Barcelona: House of the Shoemakers</a></td>
+<td valign="bottom" class="rt"><a href="#plt_113">113</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_114">Barcelona: House in the Calle de Caspe</a></td>
+<td valign="bottom" class="rt"><a href="#plt_114">114</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_115">Barcelona: Arco de Triunfo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_115">115</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_116">Barcelona: Teatro Principal</a></td>
+<td valign="bottom" class="rt"><a href="#plt_116">116</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_117">Barcelona: Old Towers in the Plaza Nueva</a></td>
+<td valign="bottom" class="rt"><a href="#plt_117">117</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_118">Barcelona: Tower of Santa Agueda</a></td>
+<td valign="bottom" class="rt"><a href="#plt_118">118</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_119">Barcelona: Convent of Santa Clara. Old Palace of the Kings of Aragon</a></td>
+<td valign="bottom" class="rt"><a href="#plt_119">119</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_120">Barcelona: Apeadero de la Calle de Aragon</a></td>
+<td valign="bottom" class="rt"><a href="#plt_120">120</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_121">Barcelona: Hotel Colón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_121">121</a>
+
+<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_122">Barcelona: Staircase in a Private House in the Calle de Moncada</a></td>
+<td valign="bottom" class="rt"><a href="#plt_122">122</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_123">Barcelona: Staircase in a Private House in the Calle de Moncada</a></td>
+<td valign="bottom" class="rt"><a href="#plt_123">123</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_124">Barcelona: Frontón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_124">124</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_125">Barcelona: The Bull-Ring</a></td>
+<td valign="bottom" class="rt"><a href="#plt_125">125</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_126">Barcelona: Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_126">126</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_127">Barcelona: Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_127">127</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_128">Barcelona: Detail of the Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_128">128</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_129">Barcelona: Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_129">129</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_130">Barcelona: Monument to Güell</a></td>
+<td valign="bottom" class="rt"><a href="#plt_130">130</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_131">Barcelona: Fountain in the Plaza de Palacio</a></td>
+<td valign="bottom" class="rt"><a href="#plt_131">131</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_132">Barcelona: Statue of General Prim</a></td>
+<td valign="bottom" class="rt"><a href="#plt_132">132</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_133">Barcelona: Rambla de Cataluña, Monument to Clavé</a></td>
+<td valign="bottom" class="rt"><a href="#plt_133">133</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_134">Barcelona: Statue of Lopez, and Paseo de Colón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_134">134</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_135">Barcelona: Plaza del Duque de Medinacelli</a></td>
+<td valign="bottom" class="rt"><a href="#plt_135">135</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_136">Barcelona: Monument to Ruis and Toulet</a></td>
+<td valign="bottom" class="rt"><a href="#plt_136">136</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_137">Barcelona: View of Tibidabo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_137">137</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_138">Barcelona: Funicular Railway Station, Tibidabo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_138">138</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_139">Barcelona: Tibidabo Station and Casa Arnus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_139">139</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_140">Barcelona: The Devil’s Bridge at Martorell</a></td>
+<td valign="bottom" class="rt"><a href="#plt_140">140</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_141">Barcelona: Interior Court of the Convent of Montesion</a></td>
+<td valign="bottom" class="rt"><a href="#plt_141">141</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_142">Barcelona: Exterior of the Convent of Montesion</a></td>
+<td valign="bottom" class="rt"><a href="#plt_142">142</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_143">Barcelona: Convent of Montesion Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_143">143</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_144">Monastery of Pedralves, near Barcelona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_144">144</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_145">Barcelona: Rambla de Canaletas during the Fêtes of 1888</a></td>
+<td valign="bottom" class="rt"><a href="#plt_145">145</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_146">Barcelona: The Fêtes of 1888. Inauguration of the Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_146">146</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_147">Barcelona: Exhibition of 1888. H.M. the Queen leaving the Exhibition</a></td>
+<td valign="bottom" class="rt"><a href="#plt_147">147</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_148">Barcelona: Exhibition of 1888. Palace of Beaux-Arts</a></td>
+<td valign="bottom" class="rt"><a href="#plt_148">148</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_149">General View of Tarragona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_149">149</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_150">Tarragona: General View from the Cathedral, looking South</a></td>
+<td valign="bottom" class="rt"><a href="#plt_150">150</a>
+
+<span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_151">Tarragona: General View from the Cathedral, looking East</a></td>
+<td valign="bottom" class="rt"><a href="#plt_151">151</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_152">Tarragona: General View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_152">152</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_153">Tarragona: General View from the Pier</a></td>
+<td valign="bottom" class="rt"><a href="#plt_153">153</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_154">Tarragona: Panoramic View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_154">154</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_155">Tarragona: View of the Port</a></td>
+<td valign="bottom" class="rt"><a href="#plt_155">155</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_156">Tarragona: View of the Harbour from the Town</a></td>
+<td valign="bottom" class="rt"><a href="#plt_156">156</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_157">Tarragona: General View of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_157">157</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_158">Tarragona: Façade of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_158">158</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_159">Tarragona: Façade of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_159">159</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_160">Tarragona: Tower and Side of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_160">160</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_161">Tarragona: Façade of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_161">161</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_162">Tarragona Cathedral: Centre of the Portal</a></td>
+<td valign="bottom" class="rt"><a href="#plt_162">162</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_163">Tarragona: Left-hand Side Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_163">163</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_164">Tarragona Cathedral: Statues of the Portico</a></td>
+<td valign="bottom" class="rt"><a href="#plt_164">164</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_165">Tarragona Cathedral: Detail of the Portico</a></td>
+<td valign="bottom" class="rt"><a href="#plt_165">165</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_166">Tarragona: Byzantine Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_166">166</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_167">Tarragona: Right-hand Side Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_167">167</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_168">Tarragona Cathedral: The Principal Nave</a></td>
+<td valign="bottom" class="rt"><a href="#plt_168">168</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_169">Tarragona Cathedral: Tomb of Jaime de Aragon</a></td>
+<td valign="bottom" class="rt"><a href="#plt_169">169</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_170">Tarragona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_170">170</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_171">Tarragona: Door of the Chapel of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_171">171</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_172">Tarragona: La Muralla Ciclopea</a></td>
+<td valign="bottom" class="rt"><a href="#plt_172">172</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_173">Tarragona: Puerta de San Antonio and Roman Walls</a></td>
+<td valign="bottom" class="rt"><a href="#plt_173">173</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_174">Tarragona: Roman Walls and Tower</a></td>
+<td valign="bottom" class="rt"><a href="#plt_174">174</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_175">Tarragona: Tower of the Scipiones</a></td>
+<td valign="bottom" class="rt"><a href="#plt_175">175</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_176">Tarragona: Gate of San Antonio and the Roman Wall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_176">176</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_177">Tarragona: Palace of Pilatos, now the Prison</a></td>
+<td valign="bottom" class="rt"><a href="#plt_177">177</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_178">Tarragona: La Portella, A Cyclopean Doorway</a></td>
+<td valign="bottom" class="rt"><a href="#plt_178">178</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_179">Tarragona: A Cyclopean Doorway</a></td>
+<td valign="bottom" class="rt"><a href="#plt_179">179</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_180">Tarragona: A Roman House</a></td>
+<td valign="bottom" class="rt"><a href="#plt_180">180</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_181">Tarragona: Arco de Bará</a></td>
+<td valign="bottom" class="rt"><a href="#plt_181">181</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_182">Tarragona: The Roman Aqueduct</a></td>
+<td valign="bottom" class="rt"><a href="#plt_182">182</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_183">Tarragona: The Roman Aqueduct</a></td>
+<td valign="bottom" class="rt"><a href="#plt_183">183</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_184">Tarragona: The Seminary</a></td>
+<td valign="bottom" class="rt"><a href="#plt_184">184</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_185">Tarragona: Cross of San Antonio (sixteenth century)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_185">185</a>
+
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_186">Tarragona: Ancient Roman Convent</a></td>
+<td valign="bottom" class="rt"><a href="#plt_186">186</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_187">Poblet (Tarragona): General View of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_187">187</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_188">Poblet (Tarragona): Church of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_188">188</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_189">Poblet (Tarragona): Door of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_189">189</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_190">Poblet (Tarragona): Chapel of San Jorge</a></td>
+<td valign="bottom" class="rt"><a href="#plt_190">190</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_191">Poblet (Tarragona): Temple in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_191">191</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_192">Poblet (Tarragona): Cloisters and Palace of King Martin</a></td>
+<td valign="bottom" class="rt"><a href="#plt_192">192</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_193">Poblet (Tarragona): Interior View of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_193">193</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_194">Poblet (Tarragona): Interior View of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_194">194</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_195">Santa Creus (Tarragona): General View of the Church of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_195">195</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_196">Santa Creus (Tarragona): Door of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_196">196</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_197">Santa Creus (Tarragona): Interior of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_197">197</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_198">Santa Creus (Tarragona): Interior Side View of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_198">198</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_199">Montserrat: View of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_199">199</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_200">Monastery of Montserrat</a></td>
+<td valign="bottom" class="rt"><a href="#plt_200">200</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_201">View of the Monastery of Montserrat, taken from St. Michael</a></td>
+<td valign="bottom" class="rt"><a href="#plt_201">201</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_202">Montserrat: General View of Monastery from the South</a></td>
+<td valign="bottom" class="rt"><a href="#plt_202">202</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_203">Montserrat: View of the Monastery from the South</a></td>
+<td valign="bottom" class="rt"><a href="#plt_203">203</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_204">Montserrat: General View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_204">204</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_205">Montserrat: View of the Monastery from the West</a></td>
+<td valign="bottom" class="rt"><a href="#plt_205">205</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_206">Montserrat: The Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_206">206</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_207">Montserrat: Grotto of the Virgin</a></td>
+<td valign="bottom" class="rt"><a href="#plt_207">207</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_208">Montserrat: The Virgin’s Cave</a></td>
+<td valign="bottom" class="rt"><a href="#plt_208">208</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_209">Montserrat: View from the Grotto of the Virgin</a></td>
+<td valign="bottom" class="rt"><a href="#plt_209">209</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_210">Montserrat: The Cave of Juan Guarin the Hermit</a></td>
+<td valign="bottom" class="rt"><a href="#plt_210">210</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_211">Montserrat: Remains of the Ancient Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_211">211</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_212">Montserrat: Door of the Church</a></td>
+<td valign="bottom" class="rt"><a href="#plt_212">212</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_213">Montserrat: Interior of the Church</a></td>
+<td valign="bottom" class="rt"><a href="#plt_213">213</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_214">Montserrat: View of the Peaks</a></td>
+<td valign="bottom" class="rt"><a href="#plt_214">214</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_215">Montserrat: The Devil’s Rock</a></td>
+<td valign="bottom" class="rt"><a href="#plt_215">215</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_216">Montserrat: Miranda Peak</a></td>
+<td valign="bottom" class="rt"><a href="#plt_216">216</a>
+
+<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_217">View of Montserrat, taken from Monistol Station</a></td>
+<td valign="bottom" class="rt"><a href="#plt_217">217</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_218">View of Monistol, taken from Montserrat</a></td>
+<td valign="bottom" class="rt"><a href="#plt_218">218</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_219">Tortosa: General View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_219">219</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_220">Tortosa: Courtyard in the Institute</a></td>
+<td valign="bottom" class="rt"><a href="#plt_220">220</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_221">The Court, San Francisco, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_221">221</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_221">Gran Hotel, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_221">221</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_222">Palace of the Almudaina, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_222">222</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_223">Windmill and Electrical Works, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_223">223</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_224">View of the “Real Club de Regatas,” Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_224">224</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_225">Market and Church of San Nicolas, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_225">225</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_225">San Francisco, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_225">225</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_226">View from the Harbour, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_226">226</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_227">View of the Bay, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_227">227</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_228">The Almudaina and Cathedral, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_228">228</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_229">Puerta de Santa Margarita, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_229">229</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_229">The Cathedral, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_229">229</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_230">Paseo del Borne, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_230">230</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_230">Arabian Baths, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_230">230</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_231">View of the Gorch Blau, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_231">231</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_231">The Gorch Blau, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_231">231</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_232">Interior of San Francisco, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_232">232</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_233">Arab Baths, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_233">233</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_234">The Quay, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_234">234</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_235">Mills, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_235">235</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_236">The River, Seller, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_236">236</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_237">General View of Alcudia, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_237">237</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_238">The Cathedral, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_238">238</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_238">The Church of the Monastery, Lluch, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_238">238</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_239">La Cartuja, Valldemosa, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_239">239</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_239">Puerta del Muelle, Alcudia, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_239">239</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_240">Interior of the Church, Lluch, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_240">240</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_241">Transport of Musts, Balearic Islands</a></td>
+<td valign="bottom" class="rt"><a href="#plt_241">241</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_242">General View of Deya, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_242">242</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_243">Castle of Bellver, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_243">243</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_244">General View of San Antonio (Pityusae Isles)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_244">244</a>
+
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_245">Ruins of the Torre d’ea Galines, Alazor, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_245">245</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_246">Villa Carlos, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_246">246</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_246">View of the Port, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_246">246</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_247">The Harbour, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_247">247</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_247">A View in the Town, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_247">247</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_248">The Quay, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_248">248</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_249">Paseo del Borne, Ciudadela, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_249">249</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_250">View of the Port, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_250">250</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_251">The Port and Town, Ciudadela, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_251">251</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_252">Threshing, San Antonio (Pityusae Isles)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_252">252</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_252">A Street in Algendar, Ferrerias, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_252">252</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_253">A View showing the Arabian Towers, Ibiza (Pityusae Isles)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_253">253</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_254">River Pareys</a></td>
+<td valign="bottom" class="rt"><a href="#plt_254">254</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_255">Portal of d’alt or d’en Servera, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_255">255</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_256">Monument to the French Prisoners who died in 1808, Island of Cabrera, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_256">256</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h1>CATALONIA</h1>
+
+<h2><a name="THE_PRINCIPALITY_OF_CATALONIA" id="THE_PRINCIPALITY_OF_CATALONIA"></a>THE PRINCIPALITY OF CATALONIA</h2>
+
+<p class="nind"><span class="smcap">Every</span> stranger who crosses the Pyrenees knows that Catalonia differs in
+many important respects from every other province in the kingdom. He has
+heard that the natives speak of going into Spain as if they lived
+outside of it; he knows that they speak a tongue different from the
+Castilian; that their enterprise and activity distinguish them
+favourably among King Alfonso’s subjects, and they have kept well
+abreast of every other European community. All this is true, and it
+would be easy to enumerate many other peculiarities. The tendency,
+however, is to exaggerate the points of difference between Spaniard and
+Catalan, and to lose sight of their fundamental affinity. The language
+of Catalonia, though not a mere dialect as some suppose, is as
+essentially Spanish as the Castilian. It was spoken by those Hispani who
+were driven out of Spain by the Saracens and returned in the ninth
+century to settle in the north-east corner of the country. Thus Catalan
+language and people<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> were born in the very heart of the Peninsula and
+have since been confined to a portion of it only by political causes.
+There is, of course, no such essential difference between Catalans and
+Castilians as between Welsh and English, Bretons and French. Both are
+branches of the great Iberian family. If Catalonia were an independent
+State, it would be its affinity to Spain that would impress us most, and
+set us wondering, as we do in Portugal, how two countries so much alike
+could continue politically distinct.</p>
+
+<p>The superior enterprise and energy of the Catalans may be attributed
+less, I think, to racial differences than to historical and geographical
+causes. Far removed from the scene of the secular struggle with the
+Moor, and dwelling on the marge of the sea which was the principal
+commercial arena of the ancient and mediæval world, the people of
+Catalonia had from a very remote period opportunities for development
+denied to the inhabitants of every other part of Spain. The Moors were
+expelled from Barcelona at the beginning of the ninth century. Catalonia
+had thus a start of more than four centuries over Seville, and of six
+over Malaga&mdash;to say nothing further of the incontestable advantages of
+her geographical position.</p>
+
+<p>Without wishing, it need hardly be said, to<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> depreciate the progressive
+tendencies of the Catalans, I confess I am inclined to attribute them,
+not to any racial superiority over other Spaniards, but mainly to the
+causes I have indicated.</p>
+
+<p>Catalonia thus bears witness to the aptitude of the Spaniard, for the
+most active forms of commercial and industrial life, to his ability to
+keep in the van of progress. The lead given by Barcelona will inevitably
+be followed by all the other towns in the kingdom, now that the special
+circumstances which retarded their development have been removed. In the
+most populous city of Spain I fail to recognise a miracle or the work of
+another people than the Spanish. I see instead the results of Spanish
+enterprise and capacity singular only in having had the opportunity to
+assert itself.</p>
+
+<p>From the day&mdash;it was in the year 813&mdash;that the fleet of the Count of
+Ampurias gloriously defeated a Saracen squadron off the Balearic Isles,
+Catalonia has looked seaward. It was on the wave that the men of
+Barcelona found glory and riches. They were the rivals of the Pisans,
+Genoese and Venetians, and can boast a maritime history far longer and
+hardly less glorious than our own. It is recorded in one of the best
+historical works ever written, the “Memorias sobre la Marina de
+Barcelona,” by<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> Don Antonio de Capmany y Palau, published in 1779. The
+learned author contrasts the naval eminence of Barcelona with that of
+other powers, and assigns the city a higher rank than England and
+Portugal. In the middle of the Eleventh century, laws regulating and
+favouring commerce and providing for the suppression of piracy were
+decreed by Count Ramon Berenguer II. In the year 1114, the third Count
+of that name assisted, with his own fleet, the Pisans in the reduction
+of the Island of Majorca; in 1147 Almeria was attacked and plundered by
+the allied fleets of Barcelona and Genoa; and in the following year
+another naval victory added Tortosa to the principality.</p>
+
+<p>The conquests of the great King James of Aragon gave a great impetus to
+the commerce of Barcelona as well as to the development of arts and
+letters. The extension of the city’s relations to the Levant and Egypt
+led to the appointment of consuls in all the parts frequented by
+Catalans. A Maritime Code was promulgated in 1258, and soon became very
+generally adopted throughout the Mediterranean. A second time the hardy
+sailors of Barcelona drove the pirates from their nest in the Balearics,
+the islands this time remaining definitely annexed to the crown of
+Aragon. All the ships were furnished by the city on this occasion, and
+the King named as com<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>mander Ramon de Plegarnoás, a rich citizen, expert
+in naval affairs.</p>
+
+<p>In the thirteenth century, Aragon (or in other words, as regards the
+sea, Barcelona) was the most formidable power in the Mediterranean. Her
+merchant princes competed successfully with the traders of Genoa and
+Venice, at the farthest ports of Egypt and Syria. King James when
+appealing to the States of Aragon for a subsidy to carry on the war
+against the infidel, reminded them that if Majorca were lost, Catalonia
+would lose the dominion and absolute power she exercised over the sea.
+Montaner, the Froissart of his nation, has bequeathed to us a stirring
+chronicle of the expedition (in which he took part) of the Catalans to
+Greece under the leadership of Roger de Flor. In the year 1332, Philip
+of France, when about to embark on the Crusades, was advised to entrust
+the management of the expedition exclusively to the Genoese and
+Catalans, these being provided with the best ships and seamen, and the
+most experienced in naval matters. As late as the year 1467, the Grand
+Signior found it expedient to pay an indemnity to the King of Aragon to
+secure immunity for his coasts from the persistent attacks of the
+dreaded privateers of Barcelona. It is with reason that Capmany
+attributes to the seamanship of the Barcelonese the extension of the
+power of<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> Aragon over the kingdoms of Naples, Sicily and Sardinia. Upon
+the consolidation of Spain at the beginning of the sixteenth century and
+the rise of the great modern States, the city was eclipsed as a sea
+power. Its merchants looked with little favour on the discovery of
+America, an enterprise promoted by Castile. Of the reception of Columbus
+here by the Catholic Kings, not one word is said in the archives of the
+city.</p>
+
+<p>Soon after, Barcelona just escaped becoming the scene of a discovery
+almost as important as that of the New World. Here, says O’Shea, on
+January 17, 1543, a ship of 200 tons was launched, propelled by two
+wheels driven by steam. The inventor was Blasco de Garay, and the trial
+was successfully made in the presence of a royal commission. The King’s
+treasurer, one Ráongo, for some personal motive it is said, drew up a
+report unfavourable to the invention, declaring the ship made only six
+miles in two hours, and that the boiler was likely to burst. Perhaps
+this report was not ill-founded, for though Garay received a grant of
+200,000 maravedis in addition to his expenses, he made no further
+progress with his invention. The fate of this and many other experiments
+with steam in the sixteenth, seventeenth and eighteenth centuries seems
+to prove that our ancestors rather failed to recognise the necessity of
+any improvement in the means of<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> locomotion, than wanted the skill to
+effect it. It will be remembered that Mr. Shandy thought that on
+economical grounds alone the inventors of mechanical means of transport
+should be discouraged. A useful invention with which the Barcelonese may
+fairly be credited, is marine insurance.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p>
+
+<h2><a name="BARCELONA" id="BARCELONA"></a>BARCELONA</h2>
+
+<p class="nind"><span class="smcap">Barcelona</span> has remained true to her traditions. She is still, as of old,
+a city of merchant princes, a hive of industry, at once the Liverpool
+and Manchester of Spain. To those who visit the capital of Catalonia
+after an acquaintance only with the moribund cities of Old Castile, this
+vision of España Moderna comes as a shock and a revelation. The first
+impression is not pleasing. You approach the city through a vast
+wilderness of suburbs, teeming with life, and breathing apparently
+through grimy factory chimneys. We realise that we have returned to the
+civilised twentieth century. But the brighter side of modernity is soon
+revealed. In its heart Barcelona is clean, bright, and spacious. The
+boulevards are unequalled in Europe&mdash;except perhaps by Budapest&mdash;and the
+street prospects are worthy of Washington. The Rambla is the most
+delightful of promenades; in the Calle Fernando the contents of every
+shop window tempt the unthrifty. A noble, beautiful modern metropolis,
+still worthy of Cervantes’ encomium: “Flor de las bellas ciudades del
+mundo, honra<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> de España, reglo y delicia de sus moradores, y
+satisfacción de todo aquello que de una grande famosa, rica, y bien
+fundada ciudad, puede pedir un discreto y curioso deseo.”</p>
+
+<p>Barcelona is richer in monuments of the past than many a more
+ancient-looking city. Foremost among these is the Cathedral in the very
+heart of the town, one of the grandest examples of Gothic architecture
+in Spain. Its extreme sombreness and apparently massive character
+produce a similar impression to that created by the much larger
+Cathedral of Seville.</p>
+
+<p>Street thinks very highly of this church, and remarks on the skill with
+which the architect has contrived to make it appear much larger than it
+really is. He observes “the architecture of Cataluña had many
+peculiarities, and in the fourteenth and fifteenth centuries, when most
+of the great buildings of Barcelona were being erected, they were so
+marked as to justify me, I think, in calling the style as exclusively
+national or provincial, as ... was our own Norfolk middle-pointed....
+Besides this, there was one great problem which I may venture to say
+that the Catalan architects satisfactorily solved, the erection of
+churches of enormous and almost unequalled internal width.”</p>
+
+<p>The primitive Cathedral was built by Count Ramón Berenguer between 1046
+and 1058, and<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> considerably enlarged in the year 1173. The building, not
+yet satisfying the needs of the thriving city, was entirely rebuilt at
+the beginning of the fourteenth century. The design is attributed by
+Street to Jaime Fabre, a native of Majorca, who was succeeded as master
+of the works in 1388 by Master Roque. The last stone of the vault was
+placed on September 26, 1448.</p>
+
+<p>In plan the church is externally a parallelogram, semicircular at the
+east end. The transepts do not project beyond the line of chapels
+opening off the aisles, and form each the basis of a tower, 170 feet
+high. The old timber roofs of these towers have been removed (as from
+our castles) laying bare simply the vaulting covered with tiles. Over
+the Puerta de San Ivo by which you enter the north transept, a series of
+reliefs illustrates a combat between a knight and a dragon. The former
+is not St. George, the patron of Aragon, but a legendary hero, one
+Villardell, who by Divine favour was armed with a miraculous sword. With
+this he slew the monster which had been let loose by the Saracens, and
+exultingly cried, “Well done, good sword, and stout arm of Villardell!”
+But at that instant some drops of the dragon’s blood fell on his arm,
+and he at once expired. He was thus punished for taking the credit of
+the victory to himself.</p>
+
+<p>The west front, only finished ten years ago,<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> compares very unfavourably
+with the older portions. The dome over the first or westernmost bay of
+the nave is also modern. Little else of the exterior can be seen.
+Inside, as I have said, the church is extremely sombre, and very
+conducive to what an eminent divine called Gothic devotion. This is due
+partly to the dark colour of the stone, and partly to the smallness of
+the windows, which are filled with beautiful fifteenth-century stained
+glass. The windows of the chapels in the south aisle open into a
+corresponding row of chapels in the adjacent cloister. Everything, in
+fact, has been done to keep out the torrid rays. The chapels are
+continued all round the church, there being no fewer than twenty-seven.
+The choir is, as usual, in the middle of the nave, being separated by
+the crossing from the chancel. Twenty massive and somewhat inelegant
+clustered columns separate the nave from the aisles and the chancel from
+the ambulatory, and from their capitals spring the nineteen arches
+forming the vaulted roof. Nave and aisles are alike 83 feet high. The
+cathedral is dedicated to a local martyr, Santa Eulalia, whose body
+since the year 1339 has reposed in the crypt beneath the chancel. The
+shrine of the saint was the work of Fabre and is in Italian Gothic
+style. The ark is sculptured with scenes from the saint’s life.<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p>
+
+<p>There is little remarkable about the High Altar. The choir-stalls are
+richly carved, and date from the late fifteenth century. Like the stalls
+of St. George’s Chapel at Windsor, they are decorated with coats of
+arms&mdash;those of the knights of the Order of the Golden Fleece, in
+commemoration of the chapter held here by Charles V. (then only King of
+Spain) in 1519. Among the Knights present were the Kings of Denmark and
+Poland, the Prince of Orange, and the Duke of Alva. The rear wall of the
+choir is beautifully adorned with columns, and reliefs of Bartolomé
+Ordonez, and Pedro Vilar of Zaragoza, representing scenes from the life
+of the titular. It is a fine example of the Spanish Renaissance style.
+Before beginning an examination of the chapels, attention may be called
+to the huge Saracen’s head hanging from the organ in the north
+transept&mdash;a common feature in Catalan churches, and symbolising the
+reconquest of their sites from the infidel.</p>
+
+<p>A floor runs round the church above the side chapels and is carried
+across the west front. The upper rooms were never used as places of
+worship. The chapels are closed by mediæval grilles of wrought iron.
+They date mostly from the sixteenth and seventeenth centuries, and
+present no very interesting features. This is fortunate for the
+painstaking sightseer, as the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> obscurity renders an examination
+difficult. A crucifix in the uppermost chapel in the chevet is a
+memorial of the battle of Lepanto, where it was carried on the prow of
+Don Juan’s flagship. The image is believed by some to have bent its head
+to avoid the Turkish bullets. In the chapels of San Miguel Arcángel and
+Nuestra Señora del Patrocinio, close by, are the fine Gothic tombs of
+Bishop Berenguer de Palau (died 1240) and of one of his successors,
+Poncio de Gualba (died 1334). Leaving the ambulatory by the north, the
+chapel on the right contains another good Gothic monument to Bishop
+Escaler. The finest tomb, on the whole, is that of Doña Sancha de
+Cabrera, lady of Noalles, in the chapel of San Clemente, in the south
+aisle; and three chapels farther on is the sarcophagus of the great
+Catalan saint, Ramon de Penafort. The two wooden urns covered with
+crimson velvet in the wall between the south transept and the sacristy
+enshrine the ashes of Count Ramon Berenguer the Old, and his consort,
+Almodis (died 1070). Opening off the south aisle, close to the main
+entrance, is the large square chapel of the Holy Sacrament, or of St.
+Olegarius, with a fine star-vaulting, the seventeenth-century monument
+of the titular, and some paintings of Villadomat, a local artist of some
+repute, who lived in the first half of the eighteenth century. There are
+also some paint<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>ings of merit by the Tramullas, father and son, of
+Perpignan, but generally speaking this fine cathedral is poor in
+painting and statuary.</p>
+
+<p>Cloisters are nearly always charming, and those adjoining the Cathedral
+on the south side are certainly so, with their palms and fruit trees and
+fountains. One of these last is adorned with a statue of St. George, a
+jet of water serving as a tail to the horse. In one corner is a
+goose-pond. I saw nothing of the cats who, Street says, were prowling
+about the cloisters and church, and contrived to get into the
+choir-stalls just before service, whence they were forthwith chased by
+the choristers and such of the clergy as happened to be there. I have
+witnessed such scenes in French churches, where they are very
+distracting to the devout. The cloister was begun by Master Roque and
+finished in 1448. The architecture has been variously criticised, and
+the tombs for the most part are poor. On these the profession of the
+deceased is indicated by the implements of his trade lightly graven. The
+resting-place of Mosém (Monseigneur) Borrà, the jester of Alfonso V. of
+Aragon, is distinguished by the cap and bells. In the Chapel of the
+Conception there used to be, says O’Shea, a picture painted by order of
+the municipality in gratitude for the cessation of the plague in 1651,
+at the intercession of the Virgin. The keys of the city, made in<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>
+silver, were presented to her on that occasion. In the chapel of Santa
+Lucia, at the south-west angle of the cloister, Street recognised a
+fragment of the old cathedral. The entrance into the south transept is
+of the same date. By the graceful Puerta Santa Eulalia we pass into the
+street.</p>
+
+<p>We presently pass the Bishop’s Palace, an eighteenth-century structure
+incorporating some late Romanesque arcading. But leaving other
+interesting buildings in this the oldest quarter of Barcelona for the
+moment, we will seek the next most notable church in the town, that of
+Santa Maria del Mar. It occupies the site of the earliest shrine of
+Santa Eulalia, over which Bishop Aetius built a temple in the thousandth
+year of our era. This modest church was replaced by another in the year
+1329, which was restored and reconsecrated after a disastrous fire in
+1383 under the reign of Pedro the Ceremonious. All classes of the
+community assisted in the work. Those who could not give money gave
+their labour, and in commemoration of this two small bronze figures
+carrying stone and timber adorn the principal door. The edifice is a
+good example of the Catalan church in its breadth and height of nave and
+simplicity of plan. Like the cathedral, it forms a parallelogram rounded
+at the east end, and presents an unbroken line of<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> wall to the exterior.
+Churches of this type usually consist of nave only, but Santa Maria del
+Mar has two aisles. Enormous octagonal columns carry the main arches and
+the groining ribs which all spring from their capitals. The wall rib
+towards the nave is carried up higher than the main arches, so as to
+allow space between them for a small circular and traceried clerestory
+window in each bay. The arches of the apse are very narrow, and
+enormously stilted. There are small windows above them, but they are
+modernised. The aisles are groined on the same level as the main arches,
+a few feet, therefore, below the vault of the nave, and they are lighted
+by a four-light traceried window in each bay, the sill of which is above
+the string-course formed by continuing the abacus of the capitals of the
+groining shafts. Below this are three arches in each bay, opening into
+side chapels between the main buttresses. Each of these chapels is
+lighted by a traceried window of two lights, and the outer wall presents
+a long unbroken line, until above the chapels, when the buttresses rise
+boldly up to support the great vaults of the nave and aisles.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> The
+interior, though still simple and dignified, has been marred by modern
+restorations. Another peculiarity remains to be noted: the choir is
+placed<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> behind the high altar. Of this latter, a costly but
+churrigueresque erection, the less said the better. The royal pew in the
+south aisle, recalling the days when Barcelona was a capital, was
+connected with the palace by a gallery now destroyed. The church
+contains some good glass and examples of the art of Villadomat, a
+painter of whom Catalonia can boast. His fate was extremely sad: for the
+last seventeen years of his long life, he was paralysed in both hands.</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Street, “Gothic Architecture in Spain.”</p></div>
+
+<p>Standing on the sinister spot where, twelve years ago, twelve people
+were killed and fifty others injured by a miscreant’s bomb, we survey
+the fine west front. This is flanked by two octagonal towers, of the
+telescope kind, and has a magnificent rose-window, above which I rather
+felt that an attic or story gable was wanted. The portal is richly
+moulded, and adorned with sculpture. The doors are faced with iron.</p>
+
+<p>The churches of Santa Maria del Pino and of Santos Justo and Pastor are
+on the same plan, with slight modifications. Adjoining the former is a
+tall detached belfry, producing a fine effect. The church was
+consecrated in 1453, and derived its name according to one account from
+an image of the Virgin found in the trunk of a pine. The west front,
+Street considers to have been designed by the architect of the north
+transept door of the cathedral. Unlike Santa Maria del<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> Mar, there are
+no chapels in the apse, though they are found between the buttresses of
+the nave. There is no aisle. In this church Villadomat is buried.</p>
+
+<p>Santos Justo-y-Pastor is another single-nave church, founded in 1345, on
+the oldest church site in the city. It has been modernised inside and
+out. In the days of the ordeal by combat the parties, fully armed, made
+oath in this church, on the altar of San Felio, as to the justice of
+their cause and to use no “constellated or enchanted weapons.” We read
+that James I. declared null and void the issue of an encounter between
+Arnuldo de Cabrera and Bernardo de Cantellas on the ground that the one
+had worn certain jewels believed to be enchanted, and that the other had
+been invested with a shirt rendered impenetrable by a spell. To-day, I
+understand, an oath taken in this church as to the last wishes of a
+citizen who has died intestate, will be sufficient grounds for the issue
+of letters of administration accordingly. Here also Jews were sworn with
+both hands placed on the Decalogue, and according to a long and terrific
+formula. This is given at length by Don Pablo Piferrer in the original
+Catalan, and is calculated to appal the most hardened perjurer.</p>
+
+<p>Barcelona, it will have been seen, abounds in ancient and interesting
+churches. San Pablo<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> del Campo was founded in the first decades of the
+tenth century by Count Wilfred II., who was buried in it, as his epitaph
+on a Roman tablet attests. Destroyed by Al Mansûr, the church was
+rebuilt on the same plan in 1117 by Jinbert Jintardo and his wife
+Rotlandis. The west front has retained much of its primitive Romanesque
+character. The symbolical sculpture is crude and curious. The interval
+is very striking in its simplicity. The cloister is more ornate and the
+decoration is considered by some to mark the transition from the
+Romanesque to the Moorish style. More eastern in character is the
+venerable church of San Pere de las Puellas, believed to date from the
+tenth century. It is so called from the nuns who formerly inhabited the
+adjoining convent and who, at the time of Al Mansûr’s invasion, cut off
+their lips and noses to avoid the amorous attentions of the Moors.</p>
+
+<p>There remain to be visited the old chapel royal of Santa Agueda, now
+converted into an archæological museum, where Alfonso el Casto was
+baptized, where the order of Montesa was established, and where the
+claims of the candidates to the crown of Aragon were discussed in 1410.</p>
+
+<p>Santa Ana, built in 1146 in imitation of the church of the Holy
+Sepulchre (as it was then), with a curious fourteenth-century cloister
+placed at an angle to the main building, and the simple<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> graceful arches
+of the chapel of Montesion, where are hung the Turkish ensigns won by
+Spanish valour at Lepanto.</p>
+
+<p>One instinctively searches at Barcelona for monuments of civic state
+befitting a city of such antiquity and dignity. Happily such are not
+lacking and have been preserved to us. The noble Gothic façade of the
+Town Hall (Casa Consistorial), erected in 1373, has been recently
+restored, fortunately with good taste. The Council Chamber (Salon de
+Ciento), formed of two bays which support an artesonado roof, is lined
+by a collection of portraits of Catalan worthies, among whom we
+distinguish Capmany, Villadomat and Montaner. A finer building and
+preserving more of its primitive character is the Diputacion, the old
+Parliament House of Catalonia, and now the seat of the Provincial Court.
+This monument, declares Piferrer, “is the admiration of foreigners and
+the honour of Barcelona. He who seeks for originality of style, let him
+examine all its parts and be convinced that many are of a character
+entirely new.” Built in the early fifteenth century, it underwent
+frequent restorations and enlargements, and was rebuilt in great part in
+1609 by Maestre Pere Blai, who spared the best portions of the old work.
+The principal façade is cold and devoid of interest, except for the
+figure of St. George above<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> the entrance. To that saint is dedicated the
+chapel, with its fine ogival portal, and the adjoining wall damascened
+(to quote Piferrer) with reliefs. The chapel is the repository of an
+exquisite altar frontal, worked with the design of St. George and the
+Dragon, and designed by Antonio Sadarni, in 1458. The pillars sustaining
+the galleries of the patio, at one time much admired for their daring
+and ingenious execution, were bending and giving way under the strain
+till restored and strengthened a few years ago by Don Miguel Garriga y
+Roca, a local architect.</p>
+
+<p>The halls breathe the dignity and gravity of a great corporation. The
+majestic Salon del Tribunal with its dome and hangings is adorned with
+portraits of the Kings of Spain, and paintings by Fortuny, one
+representing the victory of Marshal Prim over the Moors at Tetuan.
+Catalonia keeps ever green the memory of her heroes.</p>
+
+<p>The rapid extension of the most populous city of Spain has fortunately
+spared several noble monuments of bygone ages and beliefs. About an
+hour’s walk from the Tibidabo brings one to the Romanesque monastery of
+San Cucufat (or Cugat) del Valles, founded by Charlemagne on the site of
+a Roman camp, and rebuilt between 1009 and 1014. The exterior is
+fortified with battlements and flanking towers, the main en<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>trance being
+pierced through a tall square gatehouse, and having been defended by a
+drawbridge. The Abbey Church is in the finest Romanesque style, with an
+octagonal lantern, apse, nave, and aisles. The interior is plain and
+sombre, despite the abominable baroque chapels which have been added to
+the right aisle. The church contains but one tomb of importance&mdash;that of
+the builder or founder, the Abbot Otho, who was also Bishop of Gerona,
+and flourished at the dawn of the eleventh century.</p>
+
+<p>The cloister of San Cugat has afforded the Romanesque sculptors the
+opportunity of gratifying their most exuberant fancy in stone. The
+capitals reveal an extraordinary profusion and variety of
+designs&mdash;Biblical scenes being associated with fables, conventional
+designs, and animals’ heads. Examples of the quaint and more childlike
+conceptions of a rather later age (fourteenth century) may be found in
+some curious paintings, set in retablos, still adorning the church. They
+are specimens of a style peculiar to Catalonia, Valencia, and the
+Balearic Islands, at the period “which analogies [says one authority]
+with the early Tuscan and old Cologne schools.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>”</p>
+
+<h2><a name="GERONA" id="GERONA"></a>GERONA</h2>
+
+<p class="nind"><span class="smcap">Gerona</span> deserves to be, but through some freak of fortune is not, as
+famous as Saragossa. Its many sieges, especially those that took place
+in the Peninsular War, are among the many proofs of the Spaniard’s
+extraordinary tenacity in the defence of positions. Numantia, Saguntum,
+Saragossa, Gerona, and Cartagena&mdash;can any other country boast so many
+and such glorious instances of heroism and resistance to an overwhelming
+foe? These five names should be inscribed on the national escutcheon.
+They might even one day have more than a sentimental value, and cause
+potential invaders to think twice before violating Spanish soil.</p>
+
+<p>Gerona, then, has covered itself with glory, not once, but repeatedly.
+The very paynim Moors were invigorated by the heroic atmosphere, for we
+read that as long ago as 785 they defied the arms of Louis the Pious,
+till the Christian townsfolk, thinking that enough had been done for the
+renown of Gerona, arose and expelled them. In the succeeding centuries
+the Geronese grew used to this business of sieges, and their assailants<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>
+grew more wary. In 1285 the French King, Philippe le Hardi, sat down
+before the town and contentedly starved it into submission. Gerona
+yielded under protest, and took care to place it on record that she was
+not taken by force but by hunger, as the inscription not “per forsa, mes
+per fam” over the Puerta de la Cárcel to this day testifies. More than
+four centuries later came another Philippe from beyond the Pyrenees,
+welcomed by all Spaniards except Catalans. Gerona stubbornly held out
+for Austrian Charles, and her garrison of 2000 men bade defiance to
+Philippe’s 9000. The Bourbon won; and to punish the recalcitrant city
+abolished her University. But a hundred years after, Gerona recovered
+her laurels. Her garrison of three hundred men, commanded by Colonel
+O’Daly, withstood successfully the repeated assaults of 6000 French
+under Duhesme, and beheld in August 1808 the hurried and inglorious
+flight of the besiegers. Of the great siege of 1809 you may read in the
+pages of Napier. The commander and hero of the defence was Mariano
+Alvarez&mdash;a much finer fellow than Palafox; and had he not been stricken
+with fever and rendered unconscious, the town might not have
+surrendered, as it ultimately did after a seven months’ siege. It had
+cost Napoleon 15,000 men. Here, as at Saragossa, the women fought beside
+the<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> men and worked the guns, under the banner of St. Barbara.
+Unconquerable Gerona! Well might the heirs to the crown of haughty
+Aragon have been proud to bear the title of your prince.</p>
+
+<p>Towns with such stories invariably reflect them in their physiognomies.
+Gerona’s aspect is eloquent of history and legend. Her balconied
+houses&mdash;yellow and white&mdash;seem to rise out of the waters of the river
+Oñar, reminding one at moments of a Venetian canal. But to dispel such
+an illusion you have but to lift your eyes to the castled hill of
+Montjuich, in which the defensive power of the town resides and whose
+sides have borne the brunt of every battle that has raged round Gerona.
+Penetrating into the labyrinth of streets behind the river front, we
+find them dark, narrow, and silent enough to be haunts of the muse of
+history; but here and there&mdash;often, indeed&mdash;we find animated squares and
+thoroughfares that show us that Gerona is not outside the brisk
+Catalonian current.</p>
+
+<p>The vast cathedral lifts its towers near the river’s marge. It was
+founded, after the expulsion of the Moors, by Louis the Pious, in 786,
+and was rebuilt in the year 1016. It was consecrated by the Archbishop
+of Narbonne, on the French side, assisted by bishops both Cispyrenean
+and Transpyrenean. Extensive alteration and restoration went on in the
+fourteenth century, among<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> the architects being two from Narbonne.
+Perhaps I may be pardoned the digression when I remark that natural
+boundaries seem to have been of less importance in the Middle Ages than
+now; a fact which may, it seems to me, be partly attributed to the
+relative facility with which great mountain barriers could be passed by
+the usual means of conveyance in those days. If you travel only on
+horseback, a mountain pass presents little more difficulty than a high
+road. Street, who extracted these particulars of the cathedral’s history
+from various Spanish works, tells us of the deliberations as to the
+adoption of the architect Guillermo Boffy’s plan for a nave of a single
+span. Fortunately the twelve architects composing the jury (Pascasio de
+Xulbe, Juan de Xulbe, Pedro de Valfogona, Guillermo de la Mota,
+Bartolomé Gual, Antonio Canet, Guillermo Abiell, Arnaldo de Valleras,
+Antonio Antigoni, Guillermo Sagrera, Jehan de Guinguamps, and Boffy
+himself) pronounced in favour of the plan, and the work was put in hand
+that same year, 1417. The first stone of the campanile was not laid till
+1581, and the west front was begun as lately as 1607.</p>
+
+<p>This grand church consists, then, of a single nave 73 feet wide, four
+bays in length, and terminating in the usual semicircular east end. The
+west front, in the poor style of the seven<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span>teenth century, calls for no
+remark, and gives no promise of the grandeur of the interior. Street
+thinks the exterior could never have looked very well. Even the south
+door, executed in 1458, does not merit praise, though its terra-cotta
+statues are curious and well preserved.</p>
+
+<p>The vast nave is blocked and greatly marred by the central choir, moved
+into this ill-chosen position long after the completion of Boffy’s work.
+Three arches separate the east end from the nave. Above them are three
+large round windows. Street praises this arrangement and says that it
+enhances this effect of vastness. “In short, had this nave been longer
+by one bay, I believe that scarcely any interior in Europe could have
+surpassed it in effect.”</p>
+
+<p>The high altar is of alabaster with a silver frontal, and belonged to
+the old cathedral. It was the gift of Ermesindes, the wife of Count
+Ramon Borel (1038). The reredos is a very rich and interesting work
+plated with silver. It was completed in 1348. The subjects in the three
+tiers of niches relate respectively to the lives of the saints, the life
+of the Blessed Virgin, and the life of Our Lord. The work is crowned by
+the figures of Christ and His Mother, and the saints Narcissus and
+Feliu. Of the same period is the baldachin, the vault of which is
+covered with sacred subjects, while the shafts are adorned with<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span>
+heraldic achievements. Behind the reredos is the bishop’s throne, formed
+of a single piece of marble. “Here, when the bishop celebrated
+pontifically, he sat till the oblation and returned to it again to give
+the benediction to the people.”</p>
+
+<p>In addition to the objects of interest to which the architect of our Law
+Courts calls attention&mdash;the wooden wheel of bells, &amp;c.&mdash;the cathedral
+contains several tombs worthy of examination. In the choir is buried
+Count Ramon Berenguer, surnamed Cap d’Estopa; in the presbytery, on the
+gospel side, is the tomb of Bishop Berenguer de Anglesola; Doña
+Ermesindes lies between the chapels of Corpus and San Juan; Bishop
+Bernardo de Pau in the chapel of San Pablo.</p>
+
+<p>Adjoining the church is the dark gloomy cloister, which existed in the
+early twelfth century, and in which Street recognised “one of the main
+branches of the stream by which Romanesque art was introduced into
+Spain” from south-eastern France. The galleries, with marble columns and
+stone roofs, enclose a court with tall trees and a cistern in the
+centre. Numerous black memorial tablets let into the walls have failed
+to keep alive the memory of the dead.</p>
+
+<p>The archives of the cathedral contain a Bible, at one time believed to
+have been the gift of Charlemagne, and enriched with the signature of
+Charles V. of France. Another treasure is an<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> illuminated code dating
+from the tenth century, and relating to the Apocalypse&mdash;a chapter in
+Holy Writ which at that period, when the end of the world was believed
+to be at hand, greatly occupied the minds of men.</p>
+
+<p>Not far from the cathedral, and nearer to the river Oñar, is the
+collegiate church of San Feliu or San Felix rising proudly above the
+town. Its tall campanile is visible from every part of the town and is a
+familiar landmark for miles around. It was built in 1392, and is in
+three stages: the first or lower stage, quite plain, the second adorned
+with graceful windows, the third putting forth shoots in the shape of
+tapering finials. “It is seldom,” says Street, “that the junction of
+tower and spire is more happily managed than it is here; and before the
+destruction of the upper part of the spire the whole effect must have
+been singularly graceful.” Though the church seems to have been almost
+entirely rebuilt in the fourteenth century, as a foundation, St. Feliu
+dates back to the eighth century and was used by the Christians during
+the Moorish occupation, which, by the way, only lasted sixty-eight
+years. The interior seems, like the cathedral’s, to have consisted of a
+single nave, but to this aisles have been added, the whole terminating
+in a tri-apsidal chevet. The west front dates from the seventeenth
+century. The<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> high altar has some good paintings and sculpture, the
+canopies over the tomb of San Feliu and the statues of the Virgin and
+St. Narcissus being especially notable. The modern chapel of the
+last-named saint is gorgeously enriched with jasper of many colours. In
+this church is buried the heroic Don Mariano Alvarez de Castro, beneath
+a monument, dating from 1880, executed in Carrara marble and in the
+reddish yellow stone of the country. The tomb is crowned by a mourning
+female figure, which I have been told is a portrait of the general’s
+wife. The sepulchre of San Feliu dates from the thirteenth century and
+is sculptured with compositions representing scenes from the saint’s
+life. Leaving San Feliu by the south door, we pass through the dark and
+massive Portal de Sobreportas, formed by two huge round towers,
+connected by a modern intervening story, and at the end of a long gloomy
+lane reach a Capuchin convent. The object of our visit is a soi-disant
+Moorish bath, covered in by a graceful little pavilion with eight
+slender columns.</p>
+
+<p>The oldest church at Gerona appears to be the little oratory of San
+Nicolas, built in the form of a cross with its arms ending in apses,
+surmounted by domes. The height of the nave is not much more than that
+of a tall man. Hardly inferior in antiquity is the church of San Pedro
+de Galligans.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> This is named, not after the Gauls, as one might be
+tempted to suppose, but after a little stream called the Galligans,
+which at this point flows into the Oñar. Like every other religious
+edifice in Gerona, its foundation is attributed to Charlemagne, but
+(according to Piferrer) the earliest mention of the church occurs in the
+year 992, while the actual fabric was building at the time a third part
+of the coinage of Gerona was given by Count Ramon Berenguer III. to the
+Benedictine monastery of which his brother was abbot. Street inclines to
+think San Pedro was built by the architect of the church at Elne in
+Roussillon. The principal apse here, as at Avila, projects beyond the
+town wall; on the south side of it are two smaller apses side by side,
+opening into the south transept; the north transept expands into apses
+on the north and east and is crowned by a fine octagonal steeple with
+two rows of round-headed windows. The west front is approached by steps,
+many of them bearing Romano-Gothic inscriptions; there is a single
+round-arched western door with good fern-leaf carving on its capitals,
+and above this a rose-window. Within, the church consists of a nave,
+separated by tall, massive columns from the aisles. The capitals are
+rude, but offer great variety of design and execution. There is a
+clerestory, but no windows to the aisles, which<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> are more like
+corridors. On the south side is a cloister probably carved coeval with
+the church, but terribly damaged during the siege, and now converted
+into the Provincial Museum.</p>
+
+<p>“The whole character of this church,” remarks Street, “is very
+interesting. The west front reminded me much of the best Italian
+Romanesque, and the rude simplicity of its interior&mdash;so similar in its
+mode of construction to the great church at Santiago in the opposite
+corner of the Peninsula&mdash;suggests the probability of its being one of
+the earliest examples of which Spain can boast.”</p>
+
+<p>From San Pedro we may follow the course of the little river Galligans to
+the deserted monastery of San Daniel, dating as a building from the
+eleventh century. In 1015 the original foundations were sold by Bishop
+Pedro Roger to Count Ramon Borell III. and his wife Ermesindes, for one
+hundred ounces of gold. The Countess erected a monastery, which was
+completed by the less fortunate wife of Ramon Cap d’Estopa. The west
+front and nave are Gothic, the chancel and lantern in good Romanesque
+style. In front of the sanctuary a flight of steps leads down to the
+shrine of the titular saint, whose tomb dates from the fourteenth
+century.</p>
+
+<p>&nbsp;</p>
+
+<p>North of Gerona lies FIGUERAS, accounted the strongest fortress in
+Spain. Like so many<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> other “impregnable” strongholds, it has been taken
+again and again, so often, in fact, as to give rise to the saying,
+“Figueras belongs to Spain in peace, and to France in war.” It is only
+fair to add that in several instances its fall has been due to
+treachery. In a miserable chamber in the castle of San Fernando died
+Mariano Alvarez de Castro, a prisoner in the hands of the French. The
+guide-books speak of a religious procession which takes place here on
+the last Monday in May, and is called the Profaso de la Tramontana,
+after the north wind, which blows here with great violence.</p>
+
+<p>In the vicinity of Figueras is the church of Villabertrán, dating from
+the end of the eleventh century. Designed by a priest it exhibits,
+remarks a Spanish writer, in every detail the ecclesiastical bias. All
+animal figures are excluded as tending to disturb religious
+recollection. The interior is nobly designed but destitute of all
+ornament. “In this temple everything appeals to the reason, nothing to
+the imagination; these low dark vaults dissipate illusions; the thought
+of death oppresses the mind; but the eyes discern a gleam of light in
+the darkness of the sanctuary, and the soul hungrily seeks a gleam of
+faith in the gloom of doubt.”</p>
+
+<p>Of a similarly severe character is the adjacent cloister. The campanile
+of the church alone<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> presents any airy or graceful features. The whole
+foundation would have been spared even by Knox or Calvin.</p>
+
+<p>On the bay of Rosas, the town of Castellón de Ampurias recalls the great
+city of Empurias which was founded by the Greeks, and utterly perished
+at the end of the twelfth century. It was among those great maritime
+powers which for long resisted the encroachments of the Carthaginians,
+and which fell in turn before the irresistible arms of Rome&mdash;reminders
+for us of the days when the fate of the Mediterranean still hung in the
+balance, and it was yet uncertain whether the civilisation of Europe
+should be Hellenic, Punic or Latin. The destruction of Empurias is
+ascribed partly to the Saracens, partly to the Normans. Whoever
+accomplished the work did it thoroughly, for nothing but the name
+survives of this once rich and puissant colony of Hellenes.</p>
+
+<p>Castellón de Ampurias is a Latin foundation, with which time has dealt
+unkindly. Its parish church of Santa Maria is a noble monument of its
+prime. It was consecrated in 1064 and finished in the late Gothic
+period. To this last style belongs the west porch, with a pointed arch
+of six orders, and the figures of the Twelve Apostles beneath canopies
+in the jambs. The tympanum shows a relief of the Adoration of the Magi.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span>
+Contrasting strikingly with this carefully chiselled and graceful Gothic
+work is the stern square campanile to the left, a remnant of the
+Romanesque days. The interior is early Gothic. The combination of this
+with the preceding style is strikingly shown in the principal apse. The
+altar, a single piece of marble, is carved with reliefs which exhibit
+(says Pi y Margall) the artist’s breadth of imagination rather than his
+skill.</p>
+
+<p>Further inland is the venerable abbey of San Pedro de Roda, founded in
+the tenth century, and abandoned by the religious in the year 1799.
+To-day the monastic buildings are in utter ruin, but enough of the
+church remains to fill us with admiration for the loftiness of its nave,
+the harmonious admixture of the Romanesque with the pure classic forms,
+the skilful decoration of the various parts, and the sombre majesty of
+the whole.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<h2><a name="THE_VALLEY_OF_THE_TER" id="THE_VALLEY_OF_THE_TER"></a>THE VALLEY OF THE TER</h2>
+
+<p class="nind"><span class="smcap">The</span> river Ter, which washes the walls of Gerona, is born among the snows
+of the Puigmal, the loftiest of the Eastern Pyrenees. Its stream is
+still ice-cold when it flows past the little town of San Juan de las
+Abadesas, which changed its name from Ripollet upon the foundation of an
+abbey within its precincts by Wilfred the Hairy, Count of Barcelona, in
+the year 877. The Count’s daughter was the first Abbess. The present
+abbatial church replaced the original structure in 1150. It is strictly
+cruciform, consisting of a nave and transept without aisles. There are
+only two columns in the church, these being planted at the entrance to
+the presbytery. The chancel is in the florid late Gothic style,
+contrasting oddly with the extreme simplicity of the rest of the fabric.
+Behind the altar is a figure of Christ, sculptured in the year 1250; in
+the forehead, it is believed, is contained a Host, which has preserved
+its integrity for seven centuries, and which it was found impossible to
+remove in the year 1598. The church has two choirs, both blocking the
+nave. The north and south porches were<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> reserved respectively for men
+and women. The adjoining cloister is in good fifteenth-century style,
+and was probably designed or improved by the architect of the Palacio de
+la Diputacion at Barcelona.</p>
+
+<p>Five or six miles farther down the valley stands Ripoll, one of the
+towns that suffered most severely during the Carlist wars. It has,
+however, long since recovered from its reverses. Unfortunately the
+damage done to the monastery founded by Wilfred the Hairy cannot be
+repaired. As the Mausoleum of the counts from the ninth to the twelfth
+century, it possessed great interest. The church, built by Bishop Oliva
+about the thousandth year of our era, is roofless. The nave terminates
+in an apse, and there are three smaller apses opening from the east into
+each transept. The special glory of the building is its west porch,
+formed by a rounded arch with three shafts in each jamb. The middle
+shafts are carved into life-size figures of St. Peter and St. Paul; the
+others are most beautifully chiselled. The orders of the arch are
+variously treated; caprices, grotesques, masques, mythological designs
+being interwoven with more appropriate religious symbols. One series of
+reliefs appears to represent the twelve months.</p>
+
+<p>The façade on either side of this portal is similarly decorated with
+graphic reliefs in six courses, the lowest representing scenes in which<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>
+centaurs, lions, &amp;c., figure; above this is a row of figures of knights,
+princes, and prelates; above this, battle scenes, then come two rows of
+sacred figures and subjects, and finally the figure of God the Father
+attended by angels and princes. The whole of this portal is of profound
+interest to students of the Romanesque.</p>
+
+<p>The interior of the church was restored as lately as twenty years ago.
+All styles seem to have entered into its architecture. Instead of
+columns, massive piers support the vaulting, and mark off the aisles
+from the nave. The chancel&mdash;merely a shallow apsidal prolongation of the
+nave&mdash;is strewn with the ruins of the high altar and the roof.</p>
+
+<p>The cloister of the monastery is the most interesting part. It is
+composed of an upper and lower gallery of round arches, uninterrupted by
+any piers or buttresses. The harmony of the whole is admirable. The
+columns are of Gerona marble, and pinkish grey in hue. Variety is
+imparted by the capitals whereon the unknown sculptor has expended his
+fanciful, nervous genius. The upper gallery was not completed till the
+end of the fourteenth century, though the cloister had been begun as far
+back as 1172.</p>
+
+<p>Farther down stream is Vich, a town constantly referred to in the annals
+of the Carlist wars. As the history of that insurrection is not well
+known to foreigners, visitors are more likely to be inter<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span>ested in the
+monuments that have survived those troubled times. The cathedral was
+built in 1040&mdash;a date which sounds promising; but alas! the architects
+of the eighteenth century have forestalled us, and have worked their
+wicked will upon a once noble church. The artistic eye will not linger
+upon the exterior, but it may find some refreshment in the majestic
+nave, divided from the aisles by six clustered columns, with Corinthian
+capitals. When the church was rebuilt, all the tombs were swept away,
+and none of the altars spared, except the high altar, which is a
+meritorious work of the early fifteenth century. As at Ripoll, there is
+a fine cloister built five hundred years ago. The gallery, with its
+pointed openings and trefoil and quatrefoil tracery, is built over a
+substructure with round arched open vaults. The centre of the quadrangle
+is occupied by the statue and monument of the philosopher Balmes, who
+was born at Vich and died in 1848, aged only thirty-eight years. He is
+buried in the cathedral nave.</p>
+
+<p>Outside this church there is little to be seen in the old Catalan town.
+The remains of a Roman temple are worth examination, and the artist may
+find plenty of material for sketches in the picturesque Plaza Mayor.</p>
+
+<p>From Vich it is about forty-five miles to Barcelona.<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
+
+<h2><a name="LERIDA" id="LERIDA"></a>LERIDA</h2>
+
+<p class="nind"><span class="smcap">Lerida</span> is another of those Catalan cities that remind one of the saying
+about new wine in old bottles. Seen from afar it is clearly one of those
+old human hives that have existed on the same spot ever since man felt
+the need of a permanent abode&mdash;you have the hill-site, the walls, the
+towers, the flowing river, the mediæval aspect. You observe with delight
+a humpbacked bridge, such as (with a total disregard for beasts of
+burden) our pious ancestors loved to build. And over all rises the
+cathedral&mdash;or, as we shall soon learn, what was the cathedral. But on a
+closer inspection we find that time has by no means left Lerida
+untouched. Already she has overflowed into the opposite side of the
+stream, and there is a big new suburb with wide white streets,
+spaciously planned squares, and avenues along which the trees are
+beginning to grow. And as you cross the humpbacked bridge, you observe
+that the centre arch is quite new, and as you enter the old town, you
+are astonished by the stir and the modernity of it all. It is just like
+Smyrna or Damascus. Every one has been too<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> busy to build the town over
+again. Its poor old rickety houses, in which men designed to lead only
+the sedatest of lives, have been hastily requisitioned for the service
+of modern industry and commerce. The low rooms are packed with
+merchandise, the frail houses seem like to burst. The underground
+cellars come in very handily. Lerida is very much alive. Some day she
+will have to pull her house down and build a new one altogether.</p>
+
+<p>Probably no one would have come to Lerida&mdash;no strangers of the
+uncommercial variety, that is&mdash;if Street had not told us about the old
+cathedral, since turned into a barracks. Nor without his detailed and
+professional description would the average traveller be able to make
+much of the building. The purposes to which it has been put have
+obscured the outlines of the features of the original fabric. But you
+cannot overlook it for it stands high on the hill like a citadel, which,
+indeed, it has now become.</p>
+
+<p>Lerida&mdash;which the Catalans, by the way, call Lleyda&mdash;was known to the
+Romans as Ilerda, and when they turned Christian, they built a church on
+this site. This, it is supposed, became a mosque during the brief
+Moorish period, to be reconsecrated on the reappearance of the
+Christians. The first stone of the actual building was laid on July 22,
+1203, in the presence of King<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> Pedro II., and the consecration took
+place on October 31, 1278.</p>
+
+<p>(People often wonder why we do not build cathedrals nowadays equal to
+the old. One of the reasons may be that we are in too great a hurry. In
+the Middle Ages no man expected to see the completion of the work he
+began. They were animated by a strong communal sense, different from the
+individualism of to-day.)</p>
+
+<p>The excellent bishop and chapter of Lerida in the year 1707 thought the
+cathedral too old for their requirements, and having already
+commissioned a military architect to build them a new church in the city
+below, thither they removed. By a fair exchange the military took
+possession of the cathedral. They willingly display it to you, and the
+non-commissioned officer who shows you round seems less in a hurry to
+get the visit over than your clerical cicerone usually is.</p>
+
+<p>The lay traveller in attempting to understand this church has always to
+refer himself to the explanation of Street or else to that of Piferrer,
+which is certainly not so intelligible. In plan, then, the church is
+cruciform with three eastern apses and square transept arms. Another
+apse projects eastward from the south transept, which is flanked on the
+other side by a semicircular chapel, pointing south. Over the crossing
+rises<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> an octagonal lantern, roofed like the whole church with stone,
+and pierced in each face with double windows with varied tracery. At its
+north-west angle is a slender octagonal staircase turret, rising from
+the south-west angle of the north transept. There is a similar but
+stouter tower, detached from the lantern, rising over the south
+transept. These towers give the whole pile a romantic and beautiful
+appearance.</p>
+
+<p>The principal portal, called in the Catalan dialect the Puerta dels
+Fillols, opens into the middle of the south aisle. “This [says our
+authority] is an example of singularly rich transitional work, with an
+archivolt enriched with chevrons, mouldings, dog-tooth, intersecting
+arches, and elaborate foliage. There is the usual horizontal cornice
+over the arch, and above this is a fourteenth-century statue of the
+Blessed Virgin Mary and Our Lord. The horizontal cornice is carried on
+moulded corbels, between which and the wall are carvings of wyverns and
+other animals; whilst the soffit of the cornice in each compartment is
+carved with delicate tracery panels, in some of which I thought I
+detected some trace of Moorish influence. The cornice has a delicate
+trailing branch of foliage; and the labels and two or three orders of
+the arch, in which sculpture of foliage is introduced, are remarkable
+for the singular delicacy and refinement of the<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> lines of the foliage,
+and for the exceeding skill with which they have been wrought. There is
+none of that reckless dash which marks our carvers nowadays, but in its
+place a patient elaboration of lovely forms, which cannot too much be
+praised. The mouldings here are all decidedly characteristic by a
+later&mdash;probably fifteenth-century&mdash;vaulted porch, which occupies the
+space between two added chapels. The effect is very good and
+picturesque.”</p>
+
+<p>The transept doors are also very fine, especially the southern one. The
+cornice is beautifully sculptured and the wheel window above reveals in
+its details the influence of the Italian Romanesque. These entrances
+make us regret the effacement of the west porch, which is concealed by
+the vast square cloister covering that side of the church. This
+remarkable building, now occupied by troops, is the grandest, Street
+declared, he had ever seen. In its present desecrated state, it must be
+confessed it needs a highly trained eye to appreciate its beauty. The
+arcades are walled up, and there is some ground for supposing that when
+in ecclesiastical occupation the galleries were used as dormitory and
+refectory. The details vary greatly. The bays vary in width, the
+sculpture is of all sorts of design, and of all periods. Adjoining this
+vast cloister on the north side is a long barrel-vaulted hall, lighted
+only at one end. On<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> the west side the cloister is entered through an
+enormous western doorway with a pointed arch. South of this and almost
+detached from the cloister stands that beautiful octagonal steeple which
+served Pedro Balaguer as a model for the Micalet Tower at Valencia. It
+is 170 feet high and divided into five stages, “the whole construction
+being of the most dignified and solid description.”</p>
+
+<p>Concerning the position of this tower, Street remarks: “Here, as often
+happens with detached campaniles, the grouping of the steeple with the
+church from various points of view is very diversified, and often very
+striking. From its great height above the valley it is seen on all
+sides, and generally at some distance. From the south, the grand size of
+the cloister, which connects the steeple with the church, gives it
+somewhat the effect of being in fact at the west end of an enormous
+building, of which the cloister may be the nave; whilst the steeple
+rears its whole height boldly to the right, and makes the whole scheme
+of the work utterly unintelligible, until after a thorough
+investigation.”</p>
+
+<p>The interior of the church is now cut horizontally by a plank flooring,
+and no features of interest can be distinguished, except in a single
+apsidal chapel, which is still used as such, and where is buried a
+natural son of King Pedro the<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> Catholic, who died in 1254. Whitewash has
+obscured all the details of capitals and columns.</p>
+
+<p>Adjacent to the cathedral on the north side is the ruin of a once noble
+hall, with traces of Moorish influence in its carving&mdash;possibly the
+remains of a chapter-house or episcopal palace.</p>
+
+<p>Far exceeding the cathedral in antiquity is the church of San Lorenzo
+hard by, though it is not safe to accept the tradition of its Gothic
+origin. It was certainly built prior to the twelfth century. Originally
+just an apse and a nave, with walls eight feet thick and a span of
+thirty-three feet, aisles each ending in an apse were added to it at a
+much later period. They communicate with the nave by very simple pointed
+arches, and their windows have good traceries of the late thirteenth
+century. “The apse has a semi-dome and is lighted by three round-headed
+windows, five inches wide in the clear, and has a corbel-table under the
+eaves outside.”</p>
+
+<p>The octagonal campanile dates from the fifteenth century, to which
+period belongs the western gallery. There is a good deal of pointed work
+in the church, which is gloomy and religious. The high altar, dating
+from about 1400, has a reredos which is highly praised by some critics.</p>
+
+<p>Lerida was the Salamanca of Aragon. Her university, founded in 1300 by
+Jaime II., numbered the profligate Calixtus III. among its pro<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>fessors,
+and Vicente Ferrer&mdash;the “angel of the judgment”&mdash;among its alumni. Ford
+reminds us that Horace speaks of the place as a seat of learning in
+Roman times, to which the troublesome youths of the capital were
+banished. The town, like its Castilian prototype, has been famed for
+arms as well as learning. It sustained a severe siege from Felipe IV.
+himself in 1640, and withstood the assaults of the great Condé in 1640.
+It owned the loss of its university to its devotion to the Archduke
+Charles in the War of Succession, and (more directly) to the defeat
+sustained close by, by the Bourbon king. At the same time the military
+authorities made the clergy give up their cathedral.</p>
+
+<p>Probably none of the ancient edifices of Lerida will interest you as
+much as the market-place, surrounded by quaint old houses; entering, you
+find the whole house is a great wine-press, the grapes, trodden on the
+ground floor, pouring their juice into the cellars below.</p>
+
+<p>&nbsp;</p>
+
+<p>Higher up the Segre is the historic town of Balaguer, the Bargusia of
+Livy, and the capital of the ancient county of Urgel. The counts had
+their residence in the “Beautiful Castle” (“Castillo hermoso”) which
+overlooked the town and has now totally disappeared. There are a few
+ruins of the once famous priory of Santo<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> Domingo. The site of the
+castle is occupied by the church of Santa Maria, built in 1351. It is a
+dignified, simple edifice, of a single nave with lateral chapels. The
+Trappist monastery of Bellpuig de las Avellanas a little way out of the
+town is another and better preserved monument of the piety of the old
+Counts of Urgel whose line expired with Jaime el Desdichado at the
+beginning of the fifteenth century.</p>
+
+<p>Still going northward, and without crossing the limits of the old
+country, we reach the venerable town of Agramunt, notable for its late
+Romanesque church with a portal similar to the Puerta dels Fillols at
+Lerida. We reach at last Seo de Urgel at the very foot of the Pyrenees.
+As a see, the place is of immemorial antiquity. Its bishops (who are
+co-sovereigns with France of the Republic of Andorra) attained the
+zenith of their power and splendour in the eleventh century. The town
+has figured in every border war and was the seat of the audacious
+reactionary caucus which called itself a regency and declared Ferdinand
+VII. unfit to govern while he was obedient to the constitution.</p>
+
+<p>The actual cathedral was consecrated by Bishop Eribal in 1040, but its
+construction lasted well on into the next century. It resembles a church
+of southern France more than one of Cataluña. The façade is divided
+vertically by two buttresses,<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> horizontally by string courses into three
+stages, the lowest of which is pierced by the simple round arched west
+porch, the middle by three round-headed windows, the highest forming a
+sort of attic, by a round-headed window and two <i>rosaces</i>. The interior
+is divided into a nave and aisles with transept and lantern. The
+treasury is interesting for its collection of documents dating back to
+the time of the Carlovingian kings.</p>
+
+<p>Returning from Lerida to Barcelona we pass the castle of Bellpuig, the
+seat of the great family of Anglesola&mdash;a massive fortress of red stone,
+restored in the sixteenth century. Its magnificent staircase still gives
+one some idea of the pomp and state of its former lords. The village
+extends from the castle to the church&mdash;a situation which inspired the
+erudite topographer of this country (Piferrer) with reflections that
+remind one of Don Quixote’s address to the goatherds. The church
+contains the tomb of Don Ramon de Cordova, one of the ablest lieutenants
+of Gonzalo de Cordova. His effigy, armed and holding his helmet,
+reclines in a sleeping posture on an urn adorned with reliefs of marine
+gods and monsters and upheld on the backs of sirens, whose hands are
+webbed; the sepulchral arch is formed by six Ionic columns, against
+which lean figures expressive of mourning; over the tomb is a relief of
+the Entombment. In niches on each side of<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> the arch are two life-size
+figures emblematic of Victory; above them, two figures leaning forth
+from medallions appear to extend laurels toward the hero. The plinth and
+cornice of this superb tomb are adorned with reliefs illustrating the
+victories and achievements of the deceased, who was as distinguished as
+an admiral as a general. His body remains in the urn practically
+incorrupt. The tomb is the work of Juan Nolano.</p>
+
+<p>This work has been brought here from the ruined Franciscan friary,
+founded a few miles from Bellpuig by the knight in the year 1507. The
+cloister is fairly well preserved. The two lower galleries&mdash;a third has
+been added since the foundation&mdash;are in debased Gothic style. The second
+gallery is formed by eleven rectangular columns, like those of the Lonja
+at Valencia, with four bands of moulding wreathed round each and
+gathered in at the capitals. The convent church is also of interest and
+is connected with the cloister by a fine staircase.</p>
+
+<p>From Bellpuig we pass on to Cervera, to which Philip V. transferred the
+university from Lerida in 1717. This is the famous body which
+proclaimed, in the enlightened reign of Fernando VII., its horror of the
+fatal habit of thinking (“Lejos de nosotros a mania funesta de pensar”).
+Notwithstanding, it was closed in 1823, and finally suppressed or rather
+transferred to Barcelona in<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> 1842. This singular university was housed
+in a building opened in 1740, which still dominates the whole town; it
+is a huge tasteless structure, a rather suitable home for learned fools.
+Nothing seems to have been determined with regard to its ultimate
+destiny, and the whole town has a frustrate and somewhat hopeless air.
+The church of Santa Maria is not devoid of beauty and interest. One of
+the porches appears to be a survival of an earlier Romanesque structure,
+and is surmounted by a relief of St. Martin sharing his cloak with the
+beggar. The tombs are also worthy of note.<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
+
+<h2><a name="TARRAGONA" id="TARRAGONA"></a>TARRAGONA</h2>
+
+<p class="nind"><span class="smcap">Tarragona</span> stands high and nobly on the coast of Cataluña looking east
+towards Rome, as her million citizens did when the Cæsars ruled, and she
+gave her name to the vast province of Tarraconensis. The Phœnicians were
+here, of course, before the Romans; they called the place Tarchon, and
+found it already strengthened by walls which remain to this day. Publius
+and Cneius Scipio wrested the town from Carthage, and afterwards the
+lords of the world gratified the city with the titles of <i>victrix</i>,
+<i>togata</i>, and <i>turrita</i>. “It had a mint and temples to every god,
+goddess and tutelar; nay, the servile citizens erected one to the
+emperor, <i>Divo</i> Augusto, thus making him a god while yet alive.” Since
+that time, Tarragona has not flourished, though it was for a brief
+interval the capital of the Visigoths. Desolated by the Moors, it was
+given at the reconquest to a Norman adventurer whose wife, in his
+absence, proved as doughty a warrior as he. And now shrunk and
+depopulated, the once imperial city stares in a sort of mellow calm for
+ever seaward, as if plunged in reveries on the glorious past.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
+
+<p>High over the town, on the crest of the slope, towers the cathedral.
+“This,” says Street (and none will disagree with him), “is one of the
+most noble and interesting churches in Spain. It is one of a class of
+which I have seen others upon a somewhat smaller scale (as, <i>e.g.</i>, the
+cathedrals at Lerida and Tudela) and which appears to me, after much
+study of old buildings in most parts of Europe, to afford one of the
+finest types from every point of view that it is possible to find. It
+produces in very marked degree an extremely effective internal effect,
+without being on an exaggerated scale, and combines in the happiest
+fashion the greatest solidity of construction with a lavish display of
+ornament in some parts to which it is hard to find a parallel.” Roughly
+speaking, it may be described as Romanesque, with adornment of the
+Gothic period. The delicacy and richness of the later style has relieved
+the crudeness of the earlier, while the severity of the original plan
+has kept in check the tendency to be profuse of ornament.</p>
+
+<p>Schemes were on foot to rebuild the church at the end of the eleventh
+century and Street thinks the oldest part&mdash;that is, the eastern
+apse&mdash;may date from 1131, though the greater portion of the fabric
+(including the nave and its aisles and the cloister) seems to have been
+executed at the<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> end of the twelfth and during the first half of the
+thirteenth century; and it is very possible, therefore, that the brother
+Bernardus, who died in 1256, may have been the architect of the larger
+part of the existing fabric, both of the church and its cloister.</p>
+
+<p>The west front is striking; it was begun in 1278, but not completed for
+another hundred years. The lower half is occupied by a deep-set portal
+of four orders, rising to a point. The jambs are occupied by figures of
+saints under canopies, and these are continued round the two buttresses
+which flank the doorway and end in pinnacles. The shaft is formed by a
+statue of the Madonna upon a pedestal, the sides of which exhibit in
+relief the scenes of the Creation and Fall. “These subjects are very
+fitly placed here, the Fall in the centre coming just under the feet of
+her who bears Our Lord in her arms, and thus restores the balance to the
+world.” (Street.) The tympanum is pierced with rich geometrical tracery.
+Over and behind the cross surmounting this grand doorway is an enormous
+rose-window. The whole is surmounted by a gable, the central portion of
+which has disappeared, giving a somewhat ruinous appearance to the
+church when seen from a distance. Flanking this, the front of the nave,
+are the round-arched entrances to the aisles, with round windows above,
+betraying<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> Norman influence. Ford states that the great rose-window is
+Norman work.</p>
+
+<p>The interior is grand and impressive in the extreme, though a trifle
+marred by the heaviness of the pillars. There is no triforium. The
+pointed windows of the clerestory are filled with glass vividly
+coloured, much of it modern, some of it the work of Juan Guas, specimens
+of whose craftmanship are to be seen at Toledo. The aisles are half the
+height of the nave, the intervening space being pierced with small
+rose-windows. At festivals the arches are hung with precious tapestries,
+designed after the Italian fashion with scenes from the histories of
+Joshua, Samson, David, and Cyrus. They are believed to have been
+presented by some potentate to the chapter about the year 1600.</p>
+
+<p>While the columns are massive and plain, the bases are finely moulded
+and the capitals are carved with exuberant foliage. The choir screen is
+of marble and jasper; the stalls are plainly and chastely carved. Over
+the crossing rises a low, simple, but effective octagonal lantern. “The
+old outside roof is destroyed; but the finish of the lanterns of Lerida
+and of the old cathedral of Salamanca made it pretty certain that it was
+intended to have a pyramidal or domical stone roof.” The transepts are
+square, except for an apsidal recess at the east side of each. The<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> nave
+and aisles end in apses&mdash;the oldest part of the edifice. The roof of the
+chancel apse is considerably lower than the choir’s, and the wall-space
+is pierced with a small rose-window. This part of the church is pure
+Romanesque. The high altar, however, is Gothic, and adorned with
+admirable reliefs, illustrating the martyrdom and apotheosis of St.
+Thecla, the patron of Tarragona. The centre is occupied by a colossal
+statue of the Virgin, covered by a very high peaked canopy of wood. To
+the right of the altar is the tomb of Archbishop Alfonso de Aragon, who
+died in 1514, and to the left a tomb older by two hundred years, that of
+Juan de Aragon, Patriarch of Alexandria. The remains of Cyprian, a
+Visigothic bishop of the see, are contained in an urn behind the
+reredos. The tombs are not very fine or numerous for a cathedral so
+ancient and so splendid.</p>
+
+<p>At the south side of the chancel, at its junction with the apse, is a
+very remarkable stone turret stair, leading up to a square tower which
+rises over the end of the south aisle. There was probably at one time a
+corresponding steeple on the north side.</p>
+
+<p>The chapels, though they have undergone considerable restoration, are
+interesting and possess much architectural interest. In the beautiful
+north transept is the fourteenth-century<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> chapel of the Tailors (de los
+Sastres). Close by is the Capilla del Sacramento, formerly a Roman work,
+and incorporated with the cathedral by Archbishop Augustin (1561-1586)
+whose fine tomb, by Pere Blay, it contains. The chapel was at one time
+the canon’s refectory. Several ancient tombs from the other parts of the
+cathedral have been placed in this transept. On the opposite side of the
+church is the gorgeous eighteenth-century chapel of St. Thecla.</p>
+
+<p>The cloister adjoins the north-east angle of the cathedral&mdash;a most
+unusual position. The door communicating with it is the finest in the
+building. It is a round-arched doorway richly and curiously sculptured
+in the Romanesque style. This cloister is considered one of the best of
+the many beautiful works of the kind in Spain. “Each bay has three
+round-arched openings divided by coupled shafts, and above these two
+large circles pierced in the wall. The arches and circular windows are
+richly moulded and adorned largely with delicate dog-tooth enrichments.
+Some of the circular windows above the arcade still retain their
+filling-in, which was of a very delicate interlacing work, pierced in a
+thin slab of stone, and evidently Moorish in its origin, though at the
+same time probably the work of Christian hands, as in some of them the
+figure of Christ is very beautifully introduced.<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span>” The sculptors have
+adorned the capitals with all sorts of quaint conceits, notably in one
+case with a pictorial rendering of the story of the rats who went to
+bury the cat without first tying her limbs. On another capital there is
+shown a spirited gladiatorial combat; on another, a cock-fight. These
+purely secular subjects where the sculptor seems to have indulged his
+humour and fancy absolutely without restraint, remind us of the
+“topical” carvings at Oviedo. Their humour has not escaped O’Shea, who,
+speaking of the Adoration of the Magi, carved on one of the pillars of
+the doorway from the church, says: “The three kings of the east are
+economically sleeping three in the same bed, and wakened early by a
+winged valet de chambre, that they may rise and proceed on their journey
+to Bethlehem.” The words “6th Company,” &amp;c., to which this writer and
+others call attention, to be seen on the walls, are reminders of the
+passage of British troops here.</p>
+
+<p>The chapter-house, the scene of many important councils, opens out of
+the south gallery of the cloister. The door is Norman. The exterior,
+like that of the cloister and cathedral generally, is most striking. The
+apse and the Tailors’ chapel are particularly fine seen from the
+outside.</p>
+
+<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p><p>Contented with their magnificent cathedral the people of Tarragona have
+done little to adorn their city with smaller churches. Adjacent to the
+seminary there stands the graceful little chapel of San Pablo, the
+origin of which is still a matter of conjecture. Its architectural
+features suggest the first half of the thirteenth century, with the
+exception of its west porch, which belongs to no recognised style. The
+chapel is first mentioned in a document of the year 1234.</p>
+
+<p>These edifices apart, the Middle Ages have done little for <i>Tarraco
+togata</i>. Its remaining monuments belong to its infancy and prime. The
+Cyclopean walls, now declared a national monument, extend from near the
+Puerta del Rosario to the crest of the hill on which the city stands,
+and thence to the eastern angle of the ancient prætorium, now converted
+into a prison. The base of this wall is formed by huge blocks of unhewn
+stones, uncemented, and with their interstices filled by smaller stones.
+The character of the work bespeaks the primitive nature of the builders.
+On this rude foundation rests the more regular work of the Roman
+conquerors. The <i>enceinte</i> formed by these walls is of the shape of an
+irregular polygon, measuring three-quarters of a mile across, and open
+on one side. The angles are defended by square towers, and the curtains
+are pierced by gates, to some of which the name “Puerta ciclopea” is
+given. The<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> Puerta del Rosario, called in the Middle Ages “Portal de
+Predicadors,” is about eight yards thick and is roofed by an enormous
+block of stone about 36,000 kilogrammes in weight. On the stones
+composing the Roman part of the wall, Iberian letters are traced. These
+were merely masons’ marks for the guidance of the native workmen, and
+form no words. The Torre del Arzobispo was raised in Christian times on
+the old Roman tower. The wall extending to the Torre del Capiscol is
+attributed to the Scipios, and dates in any case from their time. The
+principal Roman gate, called the Puerta del Socarro, is a noble work
+formed by three concentric arches. Passing through this we obtain a fine
+view of the strip of wall built by order of Hadrian, and may re-enter
+the city by the eighteenth-century gate of San Antonio, which pierced a
+wall built or restored by Norman adventurers in the twelfth century.</p>
+
+<p>Within the city itself not much remains from Roman times. The sites of
+the forum, the prætorium, and the great temples may be traced easily
+enough, and stones hewn by Roman hands and commemorating often enough
+Roman dead, are embedded in the walls of houses and churches all over
+the town. The local museum contains a few of the spoils of antiquity.
+There is a beautiful statue of Dionysus in Parian marble,<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> and a great
+variety of votive inscriptions. For more substantial memorials of the
+Roman era we must leave the city and follow the Barcelona road some four
+or five miles. Here we reach the celebrated monument known as the Tomb
+of the Scipios, consisting of a rectangular base and an upper body, on
+one face of which are sculptured in high relief the figures of two
+warriors. The cornice is engraved with a legend in which the words
+“perpetuo remane” are alone decipherable. There is no ground whatever
+for supposing that the figures represent the brothers Scipio or that
+this monument marks their resting-place. It is more probably the
+sepulchre of some wealthy Roman settler.</p>
+
+<p>The Arco de Bara is one of the best preserved monuments in Spain. The
+arch itself is flanked on each side by two fluted columns of the
+Corinthian order, supporting an entablature. It is simple and majestic,
+like all the Roman works of the kind. An inscription records its
+restoration in commemoration of the pacification of Spain during the
+regency of Maria Christina and by order of Don Juan van Halen, the
+Spanish general who in 1830 assisted at the defence of Brussels against
+the Dutch.</p>
+
+<p>The noblest handiwork bequeathed to Cataluña by the conquerors of the
+world is, however, the Aqueduct, which may be compared favourably<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> as
+regards preservation and solidity with the more famous work of the same
+kind at Segovia. Where it spans a valley it is composed of two series of
+arches, eleven below and twenty-five above, and rising to a height of
+217 metres. The stone of which it is built was Obtained from the caves
+of Monte Loreto, where the quarries may still be seen.</p>
+
+<p>Then there is Centcellas, on the banks of the little river Francoli,
+supposed to be on the site of the villa where Hadrian lodged. Part of
+the old <i>Thermæ</i> remains&mdash;a stone chamber square without and circular
+within; while another building seems to incorporate the ruins of an
+early Christian structure, including a mosaic of the Ravenna type.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<h2><a name="POBLET" id="POBLET"></a>POBLET</h2>
+
+<p class="nind"><span class="smcap">About</span> thirty-four miles from Tarragona, near the station of La Espluga,
+stands the ancient fane of Poblet, the Escorial of Aragon. It bears
+(according to tradition) the name of a hermit who in the first part of
+the twelfth century was three times captured by the Saracens and as
+often was miraculously released, whereupon the paynim king, recognising
+that he had to do with a man protected by heaven, endowed him with all
+the lands hereabouts, to be enjoyed by him and his brother hermits. In
+proof of this story, the religious triumphantly pointed to a
+venerable-looking parchment inscribed with Arabic characters, which they
+said and believed was the original deed of gift, and as no one could
+read it no one was able to throw doubt on the story. In 1496 a Moorish
+prince examined the document and contented himself with observing that
+it was not dated in the twelfth century but in the year 1217. However,
+no one paid any attention to this assertion, and the legend was repeated
+till on the dismantling of the monastery in the last century the
+document at last came under the critical eye<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> of Don Pascual de
+Gayangos, who confirmed the Moor’s correction and pronounced the
+so-called deed simply a general permit to the monks to pass through and
+travel freely in the Moorish dominions south of the Ebro.</p>
+
+<p>The foundation of the abbey may now be ascribed with safety to Count
+Ramon Berenguer IV., who, having conquered the territory of Lerida,
+bestowed the lands of Poblet on the Cistercians of Fontfroide near
+Narbonne, who, to the number of twelve, took possession of the site in
+the year 1150, Don Esteban being abbot. The monastery soon rose fair and
+strong, and prospered exceedingly under the favour of the Kings of
+Aragon, who made of it their official place of sepulture. The wealth of
+the community was enormous, the power of the abbot extended over
+fifty-six villages, but from all this prosperity resulted a falling away
+from monastic simplicity, till the holy men would not sit down to table
+unless two partridges were placed on their dishes. In the seventeenth
+and eighteenth centuries, they could find no better employment for their
+wealth than in loading their beautiful abbey with the atrocious
+sculpture and ornament of the period; and then in 1835 came the
+anti-clericals and swept out the monks and their <i>baroque</i> rubbish with
+them. What the mob spared, the collectors and villagers
+annexed&mdash;precious manuscripts,<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> vestments, statuary, all were carted
+away; and ruinous and forlorn, as it now stands, Poblet would have
+rejoiced the heart of the author of the stern Cistercian rule.</p>
+
+<p>It is a vast and embattled pile that greets the eyes of the traveller,
+encircled by a crenellated wall which is pierced by a richly sculptured
+gate built in 1460 and so richly gilded a hundred years later as to
+merit the name of the Puerta Dorada. Enclosed by these outer
+fortifications is another line of wall twice as high as the first,
+which, together with its twelve towers, was built in the fourteenth
+century. To the right of the entrance and still in the outer ward we
+have the little church of San Jorge, built by Alfonso V. in honour of
+the patron saint of Aragon in 1541, and the chapel of Santa Catalina,
+believed to have formed part of the primitive building. In the outer
+ward may also be distinguished the remains of numerous other buildings,
+such as the Abbot’s house, the Hospice, and the Bridewell, reserved for
+female offenders against the Abbot’s jurisdiction.</p>
+
+<p>The inner ward is reached through a gatehouse of the Edwardine type,
+flanked by heavily machicolated drum-towers, and decorated with the
+escutcheons of Aragon and Castile. We approach the church, founded by
+Ramon Berenguer, but substantially the work of his son<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> and successor.
+The ugly Græco-Roman façade marks the ancient west front, which is
+approached across an atrium called the Galilee. The church is in the
+form of an elongated Latin cross. The simplicity of the
+architecture&mdash;its absolute freedom from ornament&mdash;illustrated the early
+Cistercian ideals. The aisles are of seven bays, and the chapels are
+confined to the south aisle and apse. There were once seventeen altars
+in the church, of which only four were kept up by the monastery, the
+rest being at the charge of individuals and corporations. All these,
+including the high altar, have been stripped of their ornamentations and
+accessories, and of the once magnificent choir only a fragment of the
+screen remains. Piferrer, who saw the monastery in its prime, gives a
+detailed account of it, and enumerated the tombs it contained. He speaks
+of the imposing entrance to the royal mausoleum, between the chancel and
+the choir. On the Epistle side lay Don Alfonso of Barcelona (II. of
+Aragon), opposite him was the sarcophagus of James the Conqueror, near
+him lay Pedro the Ceremonious. In addition to these monarchs Juan I.,
+Martin, Fernando I., Alfonso V. and Juan II. of Aragon were buried here,
+with eight queens, thirty-six infantes and nine infantas. Here lies
+Carlos Prince of Viana, the illustrious scion of the house of Navarre;
+here were the<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> last resting-places of Aurembiax, Countess of Urgel and
+the last princess of her house; here lay the proud Cardonas and the
+noble knights and ladies of the Moncada and Anglesola lines. Nearly all
+the tombs that had not already been despoiled of their carving and
+marbles have been removed to Tarragona. Of those remaining, the best
+preserved is that of the Infanta Juana, with its figures relieved
+against thick blue glass.</p>
+
+<p>The north side of the church abuts on the great cloister, dating in its
+greater part from the thirteenth century. The windows on the south side
+are round-headed, those on the other three sides pointed, with good
+traceries. Through a round-headed arch we enter the chapter-house,
+divided into three aisles by four pillars, so slender as in no way to
+interrupt the view of the whole. The groining springs so gracefully from
+the capitals that the pillars themselves have the appearance of shooting
+up and bending like the branches of a tree. Then there is the library
+which once contained 10,145 volumes, including 385 valuable codices, and
+250 MSS. in various styles of handwriting&mdash;forming a complete museum of
+calligraphy. This library is a noble chamber divided by four columns.
+Its walls were once hung with the portraits of the Kings of Aragon and
+their great nobles. Reminiscent of the brave days of old is the charming
+façade of<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> the palace built by good King Martin and intended by him to
+be a retreat in his old age. He died before its completion and the work
+was abandoned.</p>
+
+<p>You may still traverse miles of cloister and hall at Poblet strewn with
+broken tablets, overgrown with shrubs and climbing plants. One of the
+most beautiful of the galleries is the Novices’ Dormitory, roofed in
+with timber; then there are the locutorium, the only spot where
+conversation was permitted between the recluses; the infirmary and the
+beautiful cloister of San Fernando, built in 1415 by order of the first
+king of that name, the little chapel of the saint, founded by the Count
+of Barcelona, and the royal apartments, built in 1375.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p>
+
+<h2><a name="SANTA_CREUS" id="SANTA_CREUS"></a>SANTA CREUS</h2>
+
+<p class="nind"><span class="smcap">Santa</span> Creus is the sister foundation of Poblet from which it is distant
+about five leagues. It was also founded by Ramon Berenguer IV. and
+belonged to the Cistercian Order. Not so large as Poblet, this abbey of
+the Holy Crosses is equally severe and chaste, and of the two, is
+distinguished more by its artistic harmony. The church is one of the
+most finished works of the age and style. Its front is discovered
+immediately on entering the monastery, raised on a terrace above the
+long and spacious court round which are grouped the conventual
+buildings. The battlements above the façade are a recent and incongruous
+addition. The west porch is finely moulded and chiselled, and with the
+rich foliage of the capitals creates a good impression. Another door,
+symmetrical and elegant, leads into a cloister on the south side of the
+church and was at one time flanked by the statues of Don Jaime II. and
+his wife Blanca. The wall on this side bears an inscription to Bernard
+Ranc, which is assumed to be the name of the architect. The church was
+begun in the year 1174, and opened<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> to public worship in 1211. It
+preserves its altar, on which the light falls through a rose-window in
+the apse. The principal objects of interest in the interior are the
+noble tomb of Don Pedro the Great (who defeated the French and bound
+Sicily to the throne of Aragon) and of Jaime II., who conquered Sardinia
+and harried the Moors of Granada. King Pedro’s tomb consists of a great
+porphyry urn supported by lions, which is believed to have been taken
+from the infidels; and on this rests the stone coffin carved with
+figures in high relief under pinnacled canopies. The tomb is covered by
+a beautiful stone baldachin, with three traceried circles on each side
+upheld by slender columns with elaborately carved capitals. The tomb of
+Don Jaime is on the same plan, but is further adorned by the effigies of
+the king and queen in the Cistercian habit, placed here, it seems
+likely, long after the completion of the rest of the work. The tomb was
+designed by Bertran Riquer, the architect of the royal palace of
+Barcelona.</p>
+
+<p>The church communicates with a spacious cloister with four sides of
+seven bays, built at the beginning of the fourteenth century by order of
+Queen Blanca. The traceries of the windows remaining here and there are
+late Gothic, and contrast oddly with the severe lines and rude<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> capitals
+of the shafts. As at Poblet, in a corner of the cloister is a hexagonal
+chamber said to have been a lavatory. A great number of persons of
+distinction seem to have been buried in this cloister, in attendance,
+one might say, upon their lords within the church. Among these was the
+knight Queralt, who may been seen in effigy in a suit of fine mail, with
+surcoat and greaves and girt with two-handed sword. Some of the figures
+of divine persons to be seen over the tombs were evidently carved by
+late fourteenth-century sculptors.</p>
+
+<p>Here, as at Poblet, the Kings of Aragon had their habitations in life as
+in death, and the courts of the ruined palaces of Don Pedro and Don
+Jaime still bear some traces of the glory and culture of the greatest
+maritime power of the Mediterranean of a bygone age.<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span></p>
+
+<h2><a name="VALLBONA" id="VALLBONA"></a>VALLBONA</h2>
+
+<p class="nind"><span class="smcap">Vallbona</span>, the third great royal abbey of Cataluña, is situated in the
+province of Lerida, but on the borders of Tarragona, in a singularly
+wild and remote district. Like Poblet, it is named after a hermit who in
+the year 1157 founded here and at Colobres, monasteries for both sexes.
+Twenty years later, both houses were formed into a single community of
+Cistercian nuns, under the headship of Doña Oria de Ramiro. The pious
+Anglesola of Vallbona is buried before the high altar in the company of
+James the Conqueror. The church is gloomy, silent and severe. It is
+entered through a Romanesque porch in the north transept, the west front
+presenting an unbroken wall. Vallbona has also a noble cloister, with a
+fine gallery in the Pointed style; on the north and the remaining
+galleries in the Romanesque. In Piferrer’s time, pictures and monuments
+relieved the excessive severity of the royal nunnery of Aragon, but now
+there reigns a desolation and poverty which might have affrighted even
+the hermit founder.<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p>
+
+<h2><a name="MONTSERRAT" id="MONTSERRAT"></a>MONTSERRAT</h2>
+
+<p class="nind"><span class="smcap">Montserrat</span>, easily accessible from Barcelona, is one of the four or five
+renowned shrines of Christendom. The legend of its institution is one of
+the quaintest and at the same time silliest in the annals of hagiology.
+In the time, it seems, of Count Wilfred, the Henry of Barcelona, there
+dwelt on the mountain a hermit named Guarin whose sanctity was famed
+even to the ends of the earth. Church bells rang of their own accord
+when he passed, and the forces of nature were at his beck and call. This
+being so, when Richildis, the Count’s daughter (she was beautiful, of
+course), became possessed of a devil, Guarin was at once called in to
+turn him out. Such a task was a mere matter of an Ave and an invocation
+on the part of the holy man; but the devil thus incontinently expelled
+from the person of Richildis appears to have passed into the body of the
+hermit. He conceived an unlawful passion for the maiden, who remained
+with him after her cure, to learn the arts of sanctity. He succumbed to
+temptation and consummated his crime by murdering the girl, cutting off
+her head and burying her in his cave.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p>
+
+<p>Stricken with remorse immediately after, the erstwhile holy man hurried
+to Rome and confessed his crime. The Pope ordered him to return to
+Montserrat on his hands and knees and never to resume an erect posture
+till his pardon should be miraculously announced.</p>
+
+<p>So faithfully did Guarin carry out the penance imposed that he crawled
+for seven years about the mountain that he had once illumined with his
+sanctity, living on grubs and roots and becoming to all intents and
+purposes a wild animal. One day Count Wilfred, while out hunting,
+noticed this strange beast and had him taken to his stables at
+Barcelona. There Guarin abode some months, saying never a word but
+pleasing his captors by his docility. One day he was led into the castle
+to amuse the Count and his Court. But before he could perform any
+tricks, the infant son of the Count, a baby but three months old, cried
+out, “Arise Guarin, for God has pardoned you.” Whereupon the strange
+beast rose up on his hind legs, praising God, and confessing his
+enormous crimes.</p>
+
+<p>In these days men were very much alive, and thrilled to the passions of
+love and hate. But, touched by the miracle, the Count forgave the
+murderer of his daughter, and set out with him for Montserrat to
+disinter the body buried seven years before. But lo, when the fair form
+was<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> revealed, it throbbed with life, and a red line only showed where
+her head had been severed from her neck.</p>
+
+<p>Richildis was so grateful for her restoration to life that she
+determined to devote the rest of it to the service of God. The Count
+founded a monastery for both sexes, of which his daughter was abbess and
+Guarin became a humble lay-brother.</p>
+
+<p>A mere fairy tale, yet it is full of what was best in the mediæval
+spirit&mdash;the conviction that no misfortune was irreparable, no crime
+unredeemable, no sinner unreclaimable, that for all men and all things
+there was indeed mercy and plentiful redemption.</p>
+
+<p>Upon the invasion of the Arabs in 976 the nuns abandoned their convent,
+but the monastery remained and was recognised as a regular community
+about the time of Fernando and Isabel.</p>
+
+<p>It is not, of course, to pray before the shrine of Guarin that pilgrims
+climb the ragged sides of the saw-edged mountain. Long before the hermit
+immortalised his name by his crime and his repentance, a miraculous
+image of the Virgin, said to have been carved by St. Luke, and brought
+to Spain by St. Peter, had been hidden, to save it from the infidels, in
+one of the caverns. Nearly two hundred years after, its whereabouts was
+revealed to some shepherds by lights and mys<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span>terious melodies. These
+manifestations were repeated every Saturday&mdash;that being the day of the
+week specially consecrated to the Virgin by the Church. The Bishop came
+over to investigate the phenomenon, and on entering the cave whence the
+sounds proceeded, they found the heavy image carved by St. Luke. So
+heavy was it that it resisted all efforts to remove it; so there it
+remained till the end of the sixteenth century, when it was found
+possible to enshrine it in the present church.</p>
+
+<p>Most of those who have seen the image are not favourably impressed, so
+it is worth while to quote another opinion than the present writer’s. “I
+cannot conceive [writes Mr. Herbert Vivian] that any one who has been
+privileged to behold it can deny the imposing majesty of its expression.
+It inspires awe rather than the sympathy and compassion which we are
+accustomed to associate with Our Blessed Lady. Indeed, those who change
+its vestments on holy days, say that it fills them with fear, that they
+do not dare to look it in the face. In the Virgin’s right hand is a
+globe, from which springs a fleur-de-lis. The crowns worn by her and the
+infant Christ are of prodigious valve, being of pure gold and containing
+no fewer than 3500 precious stones, many of them of exceeding size and
+purity. Like everything else at Montserrat, they are of modern origin,
+all<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> the old valuables having been carried off by French troopers in
+1811. In front of the image are two little staircases of walnut-wood by
+which those who wish to kiss its hand may ascend and descend.”</p>
+
+<p>As buildings, the church and monastery of Montserrat are wholly
+destitute of interest. But they have their memories. Ignatius Loyola,
+during the process of conversion, passed long hours at the feet of the
+Virgin of Montserrat; Don John of Austria, before the altar of the
+Immaculate Conception, swore to maintain the doctrine of the Virgin’s
+freedom from original sin, against all and sundry, at the sword’s point,
+and the victory of Lepanto was gained perhaps in fulfilment of that vow.</p>
+
+<p>There is a monastic seminary on the mountain, also an extremely ancient
+and aristocratic foundation. The boys have some curious customs. On the
+feast of St. Nicholas, the patron of youth, they elect one of their
+number Bishop, who entertains them all to dinner and heads the visits
+which they pay to all the monks in turn.</p>
+
+<p>But if as a shrine Montserrat has little to attract the curious, as a
+mountain it is without rival for picturesque and strange grandeur. So
+fantastic is the conformation that in all ages it has been regarded with
+a certain superstitious awe. The caves with which it is honeycombed<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> are
+full of mystery and fascination. They extend and ramify in all
+directions, constituting a veritable subterranean city. At all times
+they have served as asylums to the natives of the surrounding country
+when threatened by invaders. On one occasion the French discovered a
+party of peasants in such a retreat and would have attacked them had not
+one of the Catalans told them that a single explosion would bring all
+the surrounding rocks upon their heads. Whether this was true or false
+the soldiers did not care to prove, and they hastily withdrew.</p>
+
+<p>There are plenty of people in Cataluña still who believe in the
+wonder-working properties of the Virgin of Montserrat, and newly married
+couples come up by the funicular railway to spend a night on the
+mountain, in the hope of thereby assuring themselves of a numerous
+family.</p>
+
+<p>We may trace the footprints of St. Ignatius to Manresa, a name dear to
+the Jesuit in all lands, and borne by the Manchester of Cataluña. It is
+a lively, picturesque town, built on an amphitheatre of hills on the
+left bank of the Cardoner. High over the factories towers the Collegiate
+Church begun in 1328 and finished, probably, a hundred years later. It
+is one of those wide-naved churches characteristic of the principality,
+its span of nave is, in fact, greater than<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> that of any cathedral with
+aisles, except Palma. An interesting peculiarity is the flying
+buttresses built partly in and partly outside the church. Over the first
+roof rises an impressive bell tower. The interior is disappointing. The
+side chapels are Gothic. There is some good glass in the clerestory
+windows, and the organ displays one of those Saracens’ heads we so often
+find in Catalan churches. In the archives are some interesting pictures
+by local artists, reminding one of Byzantine work, and there also is
+preserved that altar frontal which excited the fervent admiration of
+Street. In a vault beneath the presbytery are treasured the relics of
+St. Agnes and St. Maurice, translated here from Vienne on the Rhône in
+the time of Berenguer III.</p>
+
+<p>The fine old church of the Carmen commemorated a miracle reputed to have
+occurred in the year 1345. The town having been laid under an interdict
+by the Bishop of Vich, the innocence of the townsfolk was demonstrated
+by a light which penetrated through the windows of the church, filling
+it with radiance. But these mediæval traditions are obscured by the
+glory of St. Ignatius, whose name the citizens delight to honour. In the
+church of Santo Domingo was formerly shown a black cross which the saint
+used to bear on his shoulder while he prostrated himself before the
+altars in turn. The church of<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> the Cueva&mdash;an odius <i>baroque</i> work&mdash;is
+raised over the cave wherein during ten months he underwent the dolorous
+process of his spiritual regeneration. In the Jesuit College you may see
+one of his fingers, his books, and the bricks that served him as a
+pillow. There is not a spot nor a house in Manresa that the citizens
+will not fail to point out as in some way, however slight, associated
+with the immortal founder of the Society of Jesus.</p>
+
+<p>Not far from Manresa is the flourishing town of Tarrassa, which occupies
+the site of the old episcopal city of Egara. The primitive <i>arx</i> or
+citadel gave place in Christian times to a cathedral which was destroyed
+by Al Mansûr, and the site is now occupied by the three interesting
+Romanesque churches of San Miguel, Santa Maria, and San Pedro.</p>
+
+<p>The oldest of these is undoubtedly San Miguel, which is distinguished
+from other Catalan churches by many peculiarities. The plan is
+rectangular, over the centre of the roof rises a lantern, resting on a
+quadrangle of columns. The capitals of these columns are evidently part
+of an older and different structure. Beneath the church is a crypt which
+is believed to have been the baptistery of the old Roman cathedral.</p>
+
+<p>Santa Maria was consecrated in 1112 by Raimundo Guillen, Bishop of
+Barcelona, and<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> was served by Augustine canons down to 1592. It is
+contemporary with the church of San Pedro and both present an aspect of
+extreme antiquity accentuated by the Roman tablets and fragments
+incorporated with the structure. Close by are the ruins of a fortress
+and a chapel attributed by tradition to the Templars. On the other side
+of the prettily named Rio Vallparadis are to be seen the fragments of a
+tower and castle.</p>
+
+<p>About six miles from Manresa, on the banks of the Llobregat, is a little
+monastery of San Benito de Bages, now a private residence. “All here,”
+says Piferrer, “invites man to lift his eyes to God, and to banish the
+frivolous recollections of this world. The building’s antiquity, the
+modesty and simplicity of its plan alike contribute to still the voice
+of passions and to excite more tranquil thoughts.”</p>
+
+<p>The thoughts of the former occupants, however, were evidently not always
+tranquil, for the little apses opening into the transepts have been
+squared off, apparently for defensive reasons, and the tower looks as if
+it had been constructed for the same object. The church is dark and
+sombre, like a vault, and the cloister has the same funereal aspect,
+only slightly relieved by the interesting carvings of courtiers and
+warriors on the rude capitals.</p>
+
+<p>Piferrer states that the chapel was built in the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> middle of the tenth
+century and that it was consecrated in 972 in presence of Count Borrell
+and his Court by the Bishop of Vich. In the year 1067 it was
+incorporated with the Abbey of San Ponce de Tomeras near Narbonne; the
+foundation received women, who were subject, like the monks, to the rule
+of St. Benedict. At the end of the sixteenth century the community was
+united to that of Montserrat.<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p>
+
+<h2><a name="CARDONA" id="CARDONA"></a>CARDONA</h2>
+
+<p class="nind"><span class="smcap">Cardona</span> is a picturesque walled town on the road from Manresa to
+Solsona. It is crowned by a strong castle built by the Cordona family,
+which traces its descent from Foulques, the ancestor of the
+Plantagenets. Within the castle is the collegiate church of San Vicente,
+dedicated in the eleventh century. It is a fine example of the
+Romanesque. Its aisles are marked off from the nave by square pillars;
+the nave is broad, the aisles narrow, without chapels. A very low
+lantern rises above the crossing and the presbytery is raised by a few
+steps above the level of the nave. There is not a single moulding in the
+whole church, or any curve other than a semicircle. Of the sepulchres of
+the mighty lords of the castle only two remain. Within this fortress
+died St. Ramon Nonnat in the year 1240. The chapel dedicated to his
+memory dates from 1682.<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span></p>
+
+<h2><a name="TORTOSA" id="TORTOSA"></a>TORTOSA</h2>
+
+<p class="nind"><span class="smcap">Tortosa</span>, on the banks of the Ebro, close to its mouth, is the
+southernmost of the cities of Cataluña. It is an ancient place where
+Roman and Visigothic coins were struck. It fell into the hands of the
+Saracens in 716 and was reconquered in 1147 and consecrated in 1441.
+Among the architects were the two Xulbes, whose opinion was taken on the
+question of the nave at Gerona. Though disfigured by a classical façade
+the church produces a good effect. Its aisles are separated from the
+nave by twenty columns, which sweep round the east end in a graceful
+semicircle so as to form a double apse. To the nine Gothic arches of the
+chancel correspond as many apsidal chapels, whose windows overlook the
+high altar. The reredos dates from 1351. There are five chapels in each
+of the aisles. The windows are filled with transparent marble instead of
+glass.</p>
+
+<p>The Collegio Real of Tortosa is in the best Plateresque style. The
+cloister is formed by three tiers of galleries, the columns and
+balconies being adorned with medallions and escutcheons. The original
+building belonged till the year 1528<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> to the Dominicans and was then
+reconstructed by order of Carlos I. with a view to serving as a seminary
+for Moorish converts. The College is now a barracks.</p>
+
+<p>The Convent of Santa Clara, dating from the thirteenth century and
+restored by order of Jaime II. of Aragon, is another precious memorial
+of Tortosa’s more prosperous days.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
+
+<h2><a name="THE_BALEARIC_ISLANDS" id="THE_BALEARIC_ISLANDS"></a>THE BALEARIC ISLANDS</h2>
+
+<p class="nind"><span class="smcap">The</span> Balearic archipelago no longer deserves the name of the Forgotten
+Isles bestowed upon it a dozen years ago by a French traveller. Much has
+since been written about the islands in our own and other languages, and
+yachtsmen often put in at what the Genoese Admiral classed with June,
+July and August, as one of the four best harbours in the Mediterranean.
+But the influx of tourists has not been large, and the isles run no
+immediate risk of losing their marked local characteristics. The remote
+past keeps a firm grip on Mallorca and Menorca; as in Egypt, you never
+cease to feel dead stony eyes are staring at you across
+thousand-year-long vistas. In the aisles the monuments of antiquity
+belong to the very dawn of human history, appearing almost the works of
+nature, even as those who reared them seem hardly to have emerged into
+full manhood. At every turn, as in Sardinia, you are met by the rude
+handiwork of that primitive Mediterranean race, which passed away in the
+struggle between Latins, Greeks and Semites. Every one knows now that
+the word Balearic is derived from a<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> Greek word meaning <i>to throw</i>, and
+that it refers to the extraordinary dexterity of the natives in the use
+of the sling. This was their national weapon, their sole means of attack
+and defence. In summer, as their only clothing, each man wore three
+slings&mdash;one round his head, one round his loins, and one at his wrist.
+To train their children in its use, the mothers, we are told, would not
+let them have their bread or meat till they had brought it down from a
+bough or ledge by means of the sling.</p>
+
+<p>Of all their dexterity they had need when strange men with black curling
+beards and dark stern faces&mdash;men that they had never seen&mdash;came sailing
+into their harbours and tempted them down from their perches with a
+display of bright rare stuffs and gewgaws. Poor simple white savages, it
+is likely enough that they had thought themselves till then the only men
+in the world. Then came the attempts of the Phœnicians to enslave and to
+subdue them, and wildly the islanders fought for their freedom, knowing
+as little as the creatures of the jungle do of the forces arrayed
+against them. The wild birds were netted at last. In the sixth century
+before Christ, the Carthaginians were masters of the archipelago, and
+dragged the slingers off to serve in their armies. Mago, a Punic leader,
+gave his name to Puerto Mahon. Then came a time when<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> the natives felt
+the grasp of the Semites relax. Their power had been crushed by the
+Romans and the islands enjoyed a brief interval of liberty. But in the
+year 123 <i>B.C.</i>, the conquerors of Carthage remembered their neglected
+heritage, and sent Cecilius Metellas to take possession. He founded the
+cities of Palma and Pollensa, which still retain their Latin names, and
+brought with him some thousands of Italian and Spanish colonists, who
+soon tamed the wildness of the aborigines. Thence onward for centuries
+the archipelago prospered quietly, safe beneath the outspread wings of
+the Roman eagle. Upon the break-up of the empire it passed through
+various hands to the Visigoths, to be wrested from them in the eighth
+century by the Arabs. Under this new dominion the islands became a nest
+of pirates, who ultimately founded a kingdom embracing parts of the
+Spanish mainland and of Sardinia. The depredations of the Balearic Moors
+excited the anger of Christendom, and Pope Pascual II. preached a
+crusade against them. Constituting themselves the ministers of Europe’s
+vengeance, the Pisans and Catalans inflicted a severe punishment on the
+Pirates and sacked the rich city of Palma. Over a hundred years later,
+in 1227, Don Jaime I. of Aragon reduced the whole group of islands in a
+memorable campaign, and annexed them finally to<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> Christendom. The
+conqueror constituted his new possessions into a kingdom for his second
+son and namesake, from whose grandson, Jaime II., they were taken by
+Pedro IV. in the year 1347 and incorporated with the kingdom of Aragon.</p>
+
+<p>But history had not yet done with the islands. The old rancour between
+the peasantry and the nobles came to a head at the beginning of the
+sixteenth century, in the war of the Germania or brotherhood. The
+viceroy took refuge in the Citadel of Ibiza, while the nobles defended
+themselves in the castle of Alcadia against the desperate attacks of the
+peasantry led by Juan Colom. The arrival of a royal squadron commanded
+by Don Juan de Valesco led to the extinction of the revolt. Ruled by
+Carthaginians, Romans, and Moors, the islands excited the cupidity of
+another race of conquerors. Seized by the English in 1708, Menorca
+remained in their possession till 1781, when it was retaken by the
+French and Spaniards. The failure to relieve the garrison cost Admiral
+Byng his life. We again took possession of the island in 1793 to
+surrender it finally to Spain at the peace of Amiens nine years later.</p>
+
+<p>Mallorca (it is as easy to call it by its proper name as by its variant
+Majorca) is the largest and most beautiful of the islands. Towards the
+north and south-west it presents an iron-bound wall<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> of rock to the
+turbulent waters of the Catalan seas; on the south the plain stretches
+to the shore, and here we find the little harbour of Santa Ponza, at
+which the conqueror Jaime I. disembarked his army on September 10, 1229.</p>
+
+<p>Hard by is the estate of Ben Dinat, so named, it is averred, because the
+conqueror expressed in those two words his satisfaction with a meal of
+bread and garlic served him at this spot. It is more probable that the
+name is that of some long-forgotten Moor. Then comes the little harbour
+and tower of Portopi and round the next promontory the lovely bay of
+Palma, with the capital of the Balearics smiling a welcome to the
+stranger. The walls that once surrounded the city have been demolished:
+the turrets that rise above the house-tops are those of the Cathedral
+and the Exchange (Lonja). We enter the town through the Water Gate, a
+building not without majesty, and crowned by a statue of the Blessed
+Virgin. The streets, as in most Spanish towns, are narrow and shady,
+often rewarding the curiosity of the passer-by with glimpses of
+Renaissance patios, graceful balconies, and turret windows. Among the
+most interesting houses of the Butifarras (big sausages), as the
+nobility of the island used to be called, are the Casa de Vivot and the
+palace of the Counts of Montenegro. But Palma is a living city, and side
+by side with these<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> dignified memories of the past we find handsome
+modern buildings such as the Bank of Spain and the Hall of Provincial
+Deputation. Nor does Palma want for wide breathing-spaces and
+promenades. It has the fine Paseo del Borne and the Boulevards
+constructed round the bay and on the site of the old fortifications.
+Close to the landing-stage the new-comer’s attention is first attracted
+by the Exchange or Lonja. Charles V. on visiting the island for the
+first time hastened at once to see it, eagerly demanding if it belonged
+to the Church or to the State, and was visibly relieved on hearing that
+it was a civil edifice. The Lonja is a quadrangular building, surmounted
+by a crenellated balustrade and flanked at each angle with an octagonal
+tower of six stages, one of these rising above the balustrade. The walls
+are strengthened with graceful pilasters, and pierced in their lower
+story by ogival windows with good traceries. The door is square and
+enclosed within an ogival arch. The interior forms a single great hall,
+the roof of which is supported by only four slender fluted columns, from
+which the arches spring like palm branches. This interesting building
+was designed and begun by Antonio Sagrera in the year 1426. Like the
+numerous other Spanish Lonjas, it has long been deserted by the
+mercantile community.</p>
+
+<p>The cathedral towers above the whole city and<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> is one of the most
+important churches in the kingdom. The name of the architect is unknown,
+but the foundations were laid by order of Jaime the Conqueror soon after
+he had annexed the island. The plan is rectangular, the walls supported
+by massive flying buttresses, surmounted with pinnacles and turrets. The
+south front is the finest and is pierced by the beautiful Puerta del
+Mirador, in florid Gothic style, the work of Pedro Morey, who died in
+1394. The west porch is an elaborate work, finished in 1601. On the
+north side is the noble square bell-tower.</p>
+
+<p>The interior is remarkable for the enormous span of the nave, the widest
+in Spain. It rises to a height of 147 feet and is sustained by
+relatively slender columns. The nave terminates in the beautiful Capilla
+Real, founded in 1282, wherein is the modest tomb of the last King of
+Mallorca. The wooden gallery running round the wall is strongly
+suggestive of Saracenic influence. Opening into this chapel are the
+Capillas de Santa Eulalia, containing a Gothic altar and the tomb of a
+Bishop of Palma, and San Mateo, in which ends one of the aisles. In the
+chapel of St. Jerome is the fine tomb of the Marques de la Romana, who
+did such good service to Spain by bringing from Denmark the Spanish
+troops in Napoleon’s service. Another notable sepulchre is that of
+Bishop Gil Sancho Munoz, successor elect to<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> Pope Benedict XIII. (1447).
+The choir is in decadent Gothic style, but the carving is very good and
+reveals imagination and fertility of resource on the part of the artist.
+The statues of St. Bruno and St. John were brought here from the
+chapter-house of Valledemosa. The old Moorish palace of Almudaina,
+adjacent to the cathedral, is the residence of the Captain-General and
+seat of the High Court. It is provided with a chapel built by Jaime II.</p>
+
+<p>The only other church worthy of mention at Palma is that of San
+Francisco de Asis, remarkably like the cathedral for the span of its
+nave and for the tomb of the famous Raymond Lull, Mallorca’s most
+illustrious son. This famous philosopher was born in 1235 and is said to
+have been converted from evil courses in his youth by finding that his
+mistress was devoured by cancer&mdash;such reasons for a change of life being
+frequent in the Middle Ages. He imagined himself called upon to
+overthrow the religion of Mohammed not by the old methods, but by a
+“great art” of logic which he devised. Like some liberal Catholics of
+later days, he held that the dogmas of his Church could and should be
+demonstrated by reason, and not by mere exhortations to believe. To
+combat Islam he rightly considered necessary that missionaries should
+understand the language of their adversaries. His exertions induced the<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span>
+Pope to found one or two chairs of Arabic and Syriac, and his
+philosophy, strange to say, met with no censure from ecclesiastical
+authorities. Lull was credited with immense and preternatural wisdom by
+his generation, and was popularly believed to have discovered the
+Philosopher’s Stone. He undertook several journeys to Northern Africa in
+his zeal for souls, and on the last of these visits received such severe
+injuries from a Moslem mob that he succumbed on board ship within sight
+of his native isle (1315).</p>
+
+<p>A picture of his funeral may be seen at the Town Hall, which is a rather
+imposing Renaissance building adorned by one of those heavy projecting
+eaves, carved and once painted, that one sees at Granada. Another house
+that should be noticed is the Casa Bonapart, said to have been founded
+by an ancestor of the Imperial family in 1411.</p>
+
+<p>In the suburbs of Palma is the fine old castle of Bellver, founded by
+the last King of Mallorca. It is composed of a vast keep, strengthened
+by bastions and surrounded by a moat. Connected with this stronghold by
+a bridge of two tiers is the massive Torre del Homenage. The castle has
+received many distinguished and involuntary guests. Here was confined
+Jovellanas, the able Minister of Carlos IV., and here was shot General
+Lacy for conspiring against the tyrant Fer<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span>nando VII. Arago the
+Astronomer took refuge here, when the mob, suspecting that he was
+signalling to the French when he was simply making observations, sought
+his life.</p>
+
+<p>Seven miles from Palma is Raxa, the seat of the Conde de Montenegro, who
+has an exceedingly valuable collection of antiquities. Here may be seen
+a curious chart of the world, drawn in 1439, according to the
+instructions of Amerigo Vespucci. It is partly obliterated by the ink
+spilt over it when it was being spread out for examination by George
+Sand.</p>
+
+<p>That gifted Frenchwoman slayed at the suppressed Carthusian monastery of
+Valldemosa, and there she wrote the romance “Spiridion,” at which Mr.
+Titmarsh poked his fun. It is a beautiful, decayed old place, once a
+royal palace, and decorated with frescoes illustrating its history.</p>
+
+<p>We again come to the traces of Raymond Lull at Miramar, the beautiful
+seat of the Archduke Ludwig Salvator, who kindly placed a hospice at the
+disposal of travellers. This was originally the college established by
+the philosopher for the study of Oriental tongues. The ill-fated
+Maximilian of Mexico borrowed the name of his palace near Triente from
+this enchanting spot.</p>
+
+<p>In addition to the capital, Mallorca contains three or four towns of
+importance, such as Manacor, Alcudia, and Pollensa, but these<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> present
+few features of interest. The scenery in the vale of Soller is radiant
+and smiling, the soil being of amazing fertility, such as the Barranco
+and Gorch Blau, or Blue Gorge. Between Pollensa and Soller in the heart
+of the hills is the sanctuary of Our Lady of Lluch, the origin of which
+is accounted for by a legend similar to that of Lourdes. To accommodate
+the pilgrims who flocked to the spot, a hospice was built, which in
+course of time was converted into a school of religious music. Here as
+at Miramar every stranger can have three days’ free lodging, including
+fire, light, and the indispensable oil and olives.</p>
+
+<p>On the other side of the island are the caves of Anta, rivalling those
+of Han and Adelsberg. “The most fantastic part of this subterranean
+region,” says Mr. Vuillier, “goes by the significant name of L’Infierno.
+It is a nightmare in stone. Tongues of petrified flame seem to lick the
+walls. An enormous lion squats in one corner, staring at unhewn tombs
+overhung by rigid cypresses. Strange forms of antediluvian monsters lurk
+half-seen in the obscurity. Many of the stalactites when rapped sharply
+with a stick emit musical notes, some like the vibration of a
+harp-string, others like the deep resonance of a church bell. These are
+in an immense hall as vast as a cathedral nave.... In silence and<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span>
+darkness, the forces of nature have for centuries been hewing and
+shaping an architecture more sublime than ever was conceived in the
+wildest dream of the Gothic craftsman.”</p>
+
+<p>Menorca, the second largest of the islands, is bare and bleak and flat
+round the coast, though at one point in the interior it rises to a
+height of nearly 6000 feet. Here and there are picturesque spots,
+notably the Barranco of Algendar; but speaking generally the island is
+the Holland of the Mediterranean. Cleanliness, well-being, industry and
+good conduct are the characteristics of the inhabitants, who live
+farther outside the world of romance even than most Latin people. We
+flatter ourselves of course that they learned their good qualities from
+our ancestors, when they ruled the island, and certainly there are
+frequent reminders of our influence to be traced in the daily life of
+Menorca. “Ashes to Ashes,” though seldom heard now, was in Ford’s time
+an oath or exclamation often on the lips of the natives, and children
+use English words when playing marbles, a game that we taught them among
+other perhaps less useful arts. We sent to the island a Governor Kasie,
+who made roads and built market-halls, and did all that a worthy and
+unimaginative English gentleman might feel it is his duty to do in such
+a position; but the natives do not sigh once more to be<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> under our
+dominion, as they are sometimes polite enough to tell English folk they
+do, and a Spanish writer actually refers to our paternal government as
+the Babylonish captivity.</p>
+
+<p>Puerto Mahon was founded, as we have said, by the Carthaginians, and was
+appropriately enough occupied by us, the Carthaginians of later days.
+Its harbour is one of the best in the Mediterranean, and is very
+strongly fortified. Except for the forts, the town contains no public
+monuments of interest. The streets are very clean and rather quiet, and
+you remark the absence of the running water in the gutters
+characteristic of so many European towns. The streets are well paved,
+often with tombstones from the English cemetery; the dustman goes his
+rounds as he does in London, and many of the houses have English
+windows. The domestic life is held in high honour at Mahon, and the
+chief occupation and delight of the women is cleaning their houses. “It
+is an amusing spectacle” says M. Vuillier, “to see them armed with
+brooms of dwarf palm and immense pails of lime-water, gossiping along
+the walls from early morning, while they scrub and wash as if their
+lives depended upon it, fastening their brooms to long poles the better
+to reach the higher parts of the wall. Should a death occur in a house
+the walls are not whitened for a week, a fortnight or<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> even a month,
+according to the closeness of the relationship or the degree of grief
+felt for the deceased. In rare cases the walls are not touched for six
+months.” The traveller comments on the absence of the tribe of unwelcome
+bedfellows, so persistent in their attentions in other parts of Spain.</p>
+
+<p>This does not sound very interesting. Mahon is not, however, wholly
+devoid of the picturesque element. The old gate of Barbarossa is named
+after that famous pirate, by whom the city was surprised and sacked in
+1536, and the fortifications still bear traces of the siege of 1781.
+Ciudadela, the old capital, at the opposite end of the island, is more
+suggestive of old times and memories. The streets are quaint and
+arcaded, and lined with fine old mansions: and there is an old palace,
+and a vast dim cathedral, which no one has ever properly explored. Ten
+minutes will be enough in which to exhaust the sights of Ciudadela, and
+you may then go and look at the Buffador, a blow-hole like those to be
+seen at Sark.</p>
+
+<p>The people of Menorca have long since abandoned their native
+dress&mdash;presuming that they ever had one; but M. Vuillier remarked the
+continuance of the old custom, observable in other countries, of
+strewing the path of a bridal party with obstacles and building a wall
+before the house of the bride and bridegroom, the morning<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> after their
+marriage. We see one of the innumerable survivals here of marriage by
+capture. The people are strangely fond of the practice of vaccination,
+and will perform it on each other with the least possible excuse. In
+blood-letting they also entertain an ineradicable belief.</p>
+
+<p>Speaking of Alazor, a large village, Ford says: “It is worth the
+traveller’s while to go into any of the peasants’ houses and convince
+himself that in no other part of the world do the lower (<i>i.e.</i>,
+working) classes live in greater comfort and even luxury. A man who has
+only a franc and a half a day as wages, and a little bit of garden, has
+a large and commodious house, well furnished, exquisitely clean, and
+always with a spare bed for the stranger. The character of the people is
+in exact harmony with their surroundings. They are polite and
+hospitable, crime is unknown, and their hygienic condition being so
+favourable they are healthy and long-lived. If is difficult to write of
+them without exaggeration and using too many terms of admiration for the
+good and wholesome life they lead.”</p>
+
+<p>To the economist, then, the island of Menorca must be of interest, but
+it is infinitely more so to the archæologist. From end to end it is
+strewn with the works of prehistoric man, whose record in stone is hard
+to read. These megalithic remains present a strong resemblance to the
+mirage<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span> of Sardinia and Malta, but have also local characteristics which
+have puzzled and delighted the learned. M. Cartailhac has traced the
+sites of many ancient villages. The most considerable may be seen at
+Torre d’ea Galines, south of Alazor. There, on the summit of a slight
+eminence, a vast pile of stones is all that remains of the “city” to
+which the naked aborigines fled wildly the instant a sail rose above the
+horizon. In the constant and arduous struggle waged by the present
+inhabitants with the stones and the rock, the limits of the stronghold
+have, ages ago, disappeared, and if it had an outer wall it can no
+longer be traced. The dwellings were grouped together so closely that no
+streets can be distinguished. No chariot or beast of burden could have
+been known to the citizens. They communicated with each other by
+corridors leading from cabin to cabin. Here and there the doorways
+remain intact and uphold a heavy lintel of stone.</p>
+
+<p>In each of these villages is to be found a single huge monument,
+composed of two blocks of stone, arranged <b>T</b>-shape. It is surrounded by a
+semicircular wall of unhewn stones, which probably once rose higher and
+higher and supported a roof of flat stones. These monuments are termed
+altars by the people of Menorca, and such they may, in fact, have been,
+but nothing definite can be said on this point.<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
+
+<p>Equally uncertain are the nature and purpose of the monuments called
+talayots, a word allied to the Arabic term for watch-tower. These are
+structures of uncemented blocks of stone in the form of a tower,
+slightly conical or cylindrical, sometimes square at the base. None of
+them is wholly intact. Whether the summit was a dome or a platform we
+have no means of knowing. “I observed, however, at Torranba de Salort,”
+says M. Cartailhac, “a detail which throws some light on this point. The
+tower is among the highest at the summit and at two steps from the
+centre lies a great stone more than a metre in diameter, in the shape of
+a thick mushroom, almost circular, flat on one side and with a
+protuberance on the other. It is possible that this block once crowned
+the culminating-point of the edifice.”</p>
+
+<p>Among the largest talayots are those of Torre Ilafuda. They measure
+sixteen metres across the base and fourteen at the summit. The stones
+are laid horizontally and are carefully adjusted. The walls are three or
+four metres thick, and skilfully constructed. The interior usually forms
+a single chamber, and where this was large the roof was supported by a
+column formed of huge blocks of stone. The wall itself is often threaded
+by a passage to the roof or upper chamber, so narrow that it could only
+have been ascended by crawl<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span>ing. The entrance to the talayot is through
+a square opening large enough to permit a short man to walk through
+upright. All sorts of theories and guesses have been made as to what
+these towers originally were. Near every <b>T</b>-shaped altar one or two are
+to be found; there was always one at least on every town site. Perhaps,
+suggests our authority, they existed before all the other structures and
+were used as centres by a later population. Though they are often placed
+on eminences, it has been established that they were not fortresses; it
+can be proved more or less satisfactorily that they were not
+dwelling-places, storehouses, or tombs.</p>
+
+<p>The boat-shaped piles, called navetas or naves, on the other hand had
+clearly a sepulchral character. The front or prow is slightly concave.
+The entrance measures about half a metre across and three-quarters of a
+metre in height, the edges are grooved as though to admit some sort of
+door. Inside, the passage widens and conducts you to a second opening as
+narrow as the first, through which you penetrate into the mortuary
+chamber itself. Filled now with rubbish, filth and carrion, these are
+the tombs of the fathers of the Mediterranean races, whose bones are
+brought to light each time the Menorcan ploughs his stubborn soil.</p>
+
+<p>Stones must always have been a plague to the<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> people of the island, and
+this, besides accounting for their selection of the sling as their
+peculiar weapon, may partially explain, as Ford reasonably remarks, the
+abundance of these monuments. “The erection of a large tumulus was not a
+piece of barbaric extravagance. It provided an unperishable monument for
+the person it was intended to honour (?) and it got rid of an immense
+mass of loose stone which greatly impeded agriculture.”</p>
+
+<p>“One fact,” adds this lively writer, “is very curious. The Menorcans,
+even now, are in the habit of constructing just such tumuli as the
+talayots for the use of their cattle, though of smaller stones. In the
+distance they present an appearance not at all unlike the older
+structures.”</p>
+
+<p>&nbsp;</p>
+
+<p>Ibiza, the third largest island of the group, is one of those spots
+which can afford no sort of justification for its existence. It is a
+mere backwater, a stagnant pool of humanity, interesting, though, as a
+place buried beneath prejudices and customs hundreds of years old. How
+should they be blown away in so out-of-the-way an island? The town
+stands on a fine harbour and reminds one rather of Guernsey. The
+collegiate church, formerly a cathedral, was founded by the Archbishop
+of Tarragona, in the thirteenth century, at the time the island was
+granted to him by<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> Jaime the Conqueror. It is uninteresting, except for
+the view from the belfry. Better worth a visit is the fortified church
+of San Antonio at the other end of the island, wherein the people took
+refuge at the approach of the Corsairs. It is flanked with two massive
+towers and the apse has a parapet pierced with embrasures for guns. The
+walls are nearly eight feet thick, and the doorway is protected by a
+machicolation.</p>
+
+<p>There is little else to be seen at Ibiza during the short time the
+traveller will be disposed to stay there, but M. Vuillier, who lingered
+there longer than he had intended, is able to tell us much that is
+interesting about the people and their customs. The islanders are a
+savage primitive stock. The recognised form of salutation between man
+and maid is for the former to hurry after the latter and without any
+warning discharge his gun into the ground at her feet. After spending
+the evening at her house, he fires at the ceiling, so that it should be
+easy to tell at a glance on going into a house for the first time if the
+daughters have been much sought after. The men do not confine their
+shooting to this sort of practice, however; duels, assassinations, and
+vendettas are frequent, and the feuds partake of the mysterious brutal
+character of those of Kentucky and Tennessee. In such a country animals
+fare badly, and one is<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> not surprised to learn that throwing stones at a
+live cock is one of the favourite pastimes. When the youths come
+a-courting, each sits with the girl for a few minutes in turn and if he
+overstays the allotted period is punished by the others with the knife
+or pistol. Abduction is the rule rather than the exception; but for all
+the anxiety shown to possess them, the women have a wretched time, being
+hardly allowed to stir out of their dingy poverty-stricken cabins.
+Altogether it must be as difficult to make yourself happy at Ibiza as at
+any spot on or off the planet.</p>
+
+<p>Of the remaining islands of the group, only one deserves mention and
+that only for its sad memories. This is Cabrera. It is little better
+than a bare rock, incapable of affording subsistence to more perhaps
+than two or three score of men, yet here during the Peninsular War the
+Spaniards were thoughtless enough to confine 5500 French soldiers, the
+victims of Dupont’s surrender at Bailen. Their sufferings were more
+severe than those of many a shipwrecked mariner. Each man was allowed
+only 24 ounces of bread and a few beans every four days. There was but
+one spring in the island and the thirst-maddened men would fight each
+other desperately to get a drink from this. Murder was common, and in
+one instance a man was detected in the<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> act of preparing a meal from the
+remains of a comrade. It is touching to relate that for many months the
+men made a pet of a donkey they found wandering on the island, and it
+was not till the boat which brought them their miserable ration was long
+overdue that the poor famished wretches could find it in their hearts to
+kill and eat their only four-footed companion. As time went on, the
+captives made some attempt to cultivate their island, and their lot
+greatly improved, as the Spaniards continued to send the same rations,
+though their number was now reduced by two-fifths. Finally, in 1814, the
+last survivors were taken off by a French transport. The bones of those
+who died on the island were interred by the crew of a French warship and
+a monument was erected over their remains.</p>
+
+<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span>&nbsp; </p>
+
+<div class="figcenter" id="plt_1">
+<p class="plt">Plate 1</p>
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF BARCELONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<div class="figcenter" id="plt_2">
+<p class="plt">Plate 2</p>
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF BARCELONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span></p>
+
+<div class="figcenter" id="plt_3">
+<p class="plt">Plate 3</p>
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: VIEW FROM THE FUNICULAR RAILWAY STATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<div class="figcenter" id="plt_4">
+<p class="plt">Plate 4</p>
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PANORAMA FROM MONJUICH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<div class="figcenter" id="plt_5">
+<p class="plt">Plate 5</p>
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PANORAMA FROM MONJUICH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p>
+
+<div class="figcenter" id="plt_6">
+<p class="plt">Plate 6</p>
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PANORAMA FROM MONJUICH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<div class="figcenter" id="plt_7">
+<p class="plt">Plate 7</p>
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE DOCKS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<div class="figcenter" id="plt_8">
+<p class="plt">Plate 8</p>
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: GENERAL VIEW OF THE PORT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<div class="figcenter" id="plt_9">
+<p class="plt">Plate 9</p>
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DETAIL OF THE PORT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<div class="figcenter" id="plt_10">
+<p class="plt">Plate 10</p>
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: VIEW FROM MIRAMAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<div class="figcenter" id="plt_11">
+<p class="plt">Plate 11</p>
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DEL CENTRO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<div class="figcenter" id="plt_12">
+<p class="plt">Plate 12</p>
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DEL CENTRO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<div class="figcenter" id="plt_13">
+<p class="plt">Plate 13</p>
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE LAS FLÓRES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter" id="plt_14">
+<p class="plt">Plate 14</p>
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE LAS FLÓRES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<div class="figcenter" id="plt_15">
+<p class="plt">Plate 15</p>
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE COLÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
+
+<div class="figcenter" id="plt_16">
+<p class="plt">Plate 16</p>
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE COLÓN AND HOTEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter" id="plt_17">
+<p class="plt">Plate 17</p>
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE COLÓN AND STATUE OF LÓPEZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<div class="figcenter" id="plt_18">
+<p class="plt">Plate 18</p>
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE LOS ESTUDIANTES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
+
+<div class="figcenter" id="plt_19">
+<p class="plt">Plate 19</p>
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE GRACIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<div class="figcenter" id="plt_20">
+<p class="plt">Plate 20</p>
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE GRACIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<div class="figcenter" id="plt_21">
+<p class="plt">Plate 21</p>
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p>
+
+<div class="figcenter" id="plt_22">
+<p class="plt">Plate 22</p>
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<div class="figcenter" id="plt_23">
+<p class="plt">Plate 23</p>
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE SANTA MONICA AND THE BANK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p>
+
+<div class="figcenter" id="plt_24">
+<p class="plt">Plate 24</p>
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: LA GRAN VIA AND STATUE OF GÜELL Y FERRER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<div class="figcenter" id="plt_25">
+<p class="plt">Plate 25</p>
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter" id="plt_26">
+<p class="plt">Plate 26</p>
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<div class="figcenter" id="plt_27">
+<p class="plt">Plate 27</p>
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE LA PAZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<div class="figcenter" id="plt_28">
+<p class="plt">Plate 28</p>
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL PALACIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<div class="figcenter" id="plt_29">
+<p class="plt">Plate 29</p>
+<a href="images/plt_029.jpg">
+<img src="images/plt_029.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL PALACIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p>
+
+<div class="figcenter" id="plt_30">
+<p class="plt">Plate 30</p>
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA REAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p>
+
+<div class="figcenter" id="plt_31">
+<p class="plt">Plate 31</p>
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL REY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
+
+<div class="figcenter" id="plt_32">
+<p class="plt">Plate 32</p>
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA ANTONIO LOPEZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
+
+<div class="figcenter" id="plt_33">
+<p class="plt">Plate 33</p>
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CALLE DE FERDINAND VII.</p>
+</div>
+
+<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<div class="figcenter" id="plt_34">
+<p class="plt">Plate 34</p>
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CALLE DE BALMES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter" id="plt_35">
+<p class="plt">Plate 35</p>
+<a href="images/plt_035.jpg">
+<img src="images/plt_035.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CALLE DE ARAGÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<div class="figcenter" id="plt_36">
+<p class="plt">Plate 36</p>
+<a href="images/plt_036.jpg">
+<img src="images/plt_036.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: GÜELL PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
+
+<div class="figcenter" id="plt_37">
+<p class="plt">Plate 37</p>
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ENTRANCE TO THE GÜELL PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p>
+
+<div class="figcenter" id="plt_38">
+<p class="plt">Plate 38</p>
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ENTRANCE TO THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<div class="figcenter" id="plt_39">
+<p class="plt">Plate 39</p>
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: LAKE IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p>
+
+<div class="figcenter" id="plt_40">
+<p class="plt">Plate 40</p>
+<a href="images/plt_040.jpg">
+<img src="images/plt_040.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE LAKE IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<div class="figcenter" id="plt_41">
+<p class="plt">Plate 41</p>
+<a href="images/plt_041.jpg">
+<img src="images/plt_041.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE “CASCADA” IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p>
+
+<div class="figcenter" id="plt_42">
+<p class="plt">Plate 42</p>
+<a href="images/plt_042.jpg">
+<img src="images/plt_042.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA PARK: DETAILS OF THE “CASCADA<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span>”</p>
+</div>
+
+<div class="figcenter" id="plt_43">
+<p class="plt">Plate 43</p>
+<a href="images/plt_043.jpg">
+<img src="images/plt_043.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p>
+
+<div class="figcenter" id="plt_44">
+<p class="plt">Plate 44</p>
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p>
+
+<div class="figcenter" id="plt_45">
+<p class="plt">Plate 45</p>
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<div class="figcenter" id="plt_46">
+<p class="plt">Plate 46</p>
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: PRINCIPAL ENTRANCE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<div class="figcenter" id="plt_47">
+<p class="plt">Plate 47</p>
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: RIGHT-HAND SIDE DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<div class="figcenter" id="plt_48">
+<p class="plt">Plate 48</p>
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR OF THE PIEDAD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p>
+
+<div class="figcenter" id="plt_49">
+<p class="plt">Plate 49</p>
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR OF SANTA EULALIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p>
+
+<div class="figcenter" id="plt_50">
+<p class="plt">Plate 50</p>
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: EXTERIOR DOOR OF SANTA LUCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p>
+
+<div class="figcenter" id="plt_51">
+<p class="plt">Plate 51</p>
+<a href="images/plt_051.jpg">
+<img src="images/plt_051.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: INTERIOR DOOR OF SANTA LUCIA AND SEPULCHRE OF
+MOSSEN BORRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
+
+<div class="figcenter" id="plt_52">
+<p class="plt">Plate 52</p>
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: INTERIOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
+
+<div class="figcenter" id="plt_53">
+<p class="plt">Plate 53</p>
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: INTERIOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<div class="figcenter" id="plt_54">
+<p class="plt">Plate 54</p>
+<a href="images/plt_054.jpg">
+<img src="images/plt_054.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DETAIL OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter" id="plt_55">
+<p class="plt">Plate 55</p>
+<a href="images/plt_055.jpg">
+<img src="images/plt_055.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter" id="plt_56">
+<p class="plt">Plate 56</p>
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE ARCHIVE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter" id="plt_57">
+<p class="plt">Plate 57</p>
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: CLOISTERS AND PRINCIPAL INTERIOR DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter" id="plt_58">
+<p class="plt">Plate 58</p>
+<a href="images/plt_058.jpg">
+<img src="images/plt_058.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHAPEL IN THE CLOISTER OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter" id="plt_59">
+<p class="plt">Plate 59</p>
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter" id="plt_60">
+<p class="plt">Plate 60</p>
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS AND DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter" id="plt_61">
+<p class="plt">Plate 61</p>
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter" id="plt_62">
+<p class="plt">Plate 62</p>
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
+
+<div class="figcenter" id="plt_63">
+<p class="plt">Plate 63</p>
+<a href="images/plt_063.jpg">
+<img src="images/plt_063.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHAPEL IN THE CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" id="plt_64">
+<p class="plt">Plate 64</p>
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" id="plt_65">
+<p class="plt">Plate 65</p>
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" id="plt_66">
+<p class="plt">Plate 66</p>
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" id="plt_67">
+<p class="plt">Plate 67</p>
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" id="plt_68">
+<p class="plt">Plate 68</p>
+<a href="images/plt_068.jpg">
+<img src="images/plt_068.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" id="plt_69">
+<p class="plt">Plate 69</p>
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: IRON GRATING IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" id="plt_70">
+<p class="plt">Plate 70</p>
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: GRATING IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" id="plt_71">
+<p class="plt">Plate 71</p>
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<div class="figcenter" id="plt_72">
+<p class="plt">Plate 72</p>
+<a href="images/plt_072.jpg">
+<img src="images/plt_072.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: SANTA MARIA DEL MAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" id="plt_73">
+<p class="plt">Plate 73</p>
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL MAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" id="plt_74">
+<p class="plt">Plate 74</p>
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL MAR. GATE OF THE IMMACULADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" id="plt_75">
+<p class="plt">Plate 75</p>
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL MAR. DETAIL OF LEFT DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" id="plt_76">
+<p class="plt">Plate 76</p>
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DETAIL OF THE DOOR OF THE CHURCH OF SANTA MARIA DEL MAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" id="plt_77">
+<p class="plt">Plate 77</p>
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL PINO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<div class="figcenter" id="plt_78">
+<p class="plt">Plate 78</p>
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: BYZANTINE DOORWAY IN THE CHURCH OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" id="plt_79">
+<p class="plt">Plate 79</p>
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" id="plt_80">
+<p class="plt">Plate 80</p>
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" id="plt_81">
+<p class="plt">Plate 81</p>
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FAÇADE OF THE CHURCH OF SANTA ANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" id="plt_82">
+<p class="plt">Plate 82</p>
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" id="plt_83">
+<p class="plt">Plate 83</p>
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" id="plt_84">
+<p class="plt">Plate 84</p>
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF THE SAGRADA FAMILIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" id="plt_85">
+<p class="plt">Plate 85</p>
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF LAS SALESAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" id="plt_86">
+<p class="plt">Plate 86</p>
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF LAS SALESAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" id="plt_87">
+<p class="plt">Plate 87</p>
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF THE CONCEPTION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" id="plt_88">
+<p class="plt">Plate 88</p>
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA AGUEDA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" id="plt_89">
+<p class="plt">Plate 89</p>
+<a href="images/plt_089.jpg">
+<img src="images/plt_089.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" id="plt_90">
+<p class="plt">Plate 90</p>
+<a href="images/plt_090.jpg">
+<img src="images/plt_090.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" id="plt_91">
+<p class="plt">Plate 91</p>
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: OLD FAÇADE OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" id="plt_92">
+<p class="plt">Plate 92</p>
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXTERIOR DETAIL OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" id="plt_93">
+<p class="plt">Plate 93</p>
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHAPEL OF SAN JORGE IN THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" id="plt_94">
+<p class="plt">Plate 94</p>
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: COURTYARD OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" id="plt_95">
+<p class="plt">Plate 95</p>
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ENTRANCE TO THE COURTYARD OF THE AUDIENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" id="plt_96">
+<p class="plt">Plate 96</p>
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: UPPER PART OF THE COURTYARD OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" id="plt_97">
+<p class="plt">Plate 97</p>
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE UNIVERSITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" id="plt_98">
+<p class="plt">Plate 98</p>
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE UNIVERSITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" id="plt_99">
+<p class="plt">Plate 99</p>
+<a href="images/plt_099.jpg">
+<img src="images/plt_099.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE UNIVERSITY, UPPER PART</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" id="plt_100">
+<p class="plt">Plate 100</p>
+<a href="images/plt_100.jpg">
+<img src="images/plt_100.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PALACIO DE JUSTICIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" id="plt_101">
+<p class="plt">Plate 101</p>
+<a href="images/plt_101.jpg">
+<img src="images/plt_101.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DIPUTACION PROVINCIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter" id="plt_102">
+<p class="plt">Plate 102</p>
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DIPUTACION PROVINCIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" id="plt_103">
+<p class="plt">Plate 103</p>
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE EXCHANGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" id="plt_104">
+<p class="plt">Plate 104</p>
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE CUSTOM HOUSE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" id="plt_105">
+<p class="plt">Plate 105</p>
+<a href="images/plt_105.jpg">
+<img src="images/plt_105.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLINICAL HOSPITAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" id="plt_106">
+<p class="plt">Plate 106</p>
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MUNICIPAL SCHOOL OF MUSIC</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" id="plt_107">
+<p class="plt">Plate 107</p>
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CATALANA DEL GAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" id="plt_108">
+<p class="plt">Plate 108</p>
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: LA MAISON DORÉE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" id="plt_109">
+<p class="plt">Plate 109</p>
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CASA DE LA CANONGIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" id="plt_110">
+<p class="plt">Plate 110</p>
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PRIVATE HOUSE OF THE EIGHTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" id="plt_111">
+<p class="plt">Plate 111</p>
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: A SHOP IN THE CALLE FERNANDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" id="plt_112">
+<p class="plt">Plate 112</p>
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: NEW BUILDING IN THE PASEO DE GRACIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" id="plt_113">
+<p class="plt">Plate 113</p>
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: HOUSE OF THE SHOEMAKERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" id="plt_114">
+<p class="plt">Plate 114</p>
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: HOUSE IN THE CALLE DE CASPE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" id="plt_115">
+<p class="plt">Plate 115</p>
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ARCO DE TRIUNFO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" id="plt_116">
+<p class="plt">Plate 116</p>
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: TEATRO PRINCIPAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" id="plt_117">
+<p class="plt">Plate 117</p>
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: OLD TOWERS IN THE PLAZA NUEVA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" id="plt_118">
+<p class="plt">Plate 118</p>
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: TOWER OF SANTA AGUEDA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter" id="plt_119">
+<p class="plt">Plate 119</p>
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CONVENT OF SANTA CLARA. OLD PALACE OF THE KINGS OF ARAGON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" id="plt_120">
+<p class="plt">Plate 120</p>
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: APEADERO DE LA CALLE DE ARAGON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" id="plt_121">
+<p class="plt">Plate 121</p>
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: HOTEL COLÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" id="plt_122">
+<p class="plt">Plate 122</p>
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" id="plt_123">
+<p class="plt">Plate 123</p>
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" id="plt_124">
+<p class="plt">Plate 124</p>
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FRONTÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" id="plt_125">
+<p class="plt">Plate 125</p>
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE BULL-RING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" id="plt_126">
+<p class="plt">Plate 126</p>
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" id="plt_127">
+<p class="plt">Plate 127</p>
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" id="plt_128">
+<p class="plt">Plate 128</p>
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DETAIL OF THE MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" id="plt_129">
+<p class="plt">Plate 129</p>
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" id="plt_130">
+<p class="plt">Plate 130</p>
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO GÜELL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" id="plt_131">
+<p class="plt">Plate 131</p>
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE PLAZA DE PALACIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" id="plt_132">
+<p class="plt">Plate 132</p>
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STATUE OF GENERAL PRIM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" id="plt_133">
+<p class="plt">Plate 133</p>
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE CATALUÑA, MONUMENT TO CLAVÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" id="plt_134">
+<p class="plt">Plate 134</p>
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STATUE OF LOPEZ, AND PASEO DE COLÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" id="plt_135">
+<p class="plt">Plate 135</p>
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL DUQUE DE MEDINACELLI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" id="plt_136">
+<p class="plt">Plate 136</p>
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO RUIS AND TOULET</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" id="plt_137">
+<p class="plt">Plate 137</p>
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: VIEW OF TIBIDABO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" id="plt_138">
+<p class="plt">Plate 138</p>
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FUNICULAR RAILWAY STATION, TIBIDABO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" id="plt_139">
+<p class="plt">Plate 139</p>
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: TIBIDABO STATION AND CASA ARNUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" id="plt_140">
+<p class="plt">Plate 140</p>
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE DEVIL’S BRIDGE AT MARTORELL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" id="plt_141">
+<p class="plt">Plate 141</p>
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: INTERIOR COURT OF THE CONVENT OF MONTESION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<div class="figcenter" id="plt_142">
+<p class="plt">Plate 142</p>
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXTERIOR OF THE CONVENT OF MONTESION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" id="plt_143">
+<p class="plt">Plate 143</p>
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CONVENT OF MONTESION CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" id="plt_144">
+<p class="plt">Plate 144</p>
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONASTERY OF PEDRALVES, NEAR BARCELONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" id="plt_145">
+<p class="plt">Plate 145</p>
+<a href="images/plt_145.jpg">
+<img src="images/plt_145.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE CANALETAS DURING THE FÊTES OF 1888</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" id="plt_146">
+<p class="plt">Plate 146</p>
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE FÊTES OF 1888. INAUGURATION OF THE MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" id="plt_147">
+<p class="plt">Plate 147</p>
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXHIBITION OF 1888. H.M. THE QUEEN LEAVING THE EXHIBITION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" id="plt_148">
+<p class="plt">Plate 148</p>
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXHIBITION OF 1888. PALACE OF BEAUX-ARTS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" id="plt_149">
+<p class="plt">Plate 149</p>
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TARRAGONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" id="plt_150">
+<p class="plt">Plate 150</p>
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p><p>TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING SOUTH</p>
+</div>
+
+<div class="figcenter" id="plt_151">
+<p class="plt">Plate 151</p>
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING EAST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" id="plt_152">
+<p class="plt">Plate 152</p>
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" id="plt_153">
+<p class="plt">Plate 153</p>
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW FROM THE PIER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" id="plt_154">
+<p class="plt">Plate 154</p>
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: PANORAMIC VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" id="plt_155">
+<p class="plt">Plate 155</p>
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: VIEW OF THE PORT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" id="plt_156">
+<p class="plt">Plate 156</p>
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: VIEW OF THE HARBOUR FROM THE TOWN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" id="plt_157">
+<p class="plt">Plate 157</p>
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" id="plt_158">
+<p class="plt">Plate 158</p>
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: FAÇADE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" id="plt_159">
+<p class="plt">Plate 159</p>
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: FAÇADE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" id="plt_160">
+<p class="plt">Plate 160</p>
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: TOWER AND SIDE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" id="plt_161">
+<p class="plt">Plate 161</p>
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: FAÇADE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" id="plt_162">
+<p class="plt">Plate 162</p>
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: CENTRE OF THE PORTAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" id="plt_163">
+<p class="plt">Plate 163</p>
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: LEFT-HAND SIDE DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" id="plt_164">
+<p class="plt">Plate 164</p>
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: STATUES OF THE PORTICO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" id="plt_165">
+<p class="plt">Plate 165</p>
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: DETAIL OF THE PORTICO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" id="plt_166">
+<p class="plt">Plate 166</p>
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: BYZANTINE DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" id="plt_167">
+<p class="plt">Plate 167</p>
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: RIGHT-HAND SIDE DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" id="plt_168">
+<p class="plt">Plate 168</p>
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: THE PRINCIPAL NAVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" id="plt_169">
+<p class="plt">Plate 169</p>
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: TOMB OF JAIME DE ARAGON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" id="plt_170">
+<p class="plt">Plate 170</p>
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" id="plt_171">
+<p class="plt">Plate 171</p>
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: DOOR OF THE CHAPEL OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" id="plt_172">
+<p class="plt">Plate 172</p>
+<a href="images/plt_172.jpg">
+<img src="images/plt_172.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: LA MURALLA CICLOPEA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" id="plt_173">
+<p class="plt">Plate 173</p>
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: PUERTA DE SAN ANTONIO AND ROMAN WALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" id="plt_174">
+<p class="plt">Plate 174</p>
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: ROMAN WALLS AND TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" id="plt_175">
+<p class="plt">Plate 175</p>
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: TOWER OF THE SCIPIONES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" id="plt_176">
+<p class="plt">Plate 176</p>
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GATE OF SAN ANTONIO AND THE ROMAN WALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" id="plt_177">
+<p class="plt">Plate 177</p>
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: PALACE OF PILATOS, NOW THE PRISON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" id="plt_178">
+<p class="plt">Plate 178</p>
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: LA PORTELLA, A CYCLOPEAN DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" id="plt_179">
+<p class="plt">Plate 179</p>
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: A CYCLOPEAN DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" id="plt_180">
+<p class="plt">Plate 180</p>
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: A ROMAN HOUSE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" id="plt_181">
+<p class="plt">Plate 181</p>
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: ARCO DE BARÁ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" id="plt_182">
+<p class="plt">Plate 182</p>
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: THE ROMAN AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" id="plt_183">
+<p class="plt">Plate 183</p>
+<a href="images/plt_183.jpg">
+<img src="images/plt_183.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: THE ROMAN AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" id="plt_184">
+<p class="plt">Plate 184</p>
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: THE SEMINARY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" id="plt_185">
+<p class="plt">Plate 185</p>
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: CROSS OF SAN ANTONIO</p>
+
+<p>(SIXTEENTH CENTURY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" id="plt_186">
+<p class="plt">Plate 186</p>
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: ANCIENT ROMAN CONVENT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" id="plt_187">
+<p class="plt">Plate 187</p>
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): GENERAL VIEW OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" id="plt_188">
+<p class="plt">Plate 188</p>
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): CHURCH OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" id="plt_189">
+<p class="plt">Plate 189</p>
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): DOOR OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" id="plt_190">
+<p class="plt">Plate 190</p>
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): CHAPEL OF SAN JORGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" id="plt_191">
+<p class="plt">Plate 191</p>
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): TEMPLE IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" id="plt_192">
+<p class="plt">Plate 192</p>
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): CLOISTERS AND PALACE OF KING MARTIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" id="plt_193">
+<p class="plt">Plate 193</p>
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" id="plt_194">
+<p class="plt">Plate 194</p>
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" id="plt_195">
+<p class="plt">Plate 195</p>
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): GENERAL VIEW OF THE CHURCH OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" id="plt_196">
+<p class="plt">Plate 196</p>
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): DOOR OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" id="plt_197">
+<p class="plt">Plate 197</p>
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): INTERIOR OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" id="plt_198">
+<p class="plt">Plate 198</p>
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): INTERIOR SIDE VIEW OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" id="plt_199">
+<p class="plt">Plate 199</p>
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" id="plt_200">
+<p class="plt">Plate 200</p>
+<a href="images/plt_200.jpg">
+<img src="images/plt_200.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONASTERY OF MONTSERRAT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" id="plt_201">
+<p class="plt">Plate 201</p>
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE MONASTERY OF MONTSERRAT, TAKEN FROM ST. MICHAEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" id="plt_202">
+<p class="plt">Plate 202</p>
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: GENERAL VIEW OF MONASTERY FROM THE SOUTH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" id="plt_203">
+<p class="plt">Plate 203</p>
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE MONASTERY FROM THE SOUTH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" id="plt_204">
+<p class="plt">Plate 204</p>
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: GENERAL VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" id="plt_205">
+<p class="plt">Plate 205</p>
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE MONASTERY FROM THE WEST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" id="plt_206">
+<p class="plt">Plate 206</p>
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" id="plt_207">
+<p class="plt">Plate 207</p>
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: GROTTO OF THE VIRGIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" id="plt_208">
+<p class="plt">Plate 208</p>
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE VIRGIN’S CAVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" id="plt_209">
+<p class="plt">Plate 209</p>
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW FROM THE GROTTO OF THE VIRGIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" id="plt_210">
+<p class="plt">Plate 210</p>
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE CAVE OF JUAN GUARIN THE HERMIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" id="plt_211">
+<p class="plt">Plate 211</p>
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: REMAINS OF THE ANCIENT MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" id="plt_212">
+<p class="plt">Plate 212</p>
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: DOOR OF THE CHURCH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" id="plt_213">
+<p class="plt">Plate 213</p>
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: INTERIOR OF THE CHURCH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" id="plt_214">
+<p class="plt">Plate 214</p>
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE PEAKS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" id="plt_215">
+<p class="plt">Plate 215</p>
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE DEVIL’S ROCK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" id="plt_216">
+<p class="plt">Plate 216</p>
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: MIRANDA PEAK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" id="plt_217">
+<p class="plt">Plate 217</p>
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF MONTSERRAT, TAKEN FROM MONISTOL STATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" id="plt_218">
+<p class="plt">Plate 218</p>
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF MONISTOL, TAKEN FROM MONTSERRAT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" id="plt_219">
+<p class="plt">Plate 219</p>
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TORTOSA: GENERAL VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" id="plt_220">
+<p class="plt">Plate 220</p>
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TORTOSA: COURTYARD IN THE INSTITUTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" id="plt_221">
+<p class="plt">Plate 221</p>
+<a href="images/plt_221-a.jpg">
+<img src="images/plt_221-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE COURT, SAN FRANCISCO, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_221-b.jpg">
+<img src="images/plt_221-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>GRAN HOTEL, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" id="plt_222">
+<p class="plt">Plate 222</p>
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF THE ALMUDAINA, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" id="plt_223">
+<p class="plt">Plate 223</p>
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>WINDMILL AND ELECTRICAL WORKS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" id="plt_224">
+<p class="plt">Plate 224</p>
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE “REAL CLUB DE REGATAS,” PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" id="plt_225">
+<p class="plt">Plate 225</p>
+<a href="images/plt_225-a.jpg">
+<img src="images/plt_225-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>MARKET AND CHURCH OF SAN NICOLAS, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_225-b.jpg">
+<img src="images/plt_225-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>SAN FRANCISCO, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" id="plt_226">
+<p class="plt">Plate 226</p>
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW FROM THE HARBOUR, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" id="plt_227">
+<p class="plt">Plate 227</p>
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE BAY, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" id="plt_228">
+<p class="plt">Plate 228</p>
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALMUDAINA AND CATHEDRAL, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" id="plt_229">
+<p class="plt">Plate 229</p>
+<a href="images/plt_229-a.jpg">
+<img src="images/plt_229-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>PUERTA DE SANTA MARGARITA, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_229-b.jpg">
+<img src="images/plt_229-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>THE CATHEDRAL, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" id="plt_230">
+<p class="plt">Plate 230</p>
+<a href="images/plt_230-a.jpg">
+<img src="images/plt_230-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>PASEO DEL BORNE, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_230-b.jpg">
+<img src="images/plt_230-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>ARABIAN BATHS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" id="plt_231">
+<p class="plt">Plate 231</p>
+<a href="images/plt_231-a.jpg">
+<img src="images/plt_231-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE GORCH BLAU, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_231-b.jpg">
+<img src="images/plt_231-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>THE GORCH BLAU, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" id="plt_232">
+<p class="plt">Plate 232</p>
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN FRANCISCO, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" id="plt_233">
+<p class="plt">Plate 233</p>
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>ARAB BATHS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" id="plt_234">
+<p class="plt">Plate 234</p>
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE QUAY, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" id="plt_235">
+<p class="plt">Plate 235</p>
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MILLS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" id="plt_236">
+<p class="plt">Plate 236</p>
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE RIVER, SOLLER, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" id="plt_237">
+<p class="plt">Plate 237</p>
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ALCUDIA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" id="plt_238">
+<p class="plt">Plate 238</p>
+<a href="images/plt_238-a.jpg">
+<img src="images/plt_238-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL, PALMA, MALLORCA</p>
+</div>
+
+
+<div class="figcenter">
+<a href="images/plt_238-b.jpg">
+<img src="images/plt_238-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>THE CHURCH OF THE MONASTERY, LLUCH, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" id="plt_239">
+<p class="plt">Plate 239</p>
+<a href="images/plt_239-a.jpg">
+<img src="images/plt_239-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>LA CARTUJA, VALLDEMOSA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_239-b.jpg">
+<img src="images/plt_239-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>PUERTA DEL MUELLE, ALCUDIA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p>
+
+<div class="figcenter" id="plt_240">
+<p class="plt">Plate 240</p>
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CHURCH, LLUCH, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<div class="figcenter" id="plt_241">
+<p class="plt">Plate 241</p>
+<a href="images/plt_241.jpg">
+<img src="images/plt_241.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TRANSPORT OF MUSTS, BALEARIC ISLANDS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" id="plt_242">
+<p class="plt">Plate 242</p>
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF DEYA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" id="plt_243">
+<p class="plt">Plate 243</p>
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>CASTLE OF BELLVER, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" id="plt_244">
+<p class="plt">Plate 244</p>
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF SAN ANTONIO (PITYUSAE ISLES)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" id="plt_245">
+<p class="plt">Plate 245</p>
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF THE TORRE D’EA GALINES, ALAZOR, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" id="plt_246">
+<p class="plt">Plate 246</p>
+<a href="images/plt_246-a.jpg">
+<img src="images/plt_246-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>VILLA CARLOS, MAHON, MENORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_246-b.jpg">
+<img src="images/plt_246-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>VIEW OF THE PORT, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" id="plt_247">
+<p class="plt">Plate 247</p>
+<a href="images/plt_247-a.jpg">
+<img src="images/plt_247-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE HARBOUR, MAHON, MENORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_247-b.jpg">
+<img src="images/plt_247-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>A VIEW IN THE TOWN, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" id="plt_248">
+<p class="plt">Plate 248</p>
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE QUAY, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" id="plt_249">
+<p class="plt">Plate 249</p>
+<a href="images/plt_249.jpg">
+<img src="images/plt_249.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>PASEO DEL home, CIUDADELA, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" id="plt_250">
+<p class="plt">Plate 250</p>
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE PORT, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" id="plt_251">
+<p class="plt">Plate 251</p>
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE PORT AND TOWN, CIUDADELA, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" id="plt_252">
+<p class="plt">Plate 252</p>
+<a href="images/plt_252-a.jpg">
+<img src="images/plt_252-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THRESHING, SAN ANTONIO (PITYUSAE ISLES)</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_252-b.jpg">
+<img src="images/plt_252-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>A STREET IN ALGENDAR, FERRERIAS, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" id="plt_253">
+<p class="plt">Plate 253</p>
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>A VIEW SHOWING THE ARABIAN TOWERS, IBIZA (PITYUSAE ISLES)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" id="plt_254">
+<p class="plt">Plate 254</p>
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>RIVER PAREYS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" id="plt_255">
+<p class="plt">Plate 255</p>
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF D’ALT OR D’EN SERVERA, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" id="plt_256">
+<p class="plt">Plate 256</p>
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONUMENT TO THE FRENCH PRISONERS WHO DIED IN 1808, ISLAND OF CABRERA,
+MENORCA</p>
+</div>
+
+<hr class="full" />
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 64923 ***</div>
+</body>
+</html>
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #64923 (https://www.gutenberg.org/ebooks/64923)
diff --git a/old/64923-0.txt b/old/64923-0.txt
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+The Project Gutenberg eBook of Catalonia & The Balearic Islands, by Albert
+F. Calvert
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: Catalonia & The Balearic Islands
+
+Author: Albert F. Calvert
+
+Release Date: March 25, 2021 [eBook #64923]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: Chuck Greif and the Online Distributed Proofreading Team at
+             http://www.pgdp.net (This file was produced from images
+             available at The Internet Archive)
+
+*** START OF THE PROJECT GUTENBERG EBOOK CATALONIA & THE BALEARIC
+ISLANDS ***
+
+
+
+
+                          THE SPANISH SERIES
+
+
+                               CATALONIA
+                         & THE BALEARIC ISLES
+
+
+
+
+                          THE SPANISH SERIES
+
+                     _EDITED BY ALBERT F. CALVERT_
+
+
+                          GOYA
+                          TOLEDO
+                          MADRID
+                          SEVILLE
+                          MURILLO
+                          CORDOVA
+                          EL GRECO
+                          VELAZQUEZ
+                          THE PRADO
+                          THE ESCORIAL
+                          VALENCIA AND MURCIA
+                          SCULPTURE IN SPAIN
+                          ROYAL PALACES OF SPAIN
+                          GRANADA AND ALHAMBRA
+                          SPANISH ARMS AND ARMOUR
+                          LEON, BURGOS AND SALAMANCA
+                          CATALONIA AND THE BALEARIC ISLES
+                          VALLADOLID, OVIEDO, SEGOVIA,
+                             ZAMORA, AVILA AND ZARAGOZA
+
+
+
+
+                               CATALONIA
+                         & THE BALEARIC ISLES
+
+                     AN HISTORICAL AND DESCRIPTIVE
+                           ACCOUNT BY ALBERT
+                      F. CALVERT, WITH 250 PLATES
+
+
+                  LONDON: JOHN LANE, THE BODLEY HEAD
+                   NEW YORK: JOHN LANE COMPANY: MCMX
+
+
+
+
+                              PRINTED BY
+                       BALLANTYNE & COMPANY LTD
+                    TAVISTOCK STREET COVENT GARDEN
+                                LONDON
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+THE PRINCIPALITY OF CATALONIA                                          1
+
+BARCELONA                                                              8
+
+GERONA                                                                23
+
+THE VALLEY OF THE TER                                                 36
+
+LERIDA                                                                40
+
+TARRAGONA                                                             52
+
+POBLET                                                                63
+
+SANTA CREUS                                                           69
+
+VALLBONA                                                              72
+
+MONTSERRAT                                                            73
+
+CARDONA                                                               83
+
+TORTOSA                                                               84
+
+THE BALEARIC ISLANDS                                                  86
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+        TITLE                                                        PLATE
+
+  General View of Barcelona                                            1
+  General View of Barcelona                                            2
+  Barcelona: View from the Funicular Railway Station                   3
+  Barcelona: Panorama from Monjuich                                    4
+  Barcelona: Panorama from Monjuich                                    5
+  Barcelona: Panorama from Monjuich                                    6
+  Barcelona: The Docks                                                 7
+  Barcelona: General View of the Port                                  8
+  Barcelona: Detail of the Port                                        9
+  Barcelona: View from Miramar                                        10
+  Barcelona: Rambla del Centro                                        11
+  Barcelona: Rambla del Centro                                        12
+  Barcelona: Rambla de las Flóres                                     13
+  Barcelona: Rambla de las Flóres                                     14
+  Barcelona: Paseo de Colón                                           15
+  Barcelona: Paseo de Colón and Hotel                                 16
+  Barcelona: Paseo de Colón and Statue of Lopez                       17
+  Barcelona: Rambla de los Estudiantes                                18
+  Barcelona: Paseo de Gracia                                          19
+  Barcelona: Paseo de Gracia                                          20
+  Barcelona: Rambla de Cataluña                                       21
+  Barcelona: Plaza de Cataluña                                        22
+  Barcelona: Rambla de Santa Monica and the Bank                      23
+  Barcelona: La Gran Via and Statue of Güel y Ferrer                  24
+  Barcelona: Plaza de Cataluña                                        25
+  Barcelona: Plaza de Cataluña                                        26
+  Barcelona: Plaza de la Paz                                          27
+  Barcelona: Plaza del Palacio                                        28
+  Barcelona: Plaza del Palacio                                        29
+  Barcelona: Plaza Real                                               30
+  Barcelona: Plaza del Rey                                            31
+  Barcelona: Plaza Antonio López                                      32
+  Barcelona: Calle de Ferdinand VII.                                  33
+  Barcelona: Calle de Balmes                                          34
+  Barcelona: Calle de Aragón                                          35
+  Barcelona: Güell Park                                               36
+  Barcelona: Entrance to the Güell Park                               37
+  Barcelona: Entrance to the Park                                     38
+  Barcelona: Lake in the Park                                         39
+  Barcelona: Lake in the Park                                         40
+  Barcelona: The “Cascada” in the Park                                41
+  Barcelona Park: Details of the “Cascada”                            42
+  Barcelona: Fountain in the Park                                     43
+  Barcelona: The Cathedral                                            44
+  Barcelona: The Cathedral                                            45
+  Barcelona Cathedral: Principal Entrance                             46
+  Barcelona Cathedral: Right-hand Side Door                           47
+  Barcelona Cathedral: Door of the Piedad                             48
+  Barcelona Cathedral: Door of Santa Eulalia                          49
+  Barcelona Cathedral: Exterior Door of Santa Lucia                   50
+  Barcelona Cathedral: Interior Door of Santa Lucia
+       and Sepulchre of Mossen Borra                                  51
+  Barcelona: Interior of the Cathedral                                52
+  Barcelona: Interior of the Cathedral                                53
+  Barcelona Cathedral: Detail of the Choir                            54
+  Barcelona Cathedral: The High Altar                                 55
+  Barcelona: The Archive of the Cathedral                             56
+  Barcelona Cathedral: Cloisters and Principal Interior Door          57
+  Barcelona: Chapel in the Cloisters of the Cathedral                 58
+  Barcelona: Cloisters of the Cathedral                               59
+  Barcelona: Cloisters and Door of the Cathedral                      60
+  Barcelona: Cloisters of the Cathedral                               61
+  Barcelona: Cloisters of the Cathedral                               62
+  Barcelona: Chapel in the Cloisters of the Cathedral                 63
+  Barcelona Cathedral: Fountain in the Cloisters                      64
+  Barcelona Cathedral: Fountain in the Cloisters                      65
+  Barcelona: Fountain in the Cloisters of the Cathedral               66
+  Barcelona: Fountain in the Cloisters of the Cathedral               67
+  Barcelona Cathedral: Door in the Cloisters                          68
+  Barcelona Cathedral: Iron Grating in the Cloisters                  69
+  Barcelona Cathedral: Grating in the Cloisters                       70
+  Barcelona Cathedral: Door in the Cloisters                          71
+  Barcelona: Santa Maria del Mar                                      72
+  Barcelona: Church of Santa Maria del Mar                            73
+  Barcelona: Church of Santa Maria del Mar. Gate of the Immaculada    74
+  Barcelona: Church of Santa Maria del Mar. Detail of Left Door       75
+  Barcelona: Detail of the Door of the Church of Santa Maria del Mar  76
+  Barcelona: Church of Santa Maria del Pino                           77
+  Barcelona: Byzantine Doorway in the Church of San Pablo             78
+  Barcelona: Cloisters of San Pablo                                   79
+  Barcelona: Cloisters of San Pablo                                   80
+  Barcelona: Façade of the Church of Santa Ana                        81
+  Barcelona: Cloisters of the Church of Santa Ana                     82
+  Barcelona: Cloisters of the Church of Santa Ana                     83
+  Barcelona: Church of the Sagrada Familia                            84
+  Barcelona: Church of Las Salesas                                    85
+  Barcelona: Church of Las Salesas                                    86
+  Barcelona: Church of the Conception                                 87
+  Barcelona: Church of Santa Agueda                                   88
+  Barcelona: The Town Hall                                            89
+  Barcelona: The Town Hall                                            90
+  Barcelona: Old Façade of the Town Hall                              91
+  Barcelona: Exterior Detail of the Town Hall                         92
+  Barcelona: Chapel of San Jorge in the Town Hall                     93
+  Barcelona: Courtyard of the Town Hall                               94
+  Barcelona: Entrance to the Courtyard of the Audiencia               95
+  Barcelona: Upper Part of the Courtyard of the Town Hall             96
+  Barcelona: The University                                           97
+  Barcelona: Cloisters of the University                              98
+  Barcelona: Cloisters of the University, Upper Part                  99
+  Barcelona: Palacio de Justicia                                     100
+  Barcelona: Diputacion Provincial                                   101
+  Barcelona: Diputacion Provincial                                   102
+  Barcelona: The Exchange                                            103
+  Barcelona: The Custom House                                        104
+  Barcelona: Clinical Hospital                                       105
+  Barcelona: Municipal School of Music                               106
+  Barcelona: Catalana del Gas                                        107
+  Barcelona: La Maison Dorée                                         108
+  Barcelona: Casa de la Canongia                                     109
+  Barcelona: Private House of the Eighteenth Century                 110
+  Barcelona: A Shop in the Calle Fernando                            111
+  Barcelona: New Building in the Paseo de Gracia                     112
+  Barcelona: House of the Shoemakers                                 113
+  Barcelona: House in the Calle de Caspe                             114
+  Barcelona: Arco de Triunfo                                         115
+  Barcelona: Teatro Principal                                        116
+  Barcelona: Old Towers in the Plaza Nueva                           117
+  Barcelona: Tower of Santa Agueda                                   118
+  Barcelona: Convent of Santa Clara. Old Palace of
+      the Kings of Aragon                                            119
+  Barcelona: Apeadero de la Calle de Aragon                          120
+  Barcelona: Hotel Colón                                             121
+  Barcelona: Staircase in a Private House in the Calle de Moncada    122
+  Barcelona: Staircase in a Private House in the Calle de Moncada    123
+  Barcelona: Frontón                                                 124
+  Barcelona: The Bull-Ring                                           125
+  Barcelona: Monument to Columbus                                    126
+  Barcelona: Monument to Columbus                                    127
+  Barcelona: Detail of the Monument to Columbus                      128
+  Barcelona: Monument to Columbus                                    129
+  Barcelona: Monument to Güell                                       130
+  Barcelona: Fountain in the Plaza de Palacio                        131
+  Barcelona: Statue of General Prim                                  132
+  Barcelona: Rambla de Cataluña, Monument to Clavé                   133
+  Barcelona: Statue of Lopez, and Paseo de Colón                     134
+  Barcelona: Plaza del Duque de Medinacelli                          135
+  Barcelona: Monument to Ruis and Toulet                             136
+  Barcelona: View of Tibidabo                                        137
+  Barcelona: Funicular Railway Station, Tibidabo                     138
+  Barcelona: Tibidabo Station and Casa Arnus                         139
+  Barcelona: The Devil’s Bridge at Martorell                         140
+  Barcelona: Interior Court of the Convent of Montesion              141
+  Barcelona: Exterior of the Convent of Montesion                    142
+  Barcelona: Convent of Montesion Cloisters                          143
+  Monastery of Pedralves, near Barcelona                             144
+  Barcelona: Rambla de Canaletas during the Fêtes of 1888            145
+  Barcelona: The Fêtes of 1888. Inauguration of the Monument
+       to Columbus                                                   146
+  Barcelona: Exhibition of 1888. H.M. the Queen leaving
+        the Exhibition                                               147
+  Barcelona: Exhibition of 1888. Palace of Beaux-Arts                148
+  General View of Tarragona                                          149
+  Tarragona: General View from the Cathedral, looking South          150
+  Tarragona: General View from the Cathedral, looking East           151
+  Tarragona: General View                                            152
+  Tarragona: General View from the Pier                              153
+  Tarragona: Panoramic View                                          154
+  Tarragona: View of the Port                                        155
+  Tarragona: View of the Harbour from the Town                       156
+  Tarragona: General View of the Cathedral                           157
+  Tarragona: Façade of the Cathedral                                 158
+  Tarragona: Façade of the Cathedral                                 159
+  Tarragona: Tower and Side of the Cathedral                         160
+  Tarragona: Façade of the Cathedral                                 161
+  Tarragona Cathedral: Centre of the Portal                          162
+  Tarragona: Left-hand Side Door of the Cathedral                    163
+  Tarragona Cathedral: Statues of the Portico                        164
+  Tarragona Cathedral: Detail of the Portico                         165
+  Tarragona: Byzantine Door of the Cathedral                         166
+  Tarragona: Right-hand Side Door of the Cathedral                   167
+  Tarragona Cathedral: The Principal Nave                            168
+  Tarragona Cathedral: Tomb of Jaime de Aragon                       169
+  Tarragona: Cloisters of the Cathedral                              170
+  Tarragona: Door of the Chapel of San Pablo                         171
+  Tarragona: La Muralla Ciclopea                                     172
+  Tarragona: Puerta de San Antonio and Roman Walls                   173
+  Tarragona: Roman Walls and Tower                                   174
+  Tarragona: Tower of the Scipiones                                  175
+  Tarragona: Gate of San Antonio and the Roman Wall                  176
+  Tarragona: Palace of Pilatos, now the Prison                       177
+  Tarragona: La Portella, A Cyclopean Doorway                        178
+  Tarragona: A Cyclopean Doorway                                     179
+  Tarragona: A Roman House                                           180
+  Tarragona: Arco de Bará                                            181
+  Tarragona: The Roman Aqueduct                                      182
+  Tarragona: The Roman Aqueduct                                      183
+  Tarragona: The Seminary                                            184
+  Tarragona: Cross of San Antonio (sixteenth century)                185
+  Tarragona: Ancient Roman Convent                                   186
+  Poblet (Tarragona): General View of the Monastery                  187
+  Poblet (Tarragona): Church of the Monastery                        188
+  Poblet (Tarragona): Door of the Monastery                          189
+  Poblet (Tarragona): Chapel of San Jorge                            190
+  Poblet (Tarragona): Temple in the Cloisters                        191
+  Poblet (Tarragona): Cloisters and Palace of King Martin            192
+  Poblet (Tarragona): Interior View of the Cloisters                 193
+  Poblet (Tarragona): Interior View of the Cloisters                 194
+  Santa Creus (Tarragona): General View of the Church
+      of the Monastery                                               195
+  Santa Creus (Tarragona): Door of the Cloisters                     196
+  Santa Creus (Tarragona): Interior of the Cloisters                 197
+  Santa Creus (Tarragona): Interior Side View of the Cloisters       198
+  Montserrat: View of the Monastery                                  199
+  Monastery of Montserrat                                            200
+  View of the Monastery of Montserrat, taken from St. Michael        201
+  Montserrat: General View of Monastery from the South               202
+  Montserrat: View of the Monastery from the South                   203
+  Montserrat: General View                                           204
+  Montserrat: View of the Monastery from the West                    205
+  Montserrat: The Monastery                                          206
+  Montserrat: Grotto of the Virgin                                   207
+  Montserrat: The Virgin’s Cave                                      208
+  Montserrat: View from the Grotto of the Virgin                     209
+  Montserrat: The Cave of Juan Guarin the Hermit                     210
+  Montserrat: Remains of the Ancient Monastery                       211
+  Montserrat: Door of the Church                                     212
+  Montserrat: Interior of the Church                                 213
+  Montserrat: View of the Peaks                                      214
+  Montserrat: The Devil’s Rock                                       215
+  Montserrat: Miranda Peak                                           216
+  View of Montserrat, taken from Monistol Station                    217
+  View of Monistol, taken from Montserrat                            218
+  Tortosa: General View                                              219
+  Tortosa: Courtyard in the Institute                                220
+  The Court, San Francisco, Palma, Mallorca                          221
+  Gran Hotel, Palma, Mallorca                                        221
+  Palace of the Almudaina, Palma, Mallorca                           222
+  Windmill and Electrical Works, Palma, Mallorca                     223
+  View of the “Real Club de Regatas,” Palma, Mallorca                224
+  Market and Church of San Nicolas, Palma, Mallorca                  225
+  San Francisco, Palma, Mallorca                                     225
+  View from the Harbour, Palma, Mallorca                             226
+  View of the Bay, Palma, Mallorca                                   227
+  The Almudaina and Cathedral, Palma, Mallorca                       228
+  Puerta de Santa Margarita, Palma, Mallorca                         229
+  The Cathedral, Palma, Mallorca                                     229
+  Paseo del Borne, Palma, Mallorca                                   230
+  Arabian Baths, Palma, Mallorca                                     230
+  View of the Gorch Blau, Mallorca                                   231
+  The Gorch Blau, Mallorca                                           231
+  Interior of San Francisco, Palma, Mallorca                         232
+  Arab Baths, Palma, Mallorca                                        233
+  The Quay, Palma, Mallorca                                          234
+  Mills, Palma, Mallorca                                             235
+  The River, Seller, Mallorca                                        236
+  General View of Alcudia, Mallorca                                  237
+  The Cathedral, Palma, Mallorca                                     238
+  The Church of the Monastery, Lluch, Mallorca                       238
+  La Cartuja, Valldemosa, Mallorca                                   239
+  Puerta del Muelle, Alcudia, Mallorca                               239
+  Interior of the Church, Lluch, Mallorca                            240
+  Transport of Musts, Balearic Islands                               241
+  General View of Deya, Mallorca                                     242
+  Castle of Bellver, Mallorca                                        243
+  General View of San Antonio (Pityusae Isles)                       244
+  Ruins of the Torre d’ea Galines, Alazor, Menorca                   245
+  Villa Carlos, Mahon, Menorca                                       246
+  View of the Port, Mahon, Menorca                                   246
+  The Harbour, Mahon, Menorca                                        247
+  A View in the Town, Mahon, Menorca                                 247
+  The Quay, Mahon, Menorca                                           248
+  Paseo del Borne, Ciudadela, Menorca                                249
+  View of the Port, Mahon, Menorca                                   250
+  The Port and Town, Ciudadela, Menorca                              251
+  Threshing, San Antonio (Pityusae Isles)                            252
+  A Street in Algendar, Ferrerias, Menorca                           252
+  A View showing the Arabian Towers, Ibiza (Pityusae Isles)          253
+  River Pareys                                                       254
+  Portal of d’alt or d’en Servera, Mahon, Menorca                    255
+  Monument to the French Prisoners who died in 1808,
+       Island of Cabrera, Menorca                                    256
+
+
+
+
+CATALONIA
+
+
+
+
+THE PRINCIPALITY OF CATALONIA
+
+
+Every stranger who crosses the Pyrenees knows that Catalonia differs in
+many important respects from every other province in the kingdom. He has
+heard that the natives speak of going into Spain as if they lived
+outside of it; he knows that they speak a tongue different from the
+Castilian; that their enterprise and activity distinguish them
+favourably among King Alfonso’s subjects, and they have kept well
+abreast of every other European community. All this is true, and it
+would be easy to enumerate many other peculiarities. The tendency,
+however, is to exaggerate the points of difference between Spaniard and
+Catalan, and to lose sight of their fundamental affinity. The language
+of Catalonia, though not a mere dialect as some suppose, is as
+essentially Spanish as the Castilian. It was spoken by those Hispani who
+were driven out of Spain by the Saracens and returned in the ninth
+century to settle in the north-east corner of the country. Thus Catalan
+language and people were born in the very heart of the Peninsula and
+have since been confined to a portion of it only by political causes.
+There is, of course, no such essential difference between Catalans and
+Castilians as between Welsh and English, Bretons and French. Both are
+branches of the great Iberian family. If Catalonia were an independent
+State, it would be its affinity to Spain that would impress us most, and
+set us wondering, as we do in Portugal, how two countries so much alike
+could continue politically distinct.
+
+The superior enterprise and energy of the Catalans may be attributed
+less, I think, to racial differences than to historical and geographical
+causes. Far removed from the scene of the secular struggle with the
+Moor, and dwelling on the marge of the sea which was the principal
+commercial arena of the ancient and mediæval world, the people of
+Catalonia had from a very remote period opportunities for development
+denied to the inhabitants of every other part of Spain. The Moors were
+expelled from Barcelona at the beginning of the ninth century. Catalonia
+had thus a start of more than four centuries over Seville, and of six
+over Malaga--to say nothing further of the incontestable advantages of
+her geographical position.
+
+Without wishing, it need hardly be said, to depreciate the progressive
+tendencies of the Catalans, I confess I am inclined to attribute them,
+not to any racial superiority over other Spaniards, but mainly to the
+causes I have indicated.
+
+Catalonia thus bears witness to the aptitude of the Spaniard, for the
+most active forms of commercial and industrial life, to his ability to
+keep in the van of progress. The lead given by Barcelona will inevitably
+be followed by all the other towns in the kingdom, now that the special
+circumstances which retarded their development have been removed. In the
+most populous city of Spain I fail to recognise a miracle or the work of
+another people than the Spanish. I see instead the results of Spanish
+enterprise and capacity singular only in having had the opportunity to
+assert itself.
+
+From the day--it was in the year 813--that the fleet of the Count of
+Ampurias gloriously defeated a Saracen squadron off the Balearic Isles,
+Catalonia has looked seaward. It was on the wave that the men of
+Barcelona found glory and riches. They were the rivals of the Pisans,
+Genoese and Venetians, and can boast a maritime history far longer and
+hardly less glorious than our own. It is recorded in one of the best
+historical works ever written, the “Memorias sobre la Marina de
+Barcelona,” by Don Antonio de Capmany y Palau, published in 1779. The
+learned author contrasts the naval eminence of Barcelona with that of
+other powers, and assigns the city a higher rank than England and
+Portugal. In the middle of the Eleventh century, laws regulating and
+favouring commerce and providing for the suppression of piracy were
+decreed by Count Ramon Berenguer II. In the year 1114, the third Count
+of that name assisted, with his own fleet, the Pisans in the reduction
+of the Island of Majorca; in 1147 Almeria was attacked and plundered by
+the allied fleets of Barcelona and Genoa; and in the following year
+another naval victory added Tortosa to the principality.
+
+The conquests of the great King James of Aragon gave a great impetus to
+the commerce of Barcelona as well as to the development of arts and
+letters. The extension of the city’s relations to the Levant and Egypt
+led to the appointment of consuls in all the parts frequented by
+Catalans. A Maritime Code was promulgated in 1258, and soon became very
+generally adopted throughout the Mediterranean. A second time the hardy
+sailors of Barcelona drove the pirates from their nest in the Balearics,
+the islands this time remaining definitely annexed to the crown of
+Aragon. All the ships were furnished by the city on this occasion, and
+the King named as commander Ramon de Plegarnoás, a rich citizen, expert
+in naval affairs.
+
+In the thirteenth century, Aragon (or in other words, as regards the
+sea, Barcelona) was the most formidable power in the Mediterranean. Her
+merchant princes competed successfully with the traders of Genoa and
+Venice, at the farthest ports of Egypt and Syria. King James when
+appealing to the States of Aragon for a subsidy to carry on the war
+against the infidel, reminded them that if Majorca were lost, Catalonia
+would lose the dominion and absolute power she exercised over the sea.
+Montaner, the Froissart of his nation, has bequeathed to us a stirring
+chronicle of the expedition (in which he took part) of the Catalans to
+Greece under the leadership of Roger de Flor. In the year 1332, Philip
+of France, when about to embark on the Crusades, was advised to entrust
+the management of the expedition exclusively to the Genoese and
+Catalans, these being provided with the best ships and seamen, and the
+most experienced in naval matters. As late as the year 1467, the Grand
+Signior found it expedient to pay an indemnity to the King of Aragon to
+secure immunity for his coasts from the persistent attacks of the
+dreaded privateers of Barcelona. It is with reason that Capmany
+attributes to the seamanship of the Barcelonese the extension of the
+power of Aragon over the kingdoms of Naples, Sicily and Sardinia. Upon
+the consolidation of Spain at the beginning of the sixteenth century and
+the rise of the great modern States, the city was eclipsed as a sea
+power. Its merchants looked with little favour on the discovery of
+America, an enterprise promoted by Castile. Of the reception of Columbus
+here by the Catholic Kings, not one word is said in the archives of the
+city.
+
+Soon after, Barcelona just escaped becoming the scene of a discovery
+almost as important as that of the New World. Here, says O’Shea, on
+January 17, 1543, a ship of 200 tons was launched, propelled by two
+wheels driven by steam. The inventor was Blasco de Garay, and the trial
+was successfully made in the presence of a royal commission. The King’s
+treasurer, one Ráongo, for some personal motive it is said, drew up a
+report unfavourable to the invention, declaring the ship made only six
+miles in two hours, and that the boiler was likely to burst. Perhaps
+this report was not ill-founded, for though Garay received a grant of
+200,000 maravedis in addition to his expenses, he made no further
+progress with his invention. The fate of this and many other experiments
+with steam in the sixteenth, seventeenth and eighteenth centuries seems
+to prove that our ancestors rather failed to recognise the necessity of
+any improvement in the means of locomotion, than wanted the skill to
+effect it. It will be remembered that Mr. Shandy thought that on
+economical grounds alone the inventors of mechanical means of transport
+should be discouraged. A useful invention with which the Barcelonese may
+fairly be credited, is marine insurance.
+
+
+
+
+BARCELONA
+
+
+Barcelona has remained true to her traditions. She is still, as of old,
+a city of merchant princes, a hive of industry, at once the Liverpool
+and Manchester of Spain. To those who visit the capital of Catalonia
+after an acquaintance only with the moribund cities of Old Castile, this
+vision of España Moderna comes as a shock and a revelation. The first
+impression is not pleasing. You approach the city through a vast
+wilderness of suburbs, teeming with life, and breathing apparently
+through grimy factory chimneys. We realise that we have returned to the
+civilised twentieth century. But the brighter side of modernity is soon
+revealed. In its heart Barcelona is clean, bright, and spacious. The
+boulevards are unequalled in Europe--except perhaps by Budapest--and the
+street prospects are worthy of Washington. The Rambla is the most
+delightful of promenades; in the Calle Fernando the contents of every
+shop window tempt the unthrifty. A noble, beautiful modern metropolis,
+still worthy of Cervantes’ encomium: “Flor de las bellas ciudades del
+mundo, honra de España, reglo y delicia de sus moradores, y
+satisfacción de todo aquello que de una grande famosa, rica, y bien
+fundada ciudad, puede pedir un discreto y curioso deseo.”
+
+Barcelona is richer in monuments of the past than many a more
+ancient-looking city. Foremost among these is the Cathedral in the very
+heart of the town, one of the grandest examples of Gothic architecture
+in Spain. Its extreme sombreness and apparently massive character
+produce a similar impression to that created by the much larger
+Cathedral of Seville.
+
+Street thinks very highly of this church, and remarks on the skill with
+which the architect has contrived to make it appear much larger than it
+really is. He observes “the architecture of Cataluña had many
+peculiarities, and in the fourteenth and fifteenth centuries, when most
+of the great buildings of Barcelona were being erected, they were so
+marked as to justify me, I think, in calling the style as exclusively
+national or provincial, as ... was our own Norfolk middle-pointed....
+Besides this, there was one great problem which I may venture to say
+that the Catalan architects satisfactorily solved, the erection of
+churches of enormous and almost unequalled internal width.”
+
+The primitive Cathedral was built by Count Ramón Berenguer between 1046
+and 1058, and considerably enlarged in the year 1173. The building, not
+yet satisfying the needs of the thriving city, was entirely rebuilt at
+the beginning of the fourteenth century. The design is attributed by
+Street to Jaime Fabre, a native of Majorca, who was succeeded as master
+of the works in 1388 by Master Roque. The last stone of the vault was
+placed on September 26, 1448.
+
+In plan the church is externally a parallelogram, semicircular at the
+east end. The transepts do not project beyond the line of chapels
+opening off the aisles, and form each the basis of a tower, 170 feet
+high. The old timber roofs of these towers have been removed (as from
+our castles) laying bare simply the vaulting covered with tiles. Over
+the Puerta de San Ivo by which you enter the north transept, a series of
+reliefs illustrates a combat between a knight and a dragon. The former
+is not St. George, the patron of Aragon, but a legendary hero, one
+Villardell, who by Divine favour was armed with a miraculous sword. With
+this he slew the monster which had been let loose by the Saracens, and
+exultingly cried, “Well done, good sword, and stout arm of Villardell!”
+But at that instant some drops of the dragon’s blood fell on his arm,
+and he at once expired. He was thus punished for taking the credit of
+the victory to himself.
+
+The west front, only finished ten years ago, compares very unfavourably
+with the older portions. The dome over the first or westernmost bay of
+the nave is also modern. Little else of the exterior can be seen.
+Inside, as I have said, the church is extremely sombre, and very
+conducive to what an eminent divine called Gothic devotion. This is due
+partly to the dark colour of the stone, and partly to the smallness of
+the windows, which are filled with beautiful fifteenth-century stained
+glass. The windows of the chapels in the south aisle open into a
+corresponding row of chapels in the adjacent cloister. Everything, in
+fact, has been done to keep out the torrid rays. The chapels are
+continued all round the church, there being no fewer than twenty-seven.
+The choir is, as usual, in the middle of the nave, being separated by
+the crossing from the chancel. Twenty massive and somewhat inelegant
+clustered columns separate the nave from the aisles and the chancel from
+the ambulatory, and from their capitals spring the nineteen arches
+forming the vaulted roof. Nave and aisles are alike 83 feet high. The
+cathedral is dedicated to a local martyr, Santa Eulalia, whose body
+since the year 1339 has reposed in the crypt beneath the chancel. The
+shrine of the saint was the work of Fabre and is in Italian Gothic
+style. The ark is sculptured with scenes from the saint’s life.
+
+There is little remarkable about the High Altar. The choir-stalls are
+richly carved, and date from the late fifteenth century. Like the stalls
+of St. George’s Chapel at Windsor, they are decorated with coats of
+arms--those of the knights of the Order of the Golden Fleece, in
+commemoration of the chapter held here by Charles V. (then only King of
+Spain) in 1519. Among the Knights present were the Kings of Denmark and
+Poland, the Prince of Orange, and the Duke of Alva. The rear wall of the
+choir is beautifully adorned with columns, and reliefs of Bartolomé
+Ordonez, and Pedro Vilar of Zaragoza, representing scenes from the life
+of the titular. It is a fine example of the Spanish Renaissance style.
+Before beginning an examination of the chapels, attention may be called
+to the huge Saracen’s head hanging from the organ in the north
+transept--a common feature in Catalan churches, and symbolising the
+reconquest of their sites from the infidel.
+
+A floor runs round the church above the side chapels and is carried
+across the west front. The upper rooms were never used as places of
+worship. The chapels are closed by mediæval grilles of wrought iron.
+They date mostly from the sixteenth and seventeenth centuries, and
+present no very interesting features. This is fortunate for the
+painstaking sightseer, as the obscurity renders an examination
+difficult. A crucifix in the uppermost chapel in the chevet is a
+memorial of the battle of Lepanto, where it was carried on the prow of
+Don Juan’s flagship. The image is believed by some to have bent its head
+to avoid the Turkish bullets. In the chapels of San Miguel Arcángel and
+Nuestra Señora del Patrocinio, close by, are the fine Gothic tombs of
+Bishop Berenguer de Palau (died 1240) and of one of his successors,
+Poncio de Gualba (died 1334). Leaving the ambulatory by the north, the
+chapel on the right contains another good Gothic monument to Bishop
+Escaler. The finest tomb, on the whole, is that of Doña Sancha de
+Cabrera, lady of Noalles, in the chapel of San Clemente, in the south
+aisle; and three chapels farther on is the sarcophagus of the great
+Catalan saint, Ramon de Penafort. The two wooden urns covered with
+crimson velvet in the wall between the south transept and the sacristy
+enshrine the ashes of Count Ramon Berenguer the Old, and his consort,
+Almodis (died 1070). Opening off the south aisle, close to the main
+entrance, is the large square chapel of the Holy Sacrament, or of St.
+Olegarius, with a fine star-vaulting, the seventeenth-century monument
+of the titular, and some paintings of Villadomat, a local artist of some
+repute, who lived in the first half of the eighteenth century. There are
+also some paintings of merit by the Tramullas, father and son, of
+Perpignan, but generally speaking this fine cathedral is poor in
+painting and statuary.
+
+Cloisters are nearly always charming, and those adjoining the Cathedral
+on the south side are certainly so, with their palms and fruit trees and
+fountains. One of these last is adorned with a statue of St. George, a
+jet of water serving as a tail to the horse. In one corner is a
+goose-pond. I saw nothing of the cats who, Street says, were prowling
+about the cloisters and church, and contrived to get into the
+choir-stalls just before service, whence they were forthwith chased by
+the choristers and such of the clergy as happened to be there. I have
+witnessed such scenes in French churches, where they are very
+distracting to the devout. The cloister was begun by Master Roque and
+finished in 1448. The architecture has been variously criticised, and
+the tombs for the most part are poor. On these the profession of the
+deceased is indicated by the implements of his trade lightly graven. The
+resting-place of Mosém (Monseigneur) Borrà, the jester of Alfonso V. of
+Aragon, is distinguished by the cap and bells. In the Chapel of the
+Conception there used to be, says O’Shea, a picture painted by order of
+the municipality in gratitude for the cessation of the plague in 1651,
+at the intercession of the Virgin. The keys of the city, made in
+silver, were presented to her on that occasion. In the chapel of Santa
+Lucia, at the south-west angle of the cloister, Street recognised a
+fragment of the old cathedral. The entrance into the south transept is
+of the same date. By the graceful Puerta Santa Eulalia we pass into the
+street.
+
+We presently pass the Bishop’s Palace, an eighteenth-century structure
+incorporating some late Romanesque arcading. But leaving other
+interesting buildings in this the oldest quarter of Barcelona for the
+moment, we will seek the next most notable church in the town, that of
+Santa Maria del Mar. It occupies the site of the earliest shrine of
+Santa Eulalia, over which Bishop Aetius built a temple in the thousandth
+year of our era. This modest church was replaced by another in the year
+1329, which was restored and reconsecrated after a disastrous fire in
+1383 under the reign of Pedro the Ceremonious. All classes of the
+community assisted in the work. Those who could not give money gave
+their labour, and in commemoration of this two small bronze figures
+carrying stone and timber adorn the principal door. The edifice is a
+good example of the Catalan church in its breadth and height of nave and
+simplicity of plan. Like the cathedral, it forms a parallelogram rounded
+at the east end, and presents an unbroken line of wall to the exterior.
+Churches of this type usually consist of nave only, but Santa Maria del
+Mar has two aisles. Enormous octagonal columns carry the main arches and
+the groining ribs which all spring from their capitals. The wall rib
+towards the nave is carried up higher than the main arches, so as to
+allow space between them for a small circular and traceried clerestory
+window in each bay. The arches of the apse are very narrow, and
+enormously stilted. There are small windows above them, but they are
+modernised. The aisles are groined on the same level as the main arches,
+a few feet, therefore, below the vault of the nave, and they are lighted
+by a four-light traceried window in each bay, the sill of which is above
+the string-course formed by continuing the abacus of the capitals of the
+groining shafts. Below this are three arches in each bay, opening into
+side chapels between the main buttresses. Each of these chapels is
+lighted by a traceried window of two lights, and the outer wall presents
+a long unbroken line, until above the chapels, when the buttresses rise
+boldly up to support the great vaults of the nave and aisles.[A] The
+interior, though still simple and dignified, has been marred by modern
+restorations. Another peculiarity remains to be noted: the choir is
+placed behind the high altar. Of this latter, a costly but
+churrigueresque erection, the less said the better. The royal pew in the
+south aisle, recalling the days when Barcelona was a capital, was
+connected with the palace by a gallery now destroyed. The church
+contains some good glass and examples of the art of Villadomat, a
+painter of whom Catalonia can boast. His fate was extremely sad: for the
+last seventeen years of his long life, he was paralysed in both hands.
+
+[A] Street, “Gothic Architecture in Spain.”
+
+Standing on the sinister spot where, twelve years ago, twelve people
+were killed and fifty others injured by a miscreant’s bomb, we survey
+the fine west front. This is flanked by two octagonal towers, of the
+telescope kind, and has a magnificent rose-window, above which I rather
+felt that an attic or story gable was wanted. The portal is richly
+moulded, and adorned with sculpture. The doors are faced with iron.
+
+The churches of Santa Maria del Pino and of Santos Justo and Pastor are
+on the same plan, with slight modifications. Adjoining the former is a
+tall detached belfry, producing a fine effect. The church was
+consecrated in 1453, and derived its name according to one account from
+an image of the Virgin found in the trunk of a pine. The west front,
+Street considers to have been designed by the architect of the north
+transept door of the cathedral. Unlike Santa Maria del Mar, there are
+no chapels in the apse, though they are found between the buttresses of
+the nave. There is no aisle. In this church Villadomat is buried.
+
+Santos Justo-y-Pastor is another single-nave church, founded in 1345, on
+the oldest church site in the city. It has been modernised inside and
+out. In the days of the ordeal by combat the parties, fully armed, made
+oath in this church, on the altar of San Felio, as to the justice of
+their cause and to use no “constellated or enchanted weapons.” We read
+that James I. declared null and void the issue of an encounter between
+Arnuldo de Cabrera and Bernardo de Cantellas on the ground that the one
+had worn certain jewels believed to be enchanted, and that the other had
+been invested with a shirt rendered impenetrable by a spell. To-day, I
+understand, an oath taken in this church as to the last wishes of a
+citizen who has died intestate, will be sufficient grounds for the issue
+of letters of administration accordingly. Here also Jews were sworn with
+both hands placed on the Decalogue, and according to a long and terrific
+formula. This is given at length by Don Pablo Piferrer in the original
+Catalan, and is calculated to appal the most hardened perjurer.
+
+Barcelona, it will have been seen, abounds in ancient and interesting
+churches. San Pablo del Campo was founded in the first decades of the
+tenth century by Count Wilfred II., who was buried in it, as his epitaph
+on a Roman tablet attests. Destroyed by Al Mansûr, the church was
+rebuilt on the same plan in 1117 by Jinbert Jintardo and his wife
+Rotlandis. The west front has retained much of its primitive Romanesque
+character. The symbolical sculpture is crude and curious. The interval
+is very striking in its simplicity. The cloister is more ornate and the
+decoration is considered by some to mark the transition from the
+Romanesque to the Moorish style. More eastern in character is the
+venerable church of San Pere de las Puellas, believed to date from the
+tenth century. It is so called from the nuns who formerly inhabited the
+adjoining convent and who, at the time of Al Mansûr’s invasion, cut off
+their lips and noses to avoid the amorous attentions of the Moors.
+
+There remain to be visited the old chapel royal of Santa Agueda, now
+converted into an archæological museum, where Alfonso el Casto was
+baptized, where the order of Montesa was established, and where the
+claims of the candidates to the crown of Aragon were discussed in 1410.
+
+Santa Ana, built in 1146 in imitation of the church of the Holy
+Sepulchre (as it was then), with a curious fourteenth-century cloister
+placed at an angle to the main building, and the simple graceful arches
+of the chapel of Montesion, where are hung the Turkish ensigns won by
+Spanish valour at Lepanto.
+
+One instinctively searches at Barcelona for monuments of civic state
+befitting a city of such antiquity and dignity. Happily such are not
+lacking and have been preserved to us. The noble Gothic façade of the
+Town Hall (Casa Consistorial), erected in 1373, has been recently
+restored, fortunately with good taste. The Council Chamber (Salon de
+Ciento), formed of two bays which support an artesonado roof, is lined
+by a collection of portraits of Catalan worthies, among whom we
+distinguish Capmany, Villadomat and Montaner. A finer building and
+preserving more of its primitive character is the Diputacion, the old
+Parliament House of Catalonia, and now the seat of the Provincial Court.
+This monument, declares Piferrer, “is the admiration of foreigners and
+the honour of Barcelona. He who seeks for originality of style, let him
+examine all its parts and be convinced that many are of a character
+entirely new.” Built in the early fifteenth century, it underwent
+frequent restorations and enlargements, and was rebuilt in great part in
+1609 by Maestre Pere Blai, who spared the best portions of the old work.
+The principal façade is cold and devoid of interest, except for the
+figure of St. George above the entrance. To that saint is dedicated the
+chapel, with its fine ogival portal, and the adjoining wall damascened
+(to quote Piferrer) with reliefs. The chapel is the repository of an
+exquisite altar frontal, worked with the design of St. George and the
+Dragon, and designed by Antonio Sadarni, in 1458. The pillars sustaining
+the galleries of the patio, at one time much admired for their daring
+and ingenious execution, were bending and giving way under the strain
+till restored and strengthened a few years ago by Don Miguel Garriga y
+Roca, a local architect.
+
+The halls breathe the dignity and gravity of a great corporation. The
+majestic Salon del Tribunal with its dome and hangings is adorned with
+portraits of the Kings of Spain, and paintings by Fortuny, one
+representing the victory of Marshal Prim over the Moors at Tetuan.
+Catalonia keeps ever green the memory of her heroes.
+
+The rapid extension of the most populous city of Spain has fortunately
+spared several noble monuments of bygone ages and beliefs. About an
+hour’s walk from the Tibidabo brings one to the Romanesque monastery of
+San Cucufat (or Cugat) del Valles, founded by Charlemagne on the site of
+a Roman camp, and rebuilt between 1009 and 1014. The exterior is
+fortified with battlements and flanking towers, the main entrance being
+pierced through a tall square gatehouse, and having been defended by a
+drawbridge. The Abbey Church is in the finest Romanesque style, with an
+octagonal lantern, apse, nave, and aisles. The interior is plain and
+sombre, despite the abominable baroque chapels which have been added to
+the right aisle. The church contains but one tomb of importance--that of
+the builder or founder, the Abbot Otho, who was also Bishop of Gerona,
+and flourished at the dawn of the eleventh century.
+
+The cloister of San Cugat has afforded the Romanesque sculptors the
+opportunity of gratifying their most exuberant fancy in stone. The
+capitals reveal an extraordinary profusion and variety of
+designs--Biblical scenes being associated with fables, conventional
+designs, and animals’ heads. Examples of the quaint and more childlike
+conceptions of a rather later age (fourteenth century) may be found in
+some curious paintings, set in retablos, still adorning the church. They
+are specimens of a style peculiar to Catalonia, Valencia, and the
+Balearic Islands, at the period “which analogies [says one authority]
+with the early Tuscan and old Cologne schools.”
+
+
+
+
+GERONA
+
+
+Gerona deserves to be, but through some freak of fortune is not, as
+famous as Saragossa. Its many sieges, especially those that took place
+in the Peninsular War, are among the many proofs of the Spaniard’s
+extraordinary tenacity in the defence of positions. Numantia, Saguntum,
+Saragossa, Gerona, and Cartagena--can any other country boast so many
+and such glorious instances of heroism and resistance to an overwhelming
+foe? These five names should be inscribed on the national escutcheon.
+They might even one day have more than a sentimental value, and cause
+potential invaders to think twice before violating Spanish soil.
+
+Gerona, then, has covered itself with glory, not once, but repeatedly.
+The very paynim Moors were invigorated by the heroic atmosphere, for we
+read that as long ago as 785 they defied the arms of Louis the Pious,
+till the Christian townsfolk, thinking that enough had been done for the
+renown of Gerona, arose and expelled them. In the succeeding centuries
+the Geronese grew used to this business of sieges, and their assailants
+grew more wary. In 1285 the French King, Philippe le Hardi, sat down
+before the town and contentedly starved it into submission. Gerona
+yielded under protest, and took care to place it on record that she was
+not taken by force but by hunger, as the inscription not “per forsa, mes
+per fam” over the Puerta de la Cárcel to this day testifies. More than
+four centuries later came another Philippe from beyond the Pyrenees,
+welcomed by all Spaniards except Catalans. Gerona stubbornly held out
+for Austrian Charles, and her garrison of 2000 men bade defiance to
+Philippe’s 9000. The Bourbon won; and to punish the recalcitrant city
+abolished her University. But a hundred years after, Gerona recovered
+her laurels. Her garrison of three hundred men, commanded by Colonel
+O’Daly, withstood successfully the repeated assaults of 6000 French
+under Duhesme, and beheld in August 1808 the hurried and inglorious
+flight of the besiegers. Of the great siege of 1809 you may read in the
+pages of Napier. The commander and hero of the defence was Mariano
+Alvarez--a much finer fellow than Palafox; and had he not been stricken
+with fever and rendered unconscious, the town might not have
+surrendered, as it ultimately did after a seven months’ siege. It had
+cost Napoleon 15,000 men. Here, as at Saragossa, the women fought beside
+the men and worked the guns, under the banner of St. Barbara.
+Unconquerable Gerona! Well might the heirs to the crown of haughty
+Aragon have been proud to bear the title of your prince.
+
+Towns with such stories invariably reflect them in their physiognomies.
+Gerona’s aspect is eloquent of history and legend. Her balconied
+houses--yellow and white--seem to rise out of the waters of the river
+Oñar, reminding one at moments of a Venetian canal. But to dispel such
+an illusion you have but to lift your eyes to the castled hill of
+Montjuich, in which the defensive power of the town resides and whose
+sides have borne the brunt of every battle that has raged round Gerona.
+Penetrating into the labyrinth of streets behind the river front, we
+find them dark, narrow, and silent enough to be haunts of the muse of
+history; but here and there--often, indeed--we find animated squares and
+thoroughfares that show us that Gerona is not outside the brisk
+Catalonian current.
+
+The vast cathedral lifts its towers near the river’s marge. It was
+founded, after the expulsion of the Moors, by Louis the Pious, in 786,
+and was rebuilt in the year 1016. It was consecrated by the Archbishop
+of Narbonne, on the French side, assisted by bishops both Cispyrenean
+and Transpyrenean. Extensive alteration and restoration went on in the
+fourteenth century, among the architects being two from Narbonne.
+Perhaps I may be pardoned the digression when I remark that natural
+boundaries seem to have been of less importance in the Middle Ages than
+now; a fact which may, it seems to me, be partly attributed to the
+relative facility with which great mountain barriers could be passed by
+the usual means of conveyance in those days. If you travel only on
+horseback, a mountain pass presents little more difficulty than a high
+road. Street, who extracted these particulars of the cathedral’s history
+from various Spanish works, tells us of the deliberations as to the
+adoption of the architect Guillermo Boffy’s plan for a nave of a single
+span. Fortunately the twelve architects composing the jury (Pascasio de
+Xulbe, Juan de Xulbe, Pedro de Valfogona, Guillermo de la Mota,
+Bartolomé Gual, Antonio Canet, Guillermo Abiell, Arnaldo de Valleras,
+Antonio Antigoni, Guillermo Sagrera, Jehan de Guinguamps, and Boffy
+himself) pronounced in favour of the plan, and the work was put in hand
+that same year, 1417. The first stone of the campanile was not laid till
+1581, and the west front was begun as lately as 1607.
+
+This grand church consists, then, of a single nave 73 feet wide, four
+bays in length, and terminating in the usual semicircular east end. The
+west front, in the poor style of the seventeenth century, calls for no
+remark, and gives no promise of the grandeur of the interior. Street
+thinks the exterior could never have looked very well. Even the south
+door, executed in 1458, does not merit praise, though its terra-cotta
+statues are curious and well preserved.
+
+The vast nave is blocked and greatly marred by the central choir, moved
+into this ill-chosen position long after the completion of Boffy’s work.
+Three arches separate the east end from the nave. Above them are three
+large round windows. Street praises this arrangement and says that it
+enhances this effect of vastness. “In short, had this nave been longer
+by one bay, I believe that scarcely any interior in Europe could have
+surpassed it in effect.”
+
+The high altar is of alabaster with a silver frontal, and belonged to
+the old cathedral. It was the gift of Ermesindes, the wife of Count
+Ramon Borel (1038). The reredos is a very rich and interesting work
+plated with silver. It was completed in 1348. The subjects in the three
+tiers of niches relate respectively to the lives of the saints, the life
+of the Blessed Virgin, and the life of Our Lord. The work is crowned by
+the figures of Christ and His Mother, and the saints Narcissus and
+Feliu. Of the same period is the baldachin, the vault of which is
+covered with sacred subjects, while the shafts are adorned with
+heraldic achievements. Behind the reredos is the bishop’s throne, formed
+of a single piece of marble. “Here, when the bishop celebrated
+pontifically, he sat till the oblation and returned to it again to give
+the benediction to the people.”
+
+In addition to the objects of interest to which the architect of our Law
+Courts calls attention--the wooden wheel of bells, &c.--the cathedral
+contains several tombs worthy of examination. In the choir is buried
+Count Ramon Berenguer, surnamed Cap d’Estopa; in the presbytery, on the
+gospel side, is the tomb of Bishop Berenguer de Anglesola; Doña
+Ermesindes lies between the chapels of Corpus and San Juan; Bishop
+Bernardo de Pau in the chapel of San Pablo.
+
+Adjoining the church is the dark gloomy cloister, which existed in the
+early twelfth century, and in which Street recognised “one of the main
+branches of the stream by which Romanesque art was introduced into
+Spain” from south-eastern France. The galleries, with marble columns and
+stone roofs, enclose a court with tall trees and a cistern in the
+centre. Numerous black memorial tablets let into the walls have failed
+to keep alive the memory of the dead.
+
+The archives of the cathedral contain a Bible, at one time believed to
+have been the gift of Charlemagne, and enriched with the signature of
+Charles V. of France. Another treasure is an illuminated code dating
+from the tenth century, and relating to the Apocalypse--a chapter in
+Holy Writ which at that period, when the end of the world was believed
+to be at hand, greatly occupied the minds of men.
+
+Not far from the cathedral, and nearer to the river Oñar, is the
+collegiate church of San Feliu or San Felix rising proudly above the
+town. Its tall campanile is visible from every part of the town and is a
+familiar landmark for miles around. It was built in 1392, and is in
+three stages: the first or lower stage, quite plain, the second adorned
+with graceful windows, the third putting forth shoots in the shape of
+tapering finials. “It is seldom,” says Street, “that the junction of
+tower and spire is more happily managed than it is here; and before the
+destruction of the upper part of the spire the whole effect must have
+been singularly graceful.” Though the church seems to have been almost
+entirely rebuilt in the fourteenth century, as a foundation, St. Feliu
+dates back to the eighth century and was used by the Christians during
+the Moorish occupation, which, by the way, only lasted sixty-eight
+years. The interior seems, like the cathedral’s, to have consisted of a
+single nave, but to this aisles have been added, the whole terminating
+in a tri-apsidal chevet. The west front dates from the seventeenth
+century. The high altar has some good paintings and sculpture, the
+canopies over the tomb of San Feliu and the statues of the Virgin and
+St. Narcissus being especially notable. The modern chapel of the
+last-named saint is gorgeously enriched with jasper of many colours. In
+this church is buried the heroic Don Mariano Alvarez de Castro, beneath
+a monument, dating from 1880, executed in Carrara marble and in the
+reddish yellow stone of the country. The tomb is crowned by a mourning
+female figure, which I have been told is a portrait of the general’s
+wife. The sepulchre of San Feliu dates from the thirteenth century and
+is sculptured with compositions representing scenes from the saint’s
+life. Leaving San Feliu by the south door, we pass through the dark and
+massive Portal de Sobreportas, formed by two huge round towers,
+connected by a modern intervening story, and at the end of a long gloomy
+lane reach a Capuchin convent. The object of our visit is a soi-disant
+Moorish bath, covered in by a graceful little pavilion with eight
+slender columns.
+
+The oldest church at Gerona appears to be the little oratory of San
+Nicolas, built in the form of a cross with its arms ending in apses,
+surmounted by domes. The height of the nave is not much more than that
+of a tall man. Hardly inferior in antiquity is the church of San Pedro
+de Galligans. This is named, not after the Gauls, as one might be
+tempted to suppose, but after a little stream called the Galligans,
+which at this point flows into the Oñar. Like every other religious
+edifice in Gerona, its foundation is attributed to Charlemagne, but
+(according to Piferrer) the earliest mention of the church occurs in the
+year 992, while the actual fabric was building at the time a third part
+of the coinage of Gerona was given by Count Ramon Berenguer III. to the
+Benedictine monastery of which his brother was abbot. Street inclines to
+think San Pedro was built by the architect of the church at Elne in
+Roussillon. The principal apse here, as at Avila, projects beyond the
+town wall; on the south side of it are two smaller apses side by side,
+opening into the south transept; the north transept expands into apses
+on the north and east and is crowned by a fine octagonal steeple with
+two rows of round-headed windows. The west front is approached by steps,
+many of them bearing Romano-Gothic inscriptions; there is a single
+round-arched western door with good fern-leaf carving on its capitals,
+and above this a rose-window. Within, the church consists of a nave,
+separated by tall, massive columns from the aisles. The capitals are
+rude, but offer great variety of design and execution. There is a
+clerestory, but no windows to the aisles, which are more like
+corridors. On the south side is a cloister probably carved coeval with
+the church, but terribly damaged during the siege, and now converted
+into the Provincial Museum.
+
+“The whole character of this church,” remarks Street, “is very
+interesting. The west front reminded me much of the best Italian
+Romanesque, and the rude simplicity of its interior--so similar in its
+mode of construction to the great church at Santiago in the opposite
+corner of the Peninsula--suggests the probability of its being one of
+the earliest examples of which Spain can boast.”
+
+From San Pedro we may follow the course of the little river Galligans to
+the deserted monastery of San Daniel, dating as a building from the
+eleventh century. In 1015 the original foundations were sold by Bishop
+Pedro Roger to Count Ramon Borell III. and his wife Ermesindes, for one
+hundred ounces of gold. The Countess erected a monastery, which was
+completed by the less fortunate wife of Ramon Cap d’Estopa. The west
+front and nave are Gothic, the chancel and lantern in good Romanesque
+style. In front of the sanctuary a flight of steps leads down to the
+shrine of the titular saint, whose tomb dates from the fourteenth
+century.
+
+       *       *       *       *       *
+
+North of Gerona lies FIGUERAS, accounted the strongest fortress in
+Spain. Like so many other “impregnable” strongholds, it has been taken
+again and again, so often, in fact, as to give rise to the saying,
+“Figueras belongs to Spain in peace, and to France in war.” It is only
+fair to add that in several instances its fall has been due to
+treachery. In a miserable chamber in the castle of San Fernando died
+Mariano Alvarez de Castro, a prisoner in the hands of the French. The
+guide-books speak of a religious procession which takes place here on
+the last Monday in May, and is called the Profaso de la Tramontana,
+after the north wind, which blows here with great violence.
+
+In the vicinity of Figueras is the church of Villabertrán, dating from
+the end of the eleventh century. Designed by a priest it exhibits,
+remarks a Spanish writer, in every detail the ecclesiastical bias. All
+animal figures are excluded as tending to disturb religious
+recollection. The interior is nobly designed but destitute of all
+ornament. “In this temple everything appeals to the reason, nothing to
+the imagination; these low dark vaults dissipate illusions; the thought
+of death oppresses the mind; but the eyes discern a gleam of light in
+the darkness of the sanctuary, and the soul hungrily seeks a gleam of
+faith in the gloom of doubt.”
+
+Of a similarly severe character is the adjacent cloister. The campanile
+of the church alone presents any airy or graceful features. The whole
+foundation would have been spared even by Knox or Calvin.
+
+On the bay of Rosas, the town of Castellón de Ampurias recalls the great
+city of Empurias which was founded by the Greeks, and utterly perished
+at the end of the twelfth century. It was among those great maritime
+powers which for long resisted the encroachments of the Carthaginians,
+and which fell in turn before the irresistible arms of Rome--reminders
+for us of the days when the fate of the Mediterranean still hung in the
+balance, and it was yet uncertain whether the civilisation of Europe
+should be Hellenic, Punic or Latin. The destruction of Empurias is
+ascribed partly to the Saracens, partly to the Normans. Whoever
+accomplished the work did it thoroughly, for nothing but the name
+survives of this once rich and puissant colony of Hellenes.
+
+Castellón de Ampurias is a Latin foundation, with which time has dealt
+unkindly. Its parish church of Santa Maria is a noble monument of its
+prime. It was consecrated in 1064 and finished in the late Gothic
+period. To this last style belongs the west porch, with a pointed arch
+of six orders, and the figures of the Twelve Apostles beneath canopies
+in the jambs. The tympanum shows a relief of the Adoration of the Magi.
+Contrasting strikingly with this carefully chiselled and graceful Gothic
+work is the stern square campanile to the left, a remnant of the
+Romanesque days. The interior is early Gothic. The combination of this
+with the preceding style is strikingly shown in the principal apse. The
+altar, a single piece of marble, is carved with reliefs which exhibit
+(says Pi y Margall) the artist’s breadth of imagination rather than his
+skill.
+
+Further inland is the venerable abbey of San Pedro de Roda, founded in
+the tenth century, and abandoned by the religious in the year 1799.
+To-day the monastic buildings are in utter ruin, but enough of the
+church remains to fill us with admiration for the loftiness of its nave,
+the harmonious admixture of the Romanesque with the pure classic forms,
+the skilful decoration of the various parts, and the sombre majesty of
+the whole.
+
+
+
+
+THE VALLEY OF THE TER
+
+
+The river Ter, which washes the walls of Gerona, is born among the snows
+of the Puigmal, the loftiest of the Eastern Pyrenees. Its stream is
+still ice-cold when it flows past the little town of San Juan de las
+Abadesas, which changed its name from Ripollet upon the foundation of an
+abbey within its precincts by Wilfred the Hairy, Count of Barcelona, in
+the year 877. The Count’s daughter was the first Abbess. The present
+abbatial church replaced the original structure in 1150. It is strictly
+cruciform, consisting of a nave and transept without aisles. There are
+only two columns in the church, these being planted at the entrance to
+the presbytery. The chancel is in the florid late Gothic style,
+contrasting oddly with the extreme simplicity of the rest of the fabric.
+Behind the altar is a figure of Christ, sculptured in the year 1250; in
+the forehead, it is believed, is contained a Host, which has preserved
+its integrity for seven centuries, and which it was found impossible to
+remove in the year 1598. The church has two choirs, both blocking the
+nave. The north and south porches were reserved respectively for men
+and women. The adjoining cloister is in good fifteenth-century style,
+and was probably designed or improved by the architect of the Palacio de
+la Diputacion at Barcelona.
+
+Five or six miles farther down the valley stands Ripoll, one of the
+towns that suffered most severely during the Carlist wars. It has,
+however, long since recovered from its reverses. Unfortunately the
+damage done to the monastery founded by Wilfred the Hairy cannot be
+repaired. As the Mausoleum of the counts from the ninth to the twelfth
+century, it possessed great interest. The church, built by Bishop Oliva
+about the thousandth year of our era, is roofless. The nave terminates
+in an apse, and there are three smaller apses opening from the east into
+each transept. The special glory of the building is its west porch,
+formed by a rounded arch with three shafts in each jamb. The middle
+shafts are carved into life-size figures of St. Peter and St. Paul; the
+others are most beautifully chiselled. The orders of the arch are
+variously treated; caprices, grotesques, masques, mythological designs
+being interwoven with more appropriate religious symbols. One series of
+reliefs appears to represent the twelve months.
+
+The façade on either side of this portal is similarly decorated with
+graphic reliefs in six courses, the lowest representing scenes in which
+centaurs, lions, &c., figure; above this is a row of figures of knights,
+princes, and prelates; above this, battle scenes, then come two rows of
+sacred figures and subjects, and finally the figure of God the Father
+attended by angels and princes. The whole of this portal is of profound
+interest to students of the Romanesque.
+
+The interior of the church was restored as lately as twenty years ago.
+All styles seem to have entered into its architecture. Instead of
+columns, massive piers support the vaulting, and mark off the aisles
+from the nave. The chancel--merely a shallow apsidal prolongation of the
+nave--is strewn with the ruins of the high altar and the roof.
+
+The cloister of the monastery is the most interesting part. It is
+composed of an upper and lower gallery of round arches, uninterrupted by
+any piers or buttresses. The harmony of the whole is admirable. The
+columns are of Gerona marble, and pinkish grey in hue. Variety is
+imparted by the capitals whereon the unknown sculptor has expended his
+fanciful, nervous genius. The upper gallery was not completed till the
+end of the fourteenth century, though the cloister had been begun as far
+back as 1172.
+
+Farther down stream is Vich, a town constantly referred to in the annals
+of the Carlist wars. As the history of that insurrection is not well
+known to foreigners, visitors are more likely to be interested in the
+monuments that have survived those troubled times. The cathedral was
+built in 1040--a date which sounds promising; but alas! the architects
+of the eighteenth century have forestalled us, and have worked their
+wicked will upon a once noble church. The artistic eye will not linger
+upon the exterior, but it may find some refreshment in the majestic
+nave, divided from the aisles by six clustered columns, with Corinthian
+capitals. When the church was rebuilt, all the tombs were swept away,
+and none of the altars spared, except the high altar, which is a
+meritorious work of the early fifteenth century. As at Ripoll, there is
+a fine cloister built five hundred years ago. The gallery, with its
+pointed openings and trefoil and quatrefoil tracery, is built over a
+substructure with round arched open vaults. The centre of the quadrangle
+is occupied by the statue and monument of the philosopher Balmes, who
+was born at Vich and died in 1848, aged only thirty-eight years. He is
+buried in the cathedral nave.
+
+Outside this church there is little to be seen in the old Catalan town.
+The remains of a Roman temple are worth examination, and the artist may
+find plenty of material for sketches in the picturesque Plaza Mayor.
+
+From Vich it is about forty-five miles to Barcelona.
+
+
+
+
+LERIDA
+
+
+Lerida is another of those Catalan cities that remind one of the saying
+about new wine in old bottles. Seen from afar it is clearly one of those
+old human hives that have existed on the same spot ever since man felt
+the need of a permanent abode--you have the hill-site, the walls, the
+towers, the flowing river, the mediæval aspect. You observe with delight
+a humpbacked bridge, such as (with a total disregard for beasts of
+burden) our pious ancestors loved to build. And over all rises the
+cathedral--or, as we shall soon learn, what was the cathedral. But on a
+closer inspection we find that time has by no means left Lerida
+untouched. Already she has overflowed into the opposite side of the
+stream, and there is a big new suburb with wide white streets,
+spaciously planned squares, and avenues along which the trees are
+beginning to grow. And as you cross the humpbacked bridge, you observe
+that the centre arch is quite new, and as you enter the old town, you
+are astonished by the stir and the modernity of it all. It is just like
+Smyrna or Damascus. Every one has been too busy to build the town over
+again. Its poor old rickety houses, in which men designed to lead only
+the sedatest of lives, have been hastily requisitioned for the service
+of modern industry and commerce. The low rooms are packed with
+merchandise, the frail houses seem like to burst. The underground
+cellars come in very handily. Lerida is very much alive. Some day she
+will have to pull her house down and build a new one altogether.
+
+Probably no one would have come to Lerida--no strangers of the
+uncommercial variety, that is--if Street had not told us about the old
+cathedral, since turned into a barracks. Nor without his detailed and
+professional description would the average traveller be able to make
+much of the building. The purposes to which it has been put have
+obscured the outlines of the features of the original fabric. But you
+cannot overlook it for it stands high on the hill like a citadel, which,
+indeed, it has now become.
+
+Lerida--which the Catalans, by the way, call Lleyda--was known to the
+Romans as Ilerda, and when they turned Christian, they built a church on
+this site. This, it is supposed, became a mosque during the brief
+Moorish period, to be reconsecrated on the reappearance of the
+Christians. The first stone of the actual building was laid on July 22,
+1203, in the presence of King Pedro II., and the consecration took
+place on October 31, 1278.
+
+(People often wonder why we do not build cathedrals nowadays equal to
+the old. One of the reasons may be that we are in too great a hurry. In
+the Middle Ages no man expected to see the completion of the work he
+began. They were animated by a strong communal sense, different from the
+individualism of to-day.)
+
+The excellent bishop and chapter of Lerida in the year 1707 thought the
+cathedral too old for their requirements, and having already
+commissioned a military architect to build them a new church in the city
+below, thither they removed. By a fair exchange the military took
+possession of the cathedral. They willingly display it to you, and the
+non-commissioned officer who shows you round seems less in a hurry to
+get the visit over than your clerical cicerone usually is.
+
+The lay traveller in attempting to understand this church has always to
+refer himself to the explanation of Street or else to that of Piferrer,
+which is certainly not so intelligible. In plan, then, the church is
+cruciform with three eastern apses and square transept arms. Another
+apse projects eastward from the south transept, which is flanked on the
+other side by a semicircular chapel, pointing south. Over the crossing
+rises an octagonal lantern, roofed like the whole church with stone,
+and pierced in each face with double windows with varied tracery. At its
+north-west angle is a slender octagonal staircase turret, rising from
+the south-west angle of the north transept. There is a similar but
+stouter tower, detached from the lantern, rising over the south
+transept. These towers give the whole pile a romantic and beautiful
+appearance.
+
+The principal portal, called in the Catalan dialect the Puerta dels
+Fillols, opens into the middle of the south aisle. “This [says our
+authority] is an example of singularly rich transitional work, with an
+archivolt enriched with chevrons, mouldings, dog-tooth, intersecting
+arches, and elaborate foliage. There is the usual horizontal cornice
+over the arch, and above this is a fourteenth-century statue of the
+Blessed Virgin Mary and Our Lord. The horizontal cornice is carried on
+moulded corbels, between which and the wall are carvings of wyverns and
+other animals; whilst the soffit of the cornice in each compartment is
+carved with delicate tracery panels, in some of which I thought I
+detected some trace of Moorish influence. The cornice has a delicate
+trailing branch of foliage; and the labels and two or three orders of
+the arch, in which sculpture of foliage is introduced, are remarkable
+for the singular delicacy and refinement of the lines of the foliage,
+and for the exceeding skill with which they have been wrought. There is
+none of that reckless dash which marks our carvers nowadays, but in its
+place a patient elaboration of lovely forms, which cannot too much be
+praised. The mouldings here are all decidedly characteristic by a
+later--probably fifteenth-century--vaulted porch, which occupies the
+space between two added chapels. The effect is very good and
+picturesque.”
+
+The transept doors are also very fine, especially the southern one. The
+cornice is beautifully sculptured and the wheel window above reveals in
+its details the influence of the Italian Romanesque. These entrances
+make us regret the effacement of the west porch, which is concealed by
+the vast square cloister covering that side of the church. This
+remarkable building, now occupied by troops, is the grandest, Street
+declared, he had ever seen. In its present desecrated state, it must be
+confessed it needs a highly trained eye to appreciate its beauty. The
+arcades are walled up, and there is some ground for supposing that when
+in ecclesiastical occupation the galleries were used as dormitory and
+refectory. The details vary greatly. The bays vary in width, the
+sculpture is of all sorts of design, and of all periods. Adjoining this
+vast cloister on the north side is a long barrel-vaulted hall, lighted
+only at one end. On the west side the cloister is entered through an
+enormous western doorway with a pointed arch. South of this and almost
+detached from the cloister stands that beautiful octagonal steeple which
+served Pedro Balaguer as a model for the Micalet Tower at Valencia. It
+is 170 feet high and divided into five stages, “the whole construction
+being of the most dignified and solid description.”
+
+Concerning the position of this tower, Street remarks: “Here, as often
+happens with detached campaniles, the grouping of the steeple with the
+church from various points of view is very diversified, and often very
+striking. From its great height above the valley it is seen on all
+sides, and generally at some distance. From the south, the grand size of
+the cloister, which connects the steeple with the church, gives it
+somewhat the effect of being in fact at the west end of an enormous
+building, of which the cloister may be the nave; whilst the steeple
+rears its whole height boldly to the right, and makes the whole scheme
+of the work utterly unintelligible, until after a thorough
+investigation.”
+
+The interior of the church is now cut horizontally by a plank flooring,
+and no features of interest can be distinguished, except in a single
+apsidal chapel, which is still used as such, and where is buried a
+natural son of King Pedro the Catholic, who died in 1254. Whitewash has
+obscured all the details of capitals and columns.
+
+Adjacent to the cathedral on the north side is the ruin of a once noble
+hall, with traces of Moorish influence in its carving--possibly the
+remains of a chapter-house or episcopal palace.
+
+Far exceeding the cathedral in antiquity is the church of San Lorenzo
+hard by, though it is not safe to accept the tradition of its Gothic
+origin. It was certainly built prior to the twelfth century. Originally
+just an apse and a nave, with walls eight feet thick and a span of
+thirty-three feet, aisles each ending in an apse were added to it at a
+much later period. They communicate with the nave by very simple pointed
+arches, and their windows have good traceries of the late thirteenth
+century. “The apse has a semi-dome and is lighted by three round-headed
+windows, five inches wide in the clear, and has a corbel-table under the
+eaves outside.”
+
+The octagonal campanile dates from the fifteenth century, to which
+period belongs the western gallery. There is a good deal of pointed work
+in the church, which is gloomy and religious. The high altar, dating
+from about 1400, has a reredos which is highly praised by some critics.
+
+Lerida was the Salamanca of Aragon. Her university, founded in 1300 by
+Jaime II., numbered the profligate Calixtus III. among its professors,
+and Vicente Ferrer--the “angel of the judgment”--among its alumni. Ford
+reminds us that Horace speaks of the place as a seat of learning in
+Roman times, to which the troublesome youths of the capital were
+banished. The town, like its Castilian prototype, has been famed for
+arms as well as learning. It sustained a severe siege from Felipe IV.
+himself in 1640, and withstood the assaults of the great Condé in 1640.
+It owned the loss of its university to its devotion to the Archduke
+Charles in the War of Succession, and (more directly) to the defeat
+sustained close by, by the Bourbon king. At the same time the military
+authorities made the clergy give up their cathedral.
+
+Probably none of the ancient edifices of Lerida will interest you as
+much as the market-place, surrounded by quaint old houses; entering, you
+find the whole house is a great wine-press, the grapes, trodden on the
+ground floor, pouring their juice into the cellars below.
+
+       *       *       *       *       *
+
+Higher up the Segre is the historic town of Balaguer, the Bargusia of
+Livy, and the capital of the ancient county of Urgel. The counts had
+their residence in the “Beautiful Castle” (“Castillo hermoso”) which
+overlooked the town and has now totally disappeared. There are a few
+ruins of the once famous priory of Santo Domingo. The site of the
+castle is occupied by the church of Santa Maria, built in 1351. It is a
+dignified, simple edifice, of a single nave with lateral chapels. The
+Trappist monastery of Bellpuig de las Avellanas a little way out of the
+town is another and better preserved monument of the piety of the old
+Counts of Urgel whose line expired with Jaime el Desdichado at the
+beginning of the fifteenth century.
+
+Still going northward, and without crossing the limits of the old
+country, we reach the venerable town of Agramunt, notable for its late
+Romanesque church with a portal similar to the Puerta dels Fillols at
+Lerida. We reach at last Seo de Urgel at the very foot of the Pyrenees.
+As a see, the place is of immemorial antiquity. Its bishops (who are
+co-sovereigns with France of the Republic of Andorra) attained the
+zenith of their power and splendour in the eleventh century. The town
+has figured in every border war and was the seat of the audacious
+reactionary caucus which called itself a regency and declared Ferdinand
+VII. unfit to govern while he was obedient to the constitution.
+
+The actual cathedral was consecrated by Bishop Eribal in 1040, but its
+construction lasted well on into the next century. It resembles a church
+of southern France more than one of Cataluña. The façade is divided
+vertically by two buttresses, horizontally by string courses into three
+stages, the lowest of which is pierced by the simple round arched west
+porch, the middle by three round-headed windows, the highest forming a
+sort of attic, by a round-headed window and two _rosaces_. The interior
+is divided into a nave and aisles with transept and lantern. The
+treasury is interesting for its collection of documents dating back to
+the time of the Carlovingian kings.
+
+Returning from Lerida to Barcelona we pass the castle of Bellpuig, the
+seat of the great family of Anglesola--a massive fortress of red stone,
+restored in the sixteenth century. Its magnificent staircase still gives
+one some idea of the pomp and state of its former lords. The village
+extends from the castle to the church--a situation which inspired the
+erudite topographer of this country (Piferrer) with reflections that
+remind one of Don Quixote’s address to the goatherds. The church
+contains the tomb of Don Ramon de Cordova, one of the ablest lieutenants
+of Gonzalo de Cordova. His effigy, armed and holding his helmet,
+reclines in a sleeping posture on an urn adorned with reliefs of marine
+gods and monsters and upheld on the backs of sirens, whose hands are
+webbed; the sepulchral arch is formed by six Ionic columns, against
+which lean figures expressive of mourning; over the tomb is a relief of
+the Entombment. In niches on each side of the arch are two life-size
+figures emblematic of Victory; above them, two figures leaning forth
+from medallions appear to extend laurels toward the hero. The plinth and
+cornice of this superb tomb are adorned with reliefs illustrating the
+victories and achievements of the deceased, who was as distinguished as
+an admiral as a general. His body remains in the urn practically
+incorrupt. The tomb is the work of Juan Nolano.
+
+This work has been brought here from the ruined Franciscan friary,
+founded a few miles from Bellpuig by the knight in the year 1507. The
+cloister is fairly well preserved. The two lower galleries--a third has
+been added since the foundation--are in debased Gothic style. The second
+gallery is formed by eleven rectangular columns, like those of the Lonja
+at Valencia, with four bands of moulding wreathed round each and
+gathered in at the capitals. The convent church is also of interest and
+is connected with the cloister by a fine staircase.
+
+From Bellpuig we pass on to Cervera, to which Philip V. transferred the
+university from Lerida in 1717. This is the famous body which
+proclaimed, in the enlightened reign of Fernando VII., its horror of the
+fatal habit of thinking (“Lejos de nosotros a mania funesta de pensar”).
+Notwithstanding, it was closed in 1823, and finally suppressed or rather
+transferred to Barcelona in 1842. This singular university was housed
+in a building opened in 1740, which still dominates the whole town; it
+is a huge tasteless structure, a rather suitable home for learned fools.
+Nothing seems to have been determined with regard to its ultimate
+destiny, and the whole town has a frustrate and somewhat hopeless air.
+The church of Santa Maria is not devoid of beauty and interest. One of
+the porches appears to be a survival of an earlier Romanesque structure,
+and is surmounted by a relief of St. Martin sharing his cloak with the
+beggar. The tombs are also worthy of note.
+
+
+
+
+TARRAGONA
+
+
+Tarragona stands high and nobly on the coast of Cataluña looking east
+towards Rome, as her million citizens did when the Cæsars ruled, and she
+gave her name to the vast province of Tarraconensis. The Phœnicians were
+here, of course, before the Romans; they called the place Tarchon, and
+found it already strengthened by walls which remain to this day. Publius
+and Cneius Scipio wrested the town from Carthage, and afterwards the
+lords of the world gratified the city with the titles of _victrix_,
+_togata_, and _turrita_. “It had a mint and temples to every god,
+goddess and tutelar; nay, the servile citizens erected one to the
+emperor, _Divo_ Augusto, thus making him a god while yet alive.” Since
+that time, Tarragona has not flourished, though it was for a brief
+interval the capital of the Visigoths. Desolated by the Moors, it was
+given at the reconquest to a Norman adventurer whose wife, in his
+absence, proved as doughty a warrior as he. And now shrunk and
+depopulated, the once imperial city stares in a sort of mellow calm for
+ever seaward, as if plunged in reveries on the glorious past.
+
+High over the town, on the crest of the slope, towers the cathedral.
+“This,” says Street (and none will disagree with him), “is one of the
+most noble and interesting churches in Spain. It is one of a class of
+which I have seen others upon a somewhat smaller scale (as, _e.g._, the
+cathedrals at Lerida and Tudela) and which appears to me, after much
+study of old buildings in most parts of Europe, to afford one of the
+finest types from every point of view that it is possible to find. It
+produces in very marked degree an extremely effective internal effect,
+without being on an exaggerated scale, and combines in the happiest
+fashion the greatest solidity of construction with a lavish display of
+ornament in some parts to which it is hard to find a parallel.” Roughly
+speaking, it may be described as Romanesque, with adornment of the
+Gothic period. The delicacy and richness of the later style has relieved
+the crudeness of the earlier, while the severity of the original plan
+has kept in check the tendency to be profuse of ornament.
+
+Schemes were on foot to rebuild the church at the end of the eleventh
+century and Street thinks the oldest part--that is, the eastern
+apse--may date from 1131, though the greater portion of the fabric
+(including the nave and its aisles and the cloister) seems to have been
+executed at the end of the twelfth and during the first half of the
+thirteenth century; and it is very possible, therefore, that the brother
+Bernardus, who died in 1256, may have been the architect of the larger
+part of the existing fabric, both of the church and its cloister.
+
+The west front is striking; it was begun in 1278, but not completed for
+another hundred years. The lower half is occupied by a deep-set portal
+of four orders, rising to a point. The jambs are occupied by figures of
+saints under canopies, and these are continued round the two buttresses
+which flank the doorway and end in pinnacles. The shaft is formed by a
+statue of the Madonna upon a pedestal, the sides of which exhibit in
+relief the scenes of the Creation and Fall. “These subjects are very
+fitly placed here, the Fall in the centre coming just under the feet of
+her who bears Our Lord in her arms, and thus restores the balance to the
+world.” (Street.) The tympanum is pierced with rich geometrical tracery.
+Over and behind the cross surmounting this grand doorway is an enormous
+rose-window. The whole is surmounted by a gable, the central portion of
+which has disappeared, giving a somewhat ruinous appearance to the
+church when seen from a distance. Flanking this, the front of the nave,
+are the round-arched entrances to the aisles, with round windows above,
+betraying Norman influence. Ford states that the great rose-window is
+Norman work.
+
+The interior is grand and impressive in the extreme, though a trifle
+marred by the heaviness of the pillars. There is no triforium. The
+pointed windows of the clerestory are filled with glass vividly
+coloured, much of it modern, some of it the work of Juan Guas, specimens
+of whose craftmanship are to be seen at Toledo. The aisles are half the
+height of the nave, the intervening space being pierced with small
+rose-windows. At festivals the arches are hung with precious tapestries,
+designed after the Italian fashion with scenes from the histories of
+Joshua, Samson, David, and Cyrus. They are believed to have been
+presented by some potentate to the chapter about the year 1600.
+
+While the columns are massive and plain, the bases are finely moulded
+and the capitals are carved with exuberant foliage. The choir screen is
+of marble and jasper; the stalls are plainly and chastely carved. Over
+the crossing rises a low, simple, but effective octagonal lantern. “The
+old outside roof is destroyed; but the finish of the lanterns of Lerida
+and of the old cathedral of Salamanca made it pretty certain that it was
+intended to have a pyramidal or domical stone roof.” The transepts are
+square, except for an apsidal recess at the east side of each. The nave
+and aisles end in apses--the oldest part of the edifice. The roof of the
+chancel apse is considerably lower than the choir’s, and the wall-space
+is pierced with a small rose-window. This part of the church is pure
+Romanesque. The high altar, however, is Gothic, and adorned with
+admirable reliefs, illustrating the martyrdom and apotheosis of St.
+Thecla, the patron of Tarragona. The centre is occupied by a colossal
+statue of the Virgin, covered by a very high peaked canopy of wood. To
+the right of the altar is the tomb of Archbishop Alfonso de Aragon, who
+died in 1514, and to the left a tomb older by two hundred years, that of
+Juan de Aragon, Patriarch of Alexandria. The remains of Cyprian, a
+Visigothic bishop of the see, are contained in an urn behind the
+reredos. The tombs are not very fine or numerous for a cathedral so
+ancient and so splendid.
+
+At the south side of the chancel, at its junction with the apse, is a
+very remarkable stone turret stair, leading up to a square tower which
+rises over the end of the south aisle. There was probably at one time a
+corresponding steeple on the north side.
+
+The chapels, though they have undergone considerable restoration, are
+interesting and possess much architectural interest. In the beautiful
+north transept is the fourteenth-century chapel of the Tailors (de los
+Sastres). Close by is the Capilla del Sacramento, formerly a Roman work,
+and incorporated with the cathedral by Archbishop Augustin (1561-1586)
+whose fine tomb, by Pere Blay, it contains. The chapel was at one time
+the canon’s refectory. Several ancient tombs from the other parts of the
+cathedral have been placed in this transept. On the opposite side of the
+church is the gorgeous eighteenth-century chapel of St. Thecla.
+
+The cloister adjoins the north-east angle of the cathedral--a most
+unusual position. The door communicating with it is the finest in the
+building. It is a round-arched doorway richly and curiously sculptured
+in the Romanesque style. This cloister is considered one of the best of
+the many beautiful works of the kind in Spain. “Each bay has three
+round-arched openings divided by coupled shafts, and above these two
+large circles pierced in the wall. The arches and circular windows are
+richly moulded and adorned largely with delicate dog-tooth enrichments.
+Some of the circular windows above the arcade still retain their
+filling-in, which was of a very delicate interlacing work, pierced in a
+thin slab of stone, and evidently Moorish in its origin, though at the
+same time probably the work of Christian hands, as in some of them the
+figure of Christ is very beautifully introduced.” The sculptors have
+adorned the capitals with all sorts of quaint conceits, notably in one
+case with a pictorial rendering of the story of the rats who went to
+bury the cat without first tying her limbs. On another capital there is
+shown a spirited gladiatorial combat; on another, a cock-fight. These
+purely secular subjects where the sculptor seems to have indulged his
+humour and fancy absolutely without restraint, remind us of the
+“topical” carvings at Oviedo. Their humour has not escaped O’Shea, who,
+speaking of the Adoration of the Magi, carved on one of the pillars of
+the doorway from the church, says: “The three kings of the east are
+economically sleeping three in the same bed, and wakened early by a
+winged valet de chambre, that they may rise and proceed on their journey
+to Bethlehem.” The words “6th Company,” &c., to which this writer and
+others call attention, to be seen on the walls, are reminders of the
+passage of British troops here.
+
+The chapter-house, the scene of many important councils, opens out of
+the south gallery of the cloister. The door is Norman. The exterior,
+like that of the cloister and cathedral generally, is most striking. The
+apse and the Tailors’ chapel are particularly fine seen from the
+outside.
+
+Contented with their magnificent cathedral the people of Tarragona have
+done little to adorn their city with smaller churches. Adjacent to the
+seminary there stands the graceful little chapel of San Pablo, the
+origin of which is still a matter of conjecture. Its architectural
+features suggest the first half of the thirteenth century, with the
+exception of its west porch, which belongs to no recognised style. The
+chapel is first mentioned in a document of the year 1234.
+
+These edifices apart, the Middle Ages have done little for _Tarraco
+togata_. Its remaining monuments belong to its infancy and prime. The
+Cyclopean walls, now declared a national monument, extend from near the
+Puerta del Rosario to the crest of the hill on which the city stands,
+and thence to the eastern angle of the ancient prætorium, now converted
+into a prison. The base of this wall is formed by huge blocks of unhewn
+stones, uncemented, and with their interstices filled by smaller stones.
+The character of the work bespeaks the primitive nature of the builders.
+On this rude foundation rests the more regular work of the Roman
+conquerors. The _enceinte_ formed by these walls is of the shape of an
+irregular polygon, measuring three-quarters of a mile across, and open
+on one side. The angles are defended by square towers, and the curtains
+are pierced by gates, to some of which the name “Puerta ciclopea” is
+given. The Puerta del Rosario, called in the Middle Ages “Portal de
+Predicadors,” is about eight yards thick and is roofed by an enormous
+block of stone about 36,000 kilogrammes in weight. On the stones
+composing the Roman part of the wall, Iberian letters are traced. These
+were merely masons’ marks for the guidance of the native workmen, and
+form no words. The Torre del Arzobispo was raised in Christian times on
+the old Roman tower. The wall extending to the Torre del Capiscol is
+attributed to the Scipios, and dates in any case from their time. The
+principal Roman gate, called the Puerta del Socarro, is a noble work
+formed by three concentric arches. Passing through this we obtain a fine
+view of the strip of wall built by order of Hadrian, and may re-enter
+the city by the eighteenth-century gate of San Antonio, which pierced a
+wall built or restored by Norman adventurers in the twelfth century.
+
+Within the city itself not much remains from Roman times. The sites of
+the forum, the prætorium, and the great temples may be traced easily
+enough, and stones hewn by Roman hands and commemorating often enough
+Roman dead, are embedded in the walls of houses and churches all over
+the town. The local museum contains a few of the spoils of antiquity.
+There is a beautiful statue of Dionysus in Parian marble, and a great
+variety of votive inscriptions. For more substantial memorials of the
+Roman era we must leave the city and follow the Barcelona road some four
+or five miles. Here we reach the celebrated monument known as the Tomb
+of the Scipios, consisting of a rectangular base and an upper body, on
+one face of which are sculptured in high relief the figures of two
+warriors. The cornice is engraved with a legend in which the words
+“perpetuo remane” are alone decipherable. There is no ground whatever
+for supposing that the figures represent the brothers Scipio or that
+this monument marks their resting-place. It is more probably the
+sepulchre of some wealthy Roman settler.
+
+The Arco de Bara is one of the best preserved monuments in Spain. The
+arch itself is flanked on each side by two fluted columns of the
+Corinthian order, supporting an entablature. It is simple and majestic,
+like all the Roman works of the kind. An inscription records its
+restoration in commemoration of the pacification of Spain during the
+regency of Maria Christina and by order of Don Juan van Halen, the
+Spanish general who in 1830 assisted at the defence of Brussels against
+the Dutch.
+
+The noblest handiwork bequeathed to Cataluña by the conquerors of the
+world is, however, the Aqueduct, which may be compared favourably as
+regards preservation and solidity with the more famous work of the same
+kind at Segovia. Where it spans a valley it is composed of two series of
+arches, eleven below and twenty-five above, and rising to a height of
+217 metres. The stone of which it is built was Obtained from the caves
+of Monte Loreto, where the quarries may still be seen.
+
+Then there is Centcellas, on the banks of the little river Francoli,
+supposed to be on the site of the villa where Hadrian lodged. Part of
+the old _Thermæ_ remains--a stone chamber square without and circular
+within; while another building seems to incorporate the ruins of an
+early Christian structure, including a mosaic of the Ravenna type.
+
+
+
+
+POBLET
+
+
+About thirty-four miles from Tarragona, near the station of La Espluga,
+stands the ancient fane of Poblet, the Escorial of Aragon. It bears
+(according to tradition) the name of a hermit who in the first part of
+the twelfth century was three times captured by the Saracens and as
+often was miraculously released, whereupon the paynim king, recognising
+that he had to do with a man protected by heaven, endowed him with all
+the lands hereabouts, to be enjoyed by him and his brother hermits. In
+proof of this story, the religious triumphantly pointed to a
+venerable-looking parchment inscribed with Arabic characters, which they
+said and believed was the original deed of gift, and as no one could
+read it no one was able to throw doubt on the story. In 1496 a Moorish
+prince examined the document and contented himself with observing that
+it was not dated in the twelfth century but in the year 1217. However,
+no one paid any attention to this assertion, and the legend was repeated
+till on the dismantling of the monastery in the last century the
+document at last came under the critical eye of Don Pascual de
+Gayangos, who confirmed the Moor’s correction and pronounced the
+so-called deed simply a general permit to the monks to pass through and
+travel freely in the Moorish dominions south of the Ebro.
+
+The foundation of the abbey may now be ascribed with safety to Count
+Ramon Berenguer IV., who, having conquered the territory of Lerida,
+bestowed the lands of Poblet on the Cistercians of Fontfroide near
+Narbonne, who, to the number of twelve, took possession of the site in
+the year 1150, Don Esteban being abbot. The monastery soon rose fair and
+strong, and prospered exceedingly under the favour of the Kings of
+Aragon, who made of it their official place of sepulture. The wealth of
+the community was enormous, the power of the abbot extended over
+fifty-six villages, but from all this prosperity resulted a falling away
+from monastic simplicity, till the holy men would not sit down to table
+unless two partridges were placed on their dishes. In the seventeenth
+and eighteenth centuries, they could find no better employment for their
+wealth than in loading their beautiful abbey with the atrocious
+sculpture and ornament of the period; and then in 1835 came the
+anti-clericals and swept out the monks and their _baroque_ rubbish with
+them. What the mob spared, the collectors and villagers
+annexed--precious manuscripts, vestments, statuary, all were carted
+away; and ruinous and forlorn, as it now stands, Poblet would have
+rejoiced the heart of the author of the stern Cistercian rule.
+
+It is a vast and embattled pile that greets the eyes of the traveller,
+encircled by a crenellated wall which is pierced by a richly sculptured
+gate built in 1460 and so richly gilded a hundred years later as to
+merit the name of the Puerta Dorada. Enclosed by these outer
+fortifications is another line of wall twice as high as the first,
+which, together with its twelve towers, was built in the fourteenth
+century. To the right of the entrance and still in the outer ward we
+have the little church of San Jorge, built by Alfonso V. in honour of
+the patron saint of Aragon in 1541, and the chapel of Santa Catalina,
+believed to have formed part of the primitive building. In the outer
+ward may also be distinguished the remains of numerous other buildings,
+such as the Abbot’s house, the Hospice, and the Bridewell, reserved for
+female offenders against the Abbot’s jurisdiction.
+
+The inner ward is reached through a gatehouse of the Edwardine type,
+flanked by heavily machicolated drum-towers, and decorated with the
+escutcheons of Aragon and Castile. We approach the church, founded by
+Ramon Berenguer, but substantially the work of his son and successor.
+The ugly Græco-Roman façade marks the ancient west front, which is
+approached across an atrium called the Galilee. The church is in the
+form of an elongated Latin cross. The simplicity of the
+architecture--its absolute freedom from ornament--illustrated the early
+Cistercian ideals. The aisles are of seven bays, and the chapels are
+confined to the south aisle and apse. There were once seventeen altars
+in the church, of which only four were kept up by the monastery, the
+rest being at the charge of individuals and corporations. All these,
+including the high altar, have been stripped of their ornamentations and
+accessories, and of the once magnificent choir only a fragment of the
+screen remains. Piferrer, who saw the monastery in its prime, gives a
+detailed account of it, and enumerated the tombs it contained. He speaks
+of the imposing entrance to the royal mausoleum, between the chancel and
+the choir. On the Epistle side lay Don Alfonso of Barcelona (II. of
+Aragon), opposite him was the sarcophagus of James the Conqueror, near
+him lay Pedro the Ceremonious. In addition to these monarchs Juan I.,
+Martin, Fernando I., Alfonso V. and Juan II. of Aragon were buried here,
+with eight queens, thirty-six infantes and nine infantas. Here lies
+Carlos Prince of Viana, the illustrious scion of the house of Navarre;
+here were the last resting-places of Aurembiax, Countess of Urgel and
+the last princess of her house; here lay the proud Cardonas and the
+noble knights and ladies of the Moncada and Anglesola lines. Nearly all
+the tombs that had not already been despoiled of their carving and
+marbles have been removed to Tarragona. Of those remaining, the best
+preserved is that of the Infanta Juana, with its figures relieved
+against thick blue glass.
+
+The north side of the church abuts on the great cloister, dating in its
+greater part from the thirteenth century. The windows on the south side
+are round-headed, those on the other three sides pointed, with good
+traceries. Through a round-headed arch we enter the chapter-house,
+divided into three aisles by four pillars, so slender as in no way to
+interrupt the view of the whole. The groining springs so gracefully from
+the capitals that the pillars themselves have the appearance of shooting
+up and bending like the branches of a tree. Then there is the library
+which once contained 10,145 volumes, including 385 valuable codices, and
+250 MSS. in various styles of handwriting--forming a complete museum of
+calligraphy. This library is a noble chamber divided by four columns.
+Its walls were once hung with the portraits of the Kings of Aragon and
+their great nobles. Reminiscent of the brave days of old is the charming
+façade of the palace built by good King Martin and intended by him to
+be a retreat in his old age. He died before its completion and the work
+was abandoned.
+
+You may still traverse miles of cloister and hall at Poblet strewn with
+broken tablets, overgrown with shrubs and climbing plants. One of the
+most beautiful of the galleries is the Novices’ Dormitory, roofed in
+with timber; then there are the locutorium, the only spot where
+conversation was permitted between the recluses; the infirmary and the
+beautiful cloister of San Fernando, built in 1415 by order of the first
+king of that name, the little chapel of the saint, founded by the Count
+of Barcelona, and the royal apartments, built in 1375.
+
+
+
+
+SANTA CREUS
+
+
+Santa Creus is the sister foundation of Poblet from which it is distant
+about five leagues. It was also founded by Ramon Berenguer IV. and
+belonged to the Cistercian Order. Not so large as Poblet, this abbey of
+the Holy Crosses is equally severe and chaste, and of the two, is
+distinguished more by its artistic harmony. The church is one of the
+most finished works of the age and style. Its front is discovered
+immediately on entering the monastery, raised on a terrace above the
+long and spacious court round which are grouped the conventual
+buildings. The battlements above the façade are a recent and incongruous
+addition. The west porch is finely moulded and chiselled, and with the
+rich foliage of the capitals creates a good impression. Another door,
+symmetrical and elegant, leads into a cloister on the south side of the
+church and was at one time flanked by the statues of Don Jaime II. and
+his wife Blanca. The wall on this side bears an inscription to Bernard
+Ranc, which is assumed to be the name of the architect. The church was
+begun in the year 1174, and opened to public worship in 1211. It
+preserves its altar, on which the light falls through a rose-window in
+the apse. The principal objects of interest in the interior are the
+noble tomb of Don Pedro the Great (who defeated the French and bound
+Sicily to the throne of Aragon) and of Jaime II., who conquered Sardinia
+and harried the Moors of Granada. King Pedro’s tomb consists of a great
+porphyry urn supported by lions, which is believed to have been taken
+from the infidels; and on this rests the stone coffin carved with
+figures in high relief under pinnacled canopies. The tomb is covered by
+a beautiful stone baldachin, with three traceried circles on each side
+upheld by slender columns with elaborately carved capitals. The tomb of
+Don Jaime is on the same plan, but is further adorned by the effigies of
+the king and queen in the Cistercian habit, placed here, it seems
+likely, long after the completion of the rest of the work. The tomb was
+designed by Bertran Riquer, the architect of the royal palace of
+Barcelona.
+
+The church communicates with a spacious cloister with four sides of
+seven bays, built at the beginning of the fourteenth century by order of
+Queen Blanca. The traceries of the windows remaining here and there are
+late Gothic, and contrast oddly with the severe lines and rude capitals
+of the shafts. As at Poblet, in a corner of the cloister is a hexagonal
+chamber said to have been a lavatory. A great number of persons of
+distinction seem to have been buried in this cloister, in attendance,
+one might say, upon their lords within the church. Among these was the
+knight Queralt, who may been seen in effigy in a suit of fine mail, with
+surcoat and greaves and girt with two-handed sword. Some of the figures
+of divine persons to be seen over the tombs were evidently carved by
+late fourteenth-century sculptors.
+
+Here, as at Poblet, the Kings of Aragon had their habitations in life as
+in death, and the courts of the ruined palaces of Don Pedro and Don
+Jaime still bear some traces of the glory and culture of the greatest
+maritime power of the Mediterranean of a bygone age.
+
+
+
+
+VALLBONA
+
+
+Vallbona, the third great royal abbey of Cataluña, is situated in the
+province of Lerida, but on the borders of Tarragona, in a singularly
+wild and remote district. Like Poblet, it is named after a hermit who in
+the year 1157 founded here and at Colobres, monasteries for both sexes.
+Twenty years later, both houses were formed into a single community of
+Cistercian nuns, under the headship of Doña Oria de Ramiro. The pious
+Anglesola of Vallbona is buried before the high altar in the company of
+James the Conqueror. The church is gloomy, silent and severe. It is
+entered through a Romanesque porch in the north transept, the west front
+presenting an unbroken wall. Vallbona has also a noble cloister, with a
+fine gallery in the Pointed style; on the north and the remaining
+galleries in the Romanesque. In Piferrer’s time, pictures and monuments
+relieved the excessive severity of the royal nunnery of Aragon, but now
+there reigns a desolation and poverty which might have affrighted even
+the hermit founder.
+
+
+
+
+MONTSERRAT
+
+
+Montserrat, easily accessible from Barcelona, is one of the four or five
+renowned shrines of Christendom. The legend of its institution is one of
+the quaintest and at the same time silliest in the annals of hagiology.
+In the time, it seems, of Count Wilfred, the Henry of Barcelona, there
+dwelt on the mountain a hermit named Guarin whose sanctity was famed
+even to the ends of the earth. Church bells rang of their own accord
+when he passed, and the forces of nature were at his beck and call. This
+being so, when Richildis, the Count’s daughter (she was beautiful, of
+course), became possessed of a devil, Guarin was at once called in to
+turn him out. Such a task was a mere matter of an Ave and an invocation
+on the part of the holy man; but the devil thus incontinently expelled
+from the person of Richildis appears to have passed into the body of the
+hermit. He conceived an unlawful passion for the maiden, who remained
+with him after her cure, to learn the arts of sanctity. He succumbed to
+temptation and consummated his crime by murdering the girl, cutting off
+her head and burying her in his cave.
+
+Stricken with remorse immediately after, the erstwhile holy man hurried
+to Rome and confessed his crime. The Pope ordered him to return to
+Montserrat on his hands and knees and never to resume an erect posture
+till his pardon should be miraculously announced.
+
+So faithfully did Guarin carry out the penance imposed that he crawled
+for seven years about the mountain that he had once illumined with his
+sanctity, living on grubs and roots and becoming to all intents and
+purposes a wild animal. One day Count Wilfred, while out hunting,
+noticed this strange beast and had him taken to his stables at
+Barcelona. There Guarin abode some months, saying never a word but
+pleasing his captors by his docility. One day he was led into the castle
+to amuse the Count and his Court. But before he could perform any
+tricks, the infant son of the Count, a baby but three months old, cried
+out, “Arise Guarin, for God has pardoned you.” Whereupon the strange
+beast rose up on his hind legs, praising God, and confessing his
+enormous crimes.
+
+In these days men were very much alive, and thrilled to the passions of
+love and hate. But, touched by the miracle, the Count forgave the
+murderer of his daughter, and set out with him for Montserrat to
+disinter the body buried seven years before. But lo, when the fair form
+was revealed, it throbbed with life, and a red line only showed where
+her head had been severed from her neck.
+
+Richildis was so grateful for her restoration to life that she
+determined to devote the rest of it to the service of God. The Count
+founded a monastery for both sexes, of which his daughter was abbess and
+Guarin became a humble lay-brother.
+
+A mere fairy tale, yet it is full of what was best in the mediæval
+spirit--the conviction that no misfortune was irreparable, no crime
+unredeemable, no sinner unreclaimable, that for all men and all things
+there was indeed mercy and plentiful redemption.
+
+Upon the invasion of the Arabs in 976 the nuns abandoned their convent,
+but the monastery remained and was recognised as a regular community
+about the time of Fernando and Isabel.
+
+It is not, of course, to pray before the shrine of Guarin that pilgrims
+climb the ragged sides of the saw-edged mountain. Long before the hermit
+immortalised his name by his crime and his repentance, a miraculous
+image of the Virgin, said to have been carved by St. Luke, and brought
+to Spain by St. Peter, had been hidden, to save it from the infidels, in
+one of the caverns. Nearly two hundred years after, its whereabouts was
+revealed to some shepherds by lights and mysterious melodies. These
+manifestations were repeated every Saturday--that being the day of the
+week specially consecrated to the Virgin by the Church. The Bishop came
+over to investigate the phenomenon, and on entering the cave whence the
+sounds proceeded, they found the heavy image carved by St. Luke. So
+heavy was it that it resisted all efforts to remove it; so there it
+remained till the end of the sixteenth century, when it was found
+possible to enshrine it in the present church.
+
+Most of those who have seen the image are not favourably impressed, so
+it is worth while to quote another opinion than the present writer’s. “I
+cannot conceive [writes Mr. Herbert Vivian] that any one who has been
+privileged to behold it can deny the imposing majesty of its expression.
+It inspires awe rather than the sympathy and compassion which we are
+accustomed to associate with Our Blessed Lady. Indeed, those who change
+its vestments on holy days, say that it fills them with fear, that they
+do not dare to look it in the face. In the Virgin’s right hand is a
+globe, from which springs a fleur-de-lis. The crowns worn by her and the
+infant Christ are of prodigious valve, being of pure gold and containing
+no fewer than 3500 precious stones, many of them of exceeding size and
+purity. Like everything else at Montserrat, they are of modern origin,
+all the old valuables having been carried off by French troopers in
+1811. In front of the image are two little staircases of walnut-wood by
+which those who wish to kiss its hand may ascend and descend.”
+
+As buildings, the church and monastery of Montserrat are wholly
+destitute of interest. But they have their memories. Ignatius Loyola,
+during the process of conversion, passed long hours at the feet of the
+Virgin of Montserrat; Don John of Austria, before the altar of the
+Immaculate Conception, swore to maintain the doctrine of the Virgin’s
+freedom from original sin, against all and sundry, at the sword’s point,
+and the victory of Lepanto was gained perhaps in fulfilment of that vow.
+
+There is a monastic seminary on the mountain, also an extremely ancient
+and aristocratic foundation. The boys have some curious customs. On the
+feast of St. Nicholas, the patron of youth, they elect one of their
+number Bishop, who entertains them all to dinner and heads the visits
+which they pay to all the monks in turn.
+
+But if as a shrine Montserrat has little to attract the curious, as a
+mountain it is without rival for picturesque and strange grandeur. So
+fantastic is the conformation that in all ages it has been regarded with
+a certain superstitious awe. The caves with which it is honeycombed are
+full of mystery and fascination. They extend and ramify in all
+directions, constituting a veritable subterranean city. At all times
+they have served as asylums to the natives of the surrounding country
+when threatened by invaders. On one occasion the French discovered a
+party of peasants in such a retreat and would have attacked them had not
+one of the Catalans told them that a single explosion would bring all
+the surrounding rocks upon their heads. Whether this was true or false
+the soldiers did not care to prove, and they hastily withdrew.
+
+There are plenty of people in Cataluña still who believe in the
+wonder-working properties of the Virgin of Montserrat, and newly married
+couples come up by the funicular railway to spend a night on the
+mountain, in the hope of thereby assuring themselves of a numerous
+family.
+
+We may trace the footprints of St. Ignatius to Manresa, a name dear to
+the Jesuit in all lands, and borne by the Manchester of Cataluña. It is
+a lively, picturesque town, built on an amphitheatre of hills on the
+left bank of the Cardoner. High over the factories towers the Collegiate
+Church begun in 1328 and finished, probably, a hundred years later. It
+is one of those wide-naved churches characteristic of the principality,
+its span of nave is, in fact, greater than that of any cathedral with
+aisles, except Palma. An interesting peculiarity is the flying
+buttresses built partly in and partly outside the church. Over the first
+roof rises an impressive bell tower. The interior is disappointing. The
+side chapels are Gothic. There is some good glass in the clerestory
+windows, and the organ displays one of those Saracens’ heads we so often
+find in Catalan churches. In the archives are some interesting pictures
+by local artists, reminding one of Byzantine work, and there also is
+preserved that altar frontal which excited the fervent admiration of
+Street. In a vault beneath the presbytery are treasured the relics of
+St. Agnes and St. Maurice, translated here from Vienne on the Rhône in
+the time of Berenguer III.
+
+The fine old church of the Carmen commemorated a miracle reputed to have
+occurred in the year 1345. The town having been laid under an interdict
+by the Bishop of Vich, the innocence of the townsfolk was demonstrated
+by a light which penetrated through the windows of the church, filling
+it with radiance. But these mediæval traditions are obscured by the
+glory of St. Ignatius, whose name the citizens delight to honour. In the
+church of Santo Domingo was formerly shown a black cross which the saint
+used to bear on his shoulder while he prostrated himself before the
+altars in turn. The church of the Cueva--an odius _baroque_ work--is
+raised over the cave wherein during ten months he underwent the dolorous
+process of his spiritual regeneration. In the Jesuit College you may see
+one of his fingers, his books, and the bricks that served him as a
+pillow. There is not a spot nor a house in Manresa that the citizens
+will not fail to point out as in some way, however slight, associated
+with the immortal founder of the Society of Jesus.
+
+Not far from Manresa is the flourishing town of Tarrassa, which occupies
+the site of the old episcopal city of Egara. The primitive _arx_ or
+citadel gave place in Christian times to a cathedral which was destroyed
+by Al Mansûr, and the site is now occupied by the three interesting
+Romanesque churches of San Miguel, Santa Maria, and San Pedro.
+
+The oldest of these is undoubtedly San Miguel, which is distinguished
+from other Catalan churches by many peculiarities. The plan is
+rectangular, over the centre of the roof rises a lantern, resting on a
+quadrangle of columns. The capitals of these columns are evidently part
+of an older and different structure. Beneath the church is a crypt which
+is believed to have been the baptistery of the old Roman cathedral.
+
+Santa Maria was consecrated in 1112 by Raimundo Guillen, Bishop of
+Barcelona, and was served by Augustine canons down to 1592. It is
+contemporary with the church of San Pedro and both present an aspect of
+extreme antiquity accentuated by the Roman tablets and fragments
+incorporated with the structure. Close by are the ruins of a fortress
+and a chapel attributed by tradition to the Templars. On the other side
+of the prettily named Rio Vallparadis are to be seen the fragments of a
+tower and castle.
+
+About six miles from Manresa, on the banks of the Llobregat, is a little
+monastery of San Benito de Bages, now a private residence. “All here,”
+says Piferrer, “invites man to lift his eyes to God, and to banish the
+frivolous recollections of this world. The building’s antiquity, the
+modesty and simplicity of its plan alike contribute to still the voice
+of passions and to excite more tranquil thoughts.”
+
+The thoughts of the former occupants, however, were evidently not always
+tranquil, for the little apses opening into the transepts have been
+squared off, apparently for defensive reasons, and the tower looks as if
+it had been constructed for the same object. The church is dark and
+sombre, like a vault, and the cloister has the same funereal aspect,
+only slightly relieved by the interesting carvings of courtiers and
+warriors on the rude capitals.
+
+Piferrer states that the chapel was built in the middle of the tenth
+century and that it was consecrated in 972 in presence of Count Borrell
+and his Court by the Bishop of Vich. In the year 1067 it was
+incorporated with the Abbey of San Ponce de Tomeras near Narbonne; the
+foundation received women, who were subject, like the monks, to the rule
+of St. Benedict. At the end of the sixteenth century the community was
+united to that of Montserrat.
+
+
+
+
+CARDONA
+
+
+Cardona is a picturesque walled town on the road from Manresa to
+Solsona. It is crowned by a strong castle built by the Cordona family,
+which traces its descent from Foulques, the ancestor of the
+Plantagenets. Within the castle is the collegiate church of San Vicente,
+dedicated in the eleventh century. It is a fine example of the
+Romanesque. Its aisles are marked off from the nave by square pillars;
+the nave is broad, the aisles narrow, without chapels. A very low
+lantern rises above the crossing and the presbytery is raised by a few
+steps above the level of the nave. There is not a single moulding in the
+whole church, or any curve other than a semicircle. Of the sepulchres of
+the mighty lords of the castle only two remain. Within this fortress
+died St. Ramon Nonnat in the year 1240. The chapel dedicated to his
+memory dates from 1682.
+
+
+
+
+TORTOSA
+
+
+Tortosa, on the banks of the Ebro, close to its mouth, is the
+southernmost of the cities of Cataluña. It is an ancient place where
+Roman and Visigothic coins were struck. It fell into the hands of the
+Saracens in 716 and was reconquered in 1147 and consecrated in 1441.
+Among the architects were the two Xulbes, whose opinion was taken on the
+question of the nave at Gerona. Though disfigured by a classical façade
+the church produces a good effect. Its aisles are separated from the
+nave by twenty columns, which sweep round the east end in a graceful
+semicircle so as to form a double apse. To the nine Gothic arches of the
+chancel correspond as many apsidal chapels, whose windows overlook the
+high altar. The reredos dates from 1351. There are five chapels in each
+of the aisles. The windows are filled with transparent marble instead of
+glass.
+
+The Collegio Real of Tortosa is in the best Plateresque style. The
+cloister is formed by three tiers of galleries, the columns and
+balconies being adorned with medallions and escutcheons. The original
+building belonged till the year 1528 to the Dominicans and was then
+reconstructed by order of Carlos I. with a view to serving as a seminary
+for Moorish converts. The College is now a barracks.
+
+The Convent of Santa Clara, dating from the thirteenth century and
+restored by order of Jaime II. of Aragon, is another precious memorial
+of Tortosa’s more prosperous days.
+
+
+
+
+THE BALEARIC ISLANDS
+
+
+The Balearic archipelago no longer deserves the name of the Forgotten
+Isles bestowed upon it a dozen years ago by a French traveller. Much has
+since been written about the islands in our own and other languages, and
+yachtsmen often put in at what the Genoese Admiral classed with June,
+July and August, as one of the four best harbours in the Mediterranean.
+But the influx of tourists has not been large, and the isles run no
+immediate risk of losing their marked local characteristics. The remote
+past keeps a firm grip on Mallorca and Menorca; as in Egypt, you never
+cease to feel dead stony eyes are staring at you across
+thousand-year-long vistas. In the aisles the monuments of antiquity
+belong to the very dawn of human history, appearing almost the works of
+nature, even as those who reared them seem hardly to have emerged into
+full manhood. At every turn, as in Sardinia, you are met by the rude
+handiwork of that primitive Mediterranean race, which passed away in the
+struggle between Latins, Greeks and Semites. Every one knows now that
+the word Balearic is derived from a Greek word meaning _to throw_, and
+that it refers to the extraordinary dexterity of the natives in the use
+of the sling. This was their national weapon, their sole means of attack
+and defence. In summer, as their only clothing, each man wore three
+slings--one round his head, one round his loins, and one at his wrist.
+To train their children in its use, the mothers, we are told, would not
+let them have their bread or meat till they had brought it down from a
+bough or ledge by means of the sling.
+
+Of all their dexterity they had need when strange men with black curling
+beards and dark stern faces--men that they had never seen--came sailing
+into their harbours and tempted them down from their perches with a
+display of bright rare stuffs and gewgaws. Poor simple white savages, it
+is likely enough that they had thought themselves till then the only men
+in the world. Then came the attempts of the Phœnicians to enslave and to
+subdue them, and wildly the islanders fought for their freedom, knowing
+as little as the creatures of the jungle do of the forces arrayed
+against them. The wild birds were netted at last. In the sixth century
+before Christ, the Carthaginians were masters of the archipelago, and
+dragged the slingers off to serve in their armies. Mago, a Punic leader,
+gave his name to Puerto Mahon. Then came a time when the natives felt
+the grasp of the Semites relax. Their power had been crushed by the
+Romans and the islands enjoyed a brief interval of liberty. But in the
+year 123 _B.C._, the conquerors of Carthage remembered their neglected
+heritage, and sent Cecilius Metellas to take possession. He founded the
+cities of Palma and Pollensa, which still retain their Latin names, and
+brought with him some thousands of Italian and Spanish colonists, who
+soon tamed the wildness of the aborigines. Thence onward for centuries
+the archipelago prospered quietly, safe beneath the outspread wings of
+the Roman eagle. Upon the break-up of the empire it passed through
+various hands to the Visigoths, to be wrested from them in the eighth
+century by the Arabs. Under this new dominion the islands became a nest
+of pirates, who ultimately founded a kingdom embracing parts of the
+Spanish mainland and of Sardinia. The depredations of the Balearic Moors
+excited the anger of Christendom, and Pope Pascual II. preached a
+crusade against them. Constituting themselves the ministers of Europe’s
+vengeance, the Pisans and Catalans inflicted a severe punishment on the
+Pirates and sacked the rich city of Palma. Over a hundred years later,
+in 1227, Don Jaime I. of Aragon reduced the whole group of islands in a
+memorable campaign, and annexed them finally to Christendom. The
+conqueror constituted his new possessions into a kingdom for his second
+son and namesake, from whose grandson, Jaime II., they were taken by
+Pedro IV. in the year 1347 and incorporated with the kingdom of Aragon.
+
+But history had not yet done with the islands. The old rancour between
+the peasantry and the nobles came to a head at the beginning of the
+sixteenth century, in the war of the Germania or brotherhood. The
+viceroy took refuge in the Citadel of Ibiza, while the nobles defended
+themselves in the castle of Alcadia against the desperate attacks of the
+peasantry led by Juan Colom. The arrival of a royal squadron commanded
+by Don Juan de Valesco led to the extinction of the revolt. Ruled by
+Carthaginians, Romans, and Moors, the islands excited the cupidity of
+another race of conquerors. Seized by the English in 1708, Menorca
+remained in their possession till 1781, when it was retaken by the
+French and Spaniards. The failure to relieve the garrison cost Admiral
+Byng his life. We again took possession of the island in 1793 to
+surrender it finally to Spain at the peace of Amiens nine years later.
+
+Mallorca (it is as easy to call it by its proper name as by its variant
+Majorca) is the largest and most beautiful of the islands. Towards the
+north and south-west it presents an iron-bound wall of rock to the
+turbulent waters of the Catalan seas; on the south the plain stretches
+to the shore, and here we find the little harbour of Santa Ponza, at
+which the conqueror Jaime I. disembarked his army on September 10, 1229.
+
+Hard by is the estate of Ben Dinat, so named, it is averred, because the
+conqueror expressed in those two words his satisfaction with a meal of
+bread and garlic served him at this spot. It is more probable that the
+name is that of some long-forgotten Moor. Then comes the little harbour
+and tower of Portopi and round the next promontory the lovely bay of
+Palma, with the capital of the Balearics smiling a welcome to the
+stranger. The walls that once surrounded the city have been demolished:
+the turrets that rise above the house-tops are those of the Cathedral
+and the Exchange (Lonja). We enter the town through the Water Gate, a
+building not without majesty, and crowned by a statue of the Blessed
+Virgin. The streets, as in most Spanish towns, are narrow and shady,
+often rewarding the curiosity of the passer-by with glimpses of
+Renaissance patios, graceful balconies, and turret windows. Among the
+most interesting houses of the Butifarras (big sausages), as the
+nobility of the island used to be called, are the Casa de Vivot and the
+palace of the Counts of Montenegro. But Palma is a living city, and side
+by side with these dignified memories of the past we find handsome
+modern buildings such as the Bank of Spain and the Hall of Provincial
+Deputation. Nor does Palma want for wide breathing-spaces and
+promenades. It has the fine Paseo del Borne and the Boulevards
+constructed round the bay and on the site of the old fortifications.
+Close to the landing-stage the new-comer’s attention is first attracted
+by the Exchange or Lonja. Charles V. on visiting the island for the
+first time hastened at once to see it, eagerly demanding if it belonged
+to the Church or to the State, and was visibly relieved on hearing that
+it was a civil edifice. The Lonja is a quadrangular building, surmounted
+by a crenellated balustrade and flanked at each angle with an octagonal
+tower of six stages, one of these rising above the balustrade. The walls
+are strengthened with graceful pilasters, and pierced in their lower
+story by ogival windows with good traceries. The door is square and
+enclosed within an ogival arch. The interior forms a single great hall,
+the roof of which is supported by only four slender fluted columns, from
+which the arches spring like palm branches. This interesting building
+was designed and begun by Antonio Sagrera in the year 1426. Like the
+numerous other Spanish Lonjas, it has long been deserted by the
+mercantile community.
+
+The cathedral towers above the whole city and is one of the most
+important churches in the kingdom. The name of the architect is unknown,
+but the foundations were laid by order of Jaime the Conqueror soon after
+he had annexed the island. The plan is rectangular, the walls supported
+by massive flying buttresses, surmounted with pinnacles and turrets. The
+south front is the finest and is pierced by the beautiful Puerta del
+Mirador, in florid Gothic style, the work of Pedro Morey, who died in
+1394. The west porch is an elaborate work, finished in 1601. On the
+north side is the noble square bell-tower.
+
+The interior is remarkable for the enormous span of the nave, the widest
+in Spain. It rises to a height of 147 feet and is sustained by
+relatively slender columns. The nave terminates in the beautiful Capilla
+Real, founded in 1282, wherein is the modest tomb of the last King of
+Mallorca. The wooden gallery running round the wall is strongly
+suggestive of Saracenic influence. Opening into this chapel are the
+Capillas de Santa Eulalia, containing a Gothic altar and the tomb of a
+Bishop of Palma, and San Mateo, in which ends one of the aisles. In the
+chapel of St. Jerome is the fine tomb of the Marques de la Romana, who
+did such good service to Spain by bringing from Denmark the Spanish
+troops in Napoleon’s service. Another notable sepulchre is that of
+Bishop Gil Sancho Munoz, successor elect to Pope Benedict XIII. (1447).
+The choir is in decadent Gothic style, but the carving is very good and
+reveals imagination and fertility of resource on the part of the artist.
+The statues of St. Bruno and St. John were brought here from the
+chapter-house of Valledemosa. The old Moorish palace of Almudaina,
+adjacent to the cathedral, is the residence of the Captain-General and
+seat of the High Court. It is provided with a chapel built by Jaime II.
+
+The only other church worthy of mention at Palma is that of San
+Francisco de Asis, remarkably like the cathedral for the span of its
+nave and for the tomb of the famous Raymond Lull, Mallorca’s most
+illustrious son. This famous philosopher was born in 1235 and is said to
+have been converted from evil courses in his youth by finding that his
+mistress was devoured by cancer--such reasons for a change of life being
+frequent in the Middle Ages. He imagined himself called upon to
+overthrow the religion of Mohammed not by the old methods, but by a
+“great art” of logic which he devised. Like some liberal Catholics of
+later days, he held that the dogmas of his Church could and should be
+demonstrated by reason, and not by mere exhortations to believe. To
+combat Islam he rightly considered necessary that missionaries should
+understand the language of their adversaries. His exertions induced the
+Pope to found one or two chairs of Arabic and Syriac, and his
+philosophy, strange to say, met with no censure from ecclesiastical
+authorities. Lull was credited with immense and preternatural wisdom by
+his generation, and was popularly believed to have discovered the
+Philosopher’s Stone. He undertook several journeys to Northern Africa in
+his zeal for souls, and on the last of these visits received such severe
+injuries from a Moslem mob that he succumbed on board ship within sight
+of his native isle (1315).
+
+A picture of his funeral may be seen at the Town Hall, which is a rather
+imposing Renaissance building adorned by one of those heavy projecting
+eaves, carved and once painted, that one sees at Granada. Another house
+that should be noticed is the Casa Bonapart, said to have been founded
+by an ancestor of the Imperial family in 1411.
+
+In the suburbs of Palma is the fine old castle of Bellver, founded by
+the last King of Mallorca. It is composed of a vast keep, strengthened
+by bastions and surrounded by a moat. Connected with this stronghold by
+a bridge of two tiers is the massive Torre del Homenage. The castle has
+received many distinguished and involuntary guests. Here was confined
+Jovellanas, the able Minister of Carlos IV., and here was shot General
+Lacy for conspiring against the tyrant Fernando VII. Arago the
+Astronomer took refuge here, when the mob, suspecting that he was
+signalling to the French when he was simply making observations, sought
+his life.
+
+Seven miles from Palma is Raxa, the seat of the Conde de Montenegro, who
+has an exceedingly valuable collection of antiquities. Here may be seen
+a curious chart of the world, drawn in 1439, according to the
+instructions of Amerigo Vespucci. It is partly obliterated by the ink
+spilt over it when it was being spread out for examination by George
+Sand.
+
+That gifted Frenchwoman slayed at the suppressed Carthusian monastery of
+Valldemosa, and there she wrote the romance “Spiridion,” at which Mr.
+Titmarsh poked his fun. It is a beautiful, decayed old place, once a
+royal palace, and decorated with frescoes illustrating its history.
+
+We again come to the traces of Raymond Lull at Miramar, the beautiful
+seat of the Archduke Ludwig Salvator, who kindly placed a hospice at the
+disposal of travellers. This was originally the college established by
+the philosopher for the study of Oriental tongues. The ill-fated
+Maximilian of Mexico borrowed the name of his palace near Triente from
+this enchanting spot.
+
+In addition to the capital, Mallorca contains three or four towns of
+importance, such as Manacor, Alcudia, and Pollensa, but these present
+few features of interest. The scenery in the vale of Soller is radiant
+and smiling, the soil being of amazing fertility, such as the Barranco
+and Gorch Blau, or Blue Gorge. Between Pollensa and Soller in the heart
+of the hills is the sanctuary of Our Lady of Lluch, the origin of which
+is accounted for by a legend similar to that of Lourdes. To accommodate
+the pilgrims who flocked to the spot, a hospice was built, which in
+course of time was converted into a school of religious music. Here as
+at Miramar every stranger can have three days’ free lodging, including
+fire, light, and the indispensable oil and olives.
+
+On the other side of the island are the caves of Anta, rivalling those
+of Han and Adelsberg. “The most fantastic part of this subterranean
+region,” says Mr. Vuillier, “goes by the significant name of L’Infierno.
+It is a nightmare in stone. Tongues of petrified flame seem to lick the
+walls. An enormous lion squats in one corner, staring at unhewn tombs
+overhung by rigid cypresses. Strange forms of antediluvian monsters lurk
+half-seen in the obscurity. Many of the stalactites when rapped sharply
+with a stick emit musical notes, some like the vibration of a
+harp-string, others like the deep resonance of a church bell. These are
+in an immense hall as vast as a cathedral nave.... In silence and
+darkness, the forces of nature have for centuries been hewing and
+shaping an architecture more sublime than ever was conceived in the
+wildest dream of the Gothic craftsman.”
+
+Menorca, the second largest of the islands, is bare and bleak and flat
+round the coast, though at one point in the interior it rises to a
+height of nearly 6000 feet. Here and there are picturesque spots,
+notably the Barranco of Algendar; but speaking generally the island is
+the Holland of the Mediterranean. Cleanliness, well-being, industry and
+good conduct are the characteristics of the inhabitants, who live
+farther outside the world of romance even than most Latin people. We
+flatter ourselves of course that they learned their good qualities from
+our ancestors, when they ruled the island, and certainly there are
+frequent reminders of our influence to be traced in the daily life of
+Menorca. “Ashes to Ashes,” though seldom heard now, was in Ford’s time
+an oath or exclamation often on the lips of the natives, and children
+use English words when playing marbles, a game that we taught them among
+other perhaps less useful arts. We sent to the island a Governor Kasie,
+who made roads and built market-halls, and did all that a worthy and
+unimaginative English gentleman might feel it is his duty to do in such
+a position; but the natives do not sigh once more to be under our
+dominion, as they are sometimes polite enough to tell English folk they
+do, and a Spanish writer actually refers to our paternal government as
+the Babylonish captivity.
+
+Puerto Mahon was founded, as we have said, by the Carthaginians, and was
+appropriately enough occupied by us, the Carthaginians of later days.
+Its harbour is one of the best in the Mediterranean, and is very
+strongly fortified. Except for the forts, the town contains no public
+monuments of interest. The streets are very clean and rather quiet, and
+you remark the absence of the running water in the gutters
+characteristic of so many European towns. The streets are well paved,
+often with tombstones from the English cemetery; the dustman goes his
+rounds as he does in London, and many of the houses have English
+windows. The domestic life is held in high honour at Mahon, and the
+chief occupation and delight of the women is cleaning their houses. “It
+is an amusing spectacle” says M. Vuillier, “to see them armed with
+brooms of dwarf palm and immense pails of lime-water, gossiping along
+the walls from early morning, while they scrub and wash as if their
+lives depended upon it, fastening their brooms to long poles the better
+to reach the higher parts of the wall. Should a death occur in a house
+the walls are not whitened for a week, a fortnight or even a month,
+according to the closeness of the relationship or the degree of grief
+felt for the deceased. In rare cases the walls are not touched for six
+months.” The traveller comments on the absence of the tribe of unwelcome
+bedfellows, so persistent in their attentions in other parts of Spain.
+
+This does not sound very interesting. Mahon is not, however, wholly
+devoid of the picturesque element. The old gate of Barbarossa is named
+after that famous pirate, by whom the city was surprised and sacked in
+1536, and the fortifications still bear traces of the siege of 1781.
+Ciudadela, the old capital, at the opposite end of the island, is more
+suggestive of old times and memories. The streets are quaint and
+arcaded, and lined with fine old mansions: and there is an old palace,
+and a vast dim cathedral, which no one has ever properly explored. Ten
+minutes will be enough in which to exhaust the sights of Ciudadela, and
+you may then go and look at the Buffador, a blow-hole like those to be
+seen at Sark.
+
+The people of Menorca have long since abandoned their native
+dress--presuming that they ever had one; but M. Vuillier remarked the
+continuance of the old custom, observable in other countries, of
+strewing the path of a bridal party with obstacles and building a wall
+before the house of the bride and bridegroom, the morning after their
+marriage. We see one of the innumerable survivals here of marriage by
+capture. The people are strangely fond of the practice of vaccination,
+and will perform it on each other with the least possible excuse. In
+blood-letting they also entertain an ineradicable belief.
+
+Speaking of Alazor, a large village, Ford says: “It is worth the
+traveller’s while to go into any of the peasants’ houses and convince
+himself that in no other part of the world do the lower (_i.e._,
+working) classes live in greater comfort and even luxury. A man who has
+only a franc and a half a day as wages, and a little bit of garden, has
+a large and commodious house, well furnished, exquisitely clean, and
+always with a spare bed for the stranger. The character of the people is
+in exact harmony with their surroundings. They are polite and
+hospitable, crime is unknown, and their hygienic condition being so
+favourable they are healthy and long-lived. If is difficult to write of
+them without exaggeration and using too many terms of admiration for the
+good and wholesome life they lead.”
+
+To the economist, then, the island of Menorca must be of interest, but
+it is infinitely more so to the archæologist. From end to end it is
+strewn with the works of prehistoric man, whose record in stone is hard
+to read. These megalithic remains present a strong resemblance to the
+mirage of Sardinia and Malta, but have also local characteristics which
+have puzzled and delighted the learned. M. Cartailhac has traced the
+sites of many ancient villages. The most considerable may be seen at
+Torre d’ea Galines, south of Alazor. There, on the summit of a slight
+eminence, a vast pile of stones is all that remains of the “city” to
+which the naked aborigines fled wildly the instant a sail rose above the
+horizon. In the constant and arduous struggle waged by the present
+inhabitants with the stones and the rock, the limits of the stronghold
+have, ages ago, disappeared, and if it had an outer wall it can no
+longer be traced. The dwellings were grouped together so closely that no
+streets can be distinguished. No chariot or beast of burden could have
+been known to the citizens. They communicated with each other by
+corridors leading from cabin to cabin. Here and there the doorways
+remain intact and uphold a heavy lintel of stone.
+
+In each of these villages is to be found a single huge monument,
+composed of two blocks of stone, arranged =T=-shape. It is surrounded by a
+semicircular wall of unhewn stones, which probably once rose higher and
+higher and supported a roof of flat stones. These monuments are termed
+altars by the people of Menorca, and such they may, in fact, have been,
+but nothing definite can be said on this point.
+
+Equally uncertain are the nature and purpose of the monuments called
+talayots, a word allied to the Arabic term for watch-tower. These are
+structures of uncemented blocks of stone in the form of a tower,
+slightly conical or cylindrical, sometimes square at the base. None of
+them is wholly intact. Whether the summit was a dome or a platform we
+have no means of knowing. “I observed, however, at Torranba de Salort,”
+says M. Cartailhac, “a detail which throws some light on this point. The
+tower is among the highest at the summit and at two steps from the
+centre lies a great stone more than a metre in diameter, in the shape of
+a thick mushroom, almost circular, flat on one side and with a
+protuberance on the other. It is possible that this block once crowned
+the culminating-point of the edifice.”
+
+Among the largest talayots are those of Torre Ilafuda. They measure
+sixteen metres across the base and fourteen at the summit. The stones
+are laid horizontally and are carefully adjusted. The walls are three or
+four metres thick, and skilfully constructed. The interior usually forms
+a single chamber, and where this was large the roof was supported by a
+column formed of huge blocks of stone. The wall itself is often threaded
+by a passage to the roof or upper chamber, so narrow that it could only
+have been ascended by crawling. The entrance to the talayot is through
+a square opening large enough to permit a short man to walk through
+upright. All sorts of theories and guesses have been made as to what
+these towers originally were. Near every =T=-shaped altar one or two are
+to be found; there was always one at least on every town site. Perhaps,
+suggests our authority, they existed before all the other structures and
+were used as centres by a later population. Though they are often placed
+on eminences, it has been established that they were not fortresses; it
+can be proved more or less satisfactorily that they were not
+dwelling-places, storehouses, or tombs.
+
+The boat-shaped piles, called navetas or naves, on the other hand had
+clearly a sepulchral character. The front or prow is slightly concave.
+The entrance measures about half a metre across and three-quarters of a
+metre in height, the edges are grooved as though to admit some sort of
+door. Inside, the passage widens and conducts you to a second opening as
+narrow as the first, through which you penetrate into the mortuary
+chamber itself. Filled now with rubbish, filth and carrion, these are
+the tombs of the fathers of the Mediterranean races, whose bones are
+brought to light each time the Menorcan ploughs his stubborn soil.
+
+Stones must always have been a plague to the people of the island, and
+this, besides accounting for their selection of the sling as their
+peculiar weapon, may partially explain, as Ford reasonably remarks, the
+abundance of these monuments. “The erection of a large tumulus was not a
+piece of barbaric extravagance. It provided an unperishable monument for
+the person it was intended to honour (?) and it got rid of an immense
+mass of loose stone which greatly impeded agriculture.”
+
+“One fact,” adds this lively writer, “is very curious. The Menorcans,
+even now, are in the habit of constructing just such tumuli as the
+talayots for the use of their cattle, though of smaller stones. In the
+distance they present an appearance not at all unlike the older
+structures.”
+
+       *       *       *       *       *
+
+Ibiza, the third largest island of the group, is one of those spots
+which can afford no sort of justification for its existence. It is a
+mere backwater, a stagnant pool of humanity, interesting, though, as a
+place buried beneath prejudices and customs hundreds of years old. How
+should they be blown away in so out-of-the-way an island? The town
+stands on a fine harbour and reminds one rather of Guernsey. The
+collegiate church, formerly a cathedral, was founded by the Archbishop
+of Tarragona, in the thirteenth century, at the time the island was
+granted to him by Jaime the Conqueror. It is uninteresting, except for
+the view from the belfry. Better worth a visit is the fortified church
+of San Antonio at the other end of the island, wherein the people took
+refuge at the approach of the Corsairs. It is flanked with two massive
+towers and the apse has a parapet pierced with embrasures for guns. The
+walls are nearly eight feet thick, and the doorway is protected by a
+machicolation.
+
+There is little else to be seen at Ibiza during the short time the
+traveller will be disposed to stay there, but M. Vuillier, who lingered
+there longer than he had intended, is able to tell us much that is
+interesting about the people and their customs. The islanders are a
+savage primitive stock. The recognised form of salutation between man
+and maid is for the former to hurry after the latter and without any
+warning discharge his gun into the ground at her feet. After spending
+the evening at her house, he fires at the ceiling, so that it should be
+easy to tell at a glance on going into a house for the first time if the
+daughters have been much sought after. The men do not confine their
+shooting to this sort of practice, however; duels, assassinations, and
+vendettas are frequent, and the feuds partake of the mysterious brutal
+character of those of Kentucky and Tennessee. In such a country animals
+fare badly, and one is not surprised to learn that throwing stones at a
+live cock is one of the favourite pastimes. When the youths come
+a-courting, each sits with the girl for a few minutes in turn and if he
+overstays the allotted period is punished by the others with the knife
+or pistol. Abduction is the rule rather than the exception; but for all
+the anxiety shown to possess them, the women have a wretched time, being
+hardly allowed to stir out of their dingy poverty-stricken cabins.
+Altogether it must be as difficult to make yourself happy at Ibiza as at
+any spot on or off the planet.
+
+Of the remaining islands of the group, only one deserves mention and
+that only for its sad memories. This is Cabrera. It is little better
+than a bare rock, incapable of affording subsistence to more perhaps
+than two or three score of men, yet here during the Peninsular War the
+Spaniards were thoughtless enough to confine 5500 French soldiers, the
+victims of Dupont’s surrender at Bailen. Their sufferings were more
+severe than those of many a shipwrecked mariner. Each man was allowed
+only 24 ounces of bread and a few beans every four days. There was but
+one spring in the island and the thirst-maddened men would fight each
+other desperately to get a drink from this. Murder was common, and in
+one instance a man was detected in the act of preparing a meal from the
+remains of a comrade. It is touching to relate that for many months the
+men made a pet of a donkey they found wandering on the island, and it
+was not till the boat which brought them their miserable ration was long
+overdue that the poor famished wretches could find it in their hearts to
+kill and eat their only four-footed companion. As time went on, the
+captives made some attempt to cultivate their island, and their lot
+greatly improved, as the Spaniards continued to send the same rations,
+though their number was now reduced by two-fifths. Finally, in 1814, the
+last survivors were taken off by a French transport. The bones of those
+who died on the island were interred by the crew of a French warship and
+a monument was erected over their remains.
+
+[Illustration: PLATE 1
+
+GENERAL VIEW OF BARCELONA]
+
+[Illustration: PLATE 2
+
+GENERAL VIEW OF BARCELONA]
+
+[Illustration: PLATE 3
+
+BARCELONA: VIEW FROM THE FUNICULAR RAILWAY STATION]
+
+[Illustration: PLATE 4
+
+BARCELONA: PANORAMA FROM MONJUICH]
+
+[Illustration: PLATE 5
+
+BARCELONA: PANORAMA FROM MONJUICH]
+
+[Illustration: PLATE 6
+
+BARCELONA: PANORAMA FROM MONJUICH]
+
+[Illustration: PLATE 7
+
+BARCELONA: THE DOCKS]
+
+[Illustration: PLATE 8
+
+BARCELONA: GENERAL VIEW OF THE PORT]
+
+[Illustration: PLATE 9
+
+BARCELONA: DETAIL OF THE PORT]
+
+[Illustration: PLATE 10
+
+BARCELONA: VIEW FROM MIRAMAR]
+
+[Illustration: PLATE 11
+
+BARCELONA: RAMBLA DEL CENTRO]
+
+[Illustration: PLATE 12
+
+BARCELONA: RAMBLA DEL CENTRO]
+
+[Illustration: PLATE 13
+
+BARCELONA: RAMBLA DE LAS FLÓRES]
+
+[Illustration: PLATE 14
+
+BARCELONA: RAMBLA DE LAS FLÓRES]
+
+[Illustration: PLATE 15
+
+BARCELONA: PASEO DE COLÓN]
+
+[Illustration: PLATE 16
+
+BARCELONA: PASEO DE COLÓN AND HOTEL]
+
+[Illustration: PLATE 17
+
+BARCELONA: PASEO DE COLÓN AND STATUE OF LÓPEZ]
+
+[Illustration: PLATE 18
+
+BARCELONA: RAMBLA DE LOS ESTUDIANTES]
+
+[Illustration: PLATE 19
+
+BARCELONA: PASEO DE GRACIA]
+
+[Illustration: PLATE 20
+
+BARCELONA: PASEO DE GRACIA]
+
+[Illustration: PLATE 21
+
+BARCELONA: RAMBLA DE CATALUÑA]
+
+[Illustration: PLATE 22
+
+BARCELONA: PLAZA DE CATALUÑA]
+
+[Illustration: PLATE 23
+
+BARCELONA: RAMBLA DE SANTA MONICA AND THE BANK]
+
+[Illustration: PLATE 24
+
+BARCELONA: LA GRAN VIA AND STATUE OF GÜELL Y FERRER]
+
+[Illustration: PLATE 25
+
+BARCELONA: PLAZA DE CATALUÑA]
+
+[Illustration: PLATE 26
+
+BARCELONA: PLAZA DE CATALUÑA]
+
+[Illustration: PLATE 27
+
+BARCELONA: PLAZA DE LA PAZ]
+
+[Illustration: PLATE 28
+
+BARCELONA: PLAZA DEL PALACIO]
+
+[Illustration: PLATE 29
+
+BARCELONA: PLAZA DEL PALACIO]
+
+[Illustration: PLATE 30
+
+BARCELONA: PLAZA REAL]
+
+[Illustration: PLATE 31
+
+BARCELONA: PLAZA DEL REY]
+
+[Illustration: PLATE 32
+
+BARCELONA: PLAZA ANTONIO LOPEZ]
+
+[Illustration: PLATE 33
+
+BARCELONA: CALLE DE FERDINAND VII.]
+
+[Illustration: PLATE 34
+
+BARCELONA: CALLE DE BALMES]
+
+[Illustration: PLATE 35
+
+BARCELONA: CALLE DE ARAGÓN]
+
+[Illustration: PLATE 36
+
+BARCELONA: GÜELL PARK]
+
+[Illustration: PLATE 37
+
+BARCELONA: ENTRANCE TO THE GÜELL PARK]
+
+[Illustration: PLATE 38
+
+BARCELONA: ENTRANCE TO THE PARK]
+
+[Illustration: PLATE 39
+
+BARCELONA: LAKE IN THE PARK]
+
+[Illustration: PLATE 40
+
+BARCELONA: THE LAKE IN THE PARK]
+
+[Illustration: PLATE 41
+
+BARCELONA: THE “CASCADA” IN THE PARK]
+
+[Illustration: PLATE 42
+
+BARCELONA PARK: DETAILS OF THE “CASCADA”]
+
+[Illustration: PLATE 43
+
+BARCELONA: FOUNTAIN IN THE PARK]
+
+[Illustration: PLATE 44
+
+BARCELONA: THE CATHEDRAL]
+
+[Illustration: PLATE 45
+
+BARCELONA: THE CATHEDRAL]
+
+[Illustration: PLATE 46
+
+BARCELONA CATHEDRAL: PRINCIPAL ENTRANCE]
+
+[Illustration: PLATE 47
+
+BARCELONA CATHEDRAL: RIGHT-HAND SIDE DOOR]
+
+[Illustration: PLATE 48
+
+BARCELONA CATHEDRAL: DOOR OF THE PIEDAD]
+
+[Illustration: PLATE 49
+
+BARCELONA CATHEDRAL: DOOR OF SANTA EULALIA]
+
+[Illustration: PLATE 50
+
+BARCELONA CATHEDRAL: EXTERIOR DOOR OF SANTA LUCIA]
+
+[Illustration: PLATE 51
+
+BARCELONA CATHEDRAL: INTERIOR DOOR OF SANTA LUCIA AND SEPULCHRE OF
+MOSSEN BORRA]
+
+[Illustration: PLATE 52
+
+BARCELONA: INTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 53
+
+BARCELONA: INTERIOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 54
+
+BARCELONA CATHEDRAL: DETAIL OF THE CHOIR]
+
+[Illustration: PLATE 55
+
+BARCELONA CATHEDRAL: THE HIGH ALTAR]
+
+[Illustration: PLATE 56
+
+BARCELONA: THE ARCHIVE OF THE CATHEDRAL]
+
+[Illustration: PLATE 57
+
+BARCELONA CATHEDRAL: CLOISTERS AND PRINCIPAL INTERIOR DOOR]
+
+[Illustration: PLATE 58
+
+BARCELONA: CHAPEL IN THE CLOISTER OF THE CATHEDRAL]
+
+[Illustration: PLATE 59
+
+BARCELONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 60
+
+BARCELONA: CLOISTERS AND DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 61
+
+BARCELONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 62
+
+BARCELONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 63
+
+BARCELONA: CHAPEL IN THE CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 64
+
+BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS]
+
+[Illustration: PLATE 65
+
+BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS]
+
+[Illustration: PLATE 66
+
+BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 67
+
+BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 68
+
+BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS]
+
+[Illustration: PLATE 69
+
+BARCELONA CATHEDRAL: IRON GRATING IN THE CLOISTERS]
+
+[Illustration: PLATE 70
+
+BARCELONA CATHEDRAL: GRATING IN THE CLOISTERS]
+
+[Illustration: PLATE 71
+
+BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS]
+
+[Illustration: PLATE 72
+
+BARCELONA: SANTA MARIA DEL MAR]
+
+[Illustration: PLATE 73
+
+BARCELONA: CHURCH OF SANTA MARIA DEL MAR]
+
+[Illustration: PLATE 74
+
+BARCELONA: CHURCH OF SANTA MARIA DEL MAR. GATE OF THE IMMACULADA]
+
+[Illustration: PLATE 75
+
+BARCELONA: CHURCH OF SANTA MARIA DEL MAR. DETAIL OF LEFT DOOR]
+
+[Illustration: PLATE 76
+
+BARCELONA: DETAIL OF THE DOOR OF THE CHURCH OF SANTA MARIA DEL MAR]
+
+[Illustration: PLATE 77
+
+BARCELONA: CHURCH OF SANTA MARIA DEL PINO]
+
+[Illustration: PLATE 78
+
+BARCELONA: BYZANTINE DOORWAY IN THE CHURCH OF SAN PABLO]
+
+[Illustration: PLATE 79
+
+BARCELONA: CLOISTERS OF SAN PABLO]
+
+[Illustration: PLATE 80
+
+BARCELONA: CLOISTERS OF SAN PABLO]
+
+[Illustration: PLATE 81
+
+BARCELONA: FAÇADE OF THE CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 82
+
+BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 83
+
+BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA]
+
+[Illustration: PLATE 84
+
+BARCELONA: CHURCH OF THE SAGRADA FAMILIA]
+
+[Illustration: PLATE 85
+
+BARCELONA: CHURCH OF LAS SALESAS]
+
+[Illustration: PLATE 86
+
+BARCELONA: CHURCH OF LAS SALESAS]
+
+[Illustration: PLATE 87
+
+BARCELONA: CHURCH OF THE CONCEPTION]
+
+[Illustration: PLATE 88
+
+BARCELONA: CHURCH OF SANTA AGUEDA]
+
+[Illustration: PLATE 89
+
+BARCELONA: THE TOWN HALL]
+
+[Illustration: PLATE 90
+
+BARCELONA: THE TOWN HALL]
+
+[Illustration: PLATE 91
+
+BARCELONA: OLD FAÇADE OF THE TOWN HALL]
+
+[Illustration: PLATE 92
+
+BARCELONA: EXTERIOR DETAIL OF THE TOWN HALL]
+
+[Illustration: PLATE 93
+
+BARCELONA: CHAPEL OF SAN JORGE IN THE TOWN HALL]
+
+[Illustration: PLATE 94
+
+BARCELONA: COURTYARD OF THE TOWN HALL]
+
+[Illustration: PLATE 95
+
+BARCELONA: ENTRANCE TO THE COURTYARD OF THE AUDIENCIA]
+
+[Illustration: PLATE 96
+
+BARCELONA: UPPER PART OF THE COURTYARD OF THE TOWN HALL]
+
+[Illustration: PLATE 97
+
+BARCELONA: THE UNIVERSITY]
+
+[Illustration: PLATE 98
+
+BARCELONA: CLOISTERS OF THE UNIVERSITY]
+
+[Illustration: PLATE 99
+
+BARCELONA: CLOISTERS OF THE UNIVERSITY, UPPER PART]
+
+[Illustration: PLATE 100
+
+BARCELONA: PALACIO DE JUSTICIA]
+
+[Illustration: PLATE 101
+
+BARCELONA: DIPUTACION PROVINCIAL]
+
+[Illustration: PLATE 102
+
+BARCELONA: DIPUTACION PROVINCIAL]
+
+[Illustration: PLATE 103
+
+BARCELONA: THE EXCHANGE]
+
+[Illustration: PLATE 104
+
+BARCELONA: THE CUSTOM HOUSE]
+
+[Illustration: PLATE 105
+
+BARCELONA: CLINICAL HOSPITAL]
+
+[Illustration: PLATE 106
+
+BARCELONA: MUNICIPAL SCHOOL OF MUSIC]
+
+[Illustration: PLATE 107
+
+BARCELONA: CATALANA DEL GAS]
+
+[Illustration: PLATE 108
+
+BARCELONA: LA MAISON DORÉE]
+
+[Illustration: PLATE 109
+
+BARCELONA: CASA DE LA CANONGIA]
+
+[Illustration: PLATE 110
+
+BARCELONA: PRIVATE HOUSE OF THE EIGHTEENTH CENTURY]
+
+[Illustration: PLATE 111
+
+BARCELONA: A SHOP IN THE CALLE FERNANDO]
+
+[Illustration: PLATE 112
+
+BARCELONA: NEW BUILDING IN THE PASEO DE GRACIA]
+
+[Illustration: PLATE 113
+
+BARCELONA: HOUSE OF THE SHOEMAKERS]
+
+[Illustration: PLATE 114
+
+BARCELONA: HOUSE IN THE CALLE DE CASPE]
+
+[Illustration: PLATE 115
+
+BARCELONA: ARCO DE TRIUNFO]
+
+[Illustration: PLATE 116
+
+BARCELONA: TEATRO PRINCIPAL]
+
+[Illustration: PLATE 117
+
+BARCELONA: OLD TOWERS IN THE PLAZA NUEVA]
+
+[Illustration: PLATE 118
+
+BARCELONA: TOWER OF SANTA AGUEDA]
+
+[Illustration: PLATE 119
+
+BARCELONA: CONVENT OF SANTA CLARA. OLD PALACE OF THE KINGS OF ARAGON]
+
+[Illustration: PLATE 120
+
+BARCELONA: APEADERO DE LA CALLE DE ARAGON]
+
+[Illustration: PLATE 121
+
+BARCELONA: HOTEL COLÓN]
+
+[Illustration: PLATE 122
+
+BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA]
+
+[Illustration: PLATE 123
+
+BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA]
+
+[Illustration: PLATE 124
+
+BARCELONA: FRONTÓN]
+
+[Illustration: PLATE 125
+
+BARCELONA: THE BULL-RING]
+
+[Illustration: PLATE 126
+
+BARCELONA: MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 127
+
+BARCELONA: MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 128
+
+BARCELONA: DETAIL OF THE MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 129
+
+BARCELONA: MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 130
+
+BARCELONA: MONUMENT TO GÜELL]
+
+[Illustration: PLATE 131
+
+BARCELONA: FOUNTAIN IN THE PLAZA DE PALACIO]
+
+[Illustration: PLATE 132
+
+BARCELONA: STATUE OF GENERAL PRIM]
+
+[Illustration: PLATE 133
+
+BARCELONA: RAMBLA DE CATALUÑA, MONUMENT TO CLAVÉ]
+
+[Illustration: PLATE 134
+
+BARCELONA: STATUE OF LOPEZ, AND PASEO DE COLÓN]
+
+[Illustration: PLATE 135
+
+BARCELONA: PLAZA DEL DUQUE DE MEDINACELLI]
+
+[Illustration: PLATE 136
+
+BARCELONA: MONUMENT TO RUIS AND TOULET]
+
+[Illustration: PLATE 137
+
+BARCELONA: VIEW OF TIBIDABO]
+
+[Illustration: PLATE 138
+
+BARCELONA: FUNICULAR RAILWAY STATION, TIBIDABO]
+
+[Illustration: PLATE 139
+
+BARCELONA: TIBIDABO STATION AND CASA ARNUS]
+
+[Illustration: PLATE 140
+
+BARCELONA: THE DEVIL’S BRIDGE AT MARTORELL]
+
+[Illustration: PLATE 141
+
+BARCELONA: INTERIOR COURT OF THE CONVENT OF MONTESION]
+
+[Illustration: PLATE 142
+
+BARCELONA: EXTERIOR OF THE CONVENT OF MONTESION]
+
+[Illustration: PLATE 143
+
+BARCELONA: CONVENT OF MONTESION CLOISTERS]
+
+[Illustration: PLATE 144
+
+MONASTERY OF PEDRALVES, NEAR BARCELONA]
+
+[Illustration: PLATE 145
+
+BARCELONA: RAMBLA DE CANALETAS DURING THE FÊTES OF 1888]
+
+[Illustration: PLATE 146
+
+BARCELONA: THE FÊTES OF 1888. INAUGURATION OF THE MONUMENT TO COLUMBUS]
+
+[Illustration: PLATE 147
+
+BARCELONA: EXHIBITION OF 1888. H.M. THE QUEEN LEAVING THE EXHIBITION]
+
+[Illustration: PLATE 148
+
+BARCELONA: EXHIBITION OF 1888. PALACE OF BEAUX-ARTS]
+
+[Illustration: PLATE 149
+
+GENERAL VIEW OF TARRAGONA]
+
+[Illustration: PLATE 150
+
+TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING SOUTH]
+
+[Illustration: PLATE 151
+
+TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING EAST]
+
+[Illustration: PLATE 152
+
+TARRAGONA: GENERAL VIEW]
+
+[Illustration: PLATE 153
+
+TARRAGONA: GENERAL VIEW FROM THE PIER]
+
+[Illustration: PLATE 154
+
+TARRAGONA: PANORAMIC VIEW]
+
+[Illustration: PLATE 155
+
+TARRAGONA: VIEW OF THE PORT]
+
+[Illustration: PLATE 156
+
+TARRAGONA: VIEW OF THE HARBOUR FROM THE TOWN]
+
+[Illustration: PLATE 157
+
+TARRAGONA: GENERAL VIEW OF THE CATHEDRAL]
+
+[Illustration: PLATE 158
+
+TARRAGONA: FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 159
+
+TARRAGONA: FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 160
+
+TARRAGONA: TOWER AND SIDE OF THE CATHEDRAL]
+
+[Illustration: PLATE 161
+
+TARRAGONA: FAÇADE OF THE CATHEDRAL]
+
+[Illustration: PLATE 162
+
+TARRAGONA CATHEDRAL: CENTRE OF THE PORTAL]
+
+[Illustration: PLATE 163
+
+TARRAGONA: LEFT-HAND SIDE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 164
+
+TARRAGONA CATHEDRAL: STATUES OF THE PORTICO]
+
+[Illustration: PLATE 165
+
+TARRAGONA CATHEDRAL: DETAIL OF THE PORTICO]
+
+[Illustration: PLATE 166
+
+TARRAGONA: BYZANTINE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 167
+
+TARRAGONA: RIGHT-HAND SIDE DOOR OF THE CATHEDRAL]
+
+[Illustration: PLATE 168
+
+TARRAGONA CATHEDRAL: THE PRINCIPAL NAVE]
+
+[Illustration: PLATE 169
+
+TARRAGONA CATHEDRAL: TOMB OF JAIME DE ARAGON]
+
+[Illustration: PLATE 170
+
+TARRAGONA: CLOISTERS OF THE CATHEDRAL]
+
+[Illustration: PLATE 171
+
+TARRAGONA: DOOR OF THE CHAPEL OF SAN PABLO]
+
+[Illustration: PLATE 172
+
+TARRAGONA: LA MURALLA CICLOPEA]
+
+[Illustration: PLATE 173
+
+TARRAGONA: PUERTA DE SAN ANTONIO AND ROMAN WALLS]
+
+[Illustration: PLATE 174
+
+TARRAGONA: ROMAN WALLS AND TOWER]
+
+[Illustration: PLATE 175
+
+TARRAGONA: TOWER OF THE SCIPIONES]
+
+[Illustration: PLATE 176
+
+TARRAGONA: GATE OF SAN ANTONIO AND THE ROMAN WALL]
+
+[Illustration: PLATE 177
+
+TARRAGONA: PALACE OF PILATOS, NOW THE PRISON]
+
+[Illustration: PLATE 178
+
+TARRAGONA: LA PORTELLA, A CYCLOPEAN DOORWAY]
+
+[Illustration: PLATE 179
+
+TARRAGONA: A CYCLOPEAN DOORWAY]
+
+[Illustration: PLATE 180
+
+TARRAGONA: A ROMAN HOUSE]
+
+[Illustration: PLATE 181
+
+TARRAGONA: ARCO DE BARÁ]
+
+[Illustration: PLATE 182
+
+TARRAGONA: THE ROMAN AQUEDUCT]
+
+[Illustration: PLATE 183
+
+TARRAGONA: THE ROMAN AQUEDUCT]
+
+[Illustration: PLATE 184
+
+TARRAGONA: THE SEMINARY]
+
+[Illustration: PLATE 185
+
+TARRAGONA: CROSS OF SAN ANTONIO
+
+(SIXTEENTH CENTURY)]
+
+[Illustration: PLATE 186
+
+TARRAGONA: ANCIENT ROMAN CONVENT]
+
+[Illustration: PLATE 187
+
+POBLET (TARRAGONA): GENERAL VIEW OF THE MONASTERY]
+
+[Illustration: PLATE 188
+
+POBLET (TARRAGONA): CHURCH OF THE MONASTERY]
+
+[Illustration: PLATE 189
+
+POBLET (TARRAGONA): DOOR OF THE MONASTERY]
+
+[Illustration: PLATE 190
+
+POBLET (TARRAGONA): CHAPEL OF SAN JORGE]
+
+[Illustration: PLATE 191
+
+POBLET (TARRAGONA): TEMPLE IN THE CLOISTERS]
+
+[Illustration: PLATE 192
+
+POBLET (TARRAGONA): CLOISTERS AND PALACE OF KING MARTIN]
+
+[Illustration: PLATE 193
+
+POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS]
+
+[Illustration: PLATE 194
+
+POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS]
+
+[Illustration: PLATE 195
+
+SANTA CREUS (TARRAGONA): GENERAL VIEW OF THE CHURCH OF THE MONASTERY]
+
+[Illustration: PLATE 196
+
+SANTA CREUS (TARRAGONA): DOOR OF THE CLOISTERS]
+
+[Illustration: PLATE 197
+
+SANTA CREUS (TARRAGONA): INTERIOR OF THE CLOISTERS]
+
+[Illustration: PLATE 198
+
+SANTA CREUS (TARRAGONA): INTERIOR SIDE VIEW OF THE CLOISTERS]
+
+[Illustration: PLATE 199
+
+MONTSERRAT: VIEW OF THE MONASTERY]
+
+[Illustration: PLATE 200
+
+MONASTERY OF MONTSERRAT]
+
+[Illustration: PLATE 201
+
+VIEW OF THE MONASTERY OF MONTSERRAT, TAKEN FROM ST. MICHAEL]
+
+[Illustration: PLATE 202
+
+MONTSERRAT: GENERAL VIEW OF MONASTERY FROM THE SOUTH]
+
+[Illustration: PLATE 203
+
+MONTSERRAT: VIEW OF THE MONASTERY FROM THE SOUTH]
+
+[Illustration: PLATE 204
+
+MONTSERRAT: GENERAL VIEW]
+
+[Illustration: PLATE 205
+
+MONTSERRAT: VIEW OF THE MONASTERY FROM THE WEST]
+
+[Illustration: PLATE 206
+
+MONTSERRAT: THE MONASTERY]
+
+[Illustration: PLATE 207
+
+MONTSERRAT: GROTTO OF THE VIRGIN]
+
+[Illustration: PLATE 208
+
+MONTSERRAT: THE VIRGIN’S CAVE]
+
+[Illustration: PLATE 209
+
+MONTSERRAT: VIEW FROM THE GROTTO OF THE VIRGIN]
+
+[Illustration: PLATE 210
+
+MONTSERRAT: THE CAVE OF JUAN GUARIN THE HERMIT]
+
+[Illustration: PLATE 211
+
+MONTSERRAT: REMAINS OF THE ANCIENT MONASTERY]
+
+[Illustration: PLATE 212
+
+MONTSERRAT: DOOR OF THE CHURCH]
+
+[Illustration: PLATE 213
+
+MONTSERRAT: INTERIOR OF THE CHURCH]
+
+[Illustration: PLATE 214
+
+MONTSERRAT: VIEW OF THE PEAKS]
+
+[Illustration: PLATE 215
+
+MONTSERRAT: THE DEVIL’S ROCK]
+
+[Illustration: PLATE 216
+
+MONTSERRAT: MIRANDA PEAK]
+
+[Illustration: PLATE 217
+
+VIEW OF MONTSERRAT, TAKEN FROM MONISTOL STATION]
+
+[Illustration: PLATE 218
+
+VIEW OF MONISTOL, TAKEN FROM MONTSERRAT]
+
+[Illustration: PLATE 219
+
+TORTOSA: GENERAL VIEW]
+
+[Illustration: PLATE 220
+
+TORTOSA: COURTYARD IN THE INSTITUTE]
+
+[Illustration: PLATE 221
+
+THE COURT, SAN FRANCISCO, PALMA, MALLORCA
+
+GRAN HOTEL, PALMA, MALLORCA]
+
+[Illustration: PLATE 222
+
+PALACE OF THE ALMUDAINA, PALMA, MALLORCA]
+
+[Illustration: PLATE 223
+
+WINDMILL AND ELECTRICAL WORKS, PALMA, MALLORCA]
+
+[Illustration: PLATE 224
+
+VIEW OF THE “REAL CLUB DE REGATAS,” PALMA, MALLORCA]
+
+[Illustration: PLATE 225
+
+MARKET AND CHURCH OF SAN NICOLAS, PALMA, MALLORCA
+
+SAN FRANCISCO, PALMA, MALLORCA]
+
+[Illustration: PLATE 226
+
+VIEW FROM THE HARBOUR, PALMA, MALLORCA]
+
+[Illustration: PLATE 227
+
+VIEW OF THE BAY, PALMA, MALLORCA]
+
+[Illustration: PLATE 228
+
+THE ALMUDAINA AND CATHEDRAL, PALMA, MALLORCA]
+
+[Illustration: PLATE 229
+
+PUERTA DE SANTA MARGARITA, PALMA, MALLORCA
+
+THE CATHEDRAL, PALMA, MALLORCA]
+
+[Illustration: PLATE 230
+
+PASEO DEL BORNE, PALMA, MALLORCA
+
+ARABIAN BATHS, PALMA, MALLORCA]
+
+[Illustration: PLATE 231
+
+VIEW OF THE GORCH BLAU, MALLORCA
+
+THE GORCH BLAU, MALLORCA]
+
+[Illustration: PLATE 232
+
+INTERIOR OF SAN FRANCISCO, PALMA, MALLORCA]
+
+[Illustration: PLATE 233
+
+ARAB BATHS, PALMA, MALLORCA]
+
+[Illustration: PLATE 234
+
+THE QUAY, PALMA, MALLORCA]
+
+[Illustration: PLATE 235
+
+MILLS, PALMA, MALLORCA]
+
+[Illustration: PLATE 236
+
+THE RIVER, SOLLER, MALLORCA]
+
+[Illustration: PLATE 237
+
+GENERAL VIEW OF ALCUDIA, MALLORCA]
+
+[Illustration: PLATE 238
+
+THE CATHEDRAL, PALMA, MALLORCA
+
+THE CHURCH OF THE MONASTERY, LLUCH, MALLORCA]
+
+[Illustration: PLATE 239
+
+LA CARTUJA, VALLDEMOSA, MALLORCA
+
+PUERTA DEL MUELLE, ALCUDIA, MALLORCA]
+
+[Illustration: PLATE 240
+
+INTERIOR OF THE CHURCH, LLUCH, MALLORCA]
+
+[Illustration: PLATE 241
+
+TRANSPORT OF MUSTS, BALEARIC ISLANDS]
+
+[Illustration: PLATE 242
+
+GENERAL VIEW OF DEYA, MALLORCA]
+
+[Illustration: PLATE 243
+
+CASTLE OF BELLVER, MALLORCA]
+
+[Illustration: PLATE 244
+
+GENERAL VIEW OF SAN ANTONIO (PITYUSAE ISLES)]
+
+[Illustration: PLATE 245
+
+RUINS OF THE TORRE D’EA GALINES, ALAZOR, MENORCA]
+
+[Illustration: PLATE 246
+
+VILLA CARLOS, MAHON, MENORCA
+
+VIEW OF THE PORT, MAHON, MENORCA]
+
+[Illustration: PLATE 247
+
+THE HARBOUR, MAHON, MENORCA
+
+A VIEW IN THE TOWN, MAHON, MENORCA]
+
+[Illustration: PLATE 248
+
+THE QUAY, MAHON, MENORCA]
+
+[Illustration: PLATE 249
+
+PASEO DEL home, CIUDADELA, MENORCA]
+
+[Illustration: PLATE 250
+
+VIEW OF THE PORT, MAHON, MENORCA]
+
+[Illustration: PLATE 251
+
+THE PORT AND TOWN, CIUDADELA, MENORCA]
+
+[Illustration: PLATE 252
+
+THRESHING, SAN ANTONIO (PITYUSAE ISLES)
+
+A STREET IN ALGENDAR, FERRERIAS, MENORCA]
+
+[Illustration: PLATE 253
+
+A VIEW SHOWING THE ARABIAN TOWERS, IBIZA (PITYUSAE ISLES)]
+
+[Illustration: PLATE 254
+
+RIVER PAREYS]
+
+[Illustration: PLATE 255
+
+PORTAL OF D’ALT OR D’EN SERVERA, MAHON, MENORCA]
+
+[Illustration: PLATE 256
+
+MONUMENT TO THE FRENCH PRISONERS WHO DIED IN 1808, ISLAND OF CABRERA,
+MENORCA]
+
+*** END OF THE PROJECT GUTENBERG EBOOK CATALONIA & THE BALEARIC ISLANDS ***
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+<title>
+  The Project Gutenberg eBook of Catalonia and the
+Balearic Isles, by Albert F. Calvert.
+</title>
+<style type="text/css">
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+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Catalonia & The Balearic Islands, by Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
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+country where you are located before using this eBook.
+</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Catalonia & The Balearic Islands</div>
+
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Albert F. Calvert</div>
+
+<div style='display:block; margin:1em 0'>Release Date: March 25, 2021 [eBook #64923]</div>
+
+<div style='display:block; margin:1em 0'>Language: English</div>
+
+<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
+
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div>
+
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CATALONIA & THE BALEARIC ISLANDS ***</div>
+<hr class="full" />
+
+<div class="figcenter">
+<a href="images/cover.jpg">
+<img src="images/cover.jpg" height="550" alt="[The image
+of the book-cover is unavailable.]" /></a>
+</div>
+
+<table border="0" cellpadding="0" cellspacing="0" summary=""
+style="border: 2px black solid;margin:auto auto;max-width:50%;
+padding:1%;">
+<tr><td>
+
+<p class="c"><a href="#CONTENTS">Contents.</a></p>
+<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
+clicking on the image will bring up a larger version.)</span></p>
+
+<p class="c">(etext transcriber's note)</p></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p>
+
+<p class="c">THE SPANISH SERIES<br /><br /><br />
+C A T A L O N I A<br />
+&amp; THE BALEARIC ISLES
+<span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span></p>
+
+<div class="bxx">
+<p class="c">THE SPANISH SERIES<br /><br />
+<small><i>EDITED BY ALBERT F. CALVERT</i></small></p>
+
+<table summary="">
+<tr><td>
+<span class="smcap">Goya</span><br />
+<span class="smcap">Toledo</span><br />
+<span class="smcap">Madrid</span><br />
+<span class="smcap">Seville</span><br />
+<span class="smcap">Murillo</span><br />
+<span class="smcap">Cordova</span><br />
+<span class="smcap">El Greco</span><br />
+<span class="smcap">Velazquez</span><br />
+<span class="smcap">The Prado</span><br />
+<span class="smcap">The Escorial</span><br />
+<span class="smcap">Royal Palaces of Spain</span><br />
+<span class="smcap">Granada and Alhambra</span><br />
+<span class="smcap">Spanish Arms and Armour</span><br />
+<span class="smcap">Leon, Burgos and Salamanca</span><br />
+<span class="smcap">Valladolid, Oviedo, Segovia</span><br />
+<span class="smcap">&nbsp; &nbsp; Zamora, Avila and Zaragoza</span><br />
+</td></tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span></p>
+
+<h1><span class="redd">CATALONIA</span></h1>
+
+<div class="ptt"><div class="pttt"><big>
+&amp;&nbsp;  THE &nbsp; BALEARIC&nbsp;  ISLES</big><br />
+AN HISTORICAL AND DESCRIP-<br />
+TIVE
+&nbsp; ACCOUNT &nbsp; BY &nbsp; ALBERT<br />
+F. CALVERT, WITH &nbsp; 250 &nbsp; PLATES<br />
+</div></div>
+
+<p class="c"><span class="redd">LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
+NEW YORK: JOHN LANE COMPANY: MCMX<br />
+<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>
+<br /><br /><br />
+
+<small>
+<span class="smcap">Printed by</span><br />
+BALLANTYNE &amp; COMPANY LTD<br />
+<span class="smcap">Tavistock Street Covent Garden<br />
+London</span><br /></small>
+<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span></p>
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
+<tr><td class="smcap"><a href="#THE_PRINCIPALITY_OF_CATALONIA">The Principality of Catalonia</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
+<tr><td class="smcap"><a href="#BARCELONA">Barcelona</a></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr>
+<tr><td class="smcap"><a href="#GERONA">Gerona</a></td><td class="rt" valign="bottom"><a href="#page_23">23</a></td></tr>
+<tr><td class="smcap"><a href="#THE_VALLEY_OF_THE_TER">The Valley of the Ter</a></td><td class="rt" valign="bottom"><a href="#page_36">36</a></td></tr>
+<tr><td class="smcap"><a href="#LERIDA">Lerida</a></td><td class="rt" valign="bottom"><a href="#page_40">40</a></td></tr>
+<tr><td class="smcap"><a href="#TARRAGONA">Tarragona</a></td><td class="rt" valign="bottom"><a href="#page_52">52</a></td></tr>
+<tr><td class="smcap"><a href="#POBLET">Poblet</a></td><td class="rt" valign="bottom"><a href="#page_63">63</a></td></tr>
+<tr><td class="smcap"><a href="#SANTA_CREUS">Santa Creus</a></td><td class="rt" valign="bottom"><a href="#page_69">69</a></td></tr>
+<tr><td class="smcap"><a href="#VALLBONA">Vallbona</a></td><td class="rt" valign="bottom"><a href="#page_72">72</a></td></tr>
+<tr><td class="smcap"><a href="#MONTSERRAT">Montserrat</a></td><td class="rt" valign="bottom"><a href="#page_73">73</a></td></tr>
+<tr><td class="smcap"><a href="#CARDONA">Cardona</a></td><td class="rt" valign="bottom"><a href="#page_83">83</a></td></tr>
+<tr><td class="smcap"><a href="#TORTOSA">Tortosa</a></td><td class="rt" valign="bottom"><a href="#page_84">84</a></td></tr>
+<tr><td class="smcap"><a href="#THE_BALEARIC_ISLANDS">The Balearic Islands</a></td><td class="rt" valign="bottom"><a href="#page_86">86</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span>&nbsp; </p>
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="3" cellspacing="0" summary="">
+
+<tr><td><small>TITLE</small></td>
+<td class="rt"><small>PLATE</small></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_1">General View of Barcelona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_1">1</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_2">General View of Barcelona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_2">2</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_3">Barcelona: View from the Funicular Railway Station</a></td>
+<td valign="bottom" class="rt"><a href="#plt_3">3</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_4">Barcelona: Panorama from Monjuich</a></td>
+<td valign="bottom" class="rt"><a href="#plt_4">4</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_5">Barcelona: Panorama from Monjuich</a></td>
+<td valign="bottom" class="rt"><a href="#plt_5">5</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_6">Barcelona: Panorama from Monjuich</a></td>
+<td valign="bottom" class="rt"><a href="#plt_6">6</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_7">Barcelona: The Docks</a></td>
+<td valign="bottom" class="rt"><a href="#plt_7">7</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_8">Barcelona: General View of the Port</a></td>
+<td valign="bottom" class="rt"><a href="#plt_8">8</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_9">Barcelona: Detail of the Port</a></td>
+<td valign="bottom" class="rt"><a href="#plt_9">9</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_10">Barcelona: View from Miramar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_10">10</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_11">Barcelona: Rambla del Centro</a></td>
+<td valign="bottom" class="rt"><a href="#plt_11">11</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_12">Barcelona: Rambla del Centro</a></td>
+<td valign="bottom" class="rt"><a href="#plt_12">12</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_13">Barcelona: Rambla de las Flóres</a></td>
+<td valign="bottom" class="rt"><a href="#plt_13">13</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_14">Barcelona: Rambla de las Flóres</a></td>
+<td valign="bottom" class="rt"><a href="#plt_14">14</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_15">Barcelona: Paseo de Colón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_15">15</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_16">Barcelona: Paseo de Colón and Hotel</a></td>
+<td valign="bottom" class="rt"><a href="#plt_16">16</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_17">Barcelona: Paseo de Colón and Statue of Lopez</a></td>
+<td valign="bottom" class="rt"><a href="#plt_17">17</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_18">Barcelona: Rambla de los Estudiantes</a></td>
+<td valign="bottom" class="rt"><a href="#plt_18">18</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_19">Barcelona: Paseo de Gracia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_19">19</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_20">Barcelona: Paseo de Gracia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_20">20</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_21">Barcelona: Rambla de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_21">21</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_22">Barcelona: Plaza de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_22">22</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_23">Barcelona: Rambla de Santa Monica and the Bank</a></td>
+<td valign="bottom" class="rt"><a href="#plt_23">23</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_24">Barcelona: La Gran Via and Statue of Güell y Ferrer</a></td>
+<td valign="bottom" class="rt"><a href="#plt_24">24</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_25">Barcelona: Plaza de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_25">25</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_26">Barcelona: Plaza de Cataluña</a></td>
+<td valign="bottom" class="rt"><a href="#plt_26">26</a>
+
+<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_27">Barcelona: Plaza de la Paz</a></td>
+<td valign="bottom" class="rt"><a href="#plt_27">27</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_28">Barcelona: Plaza del Palacio</a></td>
+<td valign="bottom" class="rt"><a href="#plt_28">28</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_29">Barcelona: Plaza del Palacio</a></td>
+<td valign="bottom" class="rt"><a href="#plt_29">29</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_30">Barcelona: Plaza Real</a></td>
+<td valign="bottom" class="rt"><a href="#plt_30">30</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_31">Barcelona: Plaza del Rey</a></td>
+<td valign="bottom" class="rt"><a href="#plt_31">31</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_32">Barcelona: Plaza Antonio López</a></td>
+<td valign="bottom" class="rt"><a href="#plt_32">32</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_33">Barcelona: Calle de Ferdinand VII.</a></td>
+<td valign="bottom" class="rt"><a href="#plt_33">33</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_34">Barcelona: Calle de Balmes</a></td>
+<td valign="bottom" class="rt"><a href="#plt_34">34</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_35">Barcelona: Calle de Aragón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_35">35</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_36">Barcelona: Güell Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_36">36</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_37">Barcelona: Entrance to the Güell Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_37">37</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_38">Barcelona: Entrance to the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_38">38</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_39">Barcelona: Lake in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_39">39</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_40">Barcelona: Lake in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_40">40</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_41">Barcelona: The “Cascada” in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_41">41</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_42">Barcelona Park: Details of the “Cascada”</a></td>
+<td valign="bottom" class="rt"><a href="#plt_42">42</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_43">Barcelona: Fountain in the Park</a></td>
+<td valign="bottom" class="rt"><a href="#plt_43">43</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_44">Barcelona: The Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_44">44</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_45">Barcelona: The Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_45">45</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_46">Barcelona Cathedral: Principal Entrance</a></td>
+<td valign="bottom" class="rt"><a href="#plt_46">46</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_47">Barcelona Cathedral: Right-hand Side Door</a></td>
+<td valign="bottom" class="rt"><a href="#plt_47">47</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_48">Barcelona Cathedral: Door of the Piedad</a></td>
+<td valign="bottom" class="rt"><a href="#plt_48">48</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_49">Barcelona Cathedral: Door of Santa Eulalia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_49">49</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_50">Barcelona Cathedral: Exterior Door of Santa Lucia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_50">50</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_51">Barcelona Cathedral: Interior Door of Santa Lucia and Sepulchre of Mossen Borra</a></td>
+<td valign="bottom" class="rt"><a href="#plt_51">51</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_52">Barcelona: Interior of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_52">52</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_53">Barcelona: Interior of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_53">53</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_54">Barcelona Cathedral: Detail of the Choir</a></td>
+<td valign="bottom" class="rt"><a href="#plt_54">54</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_55">Barcelona Cathedral: The High Altar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_55">55</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_56">Barcelona: The Archive of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_56">56</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_57">Barcelona Cathedral: Cloisters and Principal Interior Door</a></td>
+<td valign="bottom" class="rt"><a href="#plt_57">57</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_58">Barcelona: Chapel in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_58">58</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_59">Barcelona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_59">59</a>
+
+<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_60">Barcelona: Cloisters and Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_60">60</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_61">Barcelona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_61">61</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_62">Barcelona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_62">62</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_63">Barcelona: Chapel in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_63">63</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_64">Barcelona Cathedral: Fountain in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_64">64</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_65">Barcelona Cathedral: Fountain in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_65">65</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_66">Barcelona: Fountain in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_66">66</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_67">Barcelona: Fountain in the Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_67">67</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_68">Barcelona Cathedral: Door in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_68">68</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_69">Barcelona Cathedral: Iron Grating in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_69">69</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_70">Barcelona Cathedral: Grating in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_70">70</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_71">Barcelona Cathedral: Door in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_71">71</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_72">Barcelona: Santa Maria del Mar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_72">72</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_73">Barcelona: Church of Santa Maria del Mar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_73">73</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_74">Barcelona: Church of Santa Maria del Mar. Gate of the Immaculada</a></td>
+<td valign="bottom" class="rt"><a href="#plt_74">74</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_75">Barcelona: Church of Santa Maria del Mar. Detail of Left Door</a></td>
+<td valign="bottom" class="rt"><a href="#plt_75">75</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_76">Barcelona: Detail of the Door of the Church of Santa Maria del Mar</a></td>
+<td valign="bottom" class="rt"><a href="#plt_76">76</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_77">Barcelona: Church of Santa Maria del Pino</a></td>
+<td valign="bottom" class="rt"><a href="#plt_77">77</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_78">Barcelona: Byzantine Doorway in the Church of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_78">78</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_79">Barcelona: Cloisters of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_79">79</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_80">Barcelona: Cloisters of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_80">80</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_81">Barcelona: Façade of the Church of Santa Ana</a></td>
+<td valign="bottom" class="rt"><a href="#plt_81">81</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_82">Barcelona: Cloisters of the Church of Santa Ana</a></td>
+<td valign="bottom" class="rt"><a href="#plt_82">82</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_83">Barcelona: Cloisters of the Church of Santa Ana</a></td>
+<td valign="bottom" class="rt"><a href="#plt_83">83</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_84">Barcelona: Church of the Sagrada Familia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_84">84</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_85">Barcelona: Church of Las Salesas</a></td>
+<td valign="bottom" class="rt"><a href="#plt_85">85</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_86">Barcelona: Church of Las Salesas</a></td>
+<td valign="bottom" class="rt"><a href="#plt_86">86</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_87">Barcelona: Church of the Conception</a></td>
+<td valign="bottom" class="rt"><a href="#plt_87">87</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_88">Barcelona: Church of Santa Agueda</a></td>
+<td valign="bottom" class="rt"><a href="#plt_88">88</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_89">Barcelona: The Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_89">89</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_90">Barcelona: The Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_90">90</a>
+
+<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_91">Barcelona: Old Façade of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_91">91</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_92">Barcelona: Exterior Detail of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_92">92</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_93">Barcelona: Chapel of San Jorge in the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_93">93</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_94">Barcelona: Courtyard of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_94">94</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_95">Barcelona: Entrance to the Courtyard of the Audiencia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_95">95</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_96">Barcelona: Upper Part of the Courtyard of the Town Hall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_96">96</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_97">Barcelona: The University</a></td>
+<td valign="bottom" class="rt"><a href="#plt_97">97</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_98">Barcelona: Cloisters of the University</a></td>
+<td valign="bottom" class="rt"><a href="#plt_98">98</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_99">Barcelona: Cloisters of the University, Upper Part</a></td>
+<td valign="bottom" class="rt"><a href="#plt_99">99</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_100">Barcelona: Palacio de Justicia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_100">100</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_101">Barcelona: Diputacion Provincial</a></td>
+<td valign="bottom" class="rt"><a href="#plt_101">101</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_102">Barcelona: Diputacion Provincial</a></td>
+<td valign="bottom" class="rt"><a href="#plt_102">102</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_103">Barcelona: The Exchange</a></td>
+<td valign="bottom" class="rt"><a href="#plt_103">103</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_104">Barcelona: The Custom House</a></td>
+<td valign="bottom" class="rt"><a href="#plt_104">104</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_105">Barcelona: Clinical Hospital</a></td>
+<td valign="bottom" class="rt"><a href="#plt_105">105</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_106">Barcelona: Municipal School of Music</a></td>
+<td valign="bottom" class="rt"><a href="#plt_106">106</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_107">Barcelona: Catalana del Gas</a></td>
+<td valign="bottom" class="rt"><a href="#plt_107">107</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_108">Barcelona: La Maison Dorée</a></td>
+<td valign="bottom" class="rt"><a href="#plt_108">108</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_109">Barcelona: Casa de la Canongia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_109">109</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_110">Barcelona: Private House of the Eighteenth Century</a></td>
+<td valign="bottom" class="rt"><a href="#plt_110">110</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_111">Barcelona: A Shop in the Calle Fernando</a></td>
+<td valign="bottom" class="rt"><a href="#plt_111">111</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_112">Barcelona: New Building in the Paseo de Gracia</a></td>
+<td valign="bottom" class="rt"><a href="#plt_112">112</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_113">Barcelona: House of the Shoemakers</a></td>
+<td valign="bottom" class="rt"><a href="#plt_113">113</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_114">Barcelona: House in the Calle de Caspe</a></td>
+<td valign="bottom" class="rt"><a href="#plt_114">114</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_115">Barcelona: Arco de Triunfo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_115">115</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_116">Barcelona: Teatro Principal</a></td>
+<td valign="bottom" class="rt"><a href="#plt_116">116</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_117">Barcelona: Old Towers in the Plaza Nueva</a></td>
+<td valign="bottom" class="rt"><a href="#plt_117">117</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_118">Barcelona: Tower of Santa Agueda</a></td>
+<td valign="bottom" class="rt"><a href="#plt_118">118</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_119">Barcelona: Convent of Santa Clara. Old Palace of the Kings of Aragon</a></td>
+<td valign="bottom" class="rt"><a href="#plt_119">119</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_120">Barcelona: Apeadero de la Calle de Aragon</a></td>
+<td valign="bottom" class="rt"><a href="#plt_120">120</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_121">Barcelona: Hotel Colón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_121">121</a>
+
+<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_122">Barcelona: Staircase in a Private House in the Calle de Moncada</a></td>
+<td valign="bottom" class="rt"><a href="#plt_122">122</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_123">Barcelona: Staircase in a Private House in the Calle de Moncada</a></td>
+<td valign="bottom" class="rt"><a href="#plt_123">123</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_124">Barcelona: Frontón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_124">124</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_125">Barcelona: The Bull-Ring</a></td>
+<td valign="bottom" class="rt"><a href="#plt_125">125</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_126">Barcelona: Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_126">126</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_127">Barcelona: Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_127">127</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_128">Barcelona: Detail of the Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_128">128</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_129">Barcelona: Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_129">129</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_130">Barcelona: Monument to Güell</a></td>
+<td valign="bottom" class="rt"><a href="#plt_130">130</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_131">Barcelona: Fountain in the Plaza de Palacio</a></td>
+<td valign="bottom" class="rt"><a href="#plt_131">131</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_132">Barcelona: Statue of General Prim</a></td>
+<td valign="bottom" class="rt"><a href="#plt_132">132</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_133">Barcelona: Rambla de Cataluña, Monument to Clavé</a></td>
+<td valign="bottom" class="rt"><a href="#plt_133">133</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_134">Barcelona: Statue of Lopez, and Paseo de Colón</a></td>
+<td valign="bottom" class="rt"><a href="#plt_134">134</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_135">Barcelona: Plaza del Duque de Medinacelli</a></td>
+<td valign="bottom" class="rt"><a href="#plt_135">135</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_136">Barcelona: Monument to Ruis and Toulet</a></td>
+<td valign="bottom" class="rt"><a href="#plt_136">136</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_137">Barcelona: View of Tibidabo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_137">137</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_138">Barcelona: Funicular Railway Station, Tibidabo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_138">138</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_139">Barcelona: Tibidabo Station and Casa Arnus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_139">139</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_140">Barcelona: The Devil’s Bridge at Martorell</a></td>
+<td valign="bottom" class="rt"><a href="#plt_140">140</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_141">Barcelona: Interior Court of the Convent of Montesion</a></td>
+<td valign="bottom" class="rt"><a href="#plt_141">141</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_142">Barcelona: Exterior of the Convent of Montesion</a></td>
+<td valign="bottom" class="rt"><a href="#plt_142">142</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_143">Barcelona: Convent of Montesion Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_143">143</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_144">Monastery of Pedralves, near Barcelona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_144">144</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_145">Barcelona: Rambla de Canaletas during the Fêtes of 1888</a></td>
+<td valign="bottom" class="rt"><a href="#plt_145">145</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_146">Barcelona: The Fêtes of 1888. Inauguration of the Monument to Columbus</a></td>
+<td valign="bottom" class="rt"><a href="#plt_146">146</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_147">Barcelona: Exhibition of 1888. H.M. the Queen leaving the Exhibition</a></td>
+<td valign="bottom" class="rt"><a href="#plt_147">147</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_148">Barcelona: Exhibition of 1888. Palace of Beaux-Arts</a></td>
+<td valign="bottom" class="rt"><a href="#plt_148">148</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_149">General View of Tarragona</a></td>
+<td valign="bottom" class="rt"><a href="#plt_149">149</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_150">Tarragona: General View from the Cathedral, looking South</a></td>
+<td valign="bottom" class="rt"><a href="#plt_150">150</a>
+
+<span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_151">Tarragona: General View from the Cathedral, looking East</a></td>
+<td valign="bottom" class="rt"><a href="#plt_151">151</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_152">Tarragona: General View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_152">152</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_153">Tarragona: General View from the Pier</a></td>
+<td valign="bottom" class="rt"><a href="#plt_153">153</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_154">Tarragona: Panoramic View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_154">154</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_155">Tarragona: View of the Port</a></td>
+<td valign="bottom" class="rt"><a href="#plt_155">155</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_156">Tarragona: View of the Harbour from the Town</a></td>
+<td valign="bottom" class="rt"><a href="#plt_156">156</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_157">Tarragona: General View of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_157">157</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_158">Tarragona: Façade of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_158">158</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_159">Tarragona: Façade of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_159">159</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_160">Tarragona: Tower and Side of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_160">160</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_161">Tarragona: Façade of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_161">161</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_162">Tarragona Cathedral: Centre of the Portal</a></td>
+<td valign="bottom" class="rt"><a href="#plt_162">162</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_163">Tarragona: Left-hand Side Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_163">163</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_164">Tarragona Cathedral: Statues of the Portico</a></td>
+<td valign="bottom" class="rt"><a href="#plt_164">164</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_165">Tarragona Cathedral: Detail of the Portico</a></td>
+<td valign="bottom" class="rt"><a href="#plt_165">165</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_166">Tarragona: Byzantine Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_166">166</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_167">Tarragona: Right-hand Side Door of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_167">167</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_168">Tarragona Cathedral: The Principal Nave</a></td>
+<td valign="bottom" class="rt"><a href="#plt_168">168</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_169">Tarragona Cathedral: Tomb of Jaime de Aragon</a></td>
+<td valign="bottom" class="rt"><a href="#plt_169">169</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_170">Tarragona: Cloisters of the Cathedral</a></td>
+<td valign="bottom" class="rt"><a href="#plt_170">170</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_171">Tarragona: Door of the Chapel of San Pablo</a></td>
+<td valign="bottom" class="rt"><a href="#plt_171">171</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_172">Tarragona: La Muralla Ciclopea</a></td>
+<td valign="bottom" class="rt"><a href="#plt_172">172</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_173">Tarragona: Puerta de San Antonio and Roman Walls</a></td>
+<td valign="bottom" class="rt"><a href="#plt_173">173</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_174">Tarragona: Roman Walls and Tower</a></td>
+<td valign="bottom" class="rt"><a href="#plt_174">174</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_175">Tarragona: Tower of the Scipiones</a></td>
+<td valign="bottom" class="rt"><a href="#plt_175">175</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_176">Tarragona: Gate of San Antonio and the Roman Wall</a></td>
+<td valign="bottom" class="rt"><a href="#plt_176">176</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_177">Tarragona: Palace of Pilatos, now the Prison</a></td>
+<td valign="bottom" class="rt"><a href="#plt_177">177</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_178">Tarragona: La Portella, A Cyclopean Doorway</a></td>
+<td valign="bottom" class="rt"><a href="#plt_178">178</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_179">Tarragona: A Cyclopean Doorway</a></td>
+<td valign="bottom" class="rt"><a href="#plt_179">179</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_180">Tarragona: A Roman House</a></td>
+<td valign="bottom" class="rt"><a href="#plt_180">180</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_181">Tarragona: Arco de Bará</a></td>
+<td valign="bottom" class="rt"><a href="#plt_181">181</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_182">Tarragona: The Roman Aqueduct</a></td>
+<td valign="bottom" class="rt"><a href="#plt_182">182</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_183">Tarragona: The Roman Aqueduct</a></td>
+<td valign="bottom" class="rt"><a href="#plt_183">183</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_184">Tarragona: The Seminary</a></td>
+<td valign="bottom" class="rt"><a href="#plt_184">184</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_185">Tarragona: Cross of San Antonio (sixteenth century)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_185">185</a>
+
+<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_186">Tarragona: Ancient Roman Convent</a></td>
+<td valign="bottom" class="rt"><a href="#plt_186">186</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_187">Poblet (Tarragona): General View of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_187">187</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_188">Poblet (Tarragona): Church of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_188">188</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_189">Poblet (Tarragona): Door of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_189">189</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_190">Poblet (Tarragona): Chapel of San Jorge</a></td>
+<td valign="bottom" class="rt"><a href="#plt_190">190</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_191">Poblet (Tarragona): Temple in the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_191">191</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_192">Poblet (Tarragona): Cloisters and Palace of King Martin</a></td>
+<td valign="bottom" class="rt"><a href="#plt_192">192</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_193">Poblet (Tarragona): Interior View of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_193">193</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_194">Poblet (Tarragona): Interior View of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_194">194</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_195">Santa Creus (Tarragona): General View of the Church of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_195">195</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_196">Santa Creus (Tarragona): Door of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_196">196</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_197">Santa Creus (Tarragona): Interior of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_197">197</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_198">Santa Creus (Tarragona): Interior Side View of the Cloisters</a></td>
+<td valign="bottom" class="rt"><a href="#plt_198">198</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_199">Montserrat: View of the Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_199">199</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_200">Monastery of Montserrat</a></td>
+<td valign="bottom" class="rt"><a href="#plt_200">200</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_201">View of the Monastery of Montserrat, taken from St. Michael</a></td>
+<td valign="bottom" class="rt"><a href="#plt_201">201</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_202">Montserrat: General View of Monastery from the South</a></td>
+<td valign="bottom" class="rt"><a href="#plt_202">202</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_203">Montserrat: View of the Monastery from the South</a></td>
+<td valign="bottom" class="rt"><a href="#plt_203">203</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_204">Montserrat: General View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_204">204</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_205">Montserrat: View of the Monastery from the West</a></td>
+<td valign="bottom" class="rt"><a href="#plt_205">205</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_206">Montserrat: The Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_206">206</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_207">Montserrat: Grotto of the Virgin</a></td>
+<td valign="bottom" class="rt"><a href="#plt_207">207</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_208">Montserrat: The Virgin’s Cave</a></td>
+<td valign="bottom" class="rt"><a href="#plt_208">208</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_209">Montserrat: View from the Grotto of the Virgin</a></td>
+<td valign="bottom" class="rt"><a href="#plt_209">209</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_210">Montserrat: The Cave of Juan Guarin the Hermit</a></td>
+<td valign="bottom" class="rt"><a href="#plt_210">210</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_211">Montserrat: Remains of the Ancient Monastery</a></td>
+<td valign="bottom" class="rt"><a href="#plt_211">211</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_212">Montserrat: Door of the Church</a></td>
+<td valign="bottom" class="rt"><a href="#plt_212">212</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_213">Montserrat: Interior of the Church</a></td>
+<td valign="bottom" class="rt"><a href="#plt_213">213</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_214">Montserrat: View of the Peaks</a></td>
+<td valign="bottom" class="rt"><a href="#plt_214">214</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_215">Montserrat: The Devil’s Rock</a></td>
+<td valign="bottom" class="rt"><a href="#plt_215">215</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_216">Montserrat: Miranda Peak</a></td>
+<td valign="bottom" class="rt"><a href="#plt_216">216</a>
+
+<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_217">View of Montserrat, taken from Monistol Station</a></td>
+<td valign="bottom" class="rt"><a href="#plt_217">217</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_218">View of Monistol, taken from Montserrat</a></td>
+<td valign="bottom" class="rt"><a href="#plt_218">218</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_219">Tortosa: General View</a></td>
+<td valign="bottom" class="rt"><a href="#plt_219">219</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_220">Tortosa: Courtyard in the Institute</a></td>
+<td valign="bottom" class="rt"><a href="#plt_220">220</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_221">The Court, San Francisco, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_221">221</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_221">Gran Hotel, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_221">221</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_222">Palace of the Almudaina, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_222">222</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_223">Windmill and Electrical Works, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_223">223</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_224">View of the “Real Club de Regatas,” Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_224">224</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_225">Market and Church of San Nicolas, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_225">225</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_225">San Francisco, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_225">225</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_226">View from the Harbour, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_226">226</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_227">View of the Bay, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_227">227</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_228">The Almudaina and Cathedral, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_228">228</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_229">Puerta de Santa Margarita, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_229">229</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_229">The Cathedral, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_229">229</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_230">Paseo del Borne, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_230">230</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_230">Arabian Baths, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_230">230</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_231">View of the Gorch Blau, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_231">231</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_231">The Gorch Blau, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_231">231</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_232">Interior of San Francisco, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_232">232</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_233">Arab Baths, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_233">233</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_234">The Quay, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_234">234</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_235">Mills, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_235">235</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_236">The River, Seller, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_236">236</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_237">General View of Alcudia, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_237">237</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_238">The Cathedral, Palma, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_238">238</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_238">The Church of the Monastery, Lluch, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_238">238</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_239">La Cartuja, Valldemosa, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_239">239</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_239">Puerta del Muelle, Alcudia, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_239">239</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_240">Interior of the Church, Lluch, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_240">240</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_241">Transport of Musts, Balearic Islands</a></td>
+<td valign="bottom" class="rt"><a href="#plt_241">241</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_242">General View of Deya, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_242">242</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_243">Castle of Bellver, Mallorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_243">243</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_244">General View of San Antonio (Pityusae Isles)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_244">244</a>
+
+<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></td></tr>
+
+<tr><td class="pdd" valign="top"><a href="#plt_245">Ruins of the Torre d’ea Galines, Alazor, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_245">245</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_246">Villa Carlos, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_246">246</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_246">View of the Port, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_246">246</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_247">The Harbour, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_247">247</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_247">A View in the Town, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_247">247</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_248">The Quay, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_248">248</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_249">Paseo del Borne, Ciudadela, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_249">249</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_250">View of the Port, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_250">250</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_251">The Port and Town, Ciudadela, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_251">251</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_252">Threshing, San Antonio (Pityusae Isles)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_252">252</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_252">A Street in Algendar, Ferrerias, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_252">252</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_253">A View showing the Arabian Towers, Ibiza (Pityusae Isles)</a></td>
+<td valign="bottom" class="rt"><a href="#plt_253">253</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_254">River Pareys</a></td>
+<td valign="bottom" class="rt"><a href="#plt_254">254</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_255">Portal of d’alt or d’en Servera, Mahon, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_255">255</a></td></tr>
+<tr><td class="pdd" valign="top"><a href="#plt_256">Monument to the French Prisoners who died in 1808, Island of Cabrera, Menorca</a></td>
+<td valign="bottom" class="rt"><a href="#plt_256">256</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
+
+<h1>CATALONIA</h1>
+
+<h2><a name="THE_PRINCIPALITY_OF_CATALONIA" id="THE_PRINCIPALITY_OF_CATALONIA"></a>THE PRINCIPALITY OF CATALONIA</h2>
+
+<p class="nind"><span class="smcap">Every</span> stranger who crosses the Pyrenees knows that Catalonia differs in
+many important respects from every other province in the kingdom. He has
+heard that the natives speak of going into Spain as if they lived
+outside of it; he knows that they speak a tongue different from the
+Castilian; that their enterprise and activity distinguish them
+favourably among King Alfonso’s subjects, and they have kept well
+abreast of every other European community. All this is true, and it
+would be easy to enumerate many other peculiarities. The tendency,
+however, is to exaggerate the points of difference between Spaniard and
+Catalan, and to lose sight of their fundamental affinity. The language
+of Catalonia, though not a mere dialect as some suppose, is as
+essentially Spanish as the Castilian. It was spoken by those Hispani who
+were driven out of Spain by the Saracens and returned in the ninth
+century to settle in the north-east corner of the country. Thus Catalan
+language and people<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> were born in the very heart of the Peninsula and
+have since been confined to a portion of it only by political causes.
+There is, of course, no such essential difference between Catalans and
+Castilians as between Welsh and English, Bretons and French. Both are
+branches of the great Iberian family. If Catalonia were an independent
+State, it would be its affinity to Spain that would impress us most, and
+set us wondering, as we do in Portugal, how two countries so much alike
+could continue politically distinct.</p>
+
+<p>The superior enterprise and energy of the Catalans may be attributed
+less, I think, to racial differences than to historical and geographical
+causes. Far removed from the scene of the secular struggle with the
+Moor, and dwelling on the marge of the sea which was the principal
+commercial arena of the ancient and mediæval world, the people of
+Catalonia had from a very remote period opportunities for development
+denied to the inhabitants of every other part of Spain. The Moors were
+expelled from Barcelona at the beginning of the ninth century. Catalonia
+had thus a start of more than four centuries over Seville, and of six
+over Malaga&mdash;to say nothing further of the incontestable advantages of
+her geographical position.</p>
+
+<p>Without wishing, it need hardly be said, to<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> depreciate the progressive
+tendencies of the Catalans, I confess I am inclined to attribute them,
+not to any racial superiority over other Spaniards, but mainly to the
+causes I have indicated.</p>
+
+<p>Catalonia thus bears witness to the aptitude of the Spaniard, for the
+most active forms of commercial and industrial life, to his ability to
+keep in the van of progress. The lead given by Barcelona will inevitably
+be followed by all the other towns in the kingdom, now that the special
+circumstances which retarded their development have been removed. In the
+most populous city of Spain I fail to recognise a miracle or the work of
+another people than the Spanish. I see instead the results of Spanish
+enterprise and capacity singular only in having had the opportunity to
+assert itself.</p>
+
+<p>From the day&mdash;it was in the year 813&mdash;that the fleet of the Count of
+Ampurias gloriously defeated a Saracen squadron off the Balearic Isles,
+Catalonia has looked seaward. It was on the wave that the men of
+Barcelona found glory and riches. They were the rivals of the Pisans,
+Genoese and Venetians, and can boast a maritime history far longer and
+hardly less glorious than our own. It is recorded in one of the best
+historical works ever written, the “Memorias sobre la Marina de
+Barcelona,” by<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> Don Antonio de Capmany y Palau, published in 1779. The
+learned author contrasts the naval eminence of Barcelona with that of
+other powers, and assigns the city a higher rank than England and
+Portugal. In the middle of the Eleventh century, laws regulating and
+favouring commerce and providing for the suppression of piracy were
+decreed by Count Ramon Berenguer II. In the year 1114, the third Count
+of that name assisted, with his own fleet, the Pisans in the reduction
+of the Island of Majorca; in 1147 Almeria was attacked and plundered by
+the allied fleets of Barcelona and Genoa; and in the following year
+another naval victory added Tortosa to the principality.</p>
+
+<p>The conquests of the great King James of Aragon gave a great impetus to
+the commerce of Barcelona as well as to the development of arts and
+letters. The extension of the city’s relations to the Levant and Egypt
+led to the appointment of consuls in all the parts frequented by
+Catalans. A Maritime Code was promulgated in 1258, and soon became very
+generally adopted throughout the Mediterranean. A second time the hardy
+sailors of Barcelona drove the pirates from their nest in the Balearics,
+the islands this time remaining definitely annexed to the crown of
+Aragon. All the ships were furnished by the city on this occasion, and
+the King named as com<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>mander Ramon de Plegarnoás, a rich citizen, expert
+in naval affairs.</p>
+
+<p>In the thirteenth century, Aragon (or in other words, as regards the
+sea, Barcelona) was the most formidable power in the Mediterranean. Her
+merchant princes competed successfully with the traders of Genoa and
+Venice, at the farthest ports of Egypt and Syria. King James when
+appealing to the States of Aragon for a subsidy to carry on the war
+against the infidel, reminded them that if Majorca were lost, Catalonia
+would lose the dominion and absolute power she exercised over the sea.
+Montaner, the Froissart of his nation, has bequeathed to us a stirring
+chronicle of the expedition (in which he took part) of the Catalans to
+Greece under the leadership of Roger de Flor. In the year 1332, Philip
+of France, when about to embark on the Crusades, was advised to entrust
+the management of the expedition exclusively to the Genoese and
+Catalans, these being provided with the best ships and seamen, and the
+most experienced in naval matters. As late as the year 1467, the Grand
+Signior found it expedient to pay an indemnity to the King of Aragon to
+secure immunity for his coasts from the persistent attacks of the
+dreaded privateers of Barcelona. It is with reason that Capmany
+attributes to the seamanship of the Barcelonese the extension of the
+power of<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> Aragon over the kingdoms of Naples, Sicily and Sardinia. Upon
+the consolidation of Spain at the beginning of the sixteenth century and
+the rise of the great modern States, the city was eclipsed as a sea
+power. Its merchants looked with little favour on the discovery of
+America, an enterprise promoted by Castile. Of the reception of Columbus
+here by the Catholic Kings, not one word is said in the archives of the
+city.</p>
+
+<p>Soon after, Barcelona just escaped becoming the scene of a discovery
+almost as important as that of the New World. Here, says O’Shea, on
+January 17, 1543, a ship of 200 tons was launched, propelled by two
+wheels driven by steam. The inventor was Blasco de Garay, and the trial
+was successfully made in the presence of a royal commission. The King’s
+treasurer, one Ráongo, for some personal motive it is said, drew up a
+report unfavourable to the invention, declaring the ship made only six
+miles in two hours, and that the boiler was likely to burst. Perhaps
+this report was not ill-founded, for though Garay received a grant of
+200,000 maravedis in addition to his expenses, he made no further
+progress with his invention. The fate of this and many other experiments
+with steam in the sixteenth, seventeenth and eighteenth centuries seems
+to prove that our ancestors rather failed to recognise the necessity of
+any improvement in the means of<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> locomotion, than wanted the skill to
+effect it. It will be remembered that Mr. Shandy thought that on
+economical grounds alone the inventors of mechanical means of transport
+should be discouraged. A useful invention with which the Barcelonese may
+fairly be credited, is marine insurance.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p>
+
+<h2><a name="BARCELONA" id="BARCELONA"></a>BARCELONA</h2>
+
+<p class="nind"><span class="smcap">Barcelona</span> has remained true to her traditions. She is still, as of old,
+a city of merchant princes, a hive of industry, at once the Liverpool
+and Manchester of Spain. To those who visit the capital of Catalonia
+after an acquaintance only with the moribund cities of Old Castile, this
+vision of España Moderna comes as a shock and a revelation. The first
+impression is not pleasing. You approach the city through a vast
+wilderness of suburbs, teeming with life, and breathing apparently
+through grimy factory chimneys. We realise that we have returned to the
+civilised twentieth century. But the brighter side of modernity is soon
+revealed. In its heart Barcelona is clean, bright, and spacious. The
+boulevards are unequalled in Europe&mdash;except perhaps by Budapest&mdash;and the
+street prospects are worthy of Washington. The Rambla is the most
+delightful of promenades; in the Calle Fernando the contents of every
+shop window tempt the unthrifty. A noble, beautiful modern metropolis,
+still worthy of Cervantes’ encomium: “Flor de las bellas ciudades del
+mundo, honra<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> de España, reglo y delicia de sus moradores, y
+satisfacción de todo aquello que de una grande famosa, rica, y bien
+fundada ciudad, puede pedir un discreto y curioso deseo.”</p>
+
+<p>Barcelona is richer in monuments of the past than many a more
+ancient-looking city. Foremost among these is the Cathedral in the very
+heart of the town, one of the grandest examples of Gothic architecture
+in Spain. Its extreme sombreness and apparently massive character
+produce a similar impression to that created by the much larger
+Cathedral of Seville.</p>
+
+<p>Street thinks very highly of this church, and remarks on the skill with
+which the architect has contrived to make it appear much larger than it
+really is. He observes “the architecture of Cataluña had many
+peculiarities, and in the fourteenth and fifteenth centuries, when most
+of the great buildings of Barcelona were being erected, they were so
+marked as to justify me, I think, in calling the style as exclusively
+national or provincial, as ... was our own Norfolk middle-pointed....
+Besides this, there was one great problem which I may venture to say
+that the Catalan architects satisfactorily solved, the erection of
+churches of enormous and almost unequalled internal width.”</p>
+
+<p>The primitive Cathedral was built by Count Ramón Berenguer between 1046
+and 1058, and<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> considerably enlarged in the year 1173. The building, not
+yet satisfying the needs of the thriving city, was entirely rebuilt at
+the beginning of the fourteenth century. The design is attributed by
+Street to Jaime Fabre, a native of Majorca, who was succeeded as master
+of the works in 1388 by Master Roque. The last stone of the vault was
+placed on September 26, 1448.</p>
+
+<p>In plan the church is externally a parallelogram, semicircular at the
+east end. The transepts do not project beyond the line of chapels
+opening off the aisles, and form each the basis of a tower, 170 feet
+high. The old timber roofs of these towers have been removed (as from
+our castles) laying bare simply the vaulting covered with tiles. Over
+the Puerta de San Ivo by which you enter the north transept, a series of
+reliefs illustrates a combat between a knight and a dragon. The former
+is not St. George, the patron of Aragon, but a legendary hero, one
+Villardell, who by Divine favour was armed with a miraculous sword. With
+this he slew the monster which had been let loose by the Saracens, and
+exultingly cried, “Well done, good sword, and stout arm of Villardell!”
+But at that instant some drops of the dragon’s blood fell on his arm,
+and he at once expired. He was thus punished for taking the credit of
+the victory to himself.</p>
+
+<p>The west front, only finished ten years ago,<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> compares very unfavourably
+with the older portions. The dome over the first or westernmost bay of
+the nave is also modern. Little else of the exterior can be seen.
+Inside, as I have said, the church is extremely sombre, and very
+conducive to what an eminent divine called Gothic devotion. This is due
+partly to the dark colour of the stone, and partly to the smallness of
+the windows, which are filled with beautiful fifteenth-century stained
+glass. The windows of the chapels in the south aisle open into a
+corresponding row of chapels in the adjacent cloister. Everything, in
+fact, has been done to keep out the torrid rays. The chapels are
+continued all round the church, there being no fewer than twenty-seven.
+The choir is, as usual, in the middle of the nave, being separated by
+the crossing from the chancel. Twenty massive and somewhat inelegant
+clustered columns separate the nave from the aisles and the chancel from
+the ambulatory, and from their capitals spring the nineteen arches
+forming the vaulted roof. Nave and aisles are alike 83 feet high. The
+cathedral is dedicated to a local martyr, Santa Eulalia, whose body
+since the year 1339 has reposed in the crypt beneath the chancel. The
+shrine of the saint was the work of Fabre and is in Italian Gothic
+style. The ark is sculptured with scenes from the saint’s life.<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p>
+
+<p>There is little remarkable about the High Altar. The choir-stalls are
+richly carved, and date from the late fifteenth century. Like the stalls
+of St. George’s Chapel at Windsor, they are decorated with coats of
+arms&mdash;those of the knights of the Order of the Golden Fleece, in
+commemoration of the chapter held here by Charles V. (then only King of
+Spain) in 1519. Among the Knights present were the Kings of Denmark and
+Poland, the Prince of Orange, and the Duke of Alva. The rear wall of the
+choir is beautifully adorned with columns, and reliefs of Bartolomé
+Ordonez, and Pedro Vilar of Zaragoza, representing scenes from the life
+of the titular. It is a fine example of the Spanish Renaissance style.
+Before beginning an examination of the chapels, attention may be called
+to the huge Saracen’s head hanging from the organ in the north
+transept&mdash;a common feature in Catalan churches, and symbolising the
+reconquest of their sites from the infidel.</p>
+
+<p>A floor runs round the church above the side chapels and is carried
+across the west front. The upper rooms were never used as places of
+worship. The chapels are closed by mediæval grilles of wrought iron.
+They date mostly from the sixteenth and seventeenth centuries, and
+present no very interesting features. This is fortunate for the
+painstaking sightseer, as the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> obscurity renders an examination
+difficult. A crucifix in the uppermost chapel in the chevet is a
+memorial of the battle of Lepanto, where it was carried on the prow of
+Don Juan’s flagship. The image is believed by some to have bent its head
+to avoid the Turkish bullets. In the chapels of San Miguel Arcángel and
+Nuestra Señora del Patrocinio, close by, are the fine Gothic tombs of
+Bishop Berenguer de Palau (died 1240) and of one of his successors,
+Poncio de Gualba (died 1334). Leaving the ambulatory by the north, the
+chapel on the right contains another good Gothic monument to Bishop
+Escaler. The finest tomb, on the whole, is that of Doña Sancha de
+Cabrera, lady of Noalles, in the chapel of San Clemente, in the south
+aisle; and three chapels farther on is the sarcophagus of the great
+Catalan saint, Ramon de Penafort. The two wooden urns covered with
+crimson velvet in the wall between the south transept and the sacristy
+enshrine the ashes of Count Ramon Berenguer the Old, and his consort,
+Almodis (died 1070). Opening off the south aisle, close to the main
+entrance, is the large square chapel of the Holy Sacrament, or of St.
+Olegarius, with a fine star-vaulting, the seventeenth-century monument
+of the titular, and some paintings of Villadomat, a local artist of some
+repute, who lived in the first half of the eighteenth century. There are
+also some paint<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>ings of merit by the Tramullas, father and son, of
+Perpignan, but generally speaking this fine cathedral is poor in
+painting and statuary.</p>
+
+<p>Cloisters are nearly always charming, and those adjoining the Cathedral
+on the south side are certainly so, with their palms and fruit trees and
+fountains. One of these last is adorned with a statue of St. George, a
+jet of water serving as a tail to the horse. In one corner is a
+goose-pond. I saw nothing of the cats who, Street says, were prowling
+about the cloisters and church, and contrived to get into the
+choir-stalls just before service, whence they were forthwith chased by
+the choristers and such of the clergy as happened to be there. I have
+witnessed such scenes in French churches, where they are very
+distracting to the devout. The cloister was begun by Master Roque and
+finished in 1448. The architecture has been variously criticised, and
+the tombs for the most part are poor. On these the profession of the
+deceased is indicated by the implements of his trade lightly graven. The
+resting-place of Mosém (Monseigneur) Borrà, the jester of Alfonso V. of
+Aragon, is distinguished by the cap and bells. In the Chapel of the
+Conception there used to be, says O’Shea, a picture painted by order of
+the municipality in gratitude for the cessation of the plague in 1651,
+at the intercession of the Virgin. The keys of the city, made in<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>
+silver, were presented to her on that occasion. In the chapel of Santa
+Lucia, at the south-west angle of the cloister, Street recognised a
+fragment of the old cathedral. The entrance into the south transept is
+of the same date. By the graceful Puerta Santa Eulalia we pass into the
+street.</p>
+
+<p>We presently pass the Bishop’s Palace, an eighteenth-century structure
+incorporating some late Romanesque arcading. But leaving other
+interesting buildings in this the oldest quarter of Barcelona for the
+moment, we will seek the next most notable church in the town, that of
+Santa Maria del Mar. It occupies the site of the earliest shrine of
+Santa Eulalia, over which Bishop Aetius built a temple in the thousandth
+year of our era. This modest church was replaced by another in the year
+1329, which was restored and reconsecrated after a disastrous fire in
+1383 under the reign of Pedro the Ceremonious. All classes of the
+community assisted in the work. Those who could not give money gave
+their labour, and in commemoration of this two small bronze figures
+carrying stone and timber adorn the principal door. The edifice is a
+good example of the Catalan church in its breadth and height of nave and
+simplicity of plan. Like the cathedral, it forms a parallelogram rounded
+at the east end, and presents an unbroken line of<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> wall to the exterior.
+Churches of this type usually consist of nave only, but Santa Maria del
+Mar has two aisles. Enormous octagonal columns carry the main arches and
+the groining ribs which all spring from their capitals. The wall rib
+towards the nave is carried up higher than the main arches, so as to
+allow space between them for a small circular and traceried clerestory
+window in each bay. The arches of the apse are very narrow, and
+enormously stilted. There are small windows above them, but they are
+modernised. The aisles are groined on the same level as the main arches,
+a few feet, therefore, below the vault of the nave, and they are lighted
+by a four-light traceried window in each bay, the sill of which is above
+the string-course formed by continuing the abacus of the capitals of the
+groining shafts. Below this are three arches in each bay, opening into
+side chapels between the main buttresses. Each of these chapels is
+lighted by a traceried window of two lights, and the outer wall presents
+a long unbroken line, until above the chapels, when the buttresses rise
+boldly up to support the great vaults of the nave and aisles.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> The
+interior, though still simple and dignified, has been marred by modern
+restorations. Another peculiarity remains to be noted: the choir is
+placed<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> behind the high altar. Of this latter, a costly but
+churrigueresque erection, the less said the better. The royal pew in the
+south aisle, recalling the days when Barcelona was a capital, was
+connected with the palace by a gallery now destroyed. The church
+contains some good glass and examples of the art of Villadomat, a
+painter of whom Catalonia can boast. His fate was extremely sad: for the
+last seventeen years of his long life, he was paralysed in both hands.</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Street, “Gothic Architecture in Spain.”</p></div>
+
+<p>Standing on the sinister spot where, twelve years ago, twelve people
+were killed and fifty others injured by a miscreant’s bomb, we survey
+the fine west front. This is flanked by two octagonal towers, of the
+telescope kind, and has a magnificent rose-window, above which I rather
+felt that an attic or story gable was wanted. The portal is richly
+moulded, and adorned with sculpture. The doors are faced with iron.</p>
+
+<p>The churches of Santa Maria del Pino and of Santos Justo and Pastor are
+on the same plan, with slight modifications. Adjoining the former is a
+tall detached belfry, producing a fine effect. The church was
+consecrated in 1453, and derived its name according to one account from
+an image of the Virgin found in the trunk of a pine. The west front,
+Street considers to have been designed by the architect of the north
+transept door of the cathedral. Unlike Santa Maria del<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> Mar, there are
+no chapels in the apse, though they are found between the buttresses of
+the nave. There is no aisle. In this church Villadomat is buried.</p>
+
+<p>Santos Justo-y-Pastor is another single-nave church, founded in 1345, on
+the oldest church site in the city. It has been modernised inside and
+out. In the days of the ordeal by combat the parties, fully armed, made
+oath in this church, on the altar of San Felio, as to the justice of
+their cause and to use no “constellated or enchanted weapons.” We read
+that James I. declared null and void the issue of an encounter between
+Arnuldo de Cabrera and Bernardo de Cantellas on the ground that the one
+had worn certain jewels believed to be enchanted, and that the other had
+been invested with a shirt rendered impenetrable by a spell. To-day, I
+understand, an oath taken in this church as to the last wishes of a
+citizen who has died intestate, will be sufficient grounds for the issue
+of letters of administration accordingly. Here also Jews were sworn with
+both hands placed on the Decalogue, and according to a long and terrific
+formula. This is given at length by Don Pablo Piferrer in the original
+Catalan, and is calculated to appal the most hardened perjurer.</p>
+
+<p>Barcelona, it will have been seen, abounds in ancient and interesting
+churches. San Pablo<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> del Campo was founded in the first decades of the
+tenth century by Count Wilfred II., who was buried in it, as his epitaph
+on a Roman tablet attests. Destroyed by Al Mansûr, the church was
+rebuilt on the same plan in 1117 by Jinbert Jintardo and his wife
+Rotlandis. The west front has retained much of its primitive Romanesque
+character. The symbolical sculpture is crude and curious. The interval
+is very striking in its simplicity. The cloister is more ornate and the
+decoration is considered by some to mark the transition from the
+Romanesque to the Moorish style. More eastern in character is the
+venerable church of San Pere de las Puellas, believed to date from the
+tenth century. It is so called from the nuns who formerly inhabited the
+adjoining convent and who, at the time of Al Mansûr’s invasion, cut off
+their lips and noses to avoid the amorous attentions of the Moors.</p>
+
+<p>There remain to be visited the old chapel royal of Santa Agueda, now
+converted into an archæological museum, where Alfonso el Casto was
+baptized, where the order of Montesa was established, and where the
+claims of the candidates to the crown of Aragon were discussed in 1410.</p>
+
+<p>Santa Ana, built in 1146 in imitation of the church of the Holy
+Sepulchre (as it was then), with a curious fourteenth-century cloister
+placed at an angle to the main building, and the simple<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> graceful arches
+of the chapel of Montesion, where are hung the Turkish ensigns won by
+Spanish valour at Lepanto.</p>
+
+<p>One instinctively searches at Barcelona for monuments of civic state
+befitting a city of such antiquity and dignity. Happily such are not
+lacking and have been preserved to us. The noble Gothic façade of the
+Town Hall (Casa Consistorial), erected in 1373, has been recently
+restored, fortunately with good taste. The Council Chamber (Salon de
+Ciento), formed of two bays which support an artesonado roof, is lined
+by a collection of portraits of Catalan worthies, among whom we
+distinguish Capmany, Villadomat and Montaner. A finer building and
+preserving more of its primitive character is the Diputacion, the old
+Parliament House of Catalonia, and now the seat of the Provincial Court.
+This monument, declares Piferrer, “is the admiration of foreigners and
+the honour of Barcelona. He who seeks for originality of style, let him
+examine all its parts and be convinced that many are of a character
+entirely new.” Built in the early fifteenth century, it underwent
+frequent restorations and enlargements, and was rebuilt in great part in
+1609 by Maestre Pere Blai, who spared the best portions of the old work.
+The principal façade is cold and devoid of interest, except for the
+figure of St. George above<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> the entrance. To that saint is dedicated the
+chapel, with its fine ogival portal, and the adjoining wall damascened
+(to quote Piferrer) with reliefs. The chapel is the repository of an
+exquisite altar frontal, worked with the design of St. George and the
+Dragon, and designed by Antonio Sadarni, in 1458. The pillars sustaining
+the galleries of the patio, at one time much admired for their daring
+and ingenious execution, were bending and giving way under the strain
+till restored and strengthened a few years ago by Don Miguel Garriga y
+Roca, a local architect.</p>
+
+<p>The halls breathe the dignity and gravity of a great corporation. The
+majestic Salon del Tribunal with its dome and hangings is adorned with
+portraits of the Kings of Spain, and paintings by Fortuny, one
+representing the victory of Marshal Prim over the Moors at Tetuan.
+Catalonia keeps ever green the memory of her heroes.</p>
+
+<p>The rapid extension of the most populous city of Spain has fortunately
+spared several noble monuments of bygone ages and beliefs. About an
+hour’s walk from the Tibidabo brings one to the Romanesque monastery of
+San Cucufat (or Cugat) del Valles, founded by Charlemagne on the site of
+a Roman camp, and rebuilt between 1009 and 1014. The exterior is
+fortified with battlements and flanking towers, the main en<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>trance being
+pierced through a tall square gatehouse, and having been defended by a
+drawbridge. The Abbey Church is in the finest Romanesque style, with an
+octagonal lantern, apse, nave, and aisles. The interior is plain and
+sombre, despite the abominable baroque chapels which have been added to
+the right aisle. The church contains but one tomb of importance&mdash;that of
+the builder or founder, the Abbot Otho, who was also Bishop of Gerona,
+and flourished at the dawn of the eleventh century.</p>
+
+<p>The cloister of San Cugat has afforded the Romanesque sculptors the
+opportunity of gratifying their most exuberant fancy in stone. The
+capitals reveal an extraordinary profusion and variety of
+designs&mdash;Biblical scenes being associated with fables, conventional
+designs, and animals’ heads. Examples of the quaint and more childlike
+conceptions of a rather later age (fourteenth century) may be found in
+some curious paintings, set in retablos, still adorning the church. They
+are specimens of a style peculiar to Catalonia, Valencia, and the
+Balearic Islands, at the period “which analogies [says one authority]
+with the early Tuscan and old Cologne schools.<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>”</p>
+
+<h2><a name="GERONA" id="GERONA"></a>GERONA</h2>
+
+<p class="nind"><span class="smcap">Gerona</span> deserves to be, but through some freak of fortune is not, as
+famous as Saragossa. Its many sieges, especially those that took place
+in the Peninsular War, are among the many proofs of the Spaniard’s
+extraordinary tenacity in the defence of positions. Numantia, Saguntum,
+Saragossa, Gerona, and Cartagena&mdash;can any other country boast so many
+and such glorious instances of heroism and resistance to an overwhelming
+foe? These five names should be inscribed on the national escutcheon.
+They might even one day have more than a sentimental value, and cause
+potential invaders to think twice before violating Spanish soil.</p>
+
+<p>Gerona, then, has covered itself with glory, not once, but repeatedly.
+The very paynim Moors were invigorated by the heroic atmosphere, for we
+read that as long ago as 785 they defied the arms of Louis the Pious,
+till the Christian townsfolk, thinking that enough had been done for the
+renown of Gerona, arose and expelled them. In the succeeding centuries
+the Geronese grew used to this business of sieges, and their assailants<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>
+grew more wary. In 1285 the French King, Philippe le Hardi, sat down
+before the town and contentedly starved it into submission. Gerona
+yielded under protest, and took care to place it on record that she was
+not taken by force but by hunger, as the inscription not “per forsa, mes
+per fam” over the Puerta de la Cárcel to this day testifies. More than
+four centuries later came another Philippe from beyond the Pyrenees,
+welcomed by all Spaniards except Catalans. Gerona stubbornly held out
+for Austrian Charles, and her garrison of 2000 men bade defiance to
+Philippe’s 9000. The Bourbon won; and to punish the recalcitrant city
+abolished her University. But a hundred years after, Gerona recovered
+her laurels. Her garrison of three hundred men, commanded by Colonel
+O’Daly, withstood successfully the repeated assaults of 6000 French
+under Duhesme, and beheld in August 1808 the hurried and inglorious
+flight of the besiegers. Of the great siege of 1809 you may read in the
+pages of Napier. The commander and hero of the defence was Mariano
+Alvarez&mdash;a much finer fellow than Palafox; and had he not been stricken
+with fever and rendered unconscious, the town might not have
+surrendered, as it ultimately did after a seven months’ siege. It had
+cost Napoleon 15,000 men. Here, as at Saragossa, the women fought beside
+the<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> men and worked the guns, under the banner of St. Barbara.
+Unconquerable Gerona! Well might the heirs to the crown of haughty
+Aragon have been proud to bear the title of your prince.</p>
+
+<p>Towns with such stories invariably reflect them in their physiognomies.
+Gerona’s aspect is eloquent of history and legend. Her balconied
+houses&mdash;yellow and white&mdash;seem to rise out of the waters of the river
+Oñar, reminding one at moments of a Venetian canal. But to dispel such
+an illusion you have but to lift your eyes to the castled hill of
+Montjuich, in which the defensive power of the town resides and whose
+sides have borne the brunt of every battle that has raged round Gerona.
+Penetrating into the labyrinth of streets behind the river front, we
+find them dark, narrow, and silent enough to be haunts of the muse of
+history; but here and there&mdash;often, indeed&mdash;we find animated squares and
+thoroughfares that show us that Gerona is not outside the brisk
+Catalonian current.</p>
+
+<p>The vast cathedral lifts its towers near the river’s marge. It was
+founded, after the expulsion of the Moors, by Louis the Pious, in 786,
+and was rebuilt in the year 1016. It was consecrated by the Archbishop
+of Narbonne, on the French side, assisted by bishops both Cispyrenean
+and Transpyrenean. Extensive alteration and restoration went on in the
+fourteenth century, among<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> the architects being two from Narbonne.
+Perhaps I may be pardoned the digression when I remark that natural
+boundaries seem to have been of less importance in the Middle Ages than
+now; a fact which may, it seems to me, be partly attributed to the
+relative facility with which great mountain barriers could be passed by
+the usual means of conveyance in those days. If you travel only on
+horseback, a mountain pass presents little more difficulty than a high
+road. Street, who extracted these particulars of the cathedral’s history
+from various Spanish works, tells us of the deliberations as to the
+adoption of the architect Guillermo Boffy’s plan for a nave of a single
+span. Fortunately the twelve architects composing the jury (Pascasio de
+Xulbe, Juan de Xulbe, Pedro de Valfogona, Guillermo de la Mota,
+Bartolomé Gual, Antonio Canet, Guillermo Abiell, Arnaldo de Valleras,
+Antonio Antigoni, Guillermo Sagrera, Jehan de Guinguamps, and Boffy
+himself) pronounced in favour of the plan, and the work was put in hand
+that same year, 1417. The first stone of the campanile was not laid till
+1581, and the west front was begun as lately as 1607.</p>
+
+<p>This grand church consists, then, of a single nave 73 feet wide, four
+bays in length, and terminating in the usual semicircular east end. The
+west front, in the poor style of the seven<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span>teenth century, calls for no
+remark, and gives no promise of the grandeur of the interior. Street
+thinks the exterior could never have looked very well. Even the south
+door, executed in 1458, does not merit praise, though its terra-cotta
+statues are curious and well preserved.</p>
+
+<p>The vast nave is blocked and greatly marred by the central choir, moved
+into this ill-chosen position long after the completion of Boffy’s work.
+Three arches separate the east end from the nave. Above them are three
+large round windows. Street praises this arrangement and says that it
+enhances this effect of vastness. “In short, had this nave been longer
+by one bay, I believe that scarcely any interior in Europe could have
+surpassed it in effect.”</p>
+
+<p>The high altar is of alabaster with a silver frontal, and belonged to
+the old cathedral. It was the gift of Ermesindes, the wife of Count
+Ramon Borel (1038). The reredos is a very rich and interesting work
+plated with silver. It was completed in 1348. The subjects in the three
+tiers of niches relate respectively to the lives of the saints, the life
+of the Blessed Virgin, and the life of Our Lord. The work is crowned by
+the figures of Christ and His Mother, and the saints Narcissus and
+Feliu. Of the same period is the baldachin, the vault of which is
+covered with sacred subjects, while the shafts are adorned with<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span>
+heraldic achievements. Behind the reredos is the bishop’s throne, formed
+of a single piece of marble. “Here, when the bishop celebrated
+pontifically, he sat till the oblation and returned to it again to give
+the benediction to the people.”</p>
+
+<p>In addition to the objects of interest to which the architect of our Law
+Courts calls attention&mdash;the wooden wheel of bells, &amp;c.&mdash;the cathedral
+contains several tombs worthy of examination. In the choir is buried
+Count Ramon Berenguer, surnamed Cap d’Estopa; in the presbytery, on the
+gospel side, is the tomb of Bishop Berenguer de Anglesola; Doña
+Ermesindes lies between the chapels of Corpus and San Juan; Bishop
+Bernardo de Pau in the chapel of San Pablo.</p>
+
+<p>Adjoining the church is the dark gloomy cloister, which existed in the
+early twelfth century, and in which Street recognised “one of the main
+branches of the stream by which Romanesque art was introduced into
+Spain” from south-eastern France. The galleries, with marble columns and
+stone roofs, enclose a court with tall trees and a cistern in the
+centre. Numerous black memorial tablets let into the walls have failed
+to keep alive the memory of the dead.</p>
+
+<p>The archives of the cathedral contain a Bible, at one time believed to
+have been the gift of Charlemagne, and enriched with the signature of
+Charles V. of France. Another treasure is an<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> illuminated code dating
+from the tenth century, and relating to the Apocalypse&mdash;a chapter in
+Holy Writ which at that period, when the end of the world was believed
+to be at hand, greatly occupied the minds of men.</p>
+
+<p>Not far from the cathedral, and nearer to the river Oñar, is the
+collegiate church of San Feliu or San Felix rising proudly above the
+town. Its tall campanile is visible from every part of the town and is a
+familiar landmark for miles around. It was built in 1392, and is in
+three stages: the first or lower stage, quite plain, the second adorned
+with graceful windows, the third putting forth shoots in the shape of
+tapering finials. “It is seldom,” says Street, “that the junction of
+tower and spire is more happily managed than it is here; and before the
+destruction of the upper part of the spire the whole effect must have
+been singularly graceful.” Though the church seems to have been almost
+entirely rebuilt in the fourteenth century, as a foundation, St. Feliu
+dates back to the eighth century and was used by the Christians during
+the Moorish occupation, which, by the way, only lasted sixty-eight
+years. The interior seems, like the cathedral’s, to have consisted of a
+single nave, but to this aisles have been added, the whole terminating
+in a tri-apsidal chevet. The west front dates from the seventeenth
+century. The<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> high altar has some good paintings and sculpture, the
+canopies over the tomb of San Feliu and the statues of the Virgin and
+St. Narcissus being especially notable. The modern chapel of the
+last-named saint is gorgeously enriched with jasper of many colours. In
+this church is buried the heroic Don Mariano Alvarez de Castro, beneath
+a monument, dating from 1880, executed in Carrara marble and in the
+reddish yellow stone of the country. The tomb is crowned by a mourning
+female figure, which I have been told is a portrait of the general’s
+wife. The sepulchre of San Feliu dates from the thirteenth century and
+is sculptured with compositions representing scenes from the saint’s
+life. Leaving San Feliu by the south door, we pass through the dark and
+massive Portal de Sobreportas, formed by two huge round towers,
+connected by a modern intervening story, and at the end of a long gloomy
+lane reach a Capuchin convent. The object of our visit is a soi-disant
+Moorish bath, covered in by a graceful little pavilion with eight
+slender columns.</p>
+
+<p>The oldest church at Gerona appears to be the little oratory of San
+Nicolas, built in the form of a cross with its arms ending in apses,
+surmounted by domes. The height of the nave is not much more than that
+of a tall man. Hardly inferior in antiquity is the church of San Pedro
+de Galligans.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> This is named, not after the Gauls, as one might be
+tempted to suppose, but after a little stream called the Galligans,
+which at this point flows into the Oñar. Like every other religious
+edifice in Gerona, its foundation is attributed to Charlemagne, but
+(according to Piferrer) the earliest mention of the church occurs in the
+year 992, while the actual fabric was building at the time a third part
+of the coinage of Gerona was given by Count Ramon Berenguer III. to the
+Benedictine monastery of which his brother was abbot. Street inclines to
+think San Pedro was built by the architect of the church at Elne in
+Roussillon. The principal apse here, as at Avila, projects beyond the
+town wall; on the south side of it are two smaller apses side by side,
+opening into the south transept; the north transept expands into apses
+on the north and east and is crowned by a fine octagonal steeple with
+two rows of round-headed windows. The west front is approached by steps,
+many of them bearing Romano-Gothic inscriptions; there is a single
+round-arched western door with good fern-leaf carving on its capitals,
+and above this a rose-window. Within, the church consists of a nave,
+separated by tall, massive columns from the aisles. The capitals are
+rude, but offer great variety of design and execution. There is a
+clerestory, but no windows to the aisles, which<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> are more like
+corridors. On the south side is a cloister probably carved coeval with
+the church, but terribly damaged during the siege, and now converted
+into the Provincial Museum.</p>
+
+<p>“The whole character of this church,” remarks Street, “is very
+interesting. The west front reminded me much of the best Italian
+Romanesque, and the rude simplicity of its interior&mdash;so similar in its
+mode of construction to the great church at Santiago in the opposite
+corner of the Peninsula&mdash;suggests the probability of its being one of
+the earliest examples of which Spain can boast.”</p>
+
+<p>From San Pedro we may follow the course of the little river Galligans to
+the deserted monastery of San Daniel, dating as a building from the
+eleventh century. In 1015 the original foundations were sold by Bishop
+Pedro Roger to Count Ramon Borell III. and his wife Ermesindes, for one
+hundred ounces of gold. The Countess erected a monastery, which was
+completed by the less fortunate wife of Ramon Cap d’Estopa. The west
+front and nave are Gothic, the chancel and lantern in good Romanesque
+style. In front of the sanctuary a flight of steps leads down to the
+shrine of the titular saint, whose tomb dates from the fourteenth
+century.</p>
+
+<p>&nbsp;</p>
+
+<p>North of Gerona lies FIGUERAS, accounted the strongest fortress in
+Spain. Like so many<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> other “impregnable” strongholds, it has been taken
+again and again, so often, in fact, as to give rise to the saying,
+“Figueras belongs to Spain in peace, and to France in war.” It is only
+fair to add that in several instances its fall has been due to
+treachery. In a miserable chamber in the castle of San Fernando died
+Mariano Alvarez de Castro, a prisoner in the hands of the French. The
+guide-books speak of a religious procession which takes place here on
+the last Monday in May, and is called the Profaso de la Tramontana,
+after the north wind, which blows here with great violence.</p>
+
+<p>In the vicinity of Figueras is the church of Villabertrán, dating from
+the end of the eleventh century. Designed by a priest it exhibits,
+remarks a Spanish writer, in every detail the ecclesiastical bias. All
+animal figures are excluded as tending to disturb religious
+recollection. The interior is nobly designed but destitute of all
+ornament. “In this temple everything appeals to the reason, nothing to
+the imagination; these low dark vaults dissipate illusions; the thought
+of death oppresses the mind; but the eyes discern a gleam of light in
+the darkness of the sanctuary, and the soul hungrily seeks a gleam of
+faith in the gloom of doubt.”</p>
+
+<p>Of a similarly severe character is the adjacent cloister. The campanile
+of the church alone<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> presents any airy or graceful features. The whole
+foundation would have been spared even by Knox or Calvin.</p>
+
+<p>On the bay of Rosas, the town of Castellón de Ampurias recalls the great
+city of Empurias which was founded by the Greeks, and utterly perished
+at the end of the twelfth century. It was among those great maritime
+powers which for long resisted the encroachments of the Carthaginians,
+and which fell in turn before the irresistible arms of Rome&mdash;reminders
+for us of the days when the fate of the Mediterranean still hung in the
+balance, and it was yet uncertain whether the civilisation of Europe
+should be Hellenic, Punic or Latin. The destruction of Empurias is
+ascribed partly to the Saracens, partly to the Normans. Whoever
+accomplished the work did it thoroughly, for nothing but the name
+survives of this once rich and puissant colony of Hellenes.</p>
+
+<p>Castellón de Ampurias is a Latin foundation, with which time has dealt
+unkindly. Its parish church of Santa Maria is a noble monument of its
+prime. It was consecrated in 1064 and finished in the late Gothic
+period. To this last style belongs the west porch, with a pointed arch
+of six orders, and the figures of the Twelve Apostles beneath canopies
+in the jambs. The tympanum shows a relief of the Adoration of the Magi.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span>
+Contrasting strikingly with this carefully chiselled and graceful Gothic
+work is the stern square campanile to the left, a remnant of the
+Romanesque days. The interior is early Gothic. The combination of this
+with the preceding style is strikingly shown in the principal apse. The
+altar, a single piece of marble, is carved with reliefs which exhibit
+(says Pi y Margall) the artist’s breadth of imagination rather than his
+skill.</p>
+
+<p>Further inland is the venerable abbey of San Pedro de Roda, founded in
+the tenth century, and abandoned by the religious in the year 1799.
+To-day the monastic buildings are in utter ruin, but enough of the
+church remains to fill us with admiration for the loftiness of its nave,
+the harmonious admixture of the Romanesque with the pure classic forms,
+the skilful decoration of the various parts, and the sombre majesty of
+the whole.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
+
+<h2><a name="THE_VALLEY_OF_THE_TER" id="THE_VALLEY_OF_THE_TER"></a>THE VALLEY OF THE TER</h2>
+
+<p class="nind"><span class="smcap">The</span> river Ter, which washes the walls of Gerona, is born among the snows
+of the Puigmal, the loftiest of the Eastern Pyrenees. Its stream is
+still ice-cold when it flows past the little town of San Juan de las
+Abadesas, which changed its name from Ripollet upon the foundation of an
+abbey within its precincts by Wilfred the Hairy, Count of Barcelona, in
+the year 877. The Count’s daughter was the first Abbess. The present
+abbatial church replaced the original structure in 1150. It is strictly
+cruciform, consisting of a nave and transept without aisles. There are
+only two columns in the church, these being planted at the entrance to
+the presbytery. The chancel is in the florid late Gothic style,
+contrasting oddly with the extreme simplicity of the rest of the fabric.
+Behind the altar is a figure of Christ, sculptured in the year 1250; in
+the forehead, it is believed, is contained a Host, which has preserved
+its integrity for seven centuries, and which it was found impossible to
+remove in the year 1598. The church has two choirs, both blocking the
+nave. The north and south porches were<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> reserved respectively for men
+and women. The adjoining cloister is in good fifteenth-century style,
+and was probably designed or improved by the architect of the Palacio de
+la Diputacion at Barcelona.</p>
+
+<p>Five or six miles farther down the valley stands Ripoll, one of the
+towns that suffered most severely during the Carlist wars. It has,
+however, long since recovered from its reverses. Unfortunately the
+damage done to the monastery founded by Wilfred the Hairy cannot be
+repaired. As the Mausoleum of the counts from the ninth to the twelfth
+century, it possessed great interest. The church, built by Bishop Oliva
+about the thousandth year of our era, is roofless. The nave terminates
+in an apse, and there are three smaller apses opening from the east into
+each transept. The special glory of the building is its west porch,
+formed by a rounded arch with three shafts in each jamb. The middle
+shafts are carved into life-size figures of St. Peter and St. Paul; the
+others are most beautifully chiselled. The orders of the arch are
+variously treated; caprices, grotesques, masques, mythological designs
+being interwoven with more appropriate religious symbols. One series of
+reliefs appears to represent the twelve months.</p>
+
+<p>The façade on either side of this portal is similarly decorated with
+graphic reliefs in six courses, the lowest representing scenes in which<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>
+centaurs, lions, &amp;c., figure; above this is a row of figures of knights,
+princes, and prelates; above this, battle scenes, then come two rows of
+sacred figures and subjects, and finally the figure of God the Father
+attended by angels and princes. The whole of this portal is of profound
+interest to students of the Romanesque.</p>
+
+<p>The interior of the church was restored as lately as twenty years ago.
+All styles seem to have entered into its architecture. Instead of
+columns, massive piers support the vaulting, and mark off the aisles
+from the nave. The chancel&mdash;merely a shallow apsidal prolongation of the
+nave&mdash;is strewn with the ruins of the high altar and the roof.</p>
+
+<p>The cloister of the monastery is the most interesting part. It is
+composed of an upper and lower gallery of round arches, uninterrupted by
+any piers or buttresses. The harmony of the whole is admirable. The
+columns are of Gerona marble, and pinkish grey in hue. Variety is
+imparted by the capitals whereon the unknown sculptor has expended his
+fanciful, nervous genius. The upper gallery was not completed till the
+end of the fourteenth century, though the cloister had been begun as far
+back as 1172.</p>
+
+<p>Farther down stream is Vich, a town constantly referred to in the annals
+of the Carlist wars. As the history of that insurrection is not well
+known to foreigners, visitors are more likely to be inter<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span>ested in the
+monuments that have survived those troubled times. The cathedral was
+built in 1040&mdash;a date which sounds promising; but alas! the architects
+of the eighteenth century have forestalled us, and have worked their
+wicked will upon a once noble church. The artistic eye will not linger
+upon the exterior, but it may find some refreshment in the majestic
+nave, divided from the aisles by six clustered columns, with Corinthian
+capitals. When the church was rebuilt, all the tombs were swept away,
+and none of the altars spared, except the high altar, which is a
+meritorious work of the early fifteenth century. As at Ripoll, there is
+a fine cloister built five hundred years ago. The gallery, with its
+pointed openings and trefoil and quatrefoil tracery, is built over a
+substructure with round arched open vaults. The centre of the quadrangle
+is occupied by the statue and monument of the philosopher Balmes, who
+was born at Vich and died in 1848, aged only thirty-eight years. He is
+buried in the cathedral nave.</p>
+
+<p>Outside this church there is little to be seen in the old Catalan town.
+The remains of a Roman temple are worth examination, and the artist may
+find plenty of material for sketches in the picturesque Plaza Mayor.</p>
+
+<p>From Vich it is about forty-five miles to Barcelona.<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p>
+
+<h2><a name="LERIDA" id="LERIDA"></a>LERIDA</h2>
+
+<p class="nind"><span class="smcap">Lerida</span> is another of those Catalan cities that remind one of the saying
+about new wine in old bottles. Seen from afar it is clearly one of those
+old human hives that have existed on the same spot ever since man felt
+the need of a permanent abode&mdash;you have the hill-site, the walls, the
+towers, the flowing river, the mediæval aspect. You observe with delight
+a humpbacked bridge, such as (with a total disregard for beasts of
+burden) our pious ancestors loved to build. And over all rises the
+cathedral&mdash;or, as we shall soon learn, what was the cathedral. But on a
+closer inspection we find that time has by no means left Lerida
+untouched. Already she has overflowed into the opposite side of the
+stream, and there is a big new suburb with wide white streets,
+spaciously planned squares, and avenues along which the trees are
+beginning to grow. And as you cross the humpbacked bridge, you observe
+that the centre arch is quite new, and as you enter the old town, you
+are astonished by the stir and the modernity of it all. It is just like
+Smyrna or Damascus. Every one has been too<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> busy to build the town over
+again. Its poor old rickety houses, in which men designed to lead only
+the sedatest of lives, have been hastily requisitioned for the service
+of modern industry and commerce. The low rooms are packed with
+merchandise, the frail houses seem like to burst. The underground
+cellars come in very handily. Lerida is very much alive. Some day she
+will have to pull her house down and build a new one altogether.</p>
+
+<p>Probably no one would have come to Lerida&mdash;no strangers of the
+uncommercial variety, that is&mdash;if Street had not told us about the old
+cathedral, since turned into a barracks. Nor without his detailed and
+professional description would the average traveller be able to make
+much of the building. The purposes to which it has been put have
+obscured the outlines of the features of the original fabric. But you
+cannot overlook it for it stands high on the hill like a citadel, which,
+indeed, it has now become.</p>
+
+<p>Lerida&mdash;which the Catalans, by the way, call Lleyda&mdash;was known to the
+Romans as Ilerda, and when they turned Christian, they built a church on
+this site. This, it is supposed, became a mosque during the brief
+Moorish period, to be reconsecrated on the reappearance of the
+Christians. The first stone of the actual building was laid on July 22,
+1203, in the presence of King<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> Pedro II., and the consecration took
+place on October 31, 1278.</p>
+
+<p>(People often wonder why we do not build cathedrals nowadays equal to
+the old. One of the reasons may be that we are in too great a hurry. In
+the Middle Ages no man expected to see the completion of the work he
+began. They were animated by a strong communal sense, different from the
+individualism of to-day.)</p>
+
+<p>The excellent bishop and chapter of Lerida in the year 1707 thought the
+cathedral too old for their requirements, and having already
+commissioned a military architect to build them a new church in the city
+below, thither they removed. By a fair exchange the military took
+possession of the cathedral. They willingly display it to you, and the
+non-commissioned officer who shows you round seems less in a hurry to
+get the visit over than your clerical cicerone usually is.</p>
+
+<p>The lay traveller in attempting to understand this church has always to
+refer himself to the explanation of Street or else to that of Piferrer,
+which is certainly not so intelligible. In plan, then, the church is
+cruciform with three eastern apses and square transept arms. Another
+apse projects eastward from the south transept, which is flanked on the
+other side by a semicircular chapel, pointing south. Over the crossing
+rises<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> an octagonal lantern, roofed like the whole church with stone,
+and pierced in each face with double windows with varied tracery. At its
+north-west angle is a slender octagonal staircase turret, rising from
+the south-west angle of the north transept. There is a similar but
+stouter tower, detached from the lantern, rising over the south
+transept. These towers give the whole pile a romantic and beautiful
+appearance.</p>
+
+<p>The principal portal, called in the Catalan dialect the Puerta dels
+Fillols, opens into the middle of the south aisle. “This [says our
+authority] is an example of singularly rich transitional work, with an
+archivolt enriched with chevrons, mouldings, dog-tooth, intersecting
+arches, and elaborate foliage. There is the usual horizontal cornice
+over the arch, and above this is a fourteenth-century statue of the
+Blessed Virgin Mary and Our Lord. The horizontal cornice is carried on
+moulded corbels, between which and the wall are carvings of wyverns and
+other animals; whilst the soffit of the cornice in each compartment is
+carved with delicate tracery panels, in some of which I thought I
+detected some trace of Moorish influence. The cornice has a delicate
+trailing branch of foliage; and the labels and two or three orders of
+the arch, in which sculpture of foliage is introduced, are remarkable
+for the singular delicacy and refinement of the<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> lines of the foliage,
+and for the exceeding skill with which they have been wrought. There is
+none of that reckless dash which marks our carvers nowadays, but in its
+place a patient elaboration of lovely forms, which cannot too much be
+praised. The mouldings here are all decidedly characteristic by a
+later&mdash;probably fifteenth-century&mdash;vaulted porch, which occupies the
+space between two added chapels. The effect is very good and
+picturesque.”</p>
+
+<p>The transept doors are also very fine, especially the southern one. The
+cornice is beautifully sculptured and the wheel window above reveals in
+its details the influence of the Italian Romanesque. These entrances
+make us regret the effacement of the west porch, which is concealed by
+the vast square cloister covering that side of the church. This
+remarkable building, now occupied by troops, is the grandest, Street
+declared, he had ever seen. In its present desecrated state, it must be
+confessed it needs a highly trained eye to appreciate its beauty. The
+arcades are walled up, and there is some ground for supposing that when
+in ecclesiastical occupation the galleries were used as dormitory and
+refectory. The details vary greatly. The bays vary in width, the
+sculpture is of all sorts of design, and of all periods. Adjoining this
+vast cloister on the north side is a long barrel-vaulted hall, lighted
+only at one end. On<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> the west side the cloister is entered through an
+enormous western doorway with a pointed arch. South of this and almost
+detached from the cloister stands that beautiful octagonal steeple which
+served Pedro Balaguer as a model for the Micalet Tower at Valencia. It
+is 170 feet high and divided into five stages, “the whole construction
+being of the most dignified and solid description.”</p>
+
+<p>Concerning the position of this tower, Street remarks: “Here, as often
+happens with detached campaniles, the grouping of the steeple with the
+church from various points of view is very diversified, and often very
+striking. From its great height above the valley it is seen on all
+sides, and generally at some distance. From the south, the grand size of
+the cloister, which connects the steeple with the church, gives it
+somewhat the effect of being in fact at the west end of an enormous
+building, of which the cloister may be the nave; whilst the steeple
+rears its whole height boldly to the right, and makes the whole scheme
+of the work utterly unintelligible, until after a thorough
+investigation.”</p>
+
+<p>The interior of the church is now cut horizontally by a plank flooring,
+and no features of interest can be distinguished, except in a single
+apsidal chapel, which is still used as such, and where is buried a
+natural son of King Pedro the<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> Catholic, who died in 1254. Whitewash has
+obscured all the details of capitals and columns.</p>
+
+<p>Adjacent to the cathedral on the north side is the ruin of a once noble
+hall, with traces of Moorish influence in its carving&mdash;possibly the
+remains of a chapter-house or episcopal palace.</p>
+
+<p>Far exceeding the cathedral in antiquity is the church of San Lorenzo
+hard by, though it is not safe to accept the tradition of its Gothic
+origin. It was certainly built prior to the twelfth century. Originally
+just an apse and a nave, with walls eight feet thick and a span of
+thirty-three feet, aisles each ending in an apse were added to it at a
+much later period. They communicate with the nave by very simple pointed
+arches, and their windows have good traceries of the late thirteenth
+century. “The apse has a semi-dome and is lighted by three round-headed
+windows, five inches wide in the clear, and has a corbel-table under the
+eaves outside.”</p>
+
+<p>The octagonal campanile dates from the fifteenth century, to which
+period belongs the western gallery. There is a good deal of pointed work
+in the church, which is gloomy and religious. The high altar, dating
+from about 1400, has a reredos which is highly praised by some critics.</p>
+
+<p>Lerida was the Salamanca of Aragon. Her university, founded in 1300 by
+Jaime II., numbered the profligate Calixtus III. among its pro<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span>fessors,
+and Vicente Ferrer&mdash;the “angel of the judgment”&mdash;among its alumni. Ford
+reminds us that Horace speaks of the place as a seat of learning in
+Roman times, to which the troublesome youths of the capital were
+banished. The town, like its Castilian prototype, has been famed for
+arms as well as learning. It sustained a severe siege from Felipe IV.
+himself in 1640, and withstood the assaults of the great Condé in 1640.
+It owned the loss of its university to its devotion to the Archduke
+Charles in the War of Succession, and (more directly) to the defeat
+sustained close by, by the Bourbon king. At the same time the military
+authorities made the clergy give up their cathedral.</p>
+
+<p>Probably none of the ancient edifices of Lerida will interest you as
+much as the market-place, surrounded by quaint old houses; entering, you
+find the whole house is a great wine-press, the grapes, trodden on the
+ground floor, pouring their juice into the cellars below.</p>
+
+<p>&nbsp;</p>
+
+<p>Higher up the Segre is the historic town of Balaguer, the Bargusia of
+Livy, and the capital of the ancient county of Urgel. The counts had
+their residence in the “Beautiful Castle” (“Castillo hermoso”) which
+overlooked the town and has now totally disappeared. There are a few
+ruins of the once famous priory of Santo<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> Domingo. The site of the
+castle is occupied by the church of Santa Maria, built in 1351. It is a
+dignified, simple edifice, of a single nave with lateral chapels. The
+Trappist monastery of Bellpuig de las Avellanas a little way out of the
+town is another and better preserved monument of the piety of the old
+Counts of Urgel whose line expired with Jaime el Desdichado at the
+beginning of the fifteenth century.</p>
+
+<p>Still going northward, and without crossing the limits of the old
+country, we reach the venerable town of Agramunt, notable for its late
+Romanesque church with a portal similar to the Puerta dels Fillols at
+Lerida. We reach at last Seo de Urgel at the very foot of the Pyrenees.
+As a see, the place is of immemorial antiquity. Its bishops (who are
+co-sovereigns with France of the Republic of Andorra) attained the
+zenith of their power and splendour in the eleventh century. The town
+has figured in every border war and was the seat of the audacious
+reactionary caucus which called itself a regency and declared Ferdinand
+VII. unfit to govern while he was obedient to the constitution.</p>
+
+<p>The actual cathedral was consecrated by Bishop Eribal in 1040, but its
+construction lasted well on into the next century. It resembles a church
+of southern France more than one of Cataluña. The façade is divided
+vertically by two buttresses,<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> horizontally by string courses into three
+stages, the lowest of which is pierced by the simple round arched west
+porch, the middle by three round-headed windows, the highest forming a
+sort of attic, by a round-headed window and two <i>rosaces</i>. The interior
+is divided into a nave and aisles with transept and lantern. The
+treasury is interesting for its collection of documents dating back to
+the time of the Carlovingian kings.</p>
+
+<p>Returning from Lerida to Barcelona we pass the castle of Bellpuig, the
+seat of the great family of Anglesola&mdash;a massive fortress of red stone,
+restored in the sixteenth century. Its magnificent staircase still gives
+one some idea of the pomp and state of its former lords. The village
+extends from the castle to the church&mdash;a situation which inspired the
+erudite topographer of this country (Piferrer) with reflections that
+remind one of Don Quixote’s address to the goatherds. The church
+contains the tomb of Don Ramon de Cordova, one of the ablest lieutenants
+of Gonzalo de Cordova. His effigy, armed and holding his helmet,
+reclines in a sleeping posture on an urn adorned with reliefs of marine
+gods and monsters and upheld on the backs of sirens, whose hands are
+webbed; the sepulchral arch is formed by six Ionic columns, against
+which lean figures expressive of mourning; over the tomb is a relief of
+the Entombment. In niches on each side of<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> the arch are two life-size
+figures emblematic of Victory; above them, two figures leaning forth
+from medallions appear to extend laurels toward the hero. The plinth and
+cornice of this superb tomb are adorned with reliefs illustrating the
+victories and achievements of the deceased, who was as distinguished as
+an admiral as a general. His body remains in the urn practically
+incorrupt. The tomb is the work of Juan Nolano.</p>
+
+<p>This work has been brought here from the ruined Franciscan friary,
+founded a few miles from Bellpuig by the knight in the year 1507. The
+cloister is fairly well preserved. The two lower galleries&mdash;a third has
+been added since the foundation&mdash;are in debased Gothic style. The second
+gallery is formed by eleven rectangular columns, like those of the Lonja
+at Valencia, with four bands of moulding wreathed round each and
+gathered in at the capitals. The convent church is also of interest and
+is connected with the cloister by a fine staircase.</p>
+
+<p>From Bellpuig we pass on to Cervera, to which Philip V. transferred the
+university from Lerida in 1717. This is the famous body which
+proclaimed, in the enlightened reign of Fernando VII., its horror of the
+fatal habit of thinking (“Lejos de nosotros a mania funesta de pensar”).
+Notwithstanding, it was closed in 1823, and finally suppressed or rather
+transferred to Barcelona in<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> 1842. This singular university was housed
+in a building opened in 1740, which still dominates the whole town; it
+is a huge tasteless structure, a rather suitable home for learned fools.
+Nothing seems to have been determined with regard to its ultimate
+destiny, and the whole town has a frustrate and somewhat hopeless air.
+The church of Santa Maria is not devoid of beauty and interest. One of
+the porches appears to be a survival of an earlier Romanesque structure,
+and is surmounted by a relief of St. Martin sharing his cloak with the
+beggar. The tombs are also worthy of note.<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
+
+<h2><a name="TARRAGONA" id="TARRAGONA"></a>TARRAGONA</h2>
+
+<p class="nind"><span class="smcap">Tarragona</span> stands high and nobly on the coast of Cataluña looking east
+towards Rome, as her million citizens did when the Cæsars ruled, and she
+gave her name to the vast province of Tarraconensis. The Phœnicians were
+here, of course, before the Romans; they called the place Tarchon, and
+found it already strengthened by walls which remain to this day. Publius
+and Cneius Scipio wrested the town from Carthage, and afterwards the
+lords of the world gratified the city with the titles of <i>victrix</i>,
+<i>togata</i>, and <i>turrita</i>. “It had a mint and temples to every god,
+goddess and tutelar; nay, the servile citizens erected one to the
+emperor, <i>Divo</i> Augusto, thus making him a god while yet alive.” Since
+that time, Tarragona has not flourished, though it was for a brief
+interval the capital of the Visigoths. Desolated by the Moors, it was
+given at the reconquest to a Norman adventurer whose wife, in his
+absence, proved as doughty a warrior as he. And now shrunk and
+depopulated, the once imperial city stares in a sort of mellow calm for
+ever seaward, as if plunged in reveries on the glorious past.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
+
+<p>High over the town, on the crest of the slope, towers the cathedral.
+“This,” says Street (and none will disagree with him), “is one of the
+most noble and interesting churches in Spain. It is one of a class of
+which I have seen others upon a somewhat smaller scale (as, <i>e.g.</i>, the
+cathedrals at Lerida and Tudela) and which appears to me, after much
+study of old buildings in most parts of Europe, to afford one of the
+finest types from every point of view that it is possible to find. It
+produces in very marked degree an extremely effective internal effect,
+without being on an exaggerated scale, and combines in the happiest
+fashion the greatest solidity of construction with a lavish display of
+ornament in some parts to which it is hard to find a parallel.” Roughly
+speaking, it may be described as Romanesque, with adornment of the
+Gothic period. The delicacy and richness of the later style has relieved
+the crudeness of the earlier, while the severity of the original plan
+has kept in check the tendency to be profuse of ornament.</p>
+
+<p>Schemes were on foot to rebuild the church at the end of the eleventh
+century and Street thinks the oldest part&mdash;that is, the eastern
+apse&mdash;may date from 1131, though the greater portion of the fabric
+(including the nave and its aisles and the cloister) seems to have been
+executed at the<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> end of the twelfth and during the first half of the
+thirteenth century; and it is very possible, therefore, that the brother
+Bernardus, who died in 1256, may have been the architect of the larger
+part of the existing fabric, both of the church and its cloister.</p>
+
+<p>The west front is striking; it was begun in 1278, but not completed for
+another hundred years. The lower half is occupied by a deep-set portal
+of four orders, rising to a point. The jambs are occupied by figures of
+saints under canopies, and these are continued round the two buttresses
+which flank the doorway and end in pinnacles. The shaft is formed by a
+statue of the Madonna upon a pedestal, the sides of which exhibit in
+relief the scenes of the Creation and Fall. “These subjects are very
+fitly placed here, the Fall in the centre coming just under the feet of
+her who bears Our Lord in her arms, and thus restores the balance to the
+world.” (Street.) The tympanum is pierced with rich geometrical tracery.
+Over and behind the cross surmounting this grand doorway is an enormous
+rose-window. The whole is surmounted by a gable, the central portion of
+which has disappeared, giving a somewhat ruinous appearance to the
+church when seen from a distance. Flanking this, the front of the nave,
+are the round-arched entrances to the aisles, with round windows above,
+betraying<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> Norman influence. Ford states that the great rose-window is
+Norman work.</p>
+
+<p>The interior is grand and impressive in the extreme, though a trifle
+marred by the heaviness of the pillars. There is no triforium. The
+pointed windows of the clerestory are filled with glass vividly
+coloured, much of it modern, some of it the work of Juan Guas, specimens
+of whose craftmanship are to be seen at Toledo. The aisles are half the
+height of the nave, the intervening space being pierced with small
+rose-windows. At festivals the arches are hung with precious tapestries,
+designed after the Italian fashion with scenes from the histories of
+Joshua, Samson, David, and Cyrus. They are believed to have been
+presented by some potentate to the chapter about the year 1600.</p>
+
+<p>While the columns are massive and plain, the bases are finely moulded
+and the capitals are carved with exuberant foliage. The choir screen is
+of marble and jasper; the stalls are plainly and chastely carved. Over
+the crossing rises a low, simple, but effective octagonal lantern. “The
+old outside roof is destroyed; but the finish of the lanterns of Lerida
+and of the old cathedral of Salamanca made it pretty certain that it was
+intended to have a pyramidal or domical stone roof.” The transepts are
+square, except for an apsidal recess at the east side of each. The<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> nave
+and aisles end in apses&mdash;the oldest part of the edifice. The roof of the
+chancel apse is considerably lower than the choir’s, and the wall-space
+is pierced with a small rose-window. This part of the church is pure
+Romanesque. The high altar, however, is Gothic, and adorned with
+admirable reliefs, illustrating the martyrdom and apotheosis of St.
+Thecla, the patron of Tarragona. The centre is occupied by a colossal
+statue of the Virgin, covered by a very high peaked canopy of wood. To
+the right of the altar is the tomb of Archbishop Alfonso de Aragon, who
+died in 1514, and to the left a tomb older by two hundred years, that of
+Juan de Aragon, Patriarch of Alexandria. The remains of Cyprian, a
+Visigothic bishop of the see, are contained in an urn behind the
+reredos. The tombs are not very fine or numerous for a cathedral so
+ancient and so splendid.</p>
+
+<p>At the south side of the chancel, at its junction with the apse, is a
+very remarkable stone turret stair, leading up to a square tower which
+rises over the end of the south aisle. There was probably at one time a
+corresponding steeple on the north side.</p>
+
+<p>The chapels, though they have undergone considerable restoration, are
+interesting and possess much architectural interest. In the beautiful
+north transept is the fourteenth-century<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> chapel of the Tailors (de los
+Sastres). Close by is the Capilla del Sacramento, formerly a Roman work,
+and incorporated with the cathedral by Archbishop Augustin (1561-1586)
+whose fine tomb, by Pere Blay, it contains. The chapel was at one time
+the canon’s refectory. Several ancient tombs from the other parts of the
+cathedral have been placed in this transept. On the opposite side of the
+church is the gorgeous eighteenth-century chapel of St. Thecla.</p>
+
+<p>The cloister adjoins the north-east angle of the cathedral&mdash;a most
+unusual position. The door communicating with it is the finest in the
+building. It is a round-arched doorway richly and curiously sculptured
+in the Romanesque style. This cloister is considered one of the best of
+the many beautiful works of the kind in Spain. “Each bay has three
+round-arched openings divided by coupled shafts, and above these two
+large circles pierced in the wall. The arches and circular windows are
+richly moulded and adorned largely with delicate dog-tooth enrichments.
+Some of the circular windows above the arcade still retain their
+filling-in, which was of a very delicate interlacing work, pierced in a
+thin slab of stone, and evidently Moorish in its origin, though at the
+same time probably the work of Christian hands, as in some of them the
+figure of Christ is very beautifully introduced.<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span>” The sculptors have
+adorned the capitals with all sorts of quaint conceits, notably in one
+case with a pictorial rendering of the story of the rats who went to
+bury the cat without first tying her limbs. On another capital there is
+shown a spirited gladiatorial combat; on another, a cock-fight. These
+purely secular subjects where the sculptor seems to have indulged his
+humour and fancy absolutely without restraint, remind us of the
+“topical” carvings at Oviedo. Their humour has not escaped O’Shea, who,
+speaking of the Adoration of the Magi, carved on one of the pillars of
+the doorway from the church, says: “The three kings of the east are
+economically sleeping three in the same bed, and wakened early by a
+winged valet de chambre, that they may rise and proceed on their journey
+to Bethlehem.” The words “6th Company,” &amp;c., to which this writer and
+others call attention, to be seen on the walls, are reminders of the
+passage of British troops here.</p>
+
+<p>The chapter-house, the scene of many important councils, opens out of
+the south gallery of the cloister. The door is Norman. The exterior,
+like that of the cloister and cathedral generally, is most striking. The
+apse and the Tailors’ chapel are particularly fine seen from the
+outside.</p>
+
+<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p><p>Contented with their magnificent cathedral the people of Tarragona have
+done little to adorn their city with smaller churches. Adjacent to the
+seminary there stands the graceful little chapel of San Pablo, the
+origin of which is still a matter of conjecture. Its architectural
+features suggest the first half of the thirteenth century, with the
+exception of its west porch, which belongs to no recognised style. The
+chapel is first mentioned in a document of the year 1234.</p>
+
+<p>These edifices apart, the Middle Ages have done little for <i>Tarraco
+togata</i>. Its remaining monuments belong to its infancy and prime. The
+Cyclopean walls, now declared a national monument, extend from near the
+Puerta del Rosario to the crest of the hill on which the city stands,
+and thence to the eastern angle of the ancient prætorium, now converted
+into a prison. The base of this wall is formed by huge blocks of unhewn
+stones, uncemented, and with their interstices filled by smaller stones.
+The character of the work bespeaks the primitive nature of the builders.
+On this rude foundation rests the more regular work of the Roman
+conquerors. The <i>enceinte</i> formed by these walls is of the shape of an
+irregular polygon, measuring three-quarters of a mile across, and open
+on one side. The angles are defended by square towers, and the curtains
+are pierced by gates, to some of which the name “Puerta ciclopea” is
+given. The<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> Puerta del Rosario, called in the Middle Ages “Portal de
+Predicadors,” is about eight yards thick and is roofed by an enormous
+block of stone about 36,000 kilogrammes in weight. On the stones
+composing the Roman part of the wall, Iberian letters are traced. These
+were merely masons’ marks for the guidance of the native workmen, and
+form no words. The Torre del Arzobispo was raised in Christian times on
+the old Roman tower. The wall extending to the Torre del Capiscol is
+attributed to the Scipios, and dates in any case from their time. The
+principal Roman gate, called the Puerta del Socarro, is a noble work
+formed by three concentric arches. Passing through this we obtain a fine
+view of the strip of wall built by order of Hadrian, and may re-enter
+the city by the eighteenth-century gate of San Antonio, which pierced a
+wall built or restored by Norman adventurers in the twelfth century.</p>
+
+<p>Within the city itself not much remains from Roman times. The sites of
+the forum, the prætorium, and the great temples may be traced easily
+enough, and stones hewn by Roman hands and commemorating often enough
+Roman dead, are embedded in the walls of houses and churches all over
+the town. The local museum contains a few of the spoils of antiquity.
+There is a beautiful statue of Dionysus in Parian marble,<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> and a great
+variety of votive inscriptions. For more substantial memorials of the
+Roman era we must leave the city and follow the Barcelona road some four
+or five miles. Here we reach the celebrated monument known as the Tomb
+of the Scipios, consisting of a rectangular base and an upper body, on
+one face of which are sculptured in high relief the figures of two
+warriors. The cornice is engraved with a legend in which the words
+“perpetuo remane” are alone decipherable. There is no ground whatever
+for supposing that the figures represent the brothers Scipio or that
+this monument marks their resting-place. It is more probably the
+sepulchre of some wealthy Roman settler.</p>
+
+<p>The Arco de Bara is one of the best preserved monuments in Spain. The
+arch itself is flanked on each side by two fluted columns of the
+Corinthian order, supporting an entablature. It is simple and majestic,
+like all the Roman works of the kind. An inscription records its
+restoration in commemoration of the pacification of Spain during the
+regency of Maria Christina and by order of Don Juan van Halen, the
+Spanish general who in 1830 assisted at the defence of Brussels against
+the Dutch.</p>
+
+<p>The noblest handiwork bequeathed to Cataluña by the conquerors of the
+world is, however, the Aqueduct, which may be compared favourably<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> as
+regards preservation and solidity with the more famous work of the same
+kind at Segovia. Where it spans a valley it is composed of two series of
+arches, eleven below and twenty-five above, and rising to a height of
+217 metres. The stone of which it is built was Obtained from the caves
+of Monte Loreto, where the quarries may still be seen.</p>
+
+<p>Then there is Centcellas, on the banks of the little river Francoli,
+supposed to be on the site of the villa where Hadrian lodged. Part of
+the old <i>Thermæ</i> remains&mdash;a stone chamber square without and circular
+within; while another building seems to incorporate the ruins of an
+early Christian structure, including a mosaic of the Ravenna type.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
+
+<h2><a name="POBLET" id="POBLET"></a>POBLET</h2>
+
+<p class="nind"><span class="smcap">About</span> thirty-four miles from Tarragona, near the station of La Espluga,
+stands the ancient fane of Poblet, the Escorial of Aragon. It bears
+(according to tradition) the name of a hermit who in the first part of
+the twelfth century was three times captured by the Saracens and as
+often was miraculously released, whereupon the paynim king, recognising
+that he had to do with a man protected by heaven, endowed him with all
+the lands hereabouts, to be enjoyed by him and his brother hermits. In
+proof of this story, the religious triumphantly pointed to a
+venerable-looking parchment inscribed with Arabic characters, which they
+said and believed was the original deed of gift, and as no one could
+read it no one was able to throw doubt on the story. In 1496 a Moorish
+prince examined the document and contented himself with observing that
+it was not dated in the twelfth century but in the year 1217. However,
+no one paid any attention to this assertion, and the legend was repeated
+till on the dismantling of the monastery in the last century the
+document at last came under the critical eye<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> of Don Pascual de
+Gayangos, who confirmed the Moor’s correction and pronounced the
+so-called deed simply a general permit to the monks to pass through and
+travel freely in the Moorish dominions south of the Ebro.</p>
+
+<p>The foundation of the abbey may now be ascribed with safety to Count
+Ramon Berenguer IV., who, having conquered the territory of Lerida,
+bestowed the lands of Poblet on the Cistercians of Fontfroide near
+Narbonne, who, to the number of twelve, took possession of the site in
+the year 1150, Don Esteban being abbot. The monastery soon rose fair and
+strong, and prospered exceedingly under the favour of the Kings of
+Aragon, who made of it their official place of sepulture. The wealth of
+the community was enormous, the power of the abbot extended over
+fifty-six villages, but from all this prosperity resulted a falling away
+from monastic simplicity, till the holy men would not sit down to table
+unless two partridges were placed on their dishes. In the seventeenth
+and eighteenth centuries, they could find no better employment for their
+wealth than in loading their beautiful abbey with the atrocious
+sculpture and ornament of the period; and then in 1835 came the
+anti-clericals and swept out the monks and their <i>baroque</i> rubbish with
+them. What the mob spared, the collectors and villagers
+annexed&mdash;precious manuscripts,<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> vestments, statuary, all were carted
+away; and ruinous and forlorn, as it now stands, Poblet would have
+rejoiced the heart of the author of the stern Cistercian rule.</p>
+
+<p>It is a vast and embattled pile that greets the eyes of the traveller,
+encircled by a crenellated wall which is pierced by a richly sculptured
+gate built in 1460 and so richly gilded a hundred years later as to
+merit the name of the Puerta Dorada. Enclosed by these outer
+fortifications is another line of wall twice as high as the first,
+which, together with its twelve towers, was built in the fourteenth
+century. To the right of the entrance and still in the outer ward we
+have the little church of San Jorge, built by Alfonso V. in honour of
+the patron saint of Aragon in 1541, and the chapel of Santa Catalina,
+believed to have formed part of the primitive building. In the outer
+ward may also be distinguished the remains of numerous other buildings,
+such as the Abbot’s house, the Hospice, and the Bridewell, reserved for
+female offenders against the Abbot’s jurisdiction.</p>
+
+<p>The inner ward is reached through a gatehouse of the Edwardine type,
+flanked by heavily machicolated drum-towers, and decorated with the
+escutcheons of Aragon and Castile. We approach the church, founded by
+Ramon Berenguer, but substantially the work of his son<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> and successor.
+The ugly Græco-Roman façade marks the ancient west front, which is
+approached across an atrium called the Galilee. The church is in the
+form of an elongated Latin cross. The simplicity of the
+architecture&mdash;its absolute freedom from ornament&mdash;illustrated the early
+Cistercian ideals. The aisles are of seven bays, and the chapels are
+confined to the south aisle and apse. There were once seventeen altars
+in the church, of which only four were kept up by the monastery, the
+rest being at the charge of individuals and corporations. All these,
+including the high altar, have been stripped of their ornamentations and
+accessories, and of the once magnificent choir only a fragment of the
+screen remains. Piferrer, who saw the monastery in its prime, gives a
+detailed account of it, and enumerated the tombs it contained. He speaks
+of the imposing entrance to the royal mausoleum, between the chancel and
+the choir. On the Epistle side lay Don Alfonso of Barcelona (II. of
+Aragon), opposite him was the sarcophagus of James the Conqueror, near
+him lay Pedro the Ceremonious. In addition to these monarchs Juan I.,
+Martin, Fernando I., Alfonso V. and Juan II. of Aragon were buried here,
+with eight queens, thirty-six infantes and nine infantas. Here lies
+Carlos Prince of Viana, the illustrious scion of the house of Navarre;
+here were the<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> last resting-places of Aurembiax, Countess of Urgel and
+the last princess of her house; here lay the proud Cardonas and the
+noble knights and ladies of the Moncada and Anglesola lines. Nearly all
+the tombs that had not already been despoiled of their carving and
+marbles have been removed to Tarragona. Of those remaining, the best
+preserved is that of the Infanta Juana, with its figures relieved
+against thick blue glass.</p>
+
+<p>The north side of the church abuts on the great cloister, dating in its
+greater part from the thirteenth century. The windows on the south side
+are round-headed, those on the other three sides pointed, with good
+traceries. Through a round-headed arch we enter the chapter-house,
+divided into three aisles by four pillars, so slender as in no way to
+interrupt the view of the whole. The groining springs so gracefully from
+the capitals that the pillars themselves have the appearance of shooting
+up and bending like the branches of a tree. Then there is the library
+which once contained 10,145 volumes, including 385 valuable codices, and
+250 MSS. in various styles of handwriting&mdash;forming a complete museum of
+calligraphy. This library is a noble chamber divided by four columns.
+Its walls were once hung with the portraits of the Kings of Aragon and
+their great nobles. Reminiscent of the brave days of old is the charming
+façade of<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> the palace built by good King Martin and intended by him to
+be a retreat in his old age. He died before its completion and the work
+was abandoned.</p>
+
+<p>You may still traverse miles of cloister and hall at Poblet strewn with
+broken tablets, overgrown with shrubs and climbing plants. One of the
+most beautiful of the galleries is the Novices’ Dormitory, roofed in
+with timber; then there are the locutorium, the only spot where
+conversation was permitted between the recluses; the infirmary and the
+beautiful cloister of San Fernando, built in 1415 by order of the first
+king of that name, the little chapel of the saint, founded by the Count
+of Barcelona, and the royal apartments, built in 1375.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p>
+
+<h2><a name="SANTA_CREUS" id="SANTA_CREUS"></a>SANTA CREUS</h2>
+
+<p class="nind"><span class="smcap">Santa</span> Creus is the sister foundation of Poblet from which it is distant
+about five leagues. It was also founded by Ramon Berenguer IV. and
+belonged to the Cistercian Order. Not so large as Poblet, this abbey of
+the Holy Crosses is equally severe and chaste, and of the two, is
+distinguished more by its artistic harmony. The church is one of the
+most finished works of the age and style. Its front is discovered
+immediately on entering the monastery, raised on a terrace above the
+long and spacious court round which are grouped the conventual
+buildings. The battlements above the façade are a recent and incongruous
+addition. The west porch is finely moulded and chiselled, and with the
+rich foliage of the capitals creates a good impression. Another door,
+symmetrical and elegant, leads into a cloister on the south side of the
+church and was at one time flanked by the statues of Don Jaime II. and
+his wife Blanca. The wall on this side bears an inscription to Bernard
+Ranc, which is assumed to be the name of the architect. The church was
+begun in the year 1174, and opened<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> to public worship in 1211. It
+preserves its altar, on which the light falls through a rose-window in
+the apse. The principal objects of interest in the interior are the
+noble tomb of Don Pedro the Great (who defeated the French and bound
+Sicily to the throne of Aragon) and of Jaime II., who conquered Sardinia
+and harried the Moors of Granada. King Pedro’s tomb consists of a great
+porphyry urn supported by lions, which is believed to have been taken
+from the infidels; and on this rests the stone coffin carved with
+figures in high relief under pinnacled canopies. The tomb is covered by
+a beautiful stone baldachin, with three traceried circles on each side
+upheld by slender columns with elaborately carved capitals. The tomb of
+Don Jaime is on the same plan, but is further adorned by the effigies of
+the king and queen in the Cistercian habit, placed here, it seems
+likely, long after the completion of the rest of the work. The tomb was
+designed by Bertran Riquer, the architect of the royal palace of
+Barcelona.</p>
+
+<p>The church communicates with a spacious cloister with four sides of
+seven bays, built at the beginning of the fourteenth century by order of
+Queen Blanca. The traceries of the windows remaining here and there are
+late Gothic, and contrast oddly with the severe lines and rude<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> capitals
+of the shafts. As at Poblet, in a corner of the cloister is a hexagonal
+chamber said to have been a lavatory. A great number of persons of
+distinction seem to have been buried in this cloister, in attendance,
+one might say, upon their lords within the church. Among these was the
+knight Queralt, who may been seen in effigy in a suit of fine mail, with
+surcoat and greaves and girt with two-handed sword. Some of the figures
+of divine persons to be seen over the tombs were evidently carved by
+late fourteenth-century sculptors.</p>
+
+<p>Here, as at Poblet, the Kings of Aragon had their habitations in life as
+in death, and the courts of the ruined palaces of Don Pedro and Don
+Jaime still bear some traces of the glory and culture of the greatest
+maritime power of the Mediterranean of a bygone age.<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span></p>
+
+<h2><a name="VALLBONA" id="VALLBONA"></a>VALLBONA</h2>
+
+<p class="nind"><span class="smcap">Vallbona</span>, the third great royal abbey of Cataluña, is situated in the
+province of Lerida, but on the borders of Tarragona, in a singularly
+wild and remote district. Like Poblet, it is named after a hermit who in
+the year 1157 founded here and at Colobres, monasteries for both sexes.
+Twenty years later, both houses were formed into a single community of
+Cistercian nuns, under the headship of Doña Oria de Ramiro. The pious
+Anglesola of Vallbona is buried before the high altar in the company of
+James the Conqueror. The church is gloomy, silent and severe. It is
+entered through a Romanesque porch in the north transept, the west front
+presenting an unbroken wall. Vallbona has also a noble cloister, with a
+fine gallery in the Pointed style; on the north and the remaining
+galleries in the Romanesque. In Piferrer’s time, pictures and monuments
+relieved the excessive severity of the royal nunnery of Aragon, but now
+there reigns a desolation and poverty which might have affrighted even
+the hermit founder.<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p>
+
+<h2><a name="MONTSERRAT" id="MONTSERRAT"></a>MONTSERRAT</h2>
+
+<p class="nind"><span class="smcap">Montserrat</span>, easily accessible from Barcelona, is one of the four or five
+renowned shrines of Christendom. The legend of its institution is one of
+the quaintest and at the same time silliest in the annals of hagiology.
+In the time, it seems, of Count Wilfred, the Henry of Barcelona, there
+dwelt on the mountain a hermit named Guarin whose sanctity was famed
+even to the ends of the earth. Church bells rang of their own accord
+when he passed, and the forces of nature were at his beck and call. This
+being so, when Richildis, the Count’s daughter (she was beautiful, of
+course), became possessed of a devil, Guarin was at once called in to
+turn him out. Such a task was a mere matter of an Ave and an invocation
+on the part of the holy man; but the devil thus incontinently expelled
+from the person of Richildis appears to have passed into the body of the
+hermit. He conceived an unlawful passion for the maiden, who remained
+with him after her cure, to learn the arts of sanctity. He succumbed to
+temptation and consummated his crime by murdering the girl, cutting off
+her head and burying her in his cave.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p>
+
+<p>Stricken with remorse immediately after, the erstwhile holy man hurried
+to Rome and confessed his crime. The Pope ordered him to return to
+Montserrat on his hands and knees and never to resume an erect posture
+till his pardon should be miraculously announced.</p>
+
+<p>So faithfully did Guarin carry out the penance imposed that he crawled
+for seven years about the mountain that he had once illumined with his
+sanctity, living on grubs and roots and becoming to all intents and
+purposes a wild animal. One day Count Wilfred, while out hunting,
+noticed this strange beast and had him taken to his stables at
+Barcelona. There Guarin abode some months, saying never a word but
+pleasing his captors by his docility. One day he was led into the castle
+to amuse the Count and his Court. But before he could perform any
+tricks, the infant son of the Count, a baby but three months old, cried
+out, “Arise Guarin, for God has pardoned you.” Whereupon the strange
+beast rose up on his hind legs, praising God, and confessing his
+enormous crimes.</p>
+
+<p>In these days men were very much alive, and thrilled to the passions of
+love and hate. But, touched by the miracle, the Count forgave the
+murderer of his daughter, and set out with him for Montserrat to
+disinter the body buried seven years before. But lo, when the fair form
+was<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> revealed, it throbbed with life, and a red line only showed where
+her head had been severed from her neck.</p>
+
+<p>Richildis was so grateful for her restoration to life that she
+determined to devote the rest of it to the service of God. The Count
+founded a monastery for both sexes, of which his daughter was abbess and
+Guarin became a humble lay-brother.</p>
+
+<p>A mere fairy tale, yet it is full of what was best in the mediæval
+spirit&mdash;the conviction that no misfortune was irreparable, no crime
+unredeemable, no sinner unreclaimable, that for all men and all things
+there was indeed mercy and plentiful redemption.</p>
+
+<p>Upon the invasion of the Arabs in 976 the nuns abandoned their convent,
+but the monastery remained and was recognised as a regular community
+about the time of Fernando and Isabel.</p>
+
+<p>It is not, of course, to pray before the shrine of Guarin that pilgrims
+climb the ragged sides of the saw-edged mountain. Long before the hermit
+immortalised his name by his crime and his repentance, a miraculous
+image of the Virgin, said to have been carved by St. Luke, and brought
+to Spain by St. Peter, had been hidden, to save it from the infidels, in
+one of the caverns. Nearly two hundred years after, its whereabouts was
+revealed to some shepherds by lights and mys<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span>terious melodies. These
+manifestations were repeated every Saturday&mdash;that being the day of the
+week specially consecrated to the Virgin by the Church. The Bishop came
+over to investigate the phenomenon, and on entering the cave whence the
+sounds proceeded, they found the heavy image carved by St. Luke. So
+heavy was it that it resisted all efforts to remove it; so there it
+remained till the end of the sixteenth century, when it was found
+possible to enshrine it in the present church.</p>
+
+<p>Most of those who have seen the image are not favourably impressed, so
+it is worth while to quote another opinion than the present writer’s. “I
+cannot conceive [writes Mr. Herbert Vivian] that any one who has been
+privileged to behold it can deny the imposing majesty of its expression.
+It inspires awe rather than the sympathy and compassion which we are
+accustomed to associate with Our Blessed Lady. Indeed, those who change
+its vestments on holy days, say that it fills them with fear, that they
+do not dare to look it in the face. In the Virgin’s right hand is a
+globe, from which springs a fleur-de-lis. The crowns worn by her and the
+infant Christ are of prodigious valve, being of pure gold and containing
+no fewer than 3500 precious stones, many of them of exceeding size and
+purity. Like everything else at Montserrat, they are of modern origin,
+all<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> the old valuables having been carried off by French troopers in
+1811. In front of the image are two little staircases of walnut-wood by
+which those who wish to kiss its hand may ascend and descend.”</p>
+
+<p>As buildings, the church and monastery of Montserrat are wholly
+destitute of interest. But they have their memories. Ignatius Loyola,
+during the process of conversion, passed long hours at the feet of the
+Virgin of Montserrat; Don John of Austria, before the altar of the
+Immaculate Conception, swore to maintain the doctrine of the Virgin’s
+freedom from original sin, against all and sundry, at the sword’s point,
+and the victory of Lepanto was gained perhaps in fulfilment of that vow.</p>
+
+<p>There is a monastic seminary on the mountain, also an extremely ancient
+and aristocratic foundation. The boys have some curious customs. On the
+feast of St. Nicholas, the patron of youth, they elect one of their
+number Bishop, who entertains them all to dinner and heads the visits
+which they pay to all the monks in turn.</p>
+
+<p>But if as a shrine Montserrat has little to attract the curious, as a
+mountain it is without rival for picturesque and strange grandeur. So
+fantastic is the conformation that in all ages it has been regarded with
+a certain superstitious awe. The caves with which it is honeycombed<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> are
+full of mystery and fascination. They extend and ramify in all
+directions, constituting a veritable subterranean city. At all times
+they have served as asylums to the natives of the surrounding country
+when threatened by invaders. On one occasion the French discovered a
+party of peasants in such a retreat and would have attacked them had not
+one of the Catalans told them that a single explosion would bring all
+the surrounding rocks upon their heads. Whether this was true or false
+the soldiers did not care to prove, and they hastily withdrew.</p>
+
+<p>There are plenty of people in Cataluña still who believe in the
+wonder-working properties of the Virgin of Montserrat, and newly married
+couples come up by the funicular railway to spend a night on the
+mountain, in the hope of thereby assuring themselves of a numerous
+family.</p>
+
+<p>We may trace the footprints of St. Ignatius to Manresa, a name dear to
+the Jesuit in all lands, and borne by the Manchester of Cataluña. It is
+a lively, picturesque town, built on an amphitheatre of hills on the
+left bank of the Cardoner. High over the factories towers the Collegiate
+Church begun in 1328 and finished, probably, a hundred years later. It
+is one of those wide-naved churches characteristic of the principality,
+its span of nave is, in fact, greater than<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> that of any cathedral with
+aisles, except Palma. An interesting peculiarity is the flying
+buttresses built partly in and partly outside the church. Over the first
+roof rises an impressive bell tower. The interior is disappointing. The
+side chapels are Gothic. There is some good glass in the clerestory
+windows, and the organ displays one of those Saracens’ heads we so often
+find in Catalan churches. In the archives are some interesting pictures
+by local artists, reminding one of Byzantine work, and there also is
+preserved that altar frontal which excited the fervent admiration of
+Street. In a vault beneath the presbytery are treasured the relics of
+St. Agnes and St. Maurice, translated here from Vienne on the Rhône in
+the time of Berenguer III.</p>
+
+<p>The fine old church of the Carmen commemorated a miracle reputed to have
+occurred in the year 1345. The town having been laid under an interdict
+by the Bishop of Vich, the innocence of the townsfolk was demonstrated
+by a light which penetrated through the windows of the church, filling
+it with radiance. But these mediæval traditions are obscured by the
+glory of St. Ignatius, whose name the citizens delight to honour. In the
+church of Santo Domingo was formerly shown a black cross which the saint
+used to bear on his shoulder while he prostrated himself before the
+altars in turn. The church of<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> the Cueva&mdash;an odius <i>baroque</i> work&mdash;is
+raised over the cave wherein during ten months he underwent the dolorous
+process of his spiritual regeneration. In the Jesuit College you may see
+one of his fingers, his books, and the bricks that served him as a
+pillow. There is not a spot nor a house in Manresa that the citizens
+will not fail to point out as in some way, however slight, associated
+with the immortal founder of the Society of Jesus.</p>
+
+<p>Not far from Manresa is the flourishing town of Tarrassa, which occupies
+the site of the old episcopal city of Egara. The primitive <i>arx</i> or
+citadel gave place in Christian times to a cathedral which was destroyed
+by Al Mansûr, and the site is now occupied by the three interesting
+Romanesque churches of San Miguel, Santa Maria, and San Pedro.</p>
+
+<p>The oldest of these is undoubtedly San Miguel, which is distinguished
+from other Catalan churches by many peculiarities. The plan is
+rectangular, over the centre of the roof rises a lantern, resting on a
+quadrangle of columns. The capitals of these columns are evidently part
+of an older and different structure. Beneath the church is a crypt which
+is believed to have been the baptistery of the old Roman cathedral.</p>
+
+<p>Santa Maria was consecrated in 1112 by Raimundo Guillen, Bishop of
+Barcelona, and<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> was served by Augustine canons down to 1592. It is
+contemporary with the church of San Pedro and both present an aspect of
+extreme antiquity accentuated by the Roman tablets and fragments
+incorporated with the structure. Close by are the ruins of a fortress
+and a chapel attributed by tradition to the Templars. On the other side
+of the prettily named Rio Vallparadis are to be seen the fragments of a
+tower and castle.</p>
+
+<p>About six miles from Manresa, on the banks of the Llobregat, is a little
+monastery of San Benito de Bages, now a private residence. “All here,”
+says Piferrer, “invites man to lift his eyes to God, and to banish the
+frivolous recollections of this world. The building’s antiquity, the
+modesty and simplicity of its plan alike contribute to still the voice
+of passions and to excite more tranquil thoughts.”</p>
+
+<p>The thoughts of the former occupants, however, were evidently not always
+tranquil, for the little apses opening into the transepts have been
+squared off, apparently for defensive reasons, and the tower looks as if
+it had been constructed for the same object. The church is dark and
+sombre, like a vault, and the cloister has the same funereal aspect,
+only slightly relieved by the interesting carvings of courtiers and
+warriors on the rude capitals.</p>
+
+<p>Piferrer states that the chapel was built in the<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> middle of the tenth
+century and that it was consecrated in 972 in presence of Count Borrell
+and his Court by the Bishop of Vich. In the year 1067 it was
+incorporated with the Abbey of San Ponce de Tomeras near Narbonne; the
+foundation received women, who were subject, like the monks, to the rule
+of St. Benedict. At the end of the sixteenth century the community was
+united to that of Montserrat.<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p>
+
+<h2><a name="CARDONA" id="CARDONA"></a>CARDONA</h2>
+
+<p class="nind"><span class="smcap">Cardona</span> is a picturesque walled town on the road from Manresa to
+Solsona. It is crowned by a strong castle built by the Cordona family,
+which traces its descent from Foulques, the ancestor of the
+Plantagenets. Within the castle is the collegiate church of San Vicente,
+dedicated in the eleventh century. It is a fine example of the
+Romanesque. Its aisles are marked off from the nave by square pillars;
+the nave is broad, the aisles narrow, without chapels. A very low
+lantern rises above the crossing and the presbytery is raised by a few
+steps above the level of the nave. There is not a single moulding in the
+whole church, or any curve other than a semicircle. Of the sepulchres of
+the mighty lords of the castle only two remain. Within this fortress
+died St. Ramon Nonnat in the year 1240. The chapel dedicated to his
+memory dates from 1682.<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span></p>
+
+<h2><a name="TORTOSA" id="TORTOSA"></a>TORTOSA</h2>
+
+<p class="nind"><span class="smcap">Tortosa</span>, on the banks of the Ebro, close to its mouth, is the
+southernmost of the cities of Cataluña. It is an ancient place where
+Roman and Visigothic coins were struck. It fell into the hands of the
+Saracens in 716 and was reconquered in 1147 and consecrated in 1441.
+Among the architects were the two Xulbes, whose opinion was taken on the
+question of the nave at Gerona. Though disfigured by a classical façade
+the church produces a good effect. Its aisles are separated from the
+nave by twenty columns, which sweep round the east end in a graceful
+semicircle so as to form a double apse. To the nine Gothic arches of the
+chancel correspond as many apsidal chapels, whose windows overlook the
+high altar. The reredos dates from 1351. There are five chapels in each
+of the aisles. The windows are filled with transparent marble instead of
+glass.</p>
+
+<p>The Collegio Real of Tortosa is in the best Plateresque style. The
+cloister is formed by three tiers of galleries, the columns and
+balconies being adorned with medallions and escutcheons. The original
+building belonged till the year 1528<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> to the Dominicans and was then
+reconstructed by order of Carlos I. with a view to serving as a seminary
+for Moorish converts. The College is now a barracks.</p>
+
+<p>The Convent of Santa Clara, dating from the thirteenth century and
+restored by order of Jaime II. of Aragon, is another precious memorial
+of Tortosa’s more prosperous days.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
+
+<h2><a name="THE_BALEARIC_ISLANDS" id="THE_BALEARIC_ISLANDS"></a>THE BALEARIC ISLANDS</h2>
+
+<p class="nind"><span class="smcap">The</span> Balearic archipelago no longer deserves the name of the Forgotten
+Isles bestowed upon it a dozen years ago by a French traveller. Much has
+since been written about the islands in our own and other languages, and
+yachtsmen often put in at what the Genoese Admiral classed with June,
+July and August, as one of the four best harbours in the Mediterranean.
+But the influx of tourists has not been large, and the isles run no
+immediate risk of losing their marked local characteristics. The remote
+past keeps a firm grip on Mallorca and Menorca; as in Egypt, you never
+cease to feel dead stony eyes are staring at you across
+thousand-year-long vistas. In the aisles the monuments of antiquity
+belong to the very dawn of human history, appearing almost the works of
+nature, even as those who reared them seem hardly to have emerged into
+full manhood. At every turn, as in Sardinia, you are met by the rude
+handiwork of that primitive Mediterranean race, which passed away in the
+struggle between Latins, Greeks and Semites. Every one knows now that
+the word Balearic is derived from a<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> Greek word meaning <i>to throw</i>, and
+that it refers to the extraordinary dexterity of the natives in the use
+of the sling. This was their national weapon, their sole means of attack
+and defence. In summer, as their only clothing, each man wore three
+slings&mdash;one round his head, one round his loins, and one at his wrist.
+To train their children in its use, the mothers, we are told, would not
+let them have their bread or meat till they had brought it down from a
+bough or ledge by means of the sling.</p>
+
+<p>Of all their dexterity they had need when strange men with black curling
+beards and dark stern faces&mdash;men that they had never seen&mdash;came sailing
+into their harbours and tempted them down from their perches with a
+display of bright rare stuffs and gewgaws. Poor simple white savages, it
+is likely enough that they had thought themselves till then the only men
+in the world. Then came the attempts of the Phœnicians to enslave and to
+subdue them, and wildly the islanders fought for their freedom, knowing
+as little as the creatures of the jungle do of the forces arrayed
+against them. The wild birds were netted at last. In the sixth century
+before Christ, the Carthaginians were masters of the archipelago, and
+dragged the slingers off to serve in their armies. Mago, a Punic leader,
+gave his name to Puerto Mahon. Then came a time when<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> the natives felt
+the grasp of the Semites relax. Their power had been crushed by the
+Romans and the islands enjoyed a brief interval of liberty. But in the
+year 123 <i>B.C.</i>, the conquerors of Carthage remembered their neglected
+heritage, and sent Cecilius Metellas to take possession. He founded the
+cities of Palma and Pollensa, which still retain their Latin names, and
+brought with him some thousands of Italian and Spanish colonists, who
+soon tamed the wildness of the aborigines. Thence onward for centuries
+the archipelago prospered quietly, safe beneath the outspread wings of
+the Roman eagle. Upon the break-up of the empire it passed through
+various hands to the Visigoths, to be wrested from them in the eighth
+century by the Arabs. Under this new dominion the islands became a nest
+of pirates, who ultimately founded a kingdom embracing parts of the
+Spanish mainland and of Sardinia. The depredations of the Balearic Moors
+excited the anger of Christendom, and Pope Pascual II. preached a
+crusade against them. Constituting themselves the ministers of Europe’s
+vengeance, the Pisans and Catalans inflicted a severe punishment on the
+Pirates and sacked the rich city of Palma. Over a hundred years later,
+in 1227, Don Jaime I. of Aragon reduced the whole group of islands in a
+memorable campaign, and annexed them finally to<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> Christendom. The
+conqueror constituted his new possessions into a kingdom for his second
+son and namesake, from whose grandson, Jaime II., they were taken by
+Pedro IV. in the year 1347 and incorporated with the kingdom of Aragon.</p>
+
+<p>But history had not yet done with the islands. The old rancour between
+the peasantry and the nobles came to a head at the beginning of the
+sixteenth century, in the war of the Germania or brotherhood. The
+viceroy took refuge in the Citadel of Ibiza, while the nobles defended
+themselves in the castle of Alcadia against the desperate attacks of the
+peasantry led by Juan Colom. The arrival of a royal squadron commanded
+by Don Juan de Valesco led to the extinction of the revolt. Ruled by
+Carthaginians, Romans, and Moors, the islands excited the cupidity of
+another race of conquerors. Seized by the English in 1708, Menorca
+remained in their possession till 1781, when it was retaken by the
+French and Spaniards. The failure to relieve the garrison cost Admiral
+Byng his life. We again took possession of the island in 1793 to
+surrender it finally to Spain at the peace of Amiens nine years later.</p>
+
+<p>Mallorca (it is as easy to call it by its proper name as by its variant
+Majorca) is the largest and most beautiful of the islands. Towards the
+north and south-west it presents an iron-bound wall<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> of rock to the
+turbulent waters of the Catalan seas; on the south the plain stretches
+to the shore, and here we find the little harbour of Santa Ponza, at
+which the conqueror Jaime I. disembarked his army on September 10, 1229.</p>
+
+<p>Hard by is the estate of Ben Dinat, so named, it is averred, because the
+conqueror expressed in those two words his satisfaction with a meal of
+bread and garlic served him at this spot. It is more probable that the
+name is that of some long-forgotten Moor. Then comes the little harbour
+and tower of Portopi and round the next promontory the lovely bay of
+Palma, with the capital of the Balearics smiling a welcome to the
+stranger. The walls that once surrounded the city have been demolished:
+the turrets that rise above the house-tops are those of the Cathedral
+and the Exchange (Lonja). We enter the town through the Water Gate, a
+building not without majesty, and crowned by a statue of the Blessed
+Virgin. The streets, as in most Spanish towns, are narrow and shady,
+often rewarding the curiosity of the passer-by with glimpses of
+Renaissance patios, graceful balconies, and turret windows. Among the
+most interesting houses of the Butifarras (big sausages), as the
+nobility of the island used to be called, are the Casa de Vivot and the
+palace of the Counts of Montenegro. But Palma is a living city, and side
+by side with these<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> dignified memories of the past we find handsome
+modern buildings such as the Bank of Spain and the Hall of Provincial
+Deputation. Nor does Palma want for wide breathing-spaces and
+promenades. It has the fine Paseo del Borne and the Boulevards
+constructed round the bay and on the site of the old fortifications.
+Close to the landing-stage the new-comer’s attention is first attracted
+by the Exchange or Lonja. Charles V. on visiting the island for the
+first time hastened at once to see it, eagerly demanding if it belonged
+to the Church or to the State, and was visibly relieved on hearing that
+it was a civil edifice. The Lonja is a quadrangular building, surmounted
+by a crenellated balustrade and flanked at each angle with an octagonal
+tower of six stages, one of these rising above the balustrade. The walls
+are strengthened with graceful pilasters, and pierced in their lower
+story by ogival windows with good traceries. The door is square and
+enclosed within an ogival arch. The interior forms a single great hall,
+the roof of which is supported by only four slender fluted columns, from
+which the arches spring like palm branches. This interesting building
+was designed and begun by Antonio Sagrera in the year 1426. Like the
+numerous other Spanish Lonjas, it has long been deserted by the
+mercantile community.</p>
+
+<p>The cathedral towers above the whole city and<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> is one of the most
+important churches in the kingdom. The name of the architect is unknown,
+but the foundations were laid by order of Jaime the Conqueror soon after
+he had annexed the island. The plan is rectangular, the walls supported
+by massive flying buttresses, surmounted with pinnacles and turrets. The
+south front is the finest and is pierced by the beautiful Puerta del
+Mirador, in florid Gothic style, the work of Pedro Morey, who died in
+1394. The west porch is an elaborate work, finished in 1601. On the
+north side is the noble square bell-tower.</p>
+
+<p>The interior is remarkable for the enormous span of the nave, the widest
+in Spain. It rises to a height of 147 feet and is sustained by
+relatively slender columns. The nave terminates in the beautiful Capilla
+Real, founded in 1282, wherein is the modest tomb of the last King of
+Mallorca. The wooden gallery running round the wall is strongly
+suggestive of Saracenic influence. Opening into this chapel are the
+Capillas de Santa Eulalia, containing a Gothic altar and the tomb of a
+Bishop of Palma, and San Mateo, in which ends one of the aisles. In the
+chapel of St. Jerome is the fine tomb of the Marques de la Romana, who
+did such good service to Spain by bringing from Denmark the Spanish
+troops in Napoleon’s service. Another notable sepulchre is that of
+Bishop Gil Sancho Munoz, successor elect to<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> Pope Benedict XIII. (1447).
+The choir is in decadent Gothic style, but the carving is very good and
+reveals imagination and fertility of resource on the part of the artist.
+The statues of St. Bruno and St. John were brought here from the
+chapter-house of Valledemosa. The old Moorish palace of Almudaina,
+adjacent to the cathedral, is the residence of the Captain-General and
+seat of the High Court. It is provided with a chapel built by Jaime II.</p>
+
+<p>The only other church worthy of mention at Palma is that of San
+Francisco de Asis, remarkably like the cathedral for the span of its
+nave and for the tomb of the famous Raymond Lull, Mallorca’s most
+illustrious son. This famous philosopher was born in 1235 and is said to
+have been converted from evil courses in his youth by finding that his
+mistress was devoured by cancer&mdash;such reasons for a change of life being
+frequent in the Middle Ages. He imagined himself called upon to
+overthrow the religion of Mohammed not by the old methods, but by a
+“great art” of logic which he devised. Like some liberal Catholics of
+later days, he held that the dogmas of his Church could and should be
+demonstrated by reason, and not by mere exhortations to believe. To
+combat Islam he rightly considered necessary that missionaries should
+understand the language of their adversaries. His exertions induced the<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span>
+Pope to found one or two chairs of Arabic and Syriac, and his
+philosophy, strange to say, met with no censure from ecclesiastical
+authorities. Lull was credited with immense and preternatural wisdom by
+his generation, and was popularly believed to have discovered the
+Philosopher’s Stone. He undertook several journeys to Northern Africa in
+his zeal for souls, and on the last of these visits received such severe
+injuries from a Moslem mob that he succumbed on board ship within sight
+of his native isle (1315).</p>
+
+<p>A picture of his funeral may be seen at the Town Hall, which is a rather
+imposing Renaissance building adorned by one of those heavy projecting
+eaves, carved and once painted, that one sees at Granada. Another house
+that should be noticed is the Casa Bonapart, said to have been founded
+by an ancestor of the Imperial family in 1411.</p>
+
+<p>In the suburbs of Palma is the fine old castle of Bellver, founded by
+the last King of Mallorca. It is composed of a vast keep, strengthened
+by bastions and surrounded by a moat. Connected with this stronghold by
+a bridge of two tiers is the massive Torre del Homenage. The castle has
+received many distinguished and involuntary guests. Here was confined
+Jovellanas, the able Minister of Carlos IV., and here was shot General
+Lacy for conspiring against the tyrant Fer<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span>nando VII. Arago the
+Astronomer took refuge here, when the mob, suspecting that he was
+signalling to the French when he was simply making observations, sought
+his life.</p>
+
+<p>Seven miles from Palma is Raxa, the seat of the Conde de Montenegro, who
+has an exceedingly valuable collection of antiquities. Here may be seen
+a curious chart of the world, drawn in 1439, according to the
+instructions of Amerigo Vespucci. It is partly obliterated by the ink
+spilt over it when it was being spread out for examination by George
+Sand.</p>
+
+<p>That gifted Frenchwoman slayed at the suppressed Carthusian monastery of
+Valldemosa, and there she wrote the romance “Spiridion,” at which Mr.
+Titmarsh poked his fun. It is a beautiful, decayed old place, once a
+royal palace, and decorated with frescoes illustrating its history.</p>
+
+<p>We again come to the traces of Raymond Lull at Miramar, the beautiful
+seat of the Archduke Ludwig Salvator, who kindly placed a hospice at the
+disposal of travellers. This was originally the college established by
+the philosopher for the study of Oriental tongues. The ill-fated
+Maximilian of Mexico borrowed the name of his palace near Triente from
+this enchanting spot.</p>
+
+<p>In addition to the capital, Mallorca contains three or four towns of
+importance, such as Manacor, Alcudia, and Pollensa, but these<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> present
+few features of interest. The scenery in the vale of Soller is radiant
+and smiling, the soil being of amazing fertility, such as the Barranco
+and Gorch Blau, or Blue Gorge. Between Pollensa and Soller in the heart
+of the hills is the sanctuary of Our Lady of Lluch, the origin of which
+is accounted for by a legend similar to that of Lourdes. To accommodate
+the pilgrims who flocked to the spot, a hospice was built, which in
+course of time was converted into a school of religious music. Here as
+at Miramar every stranger can have three days’ free lodging, including
+fire, light, and the indispensable oil and olives.</p>
+
+<p>On the other side of the island are the caves of Anta, rivalling those
+of Han and Adelsberg. “The most fantastic part of this subterranean
+region,” says Mr. Vuillier, “goes by the significant name of L’Infierno.
+It is a nightmare in stone. Tongues of petrified flame seem to lick the
+walls. An enormous lion squats in one corner, staring at unhewn tombs
+overhung by rigid cypresses. Strange forms of antediluvian monsters lurk
+half-seen in the obscurity. Many of the stalactites when rapped sharply
+with a stick emit musical notes, some like the vibration of a
+harp-string, others like the deep resonance of a church bell. These are
+in an immense hall as vast as a cathedral nave.... In silence and<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span>
+darkness, the forces of nature have for centuries been hewing and
+shaping an architecture more sublime than ever was conceived in the
+wildest dream of the Gothic craftsman.”</p>
+
+<p>Menorca, the second largest of the islands, is bare and bleak and flat
+round the coast, though at one point in the interior it rises to a
+height of nearly 6000 feet. Here and there are picturesque spots,
+notably the Barranco of Algendar; but speaking generally the island is
+the Holland of the Mediterranean. Cleanliness, well-being, industry and
+good conduct are the characteristics of the inhabitants, who live
+farther outside the world of romance even than most Latin people. We
+flatter ourselves of course that they learned their good qualities from
+our ancestors, when they ruled the island, and certainly there are
+frequent reminders of our influence to be traced in the daily life of
+Menorca. “Ashes to Ashes,” though seldom heard now, was in Ford’s time
+an oath or exclamation often on the lips of the natives, and children
+use English words when playing marbles, a game that we taught them among
+other perhaps less useful arts. We sent to the island a Governor Kasie,
+who made roads and built market-halls, and did all that a worthy and
+unimaginative English gentleman might feel it is his duty to do in such
+a position; but the natives do not sigh once more to be<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> under our
+dominion, as they are sometimes polite enough to tell English folk they
+do, and a Spanish writer actually refers to our paternal government as
+the Babylonish captivity.</p>
+
+<p>Puerto Mahon was founded, as we have said, by the Carthaginians, and was
+appropriately enough occupied by us, the Carthaginians of later days.
+Its harbour is one of the best in the Mediterranean, and is very
+strongly fortified. Except for the forts, the town contains no public
+monuments of interest. The streets are very clean and rather quiet, and
+you remark the absence of the running water in the gutters
+characteristic of so many European towns. The streets are well paved,
+often with tombstones from the English cemetery; the dustman goes his
+rounds as he does in London, and many of the houses have English
+windows. The domestic life is held in high honour at Mahon, and the
+chief occupation and delight of the women is cleaning their houses. “It
+is an amusing spectacle” says M. Vuillier, “to see them armed with
+brooms of dwarf palm and immense pails of lime-water, gossiping along
+the walls from early morning, while they scrub and wash as if their
+lives depended upon it, fastening their brooms to long poles the better
+to reach the higher parts of the wall. Should a death occur in a house
+the walls are not whitened for a week, a fortnight or<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> even a month,
+according to the closeness of the relationship or the degree of grief
+felt for the deceased. In rare cases the walls are not touched for six
+months.” The traveller comments on the absence of the tribe of unwelcome
+bedfellows, so persistent in their attentions in other parts of Spain.</p>
+
+<p>This does not sound very interesting. Mahon is not, however, wholly
+devoid of the picturesque element. The old gate of Barbarossa is named
+after that famous pirate, by whom the city was surprised and sacked in
+1536, and the fortifications still bear traces of the siege of 1781.
+Ciudadela, the old capital, at the opposite end of the island, is more
+suggestive of old times and memories. The streets are quaint and
+arcaded, and lined with fine old mansions: and there is an old palace,
+and a vast dim cathedral, which no one has ever properly explored. Ten
+minutes will be enough in which to exhaust the sights of Ciudadela, and
+you may then go and look at the Buffador, a blow-hole like those to be
+seen at Sark.</p>
+
+<p>The people of Menorca have long since abandoned their native
+dress&mdash;presuming that they ever had one; but M. Vuillier remarked the
+continuance of the old custom, observable in other countries, of
+strewing the path of a bridal party with obstacles and building a wall
+before the house of the bride and bridegroom, the morning<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> after their
+marriage. We see one of the innumerable survivals here of marriage by
+capture. The people are strangely fond of the practice of vaccination,
+and will perform it on each other with the least possible excuse. In
+blood-letting they also entertain an ineradicable belief.</p>
+
+<p>Speaking of Alazor, a large village, Ford says: “It is worth the
+traveller’s while to go into any of the peasants’ houses and convince
+himself that in no other part of the world do the lower (<i>i.e.</i>,
+working) classes live in greater comfort and even luxury. A man who has
+only a franc and a half a day as wages, and a little bit of garden, has
+a large and commodious house, well furnished, exquisitely clean, and
+always with a spare bed for the stranger. The character of the people is
+in exact harmony with their surroundings. They are polite and
+hospitable, crime is unknown, and their hygienic condition being so
+favourable they are healthy and long-lived. If is difficult to write of
+them without exaggeration and using too many terms of admiration for the
+good and wholesome life they lead.”</p>
+
+<p>To the economist, then, the island of Menorca must be of interest, but
+it is infinitely more so to the archæologist. From end to end it is
+strewn with the works of prehistoric man, whose record in stone is hard
+to read. These megalithic remains present a strong resemblance to the
+mirage<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span> of Sardinia and Malta, but have also local characteristics which
+have puzzled and delighted the learned. M. Cartailhac has traced the
+sites of many ancient villages. The most considerable may be seen at
+Torre d’ea Galines, south of Alazor. There, on the summit of a slight
+eminence, a vast pile of stones is all that remains of the “city” to
+which the naked aborigines fled wildly the instant a sail rose above the
+horizon. In the constant and arduous struggle waged by the present
+inhabitants with the stones and the rock, the limits of the stronghold
+have, ages ago, disappeared, and if it had an outer wall it can no
+longer be traced. The dwellings were grouped together so closely that no
+streets can be distinguished. No chariot or beast of burden could have
+been known to the citizens. They communicated with each other by
+corridors leading from cabin to cabin. Here and there the doorways
+remain intact and uphold a heavy lintel of stone.</p>
+
+<p>In each of these villages is to be found a single huge monument,
+composed of two blocks of stone, arranged <b>T</b>-shape. It is surrounded by a
+semicircular wall of unhewn stones, which probably once rose higher and
+higher and supported a roof of flat stones. These monuments are termed
+altars by the people of Menorca, and such they may, in fact, have been,
+but nothing definite can be said on this point.<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
+
+<p>Equally uncertain are the nature and purpose of the monuments called
+talayots, a word allied to the Arabic term for watch-tower. These are
+structures of uncemented blocks of stone in the form of a tower,
+slightly conical or cylindrical, sometimes square at the base. None of
+them is wholly intact. Whether the summit was a dome or a platform we
+have no means of knowing. “I observed, however, at Torranba de Salort,”
+says M. Cartailhac, “a detail which throws some light on this point. The
+tower is among the highest at the summit and at two steps from the
+centre lies a great stone more than a metre in diameter, in the shape of
+a thick mushroom, almost circular, flat on one side and with a
+protuberance on the other. It is possible that this block once crowned
+the culminating-point of the edifice.”</p>
+
+<p>Among the largest talayots are those of Torre Ilafuda. They measure
+sixteen metres across the base and fourteen at the summit. The stones
+are laid horizontally and are carefully adjusted. The walls are three or
+four metres thick, and skilfully constructed. The interior usually forms
+a single chamber, and where this was large the roof was supported by a
+column formed of huge blocks of stone. The wall itself is often threaded
+by a passage to the roof or upper chamber, so narrow that it could only
+have been ascended by crawl<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span>ing. The entrance to the talayot is through
+a square opening large enough to permit a short man to walk through
+upright. All sorts of theories and guesses have been made as to what
+these towers originally were. Near every <b>T</b>-shaped altar one or two are
+to be found; there was always one at least on every town site. Perhaps,
+suggests our authority, they existed before all the other structures and
+were used as centres by a later population. Though they are often placed
+on eminences, it has been established that they were not fortresses; it
+can be proved more or less satisfactorily that they were not
+dwelling-places, storehouses, or tombs.</p>
+
+<p>The boat-shaped piles, called navetas or naves, on the other hand had
+clearly a sepulchral character. The front or prow is slightly concave.
+The entrance measures about half a metre across and three-quarters of a
+metre in height, the edges are grooved as though to admit some sort of
+door. Inside, the passage widens and conducts you to a second opening as
+narrow as the first, through which you penetrate into the mortuary
+chamber itself. Filled now with rubbish, filth and carrion, these are
+the tombs of the fathers of the Mediterranean races, whose bones are
+brought to light each time the Menorcan ploughs his stubborn soil.</p>
+
+<p>Stones must always have been a plague to the<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> people of the island, and
+this, besides accounting for their selection of the sling as their
+peculiar weapon, may partially explain, as Ford reasonably remarks, the
+abundance of these monuments. “The erection of a large tumulus was not a
+piece of barbaric extravagance. It provided an unperishable monument for
+the person it was intended to honour (?) and it got rid of an immense
+mass of loose stone which greatly impeded agriculture.”</p>
+
+<p>“One fact,” adds this lively writer, “is very curious. The Menorcans,
+even now, are in the habit of constructing just such tumuli as the
+talayots for the use of their cattle, though of smaller stones. In the
+distance they present an appearance not at all unlike the older
+structures.”</p>
+
+<p>&nbsp;</p>
+
+<p>Ibiza, the third largest island of the group, is one of those spots
+which can afford no sort of justification for its existence. It is a
+mere backwater, a stagnant pool of humanity, interesting, though, as a
+place buried beneath prejudices and customs hundreds of years old. How
+should they be blown away in so out-of-the-way an island? The town
+stands on a fine harbour and reminds one rather of Guernsey. The
+collegiate church, formerly a cathedral, was founded by the Archbishop
+of Tarragona, in the thirteenth century, at the time the island was
+granted to him by<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> Jaime the Conqueror. It is uninteresting, except for
+the view from the belfry. Better worth a visit is the fortified church
+of San Antonio at the other end of the island, wherein the people took
+refuge at the approach of the Corsairs. It is flanked with two massive
+towers and the apse has a parapet pierced with embrasures for guns. The
+walls are nearly eight feet thick, and the doorway is protected by a
+machicolation.</p>
+
+<p>There is little else to be seen at Ibiza during the short time the
+traveller will be disposed to stay there, but M. Vuillier, who lingered
+there longer than he had intended, is able to tell us much that is
+interesting about the people and their customs. The islanders are a
+savage primitive stock. The recognised form of salutation between man
+and maid is for the former to hurry after the latter and without any
+warning discharge his gun into the ground at her feet. After spending
+the evening at her house, he fires at the ceiling, so that it should be
+easy to tell at a glance on going into a house for the first time if the
+daughters have been much sought after. The men do not confine their
+shooting to this sort of practice, however; duels, assassinations, and
+vendettas are frequent, and the feuds partake of the mysterious brutal
+character of those of Kentucky and Tennessee. In such a country animals
+fare badly, and one is<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> not surprised to learn that throwing stones at a
+live cock is one of the favourite pastimes. When the youths come
+a-courting, each sits with the girl for a few minutes in turn and if he
+overstays the allotted period is punished by the others with the knife
+or pistol. Abduction is the rule rather than the exception; but for all
+the anxiety shown to possess them, the women have a wretched time, being
+hardly allowed to stir out of their dingy poverty-stricken cabins.
+Altogether it must be as difficult to make yourself happy at Ibiza as at
+any spot on or off the planet.</p>
+
+<p>Of the remaining islands of the group, only one deserves mention and
+that only for its sad memories. This is Cabrera. It is little better
+than a bare rock, incapable of affording subsistence to more perhaps
+than two or three score of men, yet here during the Peninsular War the
+Spaniards were thoughtless enough to confine 5500 French soldiers, the
+victims of Dupont’s surrender at Bailen. Their sufferings were more
+severe than those of many a shipwrecked mariner. Each man was allowed
+only 24 ounces of bread and a few beans every four days. There was but
+one spring in the island and the thirst-maddened men would fight each
+other desperately to get a drink from this. Murder was common, and in
+one instance a man was detected in the<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> act of preparing a meal from the
+remains of a comrade. It is touching to relate that for many months the
+men made a pet of a donkey they found wandering on the island, and it
+was not till the boat which brought them their miserable ration was long
+overdue that the poor famished wretches could find it in their hearts to
+kill and eat their only four-footed companion. As time went on, the
+captives made some attempt to cultivate their island, and their lot
+greatly improved, as the Spaniards continued to send the same rations,
+though their number was now reduced by two-fifths. Finally, in 1814, the
+last survivors were taken off by a French transport. The bones of those
+who died on the island were interred by the crew of a French warship and
+a monument was erected over their remains.</p>
+
+<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span>&nbsp; </p>
+
+<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span>&nbsp; </p>
+
+<div class="figcenter" id="plt_1">
+<p class="plt">Plate 1</p>
+<a href="images/plt_001.jpg">
+<img src="images/plt_001.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF BARCELONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
+
+<div class="figcenter" id="plt_2">
+<p class="plt">Plate 2</p>
+<a href="images/plt_002.jpg">
+<img src="images/plt_002.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF BARCELONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span></p>
+
+<div class="figcenter" id="plt_3">
+<p class="plt">Plate 3</p>
+<a href="images/plt_003.jpg">
+<img src="images/plt_003.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: VIEW FROM THE FUNICULAR RAILWAY STATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p>
+
+<div class="figcenter" id="plt_4">
+<p class="plt">Plate 4</p>
+<a href="images/plt_004.jpg">
+<img src="images/plt_004.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PANORAMA FROM MONJUICH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
+
+<div class="figcenter" id="plt_5">
+<p class="plt">Plate 5</p>
+<a href="images/plt_005.jpg">
+<img src="images/plt_005.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PANORAMA FROM MONJUICH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p>
+
+<div class="figcenter" id="plt_6">
+<p class="plt">Plate 6</p>
+<a href="images/plt_006.jpg">
+<img src="images/plt_006.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PANORAMA FROM MONJUICH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
+
+<div class="figcenter" id="plt_7">
+<p class="plt">Plate 7</p>
+<a href="images/plt_007.jpg">
+<img src="images/plt_007.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE DOCKS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
+
+<div class="figcenter" id="plt_8">
+<p class="plt">Plate 8</p>
+<a href="images/plt_008.jpg">
+<img src="images/plt_008.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: GENERAL VIEW OF THE PORT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
+
+<div class="figcenter" id="plt_9">
+<p class="plt">Plate 9</p>
+<a href="images/plt_009.jpg">
+<img src="images/plt_009.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DETAIL OF THE PORT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p>
+
+<div class="figcenter" id="plt_10">
+<p class="plt">Plate 10</p>
+<a href="images/plt_010.jpg">
+<img src="images/plt_010.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: VIEW FROM MIRAMAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p>
+
+<div class="figcenter" id="plt_11">
+<p class="plt">Plate 11</p>
+<a href="images/plt_011.jpg">
+<img src="images/plt_011.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DEL CENTRO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
+
+<div class="figcenter" id="plt_12">
+<p class="plt">Plate 12</p>
+<a href="images/plt_012.jpg">
+<img src="images/plt_012.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DEL CENTRO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
+
+<div class="figcenter" id="plt_13">
+<p class="plt">Plate 13</p>
+<a href="images/plt_013.jpg">
+<img src="images/plt_013.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE LAS FLÓRES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
+
+<div class="figcenter" id="plt_14">
+<p class="plt">Plate 14</p>
+<a href="images/plt_014.jpg">
+<img src="images/plt_014.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE LAS FLÓRES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p>
+
+<div class="figcenter" id="plt_15">
+<p class="plt">Plate 15</p>
+<a href="images/plt_015.jpg">
+<img src="images/plt_015.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE COLÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
+
+<div class="figcenter" id="plt_16">
+<p class="plt">Plate 16</p>
+<a href="images/plt_016.jpg">
+<img src="images/plt_016.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE COLÓN AND HOTEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
+
+<div class="figcenter" id="plt_17">
+<p class="plt">Plate 17</p>
+<a href="images/plt_017.jpg">
+<img src="images/plt_017.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE COLÓN AND STATUE OF LÓPEZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
+
+<div class="figcenter" id="plt_18">
+<p class="plt">Plate 18</p>
+<a href="images/plt_018.jpg">
+<img src="images/plt_018.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE LOS ESTUDIANTES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
+
+<div class="figcenter" id="plt_19">
+<p class="plt">Plate 19</p>
+<a href="images/plt_019.jpg">
+<img src="images/plt_019.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE GRACIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
+
+<div class="figcenter" id="plt_20">
+<p class="plt">Plate 20</p>
+<a href="images/plt_020.jpg">
+<img src="images/plt_020.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PASEO DE GRACIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
+
+<div class="figcenter" id="plt_21">
+<p class="plt">Plate 21</p>
+<a href="images/plt_021.jpg">
+<img src="images/plt_021.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p>
+
+<div class="figcenter" id="plt_22">
+<p class="plt">Plate 22</p>
+<a href="images/plt_022.jpg">
+<img src="images/plt_022.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p>
+
+<div class="figcenter" id="plt_23">
+<p class="plt">Plate 23</p>
+<a href="images/plt_023.jpg">
+<img src="images/plt_023.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE SANTA MONICA AND THE BANK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p>
+
+<div class="figcenter" id="plt_24">
+<p class="plt">Plate 24</p>
+<a href="images/plt_024.jpg">
+<img src="images/plt_024.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: LA GRAN VIA AND STATUE OF GÜELL Y FERRER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
+
+<div class="figcenter" id="plt_25">
+<p class="plt">Plate 25</p>
+<a href="images/plt_025.jpg">
+<img src="images/plt_025.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
+
+<div class="figcenter" id="plt_26">
+<p class="plt">Plate 26</p>
+<a href="images/plt_026.jpg">
+<img src="images/plt_026.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE CATALUÑA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
+
+<div class="figcenter" id="plt_27">
+<p class="plt">Plate 27</p>
+<a href="images/plt_027.jpg">
+<img src="images/plt_027.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DE LA PAZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p>
+
+<div class="figcenter" id="plt_28">
+<p class="plt">Plate 28</p>
+<a href="images/plt_028.jpg">
+<img src="images/plt_028.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL PALACIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
+
+<div class="figcenter" id="plt_29">
+<p class="plt">Plate 29</p>
+<a href="images/plt_029.jpg">
+<img src="images/plt_029.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL PALACIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p>
+
+<div class="figcenter" id="plt_30">
+<p class="plt">Plate 30</p>
+<a href="images/plt_030.jpg">
+<img src="images/plt_030.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA REAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p>
+
+<div class="figcenter" id="plt_31">
+<p class="plt">Plate 31</p>
+<a href="images/plt_031.jpg">
+<img src="images/plt_031.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL REY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
+
+<div class="figcenter" id="plt_32">
+<p class="plt">Plate 32</p>
+<a href="images/plt_032.jpg">
+<img src="images/plt_032.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA ANTONIO LOPEZ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
+
+<div class="figcenter" id="plt_33">
+<p class="plt">Plate 33</p>
+<a href="images/plt_033.jpg">
+<img src="images/plt_033.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CALLE DE FERDINAND VII.</p>
+</div>
+
+<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
+
+<div class="figcenter" id="plt_34">
+<p class="plt">Plate 34</p>
+<a href="images/plt_034.jpg">
+<img src="images/plt_034.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CALLE DE BALMES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p>
+
+<div class="figcenter" id="plt_35">
+<p class="plt">Plate 35</p>
+<a href="images/plt_035.jpg">
+<img src="images/plt_035.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CALLE DE ARAGÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p>
+
+<div class="figcenter" id="plt_36">
+<p class="plt">Plate 36</p>
+<a href="images/plt_036.jpg">
+<img src="images/plt_036.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: GÜELL PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
+
+<div class="figcenter" id="plt_37">
+<p class="plt">Plate 37</p>
+<a href="images/plt_037.jpg">
+<img src="images/plt_037.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ENTRANCE TO THE GÜELL PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p>
+
+<div class="figcenter" id="plt_38">
+<p class="plt">Plate 38</p>
+<a href="images/plt_038.jpg">
+<img src="images/plt_038.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ENTRANCE TO THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
+
+<div class="figcenter" id="plt_39">
+<p class="plt">Plate 39</p>
+<a href="images/plt_039.jpg">
+<img src="images/plt_039.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: LAKE IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p>
+
+<div class="figcenter" id="plt_40">
+<p class="plt">Plate 40</p>
+<a href="images/plt_040.jpg">
+<img src="images/plt_040.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE LAKE IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
+
+<div class="figcenter" id="plt_41">
+<p class="plt">Plate 41</p>
+<a href="images/plt_041.jpg">
+<img src="images/plt_041.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE “CASCADA” IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p>
+
+<div class="figcenter" id="plt_42">
+<p class="plt">Plate 42</p>
+<a href="images/plt_042.jpg">
+<img src="images/plt_042.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA PARK: DETAILS OF THE “CASCADA<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span>”</p>
+</div>
+
+<div class="figcenter" id="plt_43">
+<p class="plt">Plate 43</p>
+<a href="images/plt_043.jpg">
+<img src="images/plt_043.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE PARK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p>
+
+<div class="figcenter" id="plt_44">
+<p class="plt">Plate 44</p>
+<a href="images/plt_044.jpg">
+<img src="images/plt_044.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p>
+
+<div class="figcenter" id="plt_45">
+<p class="plt">Plate 45</p>
+<a href="images/plt_045.jpg">
+<img src="images/plt_045.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p>
+
+<div class="figcenter" id="plt_46">
+<p class="plt">Plate 46</p>
+<a href="images/plt_046.jpg">
+<img src="images/plt_046.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: PRINCIPAL ENTRANCE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
+
+<div class="figcenter" id="plt_47">
+<p class="plt">Plate 47</p>
+<a href="images/plt_047.jpg">
+<img src="images/plt_047.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: RIGHT-HAND SIDE DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p>
+
+<div class="figcenter" id="plt_48">
+<p class="plt">Plate 48</p>
+<a href="images/plt_048.jpg">
+<img src="images/plt_048.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR OF THE PIEDAD</p>
+</div>
+
+<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p>
+
+<div class="figcenter" id="plt_49">
+<p class="plt">Plate 49</p>
+<a href="images/plt_049.jpg">
+<img src="images/plt_049.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR OF SANTA EULALIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p>
+
+<div class="figcenter" id="plt_50">
+<p class="plt">Plate 50</p>
+<a href="images/plt_050.jpg">
+<img src="images/plt_050.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: EXTERIOR DOOR OF SANTA LUCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p>
+
+<div class="figcenter" id="plt_51">
+<p class="plt">Plate 51</p>
+<a href="images/plt_051.jpg">
+<img src="images/plt_051.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: INTERIOR DOOR OF SANTA LUCIA AND SEPULCHRE OF
+MOSSEN BORRA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
+
+<div class="figcenter" id="plt_52">
+<p class="plt">Plate 52</p>
+<a href="images/plt_052.jpg">
+<img src="images/plt_052.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: INTERIOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
+
+<div class="figcenter" id="plt_53">
+<p class="plt">Plate 53</p>
+<a href="images/plt_053.jpg">
+<img src="images/plt_053.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: INTERIOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p>
+
+<div class="figcenter" id="plt_54">
+<p class="plt">Plate 54</p>
+<a href="images/plt_054.jpg">
+<img src="images/plt_054.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DETAIL OF THE CHOIR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
+
+<div class="figcenter" id="plt_55">
+<p class="plt">Plate 55</p>
+<a href="images/plt_055.jpg">
+<img src="images/plt_055.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: THE HIGH ALTAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
+
+<div class="figcenter" id="plt_56">
+<p class="plt">Plate 56</p>
+<a href="images/plt_056.jpg">
+<img src="images/plt_056.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE ARCHIVE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
+
+<div class="figcenter" id="plt_57">
+<p class="plt">Plate 57</p>
+<a href="images/plt_057.jpg">
+<img src="images/plt_057.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: CLOISTERS AND PRINCIPAL INTERIOR DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
+
+<div class="figcenter" id="plt_58">
+<p class="plt">Plate 58</p>
+<a href="images/plt_058.jpg">
+<img src="images/plt_058.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHAPEL IN THE CLOISTER OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span></p>
+
+<div class="figcenter" id="plt_59">
+<p class="plt">Plate 59</p>
+<a href="images/plt_059.jpg">
+<img src="images/plt_059.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
+
+<div class="figcenter" id="plt_60">
+<p class="plt">Plate 60</p>
+<a href="images/plt_060.jpg">
+<img src="images/plt_060.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS AND DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
+
+<div class="figcenter" id="plt_61">
+<p class="plt">Plate 61</p>
+<a href="images/plt_061.jpg">
+<img src="images/plt_061.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p>
+
+<div class="figcenter" id="plt_62">
+<p class="plt">Plate 62</p>
+<a href="images/plt_062.jpg">
+<img src="images/plt_062.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
+
+<div class="figcenter" id="plt_63">
+<p class="plt">Plate 63</p>
+<a href="images/plt_063.jpg">
+<img src="images/plt_063.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHAPEL IN THE CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
+
+<div class="figcenter" id="plt_64">
+<p class="plt">Plate 64</p>
+<a href="images/plt_064.jpg">
+<img src="images/plt_064.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
+
+<div class="figcenter" id="plt_65">
+<p class="plt">Plate 65</p>
+<a href="images/plt_065.jpg">
+<img src="images/plt_065.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: FOUNTAIN IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
+
+<div class="figcenter" id="plt_66">
+<p class="plt">Plate 66</p>
+<a href="images/plt_066.jpg">
+<img src="images/plt_066.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
+
+<div class="figcenter" id="plt_67">
+<p class="plt">Plate 67</p>
+<a href="images/plt_067.jpg">
+<img src="images/plt_067.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
+
+<div class="figcenter" id="plt_68">
+<p class="plt">Plate 68</p>
+<a href="images/plt_068.jpg">
+<img src="images/plt_068.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
+
+<div class="figcenter" id="plt_69">
+<p class="plt">Plate 69</p>
+<a href="images/plt_069.jpg">
+<img src="images/plt_069.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: IRON GRATING IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
+
+<div class="figcenter" id="plt_70">
+<p class="plt">Plate 70</p>
+<a href="images/plt_070.jpg">
+<img src="images/plt_070.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: GRATING IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
+
+<div class="figcenter" id="plt_71">
+<p class="plt">Plate 71</p>
+<a href="images/plt_071.jpg">
+<img src="images/plt_071.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA CATHEDRAL: DOOR IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p>
+
+<div class="figcenter" id="plt_72">
+<p class="plt">Plate 72</p>
+<a href="images/plt_072.jpg">
+<img src="images/plt_072.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: SANTA MARIA DEL MAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p>
+
+<div class="figcenter" id="plt_73">
+<p class="plt">Plate 73</p>
+<a href="images/plt_073.jpg">
+<img src="images/plt_073.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL MAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
+
+<div class="figcenter" id="plt_74">
+<p class="plt">Plate 74</p>
+<a href="images/plt_074.jpg">
+<img src="images/plt_074.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL MAR. GATE OF THE IMMACULADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
+
+<div class="figcenter" id="plt_75">
+<p class="plt">Plate 75</p>
+<a href="images/plt_075.jpg">
+<img src="images/plt_075.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL MAR. DETAIL OF LEFT DOOR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
+
+<div class="figcenter" id="plt_76">
+<p class="plt">Plate 76</p>
+<a href="images/plt_076.jpg">
+<img src="images/plt_076.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DETAIL OF THE DOOR OF THE CHURCH OF SANTA MARIA DEL MAR</p>
+</div>
+
+<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
+
+<div class="figcenter" id="plt_77">
+<p class="plt">Plate 77</p>
+<a href="images/plt_077.jpg">
+<img src="images/plt_077.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA MARIA DEL PINO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
+
+<div class="figcenter" id="plt_78">
+<p class="plt">Plate 78</p>
+<a href="images/plt_078.jpg">
+<img src="images/plt_078.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: BYZANTINE DOORWAY IN THE CHURCH OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
+
+<div class="figcenter" id="plt_79">
+<p class="plt">Plate 79</p>
+<a href="images/plt_079.jpg">
+<img src="images/plt_079.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
+
+<div class="figcenter" id="plt_80">
+<p class="plt">Plate 80</p>
+<a href="images/plt_080.jpg">
+<img src="images/plt_080.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span></p>
+
+<div class="figcenter" id="plt_81">
+<p class="plt">Plate 81</p>
+<a href="images/plt_081.jpg">
+<img src="images/plt_081.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FAÇADE OF THE CHURCH OF SANTA ANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
+
+<div class="figcenter" id="plt_82">
+<p class="plt">Plate 82</p>
+<a href="images/plt_082.jpg">
+<img src="images/plt_082.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p>
+
+<div class="figcenter" id="plt_83">
+<p class="plt">Plate 83</p>
+<a href="images/plt_083.jpg">
+<img src="images/plt_083.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE CHURCH OF SANTA ANA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
+
+<div class="figcenter" id="plt_84">
+<p class="plt">Plate 84</p>
+<a href="images/plt_084.jpg">
+<img src="images/plt_084.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF THE SAGRADA FAMILIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
+
+<div class="figcenter" id="plt_85">
+<p class="plt">Plate 85</p>
+<a href="images/plt_085.jpg">
+<img src="images/plt_085.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF LAS SALESAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
+
+<div class="figcenter" id="plt_86">
+<p class="plt">Plate 86</p>
+<a href="images/plt_086.jpg">
+<img src="images/plt_086.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF LAS SALESAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
+
+<div class="figcenter" id="plt_87">
+<p class="plt">Plate 87</p>
+<a href="images/plt_087.jpg">
+<img src="images/plt_087.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF THE CONCEPTION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span></p>
+
+<div class="figcenter" id="plt_88">
+<p class="plt">Plate 88</p>
+<a href="images/plt_088.jpg">
+<img src="images/plt_088.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHURCH OF SANTA AGUEDA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span></p>
+
+<div class="figcenter" id="plt_89">
+<p class="plt">Plate 89</p>
+<a href="images/plt_089.jpg">
+<img src="images/plt_089.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
+
+<div class="figcenter" id="plt_90">
+<p class="plt">Plate 90</p>
+<a href="images/plt_090.jpg">
+<img src="images/plt_090.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
+
+<div class="figcenter" id="plt_91">
+<p class="plt">Plate 91</p>
+<a href="images/plt_091.jpg">
+<img src="images/plt_091.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: OLD FAÇADE OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
+
+<div class="figcenter" id="plt_92">
+<p class="plt">Plate 92</p>
+<a href="images/plt_092.jpg">
+<img src="images/plt_092.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXTERIOR DETAIL OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
+
+<div class="figcenter" id="plt_93">
+<p class="plt">Plate 93</p>
+<a href="images/plt_093.jpg">
+<img src="images/plt_093.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CHAPEL OF SAN JORGE IN THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
+
+<div class="figcenter" id="plt_94">
+<p class="plt">Plate 94</p>
+<a href="images/plt_094.jpg">
+<img src="images/plt_094.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: COURTYARD OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
+
+<div class="figcenter" id="plt_95">
+<p class="plt">Plate 95</p>
+<a href="images/plt_095.jpg">
+<img src="images/plt_095.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ENTRANCE TO THE COURTYARD OF THE AUDIENCIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p>
+
+<div class="figcenter" id="plt_96">
+<p class="plt">Plate 96</p>
+<a href="images/plt_096.jpg">
+<img src="images/plt_096.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: UPPER PART OF THE COURTYARD OF THE TOWN HALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
+
+<div class="figcenter" id="plt_97">
+<p class="plt">Plate 97</p>
+<a href="images/plt_097.jpg">
+<img src="images/plt_097.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE UNIVERSITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
+
+<div class="figcenter" id="plt_98">
+<p class="plt">Plate 98</p>
+<a href="images/plt_098.jpg">
+<img src="images/plt_098.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE UNIVERSITY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
+
+<div class="figcenter" id="plt_99">
+<p class="plt">Plate 99</p>
+<a href="images/plt_099.jpg">
+<img src="images/plt_099.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLOISTERS OF THE UNIVERSITY, UPPER PART</p>
+</div>
+
+<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
+
+<div class="figcenter" id="plt_100">
+<p class="plt">Plate 100</p>
+<a href="images/plt_100.jpg">
+<img src="images/plt_100.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PALACIO DE JUSTICIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p>
+
+<div class="figcenter" id="plt_101">
+<p class="plt">Plate 101</p>
+<a href="images/plt_101.jpg">
+<img src="images/plt_101.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DIPUTACION PROVINCIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p>
+
+<div class="figcenter" id="plt_102">
+<p class="plt">Plate 102</p>
+<a href="images/plt_102.jpg">
+<img src="images/plt_102.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DIPUTACION PROVINCIAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
+
+<div class="figcenter" id="plt_103">
+<p class="plt">Plate 103</p>
+<a href="images/plt_103.jpg">
+<img src="images/plt_103.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE EXCHANGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p>
+
+<div class="figcenter" id="plt_104">
+<p class="plt">Plate 104</p>
+<a href="images/plt_104.jpg">
+<img src="images/plt_104.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE CUSTOM HOUSE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
+
+<div class="figcenter" id="plt_105">
+<p class="plt">Plate 105</p>
+<a href="images/plt_105.jpg">
+<img src="images/plt_105.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CLINICAL HOSPITAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
+
+<div class="figcenter" id="plt_106">
+<p class="plt">Plate 106</p>
+<a href="images/plt_106.jpg">
+<img src="images/plt_106.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MUNICIPAL SCHOOL OF MUSIC</p>
+</div>
+
+<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
+
+<div class="figcenter" id="plt_107">
+<p class="plt">Plate 107</p>
+<a href="images/plt_107.jpg">
+<img src="images/plt_107.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CATALANA DEL GAS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
+
+<div class="figcenter" id="plt_108">
+<p class="plt">Plate 108</p>
+<a href="images/plt_108.jpg">
+<img src="images/plt_108.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: LA MAISON DORÉE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
+
+<div class="figcenter" id="plt_109">
+<p class="plt">Plate 109</p>
+<a href="images/plt_109.jpg">
+<img src="images/plt_109.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CASA DE LA CANONGIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
+
+<div class="figcenter" id="plt_110">
+<p class="plt">Plate 110</p>
+<a href="images/plt_110.jpg">
+<img src="images/plt_110.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PRIVATE HOUSE OF THE EIGHTEENTH CENTURY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
+
+<div class="figcenter" id="plt_111">
+<p class="plt">Plate 111</p>
+<a href="images/plt_111.jpg">
+<img src="images/plt_111.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: A SHOP IN THE CALLE FERNANDO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
+
+<div class="figcenter" id="plt_112">
+<p class="plt">Plate 112</p>
+<a href="images/plt_112.jpg">
+<img src="images/plt_112.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: NEW BUILDING IN THE PASEO DE GRACIA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p>
+
+<div class="figcenter" id="plt_113">
+<p class="plt">Plate 113</p>
+<a href="images/plt_113.jpg">
+<img src="images/plt_113.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: HOUSE OF THE SHOEMAKERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
+
+<div class="figcenter" id="plt_114">
+<p class="plt">Plate 114</p>
+<a href="images/plt_114.jpg">
+<img src="images/plt_114.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: HOUSE IN THE CALLE DE CASPE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p>
+
+<div class="figcenter" id="plt_115">
+<p class="plt">Plate 115</p>
+<a href="images/plt_115.jpg">
+<img src="images/plt_115.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: ARCO DE TRIUNFO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
+
+<div class="figcenter" id="plt_116">
+<p class="plt">Plate 116</p>
+<a href="images/plt_116.jpg">
+<img src="images/plt_116.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: TEATRO PRINCIPAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
+
+<div class="figcenter" id="plt_117">
+<p class="plt">Plate 117</p>
+<a href="images/plt_117.jpg">
+<img src="images/plt_117.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: OLD TOWERS IN THE PLAZA NUEVA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
+
+<div class="figcenter" id="plt_118">
+<p class="plt">Plate 118</p>
+<a href="images/plt_118.jpg">
+<img src="images/plt_118.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: TOWER OF SANTA AGUEDA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
+
+<div class="figcenter" id="plt_119">
+<p class="plt">Plate 119</p>
+<a href="images/plt_119.jpg">
+<img src="images/plt_119.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CONVENT OF SANTA CLARA. OLD PALACE OF THE KINGS OF ARAGON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
+
+<div class="figcenter" id="plt_120">
+<p class="plt">Plate 120</p>
+<a href="images/plt_120.jpg">
+<img src="images/plt_120.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: APEADERO DE LA CALLE DE ARAGON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
+
+<div class="figcenter" id="plt_121">
+<p class="plt">Plate 121</p>
+<a href="images/plt_121.jpg">
+<img src="images/plt_121.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: HOTEL COLÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
+
+<div class="figcenter" id="plt_122">
+<p class="plt">Plate 122</p>
+<a href="images/plt_122.jpg">
+<img src="images/plt_122.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
+
+<div class="figcenter" id="plt_123">
+<p class="plt">Plate 123</p>
+<a href="images/plt_123.jpg">
+<img src="images/plt_123.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STAIRCASE IN A PRIVATE HOUSE IN THE CALLE DE MONCADA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
+
+<div class="figcenter" id="plt_124">
+<p class="plt">Plate 124</p>
+<a href="images/plt_124.jpg">
+<img src="images/plt_124.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FRONTÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
+
+<div class="figcenter" id="plt_125">
+<p class="plt">Plate 125</p>
+<a href="images/plt_125.jpg">
+<img src="images/plt_125.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE BULL-RING</p>
+</div>
+
+<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
+
+<div class="figcenter" id="plt_126">
+<p class="plt">Plate 126</p>
+<a href="images/plt_126.jpg">
+<img src="images/plt_126.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
+
+<div class="figcenter" id="plt_127">
+<p class="plt">Plate 127</p>
+<a href="images/plt_127.jpg">
+<img src="images/plt_127.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span></p>
+
+<div class="figcenter" id="plt_128">
+<p class="plt">Plate 128</p>
+<a href="images/plt_128.jpg">
+<img src="images/plt_128.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: DETAIL OF THE MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span></p>
+
+<div class="figcenter" id="plt_129">
+<p class="plt">Plate 129</p>
+<a href="images/plt_129.jpg">
+<img src="images/plt_129.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span></p>
+
+<div class="figcenter" id="plt_130">
+<p class="plt">Plate 130</p>
+<a href="images/plt_130.jpg">
+<img src="images/plt_130.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO GÜELL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span></p>
+
+<div class="figcenter" id="plt_131">
+<p class="plt">Plate 131</p>
+<a href="images/plt_131.jpg">
+<img src="images/plt_131.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FOUNTAIN IN THE PLAZA DE PALACIO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span></p>
+
+<div class="figcenter" id="plt_132">
+<p class="plt">Plate 132</p>
+<a href="images/plt_132.jpg">
+<img src="images/plt_132.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STATUE OF GENERAL PRIM</p>
+</div>
+
+<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
+
+<div class="figcenter" id="plt_133">
+<p class="plt">Plate 133</p>
+<a href="images/plt_133.jpg">
+<img src="images/plt_133.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE CATALUÑA, MONUMENT TO CLAVÉ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p>
+
+<div class="figcenter" id="plt_134">
+<p class="plt">Plate 134</p>
+<a href="images/plt_134.jpg">
+<img src="images/plt_134.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: STATUE OF LOPEZ, AND PASEO DE COLÓN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
+
+<div class="figcenter" id="plt_135">
+<p class="plt">Plate 135</p>
+<a href="images/plt_135.jpg">
+<img src="images/plt_135.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: PLAZA DEL DUQUE DE MEDINACELLI</p>
+</div>
+
+<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p>
+
+<div class="figcenter" id="plt_136">
+<p class="plt">Plate 136</p>
+<a href="images/plt_136.jpg">
+<img src="images/plt_136.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: MONUMENT TO RUIS AND TOULET</p>
+</div>
+
+<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p>
+
+<div class="figcenter" id="plt_137">
+<p class="plt">Plate 137</p>
+<a href="images/plt_137.jpg">
+<img src="images/plt_137.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: VIEW OF TIBIDABO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p>
+
+<div class="figcenter" id="plt_138">
+<p class="plt">Plate 138</p>
+<a href="images/plt_138.jpg">
+<img src="images/plt_138.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: FUNICULAR RAILWAY STATION, TIBIDABO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span></p>
+
+<div class="figcenter" id="plt_139">
+<p class="plt">Plate 139</p>
+<a href="images/plt_139.jpg">
+<img src="images/plt_139.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: TIBIDABO STATION AND CASA ARNUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
+
+<div class="figcenter" id="plt_140">
+<p class="plt">Plate 140</p>
+<a href="images/plt_140.jpg">
+<img src="images/plt_140.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE DEVIL’S BRIDGE AT MARTORELL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
+
+<div class="figcenter" id="plt_141">
+<p class="plt">Plate 141</p>
+<a href="images/plt_141.jpg">
+<img src="images/plt_141.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: INTERIOR COURT OF THE CONVENT OF MONTESION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span></p>
+
+<div class="figcenter" id="plt_142">
+<p class="plt">Plate 142</p>
+<a href="images/plt_142.jpg">
+<img src="images/plt_142.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXTERIOR OF THE CONVENT OF MONTESION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span></p>
+
+<div class="figcenter" id="plt_143">
+<p class="plt">Plate 143</p>
+<a href="images/plt_143.jpg">
+<img src="images/plt_143.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: CONVENT OF MONTESION CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p>
+
+<div class="figcenter" id="plt_144">
+<p class="plt">Plate 144</p>
+<a href="images/plt_144.jpg">
+<img src="images/plt_144.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONASTERY OF PEDRALVES, NEAR BARCELONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span></p>
+
+<div class="figcenter" id="plt_145">
+<p class="plt">Plate 145</p>
+<a href="images/plt_145.jpg">
+<img src="images/plt_145.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: RAMBLA DE CANALETAS DURING THE FÊTES OF 1888</p>
+</div>
+
+<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p>
+
+<div class="figcenter" id="plt_146">
+<p class="plt">Plate 146</p>
+<a href="images/plt_146.jpg">
+<img src="images/plt_146.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: THE FÊTES OF 1888. INAUGURATION OF THE MONUMENT TO COLUMBUS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
+
+<div class="figcenter" id="plt_147">
+<p class="plt">Plate 147</p>
+<a href="images/plt_147.jpg">
+<img src="images/plt_147.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXHIBITION OF 1888. H.M. THE QUEEN LEAVING THE EXHIBITION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span></p>
+
+<div class="figcenter" id="plt_148">
+<p class="plt">Plate 148</p>
+<a href="images/plt_148.jpg">
+<img src="images/plt_148.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>BARCELONA: EXHIBITION OF 1888. PALACE OF BEAUX-ARTS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p>
+
+<div class="figcenter" id="plt_149">
+<p class="plt">Plate 149</p>
+<a href="images/plt_149.jpg">
+<img src="images/plt_149.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF TARRAGONA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span></p>
+
+<div class="figcenter" id="plt_150">
+<p class="plt">Plate 150</p>
+<a href="images/plt_150.jpg">
+<img src="images/plt_150.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span></p><p>TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING SOUTH</p>
+</div>
+
+<div class="figcenter" id="plt_151">
+<p class="plt">Plate 151</p>
+<a href="images/plt_151.jpg">
+<img src="images/plt_151.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW FROM THE CATHEDRAL, LOOKING EAST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
+
+<div class="figcenter" id="plt_152">
+<p class="plt">Plate 152</p>
+<a href="images/plt_152.jpg">
+<img src="images/plt_152.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
+
+<div class="figcenter" id="plt_153">
+<p class="plt">Plate 153</p>
+<a href="images/plt_153.jpg">
+<img src="images/plt_153.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW FROM THE PIER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p>
+
+<div class="figcenter" id="plt_154">
+<p class="plt">Plate 154</p>
+<a href="images/plt_154.jpg">
+<img src="images/plt_154.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: PANORAMIC VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p>
+
+<div class="figcenter" id="plt_155">
+<p class="plt">Plate 155</p>
+<a href="images/plt_155.jpg">
+<img src="images/plt_155.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: VIEW OF THE PORT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p>
+
+<div class="figcenter" id="plt_156">
+<p class="plt">Plate 156</p>
+<a href="images/plt_156.jpg">
+<img src="images/plt_156.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: VIEW OF THE HARBOUR FROM THE TOWN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p>
+
+<div class="figcenter" id="plt_157">
+<p class="plt">Plate 157</p>
+<a href="images/plt_157.jpg">
+<img src="images/plt_157.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GENERAL VIEW OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span></p>
+
+<div class="figcenter" id="plt_158">
+<p class="plt">Plate 158</p>
+<a href="images/plt_158.jpg">
+<img src="images/plt_158.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: FAÇADE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p>
+
+<div class="figcenter" id="plt_159">
+<p class="plt">Plate 159</p>
+<a href="images/plt_159.jpg">
+<img src="images/plt_159.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: FAÇADE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p>
+
+<div class="figcenter" id="plt_160">
+<p class="plt">Plate 160</p>
+<a href="images/plt_160.jpg">
+<img src="images/plt_160.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: TOWER AND SIDE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
+
+<div class="figcenter" id="plt_161">
+<p class="plt">Plate 161</p>
+<a href="images/plt_161.jpg">
+<img src="images/plt_161.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: FAÇADE OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span></p>
+
+<div class="figcenter" id="plt_162">
+<p class="plt">Plate 162</p>
+<a href="images/plt_162.jpg">
+<img src="images/plt_162.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: CENTRE OF THE PORTAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span></p>
+
+<div class="figcenter" id="plt_163">
+<p class="plt">Plate 163</p>
+<a href="images/plt_163.jpg">
+<img src="images/plt_163.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: LEFT-HAND SIDE DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span></p>
+
+<div class="figcenter" id="plt_164">
+<p class="plt">Plate 164</p>
+<a href="images/plt_164.jpg">
+<img src="images/plt_164.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: STATUES OF THE PORTICO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span></p>
+
+<div class="figcenter" id="plt_165">
+<p class="plt">Plate 165</p>
+<a href="images/plt_165.jpg">
+<img src="images/plt_165.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: DETAIL OF THE PORTICO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_274" id="page_274">{274}</a></span></p>
+
+<div class="figcenter" id="plt_166">
+<p class="plt">Plate 166</p>
+<a href="images/plt_166.jpg">
+<img src="images/plt_166.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: BYZANTINE DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p>
+
+<div class="figcenter" id="plt_167">
+<p class="plt">Plate 167</p>
+<a href="images/plt_167.jpg">
+<img src="images/plt_167.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: RIGHT-HAND SIDE DOOR OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_276" id="page_276">{276}</a></span></p>
+
+<div class="figcenter" id="plt_168">
+<p class="plt">Plate 168</p>
+<a href="images/plt_168.jpg">
+<img src="images/plt_168.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: THE PRINCIPAL NAVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_277" id="page_277">{277}</a></span></p>
+
+<div class="figcenter" id="plt_169">
+<p class="plt">Plate 169</p>
+<a href="images/plt_169.jpg">
+<img src="images/plt_169.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA CATHEDRAL: TOMB OF JAIME DE ARAGON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_278" id="page_278">{278}</a></span></p>
+
+<div class="figcenter" id="plt_170">
+<p class="plt">Plate 170</p>
+<a href="images/plt_170.jpg">
+<img src="images/plt_170.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: CLOISTERS OF THE CATHEDRAL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
+
+<div class="figcenter" id="plt_171">
+<p class="plt">Plate 171</p>
+<a href="images/plt_171.jpg">
+<img src="images/plt_171.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: DOOR OF THE CHAPEL OF SAN PABLO</p>
+</div>
+
+<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p>
+
+<div class="figcenter" id="plt_172">
+<p class="plt">Plate 172</p>
+<a href="images/plt_172.jpg">
+<img src="images/plt_172.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: LA MURALLA CICLOPEA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p>
+
+<div class="figcenter" id="plt_173">
+<p class="plt">Plate 173</p>
+<a href="images/plt_173.jpg">
+<img src="images/plt_173.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: PUERTA DE SAN ANTONIO AND ROMAN WALLS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_282" id="page_282">{282}</a></span></p>
+
+<div class="figcenter" id="plt_174">
+<p class="plt">Plate 174</p>
+<a href="images/plt_174.jpg">
+<img src="images/plt_174.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: ROMAN WALLS AND TOWER</p>
+</div>
+
+<p><span class="pagenum"><a name="page_283" id="page_283">{283}</a></span></p>
+
+<div class="figcenter" id="plt_175">
+<p class="plt">Plate 175</p>
+<a href="images/plt_175.jpg">
+<img src="images/plt_175.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: TOWER OF THE SCIPIONES</p>
+</div>
+
+<p><span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
+
+<div class="figcenter" id="plt_176">
+<p class="plt">Plate 176</p>
+<a href="images/plt_176.jpg">
+<img src="images/plt_176.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: GATE OF SAN ANTONIO AND THE ROMAN WALL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p>
+
+<div class="figcenter" id="plt_177">
+<p class="plt">Plate 177</p>
+<a href="images/plt_177.jpg">
+<img src="images/plt_177.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: PALACE OF PILATOS, NOW THE PRISON</p>
+</div>
+
+<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p>
+
+<div class="figcenter" id="plt_178">
+<p class="plt">Plate 178</p>
+<a href="images/plt_178.jpg">
+<img src="images/plt_178.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: LA PORTELLA, A CYCLOPEAN DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p>
+
+<div class="figcenter" id="plt_179">
+<p class="plt">Plate 179</p>
+<a href="images/plt_179.jpg">
+<img src="images/plt_179.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: A CYCLOPEAN DOORWAY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p>
+
+<div class="figcenter" id="plt_180">
+<p class="plt">Plate 180</p>
+<a href="images/plt_180.jpg">
+<img src="images/plt_180.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: A ROMAN HOUSE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
+
+<div class="figcenter" id="plt_181">
+<p class="plt">Plate 181</p>
+<a href="images/plt_181.jpg">
+<img src="images/plt_181.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: ARCO DE BARÁ</p>
+</div>
+
+<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p>
+
+<div class="figcenter" id="plt_182">
+<p class="plt">Plate 182</p>
+<a href="images/plt_182.jpg">
+<img src="images/plt_182.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: THE ROMAN AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_291" id="page_291">{291}</a></span></p>
+
+<div class="figcenter" id="plt_183">
+<p class="plt">Plate 183</p>
+<a href="images/plt_183.jpg">
+<img src="images/plt_183.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: THE ROMAN AQUEDUCT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
+
+<div class="figcenter" id="plt_184">
+<p class="plt">Plate 184</p>
+<a href="images/plt_184.jpg">
+<img src="images/plt_184.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: THE SEMINARY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p>
+
+<div class="figcenter" id="plt_185">
+<p class="plt">Plate 185</p>
+<a href="images/plt_185.jpg">
+<img src="images/plt_185.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: CROSS OF SAN ANTONIO</p>
+
+<p>(SIXTEENTH CENTURY)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p>
+
+<div class="figcenter" id="plt_186">
+<p class="plt">Plate 186</p>
+<a href="images/plt_186.jpg">
+<img src="images/plt_186.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TARRAGONA: ANCIENT ROMAN CONVENT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
+
+<div class="figcenter" id="plt_187">
+<p class="plt">Plate 187</p>
+<a href="images/plt_187.jpg">
+<img src="images/plt_187.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): GENERAL VIEW OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p>
+
+<div class="figcenter" id="plt_188">
+<p class="plt">Plate 188</p>
+<a href="images/plt_188.jpg">
+<img src="images/plt_188.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): CHURCH OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
+
+<div class="figcenter" id="plt_189">
+<p class="plt">Plate 189</p>
+<a href="images/plt_189.jpg">
+<img src="images/plt_189.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): DOOR OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_298" id="page_298">{298}</a></span></p>
+
+<div class="figcenter" id="plt_190">
+<p class="plt">Plate 190</p>
+<a href="images/plt_190.jpg">
+<img src="images/plt_190.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): CHAPEL OF SAN JORGE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
+
+<div class="figcenter" id="plt_191">
+<p class="plt">Plate 191</p>
+<a href="images/plt_191.jpg">
+<img src="images/plt_191.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): TEMPLE IN THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
+
+<div class="figcenter" id="plt_192">
+<p class="plt">Plate 192</p>
+<a href="images/plt_192.jpg">
+<img src="images/plt_192.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): CLOISTERS AND PALACE OF KING MARTIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_301" id="page_301">{301}</a></span></p>
+
+<div class="figcenter" id="plt_193">
+<p class="plt">Plate 193</p>
+<a href="images/plt_193.jpg">
+<img src="images/plt_193.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p>
+
+<div class="figcenter" id="plt_194">
+<p class="plt">Plate 194</p>
+<a href="images/plt_194.jpg">
+<img src="images/plt_194.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>POBLET (TARRAGONA): INTERIOR VIEW OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
+
+<div class="figcenter" id="plt_195">
+<p class="plt">Plate 195</p>
+<a href="images/plt_195.jpg">
+<img src="images/plt_195.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): GENERAL VIEW OF THE CHURCH OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_304" id="page_304">{304}</a></span></p>
+
+<div class="figcenter" id="plt_196">
+<p class="plt">Plate 196</p>
+<a href="images/plt_196.jpg">
+<img src="images/plt_196.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): DOOR OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_305" id="page_305">{305}</a></span></p>
+
+<div class="figcenter" id="plt_197">
+<p class="plt">Plate 197</p>
+<a href="images/plt_197.jpg">
+<img src="images/plt_197.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): INTERIOR OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p>
+
+<div class="figcenter" id="plt_198">
+<p class="plt">Plate 198</p>
+<a href="images/plt_198.jpg">
+<img src="images/plt_198.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>SANTA CREUS (TARRAGONA): INTERIOR SIDE VIEW OF THE CLOISTERS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
+
+<div class="figcenter" id="plt_199">
+<p class="plt">Plate 199</p>
+<a href="images/plt_199.jpg">
+<img src="images/plt_199.jpg"
+width="90%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p>
+
+<div class="figcenter" id="plt_200">
+<p class="plt">Plate 200</p>
+<a href="images/plt_200.jpg">
+<img src="images/plt_200.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONASTERY OF MONTSERRAT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p>
+
+<div class="figcenter" id="plt_201">
+<p class="plt">Plate 201</p>
+<a href="images/plt_201.jpg">
+<img src="images/plt_201.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE MONASTERY OF MONTSERRAT, TAKEN FROM ST. MICHAEL</p>
+</div>
+
+<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p>
+
+<div class="figcenter" id="plt_202">
+<p class="plt">Plate 202</p>
+<a href="images/plt_202.jpg">
+<img src="images/plt_202.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: GENERAL VIEW OF MONASTERY FROM THE SOUTH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p>
+
+<div class="figcenter" id="plt_203">
+<p class="plt">Plate 203</p>
+<a href="images/plt_203.jpg">
+<img src="images/plt_203.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE MONASTERY FROM THE SOUTH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_312" id="page_312">{312}</a></span></p>
+
+<div class="figcenter" id="plt_204">
+<p class="plt">Plate 204</p>
+<a href="images/plt_204.jpg">
+<img src="images/plt_204.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: GENERAL VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
+
+<div class="figcenter" id="plt_205">
+<p class="plt">Plate 205</p>
+<a href="images/plt_205.jpg">
+<img src="images/plt_205.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE MONASTERY FROM THE WEST</p>
+</div>
+
+<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p>
+
+<div class="figcenter" id="plt_206">
+<p class="plt">Plate 206</p>
+<a href="images/plt_206.jpg">
+<img src="images/plt_206.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
+
+<div class="figcenter" id="plt_207">
+<p class="plt">Plate 207</p>
+<a href="images/plt_207.jpg">
+<img src="images/plt_207.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: GROTTO OF THE VIRGIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
+
+<div class="figcenter" id="plt_208">
+<p class="plt">Plate 208</p>
+<a href="images/plt_208.jpg">
+<img src="images/plt_208.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE VIRGIN’S CAVE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
+
+<div class="figcenter" id="plt_209">
+<p class="plt">Plate 209</p>
+<a href="images/plt_209.jpg">
+<img src="images/plt_209.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW FROM THE GROTTO OF THE VIRGIN</p>
+</div>
+
+<p><span class="pagenum"><a name="page_318" id="page_318">{318}</a></span></p>
+
+<div class="figcenter" id="plt_210">
+<p class="plt">Plate 210</p>
+<a href="images/plt_210.jpg">
+<img src="images/plt_210.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE CAVE OF JUAN GUARIN THE HERMIT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
+
+<div class="figcenter" id="plt_211">
+<p class="plt">Plate 211</p>
+<a href="images/plt_211.jpg">
+<img src="images/plt_211.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: REMAINS OF THE ANCIENT MONASTERY</p>
+</div>
+
+<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p>
+
+<div class="figcenter" id="plt_212">
+<p class="plt">Plate 212</p>
+<a href="images/plt_212.jpg">
+<img src="images/plt_212.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: DOOR OF THE CHURCH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_321" id="page_321">{321}</a></span></p>
+
+<div class="figcenter" id="plt_213">
+<p class="plt">Plate 213</p>
+<a href="images/plt_213.jpg">
+<img src="images/plt_213.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: INTERIOR OF THE CHURCH</p>
+</div>
+
+<p><span class="pagenum"><a name="page_322" id="page_322">{322}</a></span></p>
+
+<div class="figcenter" id="plt_214">
+<p class="plt">Plate 214</p>
+<a href="images/plt_214.jpg">
+<img src="images/plt_214.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: VIEW OF THE PEAKS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_323" id="page_323">{323}</a></span></p>
+
+<div class="figcenter" id="plt_215">
+<p class="plt">Plate 215</p>
+<a href="images/plt_215.jpg">
+<img src="images/plt_215.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: THE DEVIL’S ROCK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_324" id="page_324">{324}</a></span></p>
+
+<div class="figcenter" id="plt_216">
+<p class="plt">Plate 216</p>
+<a href="images/plt_216.jpg">
+<img src="images/plt_216.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONTSERRAT: MIRANDA PEAK</p>
+</div>
+
+<p><span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p>
+
+<div class="figcenter" id="plt_217">
+<p class="plt">Plate 217</p>
+<a href="images/plt_217.jpg">
+<img src="images/plt_217.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF MONTSERRAT, TAKEN FROM MONISTOL STATION</p>
+</div>
+
+<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p>
+
+<div class="figcenter" id="plt_218">
+<p class="plt">Plate 218</p>
+<a href="images/plt_218.jpg">
+<img src="images/plt_218.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF MONISTOL, TAKEN FROM MONTSERRAT</p>
+</div>
+
+<p><span class="pagenum"><a name="page_327" id="page_327">{327}</a></span></p>
+
+<div class="figcenter" id="plt_219">
+<p class="plt">Plate 219</p>
+<a href="images/plt_219.jpg">
+<img src="images/plt_219.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TORTOSA: GENERAL VIEW</p>
+</div>
+
+<p><span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p>
+
+<div class="figcenter" id="plt_220">
+<p class="plt">Plate 220</p>
+<a href="images/plt_220.jpg">
+<img src="images/plt_220.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TORTOSA: COURTYARD IN THE INSTITUTE</p>
+</div>
+
+<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
+
+<div class="figcenter" id="plt_221">
+<p class="plt">Plate 221</p>
+<a href="images/plt_221-a.jpg">
+<img src="images/plt_221-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE COURT, SAN FRANCISCO, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_221-b.jpg">
+<img src="images/plt_221-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>GRAN HOTEL, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_330" id="page_330">{330}</a></span></p>
+
+<div class="figcenter" id="plt_222">
+<p class="plt">Plate 222</p>
+<a href="images/plt_222.jpg">
+<img src="images/plt_222.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>PALACE OF THE ALMUDAINA, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_331" id="page_331">{331}</a></span></p>
+
+<div class="figcenter" id="plt_223">
+<p class="plt">Plate 223</p>
+<a href="images/plt_223.jpg">
+<img src="images/plt_223.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>WINDMILL AND ELECTRICAL WORKS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p>
+
+<div class="figcenter" id="plt_224">
+<p class="plt">Plate 224</p>
+<a href="images/plt_224.jpg">
+<img src="images/plt_224.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE “REAL CLUB DE REGATAS,” PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_333" id="page_333">{333}</a></span></p>
+
+<div class="figcenter" id="plt_225">
+<p class="plt">Plate 225</p>
+<a href="images/plt_225-a.jpg">
+<img src="images/plt_225-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>MARKET AND CHURCH OF SAN NICOLAS, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_225-b.jpg">
+<img src="images/plt_225-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>SAN FRANCISCO, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
+
+<div class="figcenter" id="plt_226">
+<p class="plt">Plate 226</p>
+<a href="images/plt_226.jpg">
+<img src="images/plt_226.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW FROM THE HARBOUR, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_335" id="page_335">{335}</a></span></p>
+
+<div class="figcenter" id="plt_227">
+<p class="plt">Plate 227</p>
+<a href="images/plt_227.jpg">
+<img src="images/plt_227.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE BAY, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p>
+
+<div class="figcenter" id="plt_228">
+<p class="plt">Plate 228</p>
+<a href="images/plt_228.jpg">
+<img src="images/plt_228.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE ALMUDAINA AND CATHEDRAL, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
+
+<div class="figcenter" id="plt_229">
+<p class="plt">Plate 229</p>
+<a href="images/plt_229-a.jpg">
+<img src="images/plt_229-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>PUERTA DE SANTA MARGARITA, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_229-b.jpg">
+<img src="images/plt_229-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>THE CATHEDRAL, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p>
+
+<div class="figcenter" id="plt_230">
+<p class="plt">Plate 230</p>
+<a href="images/plt_230-a.jpg">
+<img src="images/plt_230-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>PASEO DEL BORNE, PALMA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_230-b.jpg">
+<img src="images/plt_230-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>ARABIAN BATHS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
+
+<div class="figcenter" id="plt_231">
+<p class="plt">Plate 231</p>
+<a href="images/plt_231-a.jpg">
+<img src="images/plt_231-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE GORCH BLAU, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_231-b.jpg">
+<img src="images/plt_231-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>THE GORCH BLAU, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_340" id="page_340">{340}</a></span></p>
+
+<div class="figcenter" id="plt_232">
+<p class="plt">Plate 232</p>
+<a href="images/plt_232.jpg">
+<img src="images/plt_232.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF SAN FRANCISCO, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p>
+
+<div class="figcenter" id="plt_233">
+<p class="plt">Plate 233</p>
+<a href="images/plt_233.jpg">
+<img src="images/plt_233.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>ARAB BATHS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_342" id="page_342">{342}</a></span></p>
+
+<div class="figcenter" id="plt_234">
+<p class="plt">Plate 234</p>
+<a href="images/plt_234.jpg">
+<img src="images/plt_234.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE QUAY, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
+
+<div class="figcenter" id="plt_235">
+<p class="plt">Plate 235</p>
+<a href="images/plt_235.jpg">
+<img src="images/plt_235.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MILLS, PALMA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p>
+
+<div class="figcenter" id="plt_236">
+<p class="plt">Plate 236</p>
+<a href="images/plt_236.jpg">
+<img src="images/plt_236.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE RIVER, SOLLER, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_345" id="page_345">{345}</a></span></p>
+
+<div class="figcenter" id="plt_237">
+<p class="plt">Plate 237</p>
+<a href="images/plt_237.jpg">
+<img src="images/plt_237.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF ALCUDIA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
+
+<div class="figcenter" id="plt_238">
+<p class="plt">Plate 238</p>
+<a href="images/plt_238-a.jpg">
+<img src="images/plt_238-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE CATHEDRAL, PALMA, MALLORCA</p>
+</div>
+
+
+<div class="figcenter">
+<a href="images/plt_238-b.jpg">
+<img src="images/plt_238-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>THE CHURCH OF THE MONASTERY, LLUCH, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
+
+<div class="figcenter" id="plt_239">
+<p class="plt">Plate 239</p>
+<a href="images/plt_239-a.jpg">
+<img src="images/plt_239-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>LA CARTUJA, VALLDEMOSA, MALLORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_239-b.jpg">
+<img src="images/plt_239-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>PUERTA DEL MUELLE, ALCUDIA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_348" id="page_348">{348}</a></span></p>
+
+<div class="figcenter" id="plt_240">
+<p class="plt">Plate 240</p>
+<a href="images/plt_240.jpg">
+<img src="images/plt_240.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>INTERIOR OF THE CHURCH, LLUCH, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
+
+<div class="figcenter" id="plt_241">
+<p class="plt">Plate 241</p>
+<a href="images/plt_241.jpg">
+<img src="images/plt_241.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>TRANSPORT OF MUSTS, BALEARIC ISLANDS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_350" id="page_350">{350}</a></span></p>
+
+<div class="figcenter" id="plt_242">
+<p class="plt">Plate 242</p>
+<a href="images/plt_242.jpg">
+<img src="images/plt_242.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF DEYA, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_351" id="page_351">{351}</a></span></p>
+
+<div class="figcenter" id="plt_243">
+<p class="plt">Plate 243</p>
+<a href="images/plt_243.jpg">
+<img src="images/plt_243.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>CASTLE OF BELLVER, MALLORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_352" id="page_352">{352}</a></span></p>
+
+<div class="figcenter" id="plt_244">
+<p class="plt">Plate 244</p>
+<a href="images/plt_244.jpg">
+<img src="images/plt_244.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>GENERAL VIEW OF SAN ANTONIO (PITYUSAE ISLES)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p>
+
+<div class="figcenter" id="plt_245">
+<p class="plt">Plate 245</p>
+<a href="images/plt_245.jpg">
+<img src="images/plt_245.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>RUINS OF THE TORRE D’EA GALINES, ALAZOR, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p>
+
+<div class="figcenter" id="plt_246">
+<p class="plt">Plate 246</p>
+<a href="images/plt_246-a.jpg">
+<img src="images/plt_246-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>VILLA CARLOS, MAHON, MENORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_246-b.jpg">
+<img src="images/plt_246-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>VIEW OF THE PORT, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_355" id="page_355">{355}</a></span></p>
+
+<div class="figcenter" id="plt_247">
+<p class="plt">Plate 247</p>
+<a href="images/plt_247-a.jpg">
+<img src="images/plt_247-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE HARBOUR, MAHON, MENORCA</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_247-b.jpg">
+<img src="images/plt_247-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>A VIEW IN THE TOWN, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_356" id="page_356">{356}</a></span></p>
+
+<div class="figcenter" id="plt_248">
+<p class="plt">Plate 248</p>
+<a href="images/plt_248.jpg">
+<img src="images/plt_248.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE QUAY, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
+
+<div class="figcenter" id="plt_249">
+<p class="plt">Plate 249</p>
+<a href="images/plt_249.jpg">
+<img src="images/plt_249.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>PASEO DEL home, CIUDADELA, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_358" id="page_358">{358}</a></span></p>
+
+<div class="figcenter" id="plt_250">
+<p class="plt">Plate 250</p>
+<a href="images/plt_250.jpg">
+<img src="images/plt_250.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>VIEW OF THE PORT, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_359" id="page_359">{359}</a></span></p>
+
+<div class="figcenter" id="plt_251">
+<p class="plt">Plate 251</p>
+<a href="images/plt_251.jpg">
+<img src="images/plt_251.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>THE PORT AND TOWN, CIUDADELA, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
+
+<div class="figcenter" id="plt_252">
+<p class="plt">Plate 252</p>
+<a href="images/plt_252-a.jpg">
+<img src="images/plt_252-a.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+
+<p>THRESHING, SAN ANTONIO (PITYUSAE ISLES)</p>
+</div>
+
+<div class="figcenter">
+<a href="images/plt_252-b.jpg">
+<img src="images/plt_252-b.jpg"
+width="40%"
+alt="[Image unavailable.]" /></a>
+<p>A STREET IN ALGENDAR, FERRERIAS, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p>
+
+<div class="figcenter" id="plt_253">
+<p class="plt">Plate 253</p>
+<a href="images/plt_253.jpg">
+<img src="images/plt_253.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>A VIEW SHOWING THE ARABIAN TOWERS, IBIZA (PITYUSAE ISLES)</p>
+</div>
+
+<p><span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p>
+
+<div class="figcenter" id="plt_254">
+<p class="plt">Plate 254</p>
+<a href="images/plt_254.jpg">
+<img src="images/plt_254.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>RIVER PAREYS</p>
+</div>
+
+<p><span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p>
+
+<div class="figcenter" id="plt_255">
+<p class="plt">Plate 255</p>
+<a href="images/plt_255.jpg">
+<img src="images/plt_255.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>PORTAL OF D’ALT OR D’EN SERVERA, MAHON, MENORCA</p>
+</div>
+
+<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
+
+<div class="figcenter" id="plt_256">
+<p class="plt">Plate 256</p>
+<a href="images/plt_256.jpg">
+<img src="images/plt_256.jpg"
+width="70%"
+alt="[Image unavailable.]" /></a>
+
+<p>MONUMENT TO THE FRENCH PRISONERS WHO DIED IN 1808, ISLAND OF CABRERA,
+MENORCA</p>
+</div>
+
+<hr class="full" />
+<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CATALONIA & THE BALEARIC ISLANDS ***</div>
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+++ b/old/64923-h/images/plt_254.jpg
diff --git a/old/64923-h/images/plt_255.jpg b/old/64923-h/images/plt_255.jpg
new file mode 100644
index 0000000..3ae7cac
--- /dev/null
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diff --git a/old/64923-h/images/plt_256.jpg b/old/64923-h/images/plt_256.jpg
new file mode 100644
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--- /dev/null
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