Chapter VI: Part 6

(DON LUIS NAVAS.)]

SPAIN MAKING HISTORY.

(DON LUIS NAVAS.)]

THE MADHOUSE.

(PRADO, MADRID.)]

THE MAJAS OF THE BALCONY.

(COLLECTION OF THE DUQUE DE MARCHESA.)]

THE MAJAS OF THE BALCONY.

(REPETITION OF THE FOREGOING, WITH VARIATIONS.)]

THE MAJAS OF THE BALCONY.

(REPETITION OF THE FOREGOING, WITH VARIATIONS.)]

LA MAJA (NUDE).

(PRADO, MADRID.)]

LA MAJA (CLOTHED).

(PRADO, MADRID.)]

THE KNIFE-GRINDER.

(BUDAPEST.)]

THE WATER-CARRIER.

(BUDAPEST.)]

OLD AGE

(LILLE MUSEUM.)]

ROBBERY OF A COACH.

(MARQUES DE CASTRO SERNA.)]

BRIGANDS.

(MARQUES DE LA ROMANA.)]

BRIGAND MURDERING A WOMAN.

(MARQUES DE LA ROMANA.)]

BRIGANDS STRIPPING THEIR CAPTIVES.

(MARQUES DE LA ROMANA.)]

MURDER BY BRIGANDS.

(MARQUES DE LA ROMANA, MADRID.)]

BRIGANDS’ CAVE

(MARQUES DE LA ROMANA, MADRID.)]

GOYA AND THE DUCHESS OF ALBA.

(MARQUES DE LA ROMANA.)]

THE PLAGUE TERROR.

(MARQUES DE LA ROMANA.)]

THE MONK’S VISIT.

(MARQUES DE LA ROMANA.)]

A MASQUERADE.

(DUQUESA DE VILLAHERMOSA, MADRID.)]

THE DANCE.

(MARQUES DE LA TORRECILLA.)]

THE FUNERAL OF THE SARDINE: CARNIVAL SCENE.

(ACADEMY OF ST. FERDINAND, MADRID.)]

THE BOOTH AT THE FAIR.

(MARQUES DE CASTRO SERNA.)]

THE GREASY POLE.

(MARQUES DE CASTRO TORRES.)]

THE BONFIRE.

(CONDE DE VILLAGONZALO.)]

NOCTURNAL SCENE.

(MARQUES DE LA ROMANA.)]

THE PICNIC.

(MARQUES DE LA TORRECILLA.)]

THE INUNDATION.

(MARQUES DE CASTRO SERNA.)]

THE VILLAGE ON FIRE.

(MARQUES DE CASTRO SERNA.)]

CAPRICE.

(DOÑA C. BERGANZA DE MARTIN.)]

CAPRICE.

(DOÑA C. BERGANZA DE MARTIN.)]

CAPRICE.

(DON A. PIDAL.)]

DOGS AND GUNS: DESIGN FOR TAPESTRY.

(PRADO, MADRID.)]

A DEAD BIRD.

(PRADO, MADRID.)]

DEAD BIRDS.

(PRADO, MADRID.)]

A PICADOR ON HORSEBACK.

(PRADO, MADRID.)]

PICADOR AND BULL.

(MARQUES DE BAROJA, MADRID.)]

DEATH OF THE PICADOR.

(PARIS.)]

A BULL-FIGHT.

(BEQUEATHED TO THE ROYAL ACADEMY.)]

A BULL ESCAPED FROM THE ARENA.

(DUQUE DE VERAGUA.)]

MEETING OF WITCHES.

(PRADO, MADRID.)]

GALICIAN SHEPHERDS FIGHTING.

(PRADO, MADRID.)]

THE PROCESSION.

(CONDE DE CANDILLA.)]

CAPRICE.

(PRADO, MADRID.)]

THE FATES.

(PRADO, MADRID.)]

SATURN DEVOURING ONE OF HIS CHILDREN.

(PRADO, MADRID.)]

JUDITH AND HOLOFERNES.

(PRADO, MADRID.)]

TWO MONKS.]

THE MAJA.

(FROM GOYA’S COUNTRY HOUSE, NEAR MADRID.)]

A CAPRICE.]

LISTENING TO THE NEWS.

(PRADO, MADRID.)]

A GROUP OF WITCHES.

(PRADO, MADRID.)]

A GROUP OF WITCHES.

(PRADO, MADRID.)]

THE BULL-FIGHT.]

PILGRIMAGE TO THE FOUNTAIN OF SAN ISIDRO.

(PRADO, MADRID.)]

MEETING OF WITCHES.

(PRADO, MADRID.)]

TWO OLD PEOPLE EATING PORRIDGE.

(PRADO, MADRID.)]

THE MASS OF PARIDA.

(MARQUES DE LA TORRECILLA.)]

THE TOPERS.]

WOMEN OF MADRID, AND FRIARS.

(MARQUES DE CASA TORRES.)]

THE MAJAS AND THE MAJO.]

THE WITCH.]

LAUGHING WOMEN.

(PRADO, MADRID.)]

THE SWING.

(DUKE DE MONTELLANO.)]

THE GREASY POLE.

(DUKE DE MONTELLANO.)]

THE ACCIDENT.

(DUKE DE MONTELLANO.)]

COACH ATTACKED BY BANDITS.

(DUKE DE MONTELLANO.)]

BUILDING THE CHURCH.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

THE VILLAGE PROCESSION.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

SUMMER: THRESHERS OF WHEAT.

(DON RICARDO TRAUMANN.)]

THE HERMITAGE OF SAN ISIDRO.

(DON P. F. DURÁN.)]

THE WOUNDED MASON.

(DON P. F. DURÁN.)]

THE HERMITAGE OF SAN ISIDRO.

(PRADO, MADRID.)]

SCENE FROM THE PLAY ‘EL HECHIZADO POR FUERZA’--BEWITCHED BY FORCE.

(NATIONAL GALLERY, LONDON.)]

THE PICNIC.

(NATIONAL GALLERY, LONDON.)]

HERD OF BULLS COMING FROM THE MUÑOZA.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

A CAPRICE.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

A WITCHES’ CONVENTICLE.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

SORCERY SCENE.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

DON JUAN AND THE COMENDADOR.

(FROM THE COLLECTION OF THE DUQUE DE OSUNA.)]

DON QUIXOTE.]

ST. BERNARD OF SIENA.

(CHURCH OF SAN FRANCISCO EL GRANDE.)]

ST. BERNARD OF SIENA.

(MARQUES DE TORRECILLA.)]

CHRIST TAKEN BY THE SOLDIERS.

(TOLEDO CATHEDRAL.)]

CHRIST ON THE CROSS.

(PRADO, MADRID.)]

THE DEATH OF ST. JOSEPH.

(DON A. BERUETE, MADRID.)]

THE HOLY FAMILY.

(PRADO, MADRID.)]

ST. JUSTA AND ST. RUFINA.

(SEVILLE CATHEDRAL.)]

APPARITION OF ST. ISIDORE TO KING FERDINAND III.

(DON A. CANOVAS, MADRID.)]

ST. PETER.

(DON A. PIDAL, MADRID.)]

THE PRAYER IN THE GARDEN OF GETHSEMANE.

(THE RECTOR OF SAN ANTONIO.)]

ST. ELIZABETH OF HUNGARY HEALING LEPERS.

(D. CLEMENTE VELASCO.)]

ST. HERMENEGILD IN PRISON.

(D. CLEMENTE VELASCO.)]

ANGELS AND CHERUBIM.

(CONDE DE VILLAGONZALO.)]

FRESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA, 1ST SECTION.]

FRESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA, 2ND SECTION.]

FRESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA, 3RD SECTION.]

FRESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA, 4TH SECTION.]

GROUP OF ANGELS FROM SAN ANTONIO DE LA FLORIDA.]

FRESCO OF SAN ANTONIO DE LA FLORIDA.]

LUNCH ON THE BANKS OF THE MANZANARES: TAPESTRY CARTOON.

(PRADO, MADRID.)]

DANCE AT SAN ANTONIO DE LA FLORIDA: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE SCUFFLE AT THE VENTA NUEVA: TAPESTRY CARTOON.

(PRADO, MADRID.)]

AL FRESCO SCENE: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE DRINKER: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE PARASOL: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE KITE: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE CARD-PLAYERS: TAPESTRY CARTOON.

(PRADO, MADRID.)]

CHILDREN WITH A BLADDER: TAPESTRY CARTOON.

(PRADO, MADRID.)]

BOYS PICKING FRUIT: TAPESTRY CARTOON.

(PRADO, MADRID.)]

BLIND MAN PLAYING THE GUITAR: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE FAIR OF MADRID: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE CROCKERY SELLER: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE SOLDIER AND THE GIRL.

LA ACEROLERA.

TAPESTRY CARTOONS.

(PRADO, MADRID.)]

PLAYING AT SOLDIERS: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE GAME OF PELOTA: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE WASHERWOMEN: TAPESTRY CARTOON.

(PRADO, MADRID.)]

LA NOVILLADA: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE TOBACCO GUARD: TAPESTRY CARTOON.

(PRADO, MADRID.)]

CHILDREN CLIMBING A TREE.

THE HUNTER AND HIS DOGS.

THE CHILD AND THE BIRD.

TAPESTRY CARTOONS.

(PRADO, MADRID.)]

THE WOODCUTTERS: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE RENDEZVOUS: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE GARDENER: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE VINTAGERS: TAPESTRY CARTOON.

(PRADO, MADRID.)]

POOR WOMAN AT THE FOUNTAIN: TAPESTRY CARTOON.

(PRADO, MADRID.)]

WINTER: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE WEDDING: TAPESTRY CARTOON.

(PRADO, MADRID.)]

WOMEN AT THE FOUNTAIN: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE SWING: TAPESTRY CARTOON.

(PRADO, MADRID.)]

THE STILT-WALKERS: TAPESTRY CARTOON.

(PRADO, MADRID.)]

BOYS CLIMBING A TREE: TAPESTRY CARTOON.

(PRADO, MADRID.)]

BOY ON A SHEEP: TAPESTRY CARTOON.

(DON GABINO STUYK, MADRID.)]

CAPRICES

1. FRANCISCO GOYA Y LUCIENTES, PAINTER.]

2. EL SI PRONUNCIAN.]

3. HERE COMES THE BOGEY!]

4. EL DE LA ROLLONA.]

5. BIRDS OF A FEATHER.]

6. APPEARANCES ARE DECEPTIVE.]

7. NOT THUS CAN HE DISTINGUISH HER.]

8. KIDNAPPED!]

9. TANTALUS.]

10. LOVE AND DEATH.]

11. ANDALUSIAN BRIGANDS.]

12. TOOTH-HUNTING.]

13. THEY ARE HOT!]

14. WHAT A SACRIFICE!]

15. GOOD COUNSEL.]

16. ‘MAY GOD PARDON HER!’]

17. BIEN TIRADA ESTÁ.]

18. ‘AND HIS HOUSE IS BURNING!’]

19. ‘ALL WILL FALL.’]

20. THEY ARE ALREADY PLUCKED.]

21. HOW THEY PLUCK HER!]

22. POOR LITTLE THINGS!]

23. THIS DUST.]

24. THERE WAS NO REMEDY.]

25. BECAUSE HE BROKE THE PITCHER.]

26. NOW THEY HAVE A SEAT.]

27. WHICH IS THE MORE BORED?]

28. HUSH!]

29. THIS IS WHAT HE CALLS READING.]

30. WHY HIDE THEM?]

31. SHE PRAYS FOR HER.]

32. WHY WAS SHE SENSITIVE?]

33. ‘TO THE COUNT PALATINE.’]

34. SLEEP CONQUERS THEM.]

35. THEY SHAVE HIM.]

36. A BAD NIGHT.]

37. WILL THE PUPIL KNOW MORE THAN THE MASTER?]

38. BRAVISSIMO!]

39. AS FAR AS HIS GRANDFATHER.]

40. OF WHAT ILL WILL HE DIE?]

41. NEITHER MORE NOR LESS.]

42. THOU WHO CANST NOT.]

43. THE SLEEP OF REASON PRODUCES MONSTERS.]

44. THEY SPIN LINEN.]

45. THERE IS A LOT TO TASTE.]

46. CORRECTION.]

47. HOMAGE TO THE MASTER.]

48. THE BLOWERS.]

49. LITTLE GHOSTS.]

50. LAS CHINCHILLAS.]

51. THEY CUT EACH OTHERS’ NAILS.]

52. WHAT A TAILOR CAN DO.]

53. ‘WHAT A MOUTH OF GOLD!’]

54. THE SHAMEFUL ONE.]

56. TILL DEATH.]

56. ASCENDING AND DESCENDING.]

57. THE DESCENT.]

58. SWALLOW THAT, YOU DOG!]

59. AND YET THEY DO NOT GO.]

60. ENSAYOS.]

61. VOLAVERUNT.]

62. WHO WOULD BELIEVE IT?]

63. HOW GRAVE THEY ARE.]

64. BON VOYAGE.]

65. WHERE IS MAMMA GOING?]

66. BEWARE!]

67. WAIT TILL YOU HAVE BEEN ANOINTED.]

68. PRETTY MISTRESS.]

69. SOPLA!]

70. DEVOUT PROFESSIONS.]

71. THE DAY BREAKS, LET US GO.]

72. YOU WILL NOT ESCAPE.]

73. IT IS BETTER TO DO NOTHING.]

74. DON’T GRIZZLE, IDIOT.]

75. THE HABIT OF COMMAND.]

76. WILL NO ONE SET US FREE?]

77. A MIMIC BULL-FIGHT.]

78. BE QUICK, THEY WAKEN.]

79. NO ONE HAS SEEN US.]

80. IS IT ALREADY THE HOUR?]

DISASTERS OF WAR

1. SAD PRESENTIMENTS.]

2. WITH OR WITHOUT REASON.]

3. ALL THE SAME.]

4. WOMEN INSPIRE COURAGE.]

5. AND ARE LIKE WILD BEASTS.]

6. A GOOD THING, TOO!]

7. COURAGE!]

8. WHAT ALWAYS HAPPENS.]

9. THEY WILL NOT!]

10. NOR THEY!]

11. NOT FOR THESE!]

12. WERE YOU BORN FOR THIS?]

13. A BITTER SIGHT.]

14. HARD IS THE WAY.]

15. AND THERE WAS NO REMEDY.]

16. THEY AVAIL THEMSELVES.]

17. THEY DO NOT ARGUE.]

18. TO BURY AND TO BE SILENT.]

19. THERE IS NOT TIME.]

20. TO HEAL EACH OTHER.]

21. IT WILL BE THE SAME.]

22. AS MUCH AND MORE.]

23. THE SAME ELSEWHERE.]

24. THEY ARE STILL OF USE.]

25. AND THESE ALSO.]

26. THAT CANNOT BE SEEN.]

27. CHARITY.]

28. THE POPULACE.]

29. HE DESERVED IT.]

30. THE TRAGEDY OF WAR.]

31. STRONG MEASURES.]

32. WHY?]

33. WHAT MORE IS THERE TO DO?]

34. FOR A KNIFE.]

35. NO ONE KNOWS WHY.]

36. NOR WHEREFORE.]

37. THIS IS WORSE.]

38. BARBARIANS!]

39. A GREAT FEAT WITH THE DEAD.]

40. HE TURNS IT TO ACCOUNT.]

41. THEY ESCAPE THROUGH THE FLAMES.]

42. ALL IS IN CONFUSION.]

43. HERE ALSO.]

44. ‘I SAW IT!’]

45. AND THIS, LIKEWISE.]

46. THIS IS BAD.]

47. THUS IT HAPPENED.]

48. CRUEL MISFORTUNE!]

49. A WOMAN’S CHARITY.]

50. UNHAPPY MOTHER.]

51. THANKS TO THE BLUE VETCH.]

52. THEY ARRIVE TOO LATE.]

53. HE DIED WITHOUT HELP.]

54. VAIN CLAMOURS.]

55. TO BEG IS WORST OF ALL.]

56. TO THE CEMETERY.]

57. THE HALT AND THE SICK.]

58. OF NO USE TO CRY.]

59. OF WHAT USE IS A CUP.]

60. NO ONE TO HELP.]

61. ARE THEY OF ANOTHER RACE?]

62. DEATH-BEDS.]

63. COLLECTED DEAD.]

64. CARTLOADS FOR THE CEMETERY.]

65. ‘WHAT MEANS THIS TUMULT?’]

66. STRANGE DEVOTION.]

67. THIS IS NOT LESS SO.]

68. WHAT MADNESS!]

69. NOTHING; HE SAYS IT HIMSELF.]

70. THEY DO NOT KNOW THE WAY.]

71. AGAINST THE GENERAL GOOD.]

72. THE CONSEQUENCES.]

73. THE CATS PANTOMIME.]

74. THIS IS WORSE.]

75. A MEETING OF QUACKS.]

76. THE CARNIVOROUS VULTURE.]

77. MAY THE ROPE BREAK.]

78. HE DEFENDS HIMSELF WELL.]

79. TRUTH DIED.]

80. WILL SHE REVIVE?]

TAUROMACHIE

1. HUNTING BULLS ACROSS COUNTRY IN THE OLDEN TIME.]

2. HUNTING THE BULL ON FOOT.]

3. MOORS HUNTING THE BULL ACROSS COUNTRY.]

4. MOORS FIGHTING THE BULL IN AN ENCLOSURE.]

5. THE MOOR, GAZUL, FIGHTING THE BULL.]

6. MOORS IRRITATING THE BULL.]

7. ORIGIN OF THE BANDERILLA.]

8. MOOR ATTACKED BY A BULL.]

9. SPANIARD, WEARING A TURBAN, SLAYING A BULL.]

10. CHARLES V. IN THE ARENA OF VALLADOLID.]

11. THE CID SPEARING A BULL.]

12. MEN ATTACKING THE BULL.]

13. HORSEMAN PLANTING BANDERILLAS IN THE BULL.]

14. THE PUPIL OF FALCES AND THE BULL.]

15. THE FAMOUS MARTINCHO PLANTING BANDERILLAS.]

16. MARTINCHO’S FEAT.]

17. MOORS USING DONKEYS INSTEAD OF HORSES.]

18. MARTINCHO IN THE ARENA AT ZARAGOZA.]

19. MARTINCHO’S FEAT.]

20. JUANITO APINANI IN THE ARENA AT MADRID.]

21. SPECTATORS SLAIN BY THE BULL AT MADRID.]

22. THE WOMAN PICADOR, PAGUERELA, AT ZARAGOZA.]

23. MARIANO CEBALLOS IN THE ARENA.]

24. CEBALLOS MOUNTED ON A BULL.]

25. BULL-BAITING.]

26. PICADOR OVERTHROWN BY THE BULL.]

27. FERNANDO DEL TORO IN THE ARENA.]

28. READON IN THE ARENA AT MADRID.]

29. PEPE-ILLO FACES THE BULL.]

30. PEDRO ROMERO IN THE ARENA.]

31. FLAMING BANDERILLAS.]

32. BULL OVERTHROWING PICADORS.]

33. DEATH OF PEPE-ILLO IN THE ARENA.]

PICADORS MOUNTED ON MULES HARNESSED TO A CARRIAGE.]

BULL CARRYING A WOUNDED TOREADOR ON HIS HORNS.]

BULL CARRYING A DEAD TOREADOR ON HIS HORNS.]

VARIATION OF NO. 25.]

A SPANISH GENTLEMAN IN THE RING.]

BRAVO TORO!]

NEARING THE END.]

PROVERBS

1. WOMEN TOSSING A DEAD DONKEY AND MANNIKINS IN A BLANKET.]

2. SOLDIERS FLYING FROM A TREE DRAPED TO REPRESENT A GHOST.]

3. PERSONS LISTENING TO AN ORATOR.]

4. PEASANT DANCING BEFORE A MAN AND WOMAN.]

5. MAN CARRYING OFF A WOMAN ON A WINGED MONSTER.]

6. THE INFURIATED MAN.]

7. MAN AND WOMAN JOINED TOGETHER AT THE SHOULDERS.]

8. PERSONS DRESSED IN SACKS.]

9. FANTASTIC PERSONAGE OFFERING KITTENS TO TWO WOMEN.]

10. HUMAN BEINGS MALTREATED BY HORSES.]

11. A TWO-HEADED WOMAN PURSUED BY TWO MEN.]

12. MAJOS AND MAJAS DANCING.]

13. MEN ATTEMPTING TO FLY.]

14. FANTASTIC SALUTATIONS.]

15. A MONK PREACHES; SOLDIER THROWS HIMSELF DOWN AN ABYSS.]

16. MAN AND WOMAN QUARRELLING.]

17. PERSONS DERIDING A BLIND MAN.]

18. THE OLD MAN AND THE CORPSE.]

THE PROMENADE.]

A PAUPER.

(DON A. DE BERUETE.)]

THE MADMAN.]

THE MISER.

(DON A. DE BERUETE.)]

A WOMAN FLYING.]

MADMEN.

(DON A. DE BERUETE.)]

THE MAJA AND THE CLOAKED MAN.]

A MONK SUSPENDED IN THE AIR.

(DON A. DE BERUETE.)]

THE LIVING SKELETON.]

FRENCH CHASTISEMENT.

(DON A. DE BERUETE.)]

AQUI ALGO HA DE HABER.]

THE SNAKE CHARMER.

(DON A. DE BERUETE.)]

CHARITY.]

WHO WILL WIN?

(DON A. DE BERUETE.)]

THE MADMAN.]

THE LADY WITH THE PUPPIES.

(DON A. DE BERUETE.)]

PAUPERS.]

PROCESSION ENTERING THE TEMPLE.

(DON A. DE BERUETE.)]

WOMEN PRAYING.]

POR MITAD DE CUARESMA.

(DON A. DE BERUETE.)]

BRIDES OF THE CHURCH.]

MELODIOUS MEDIATORS.

(DON A. DE BERUETE.)]

A SLEEPING MAJA.]

THE SKATERS.

(DON A. DE BERUETE.)]

STUDY FOR THE YOUNG INFANTE IN ‘THE FAMILY OF KING CHARLES IV.’]

STUDY FOR THE PORTRAIT OF THE QUEEN IN ‘THE FAMILY OF KING CHARLES IV.’

(DON A. DE BERUETE.)]

SLEEPING GIANT.]

A GENTLE EPISODE.

(DON A. DE BERUETE.)]

A PRISONER.]

THE HAPPY MAN.

(DON A. DE BERUETE.)]

UNDER A HOOD.]

FAIRY TALES.

(DON A. DE BERUETE.)]

SPANISH BEAUTY.]

HAUT-TON.

(DON A. DE BERUETE.)]

THE MAN WITH THE CROCODILE.]

AT LAST IT BREAKS.

(DON A. DE BERUETE.)]

THE BROKEN PITCHER.]

WOMAN WITH A CHILD IN ARMS.

(DON A. DE BERUETE.)]

RURAL EVENTS.]

CHASTISEMENT.

(DON A. DE BERUETE.)]

A MONK DOING PENANCE.]

THE INVALID.

(DON A. DE BERUETE.)]

MIRAR LO QUE NO VEN.]

AN IDIOT.

(DON A. DE BERUETE.)]

INVOCATION.]

PRAYER.

(DON A. DE BERUETE.)]

A MAD NEWSWOMAN.]

A MONK.

(DON A. DE BERUETE.)]

THE BRIDE.]

THE BELLE OF THE ASSEMBLY.]

ONE MORE UNFORTUNATE.]

A PORTRAIT.

(DON A. DE BERUETE.)]

INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.]

SAN ANTONIO DE LA FLORIDA.

PAINTING IN THE PRINCIPAL CHAPEL.]

SAN ANTONIO DE LA FLORIDA.

PAINTINGS ON THE CENTRES OF THE INTRADOS OF THE CHOIR AND PRINCIPAL CHAPEL ARCHES.]

PLATE 585.

SAN ANTONIO DE LA FLORIDA.

PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES.]

PLATE 587.

SAN ANTONIO DE LA FLORIDA.

PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES.]

SAN ANTONIO DE LA FLORIDA.

PAINTINGS ON THE INTRADOS OF THE LEFT SIDE CHAPEL ARCH.]

SAN ANTONIO DE LA FLORIDA.

PAINTINGS ON THE INTRADOS OF THE RIGHT SIDE CHAPEL ARCH.]

SAN ANTONIO DE LA FLORIDA.

TRIANGLES FORMED BY THE DOME ADJOINING THE PRINCIPAL CHAPEL.]

SAN ANTONIO DE LA FLORIDA.

TRIANGLES FORMED BY THE DOME ADJOINING THE CHOIR.]

PLATE 593.

SAN ANTONIO DE LA FLORIDA.

PAINTINGS AT THE SIDES OF THE WINDOW ON THE LEFT.]

PLATE 595.

SAN ANTONIO DE LA FLORIDA.

PAINTINGS AT THE SIDES OF THE WINDOW ON THE RIGHT.]

SAN ANTONIO DE LA FLORIDA.

FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.]

SAN ANTONIO DE LA FLORIDA.

SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.]

SAN ANTONIO DE LA FLORIDA.

CENTRE OF THE COMPOSITION ON THE CUPOLA FACING THE ENTRANCE.]

SAN ANTONIO DE LA FLORIDA.

FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.]

SAN ANTONIO DE LA FLORIDA.

SECOND GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.]

DUKE OF WELLINGTON, 1812.

(FROM THE ORIGINAL DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

LADY AND GENTLEMAN ON HORSEBACK.

(FROM THE ORIGINAL COLOURED SKETCH IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

HEAD OF THE DYING FRAY JUAN FERNANEZ.

(FROM THE ORIGINAL DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

A CRIMINAL UNDERGOING THE INFLICTION OF THE GAROTTE.

(FROM THE ORIGINAL DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

A LOST SOUL.

(FROM THE ORIGINAL DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

CONDEMNED CRIMINALS CONDUCTED TO EXECUTION.

(FROM THE ORIGINAL DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

SPANISH PROVERB ILLUSTRATED.

(FROM AN ETCHING, HITHERTO UNPUBLISHED, IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

SPANISH PROVERB ILLUSTRATED.

(FROM AN ETCHING, HITHERTO UNPUBLISHED, IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

SPANISH PROVERB ILLUSTRATED.

(FROM AN ETCHING, HITHERTO UNPUBLISHED, IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

TAUROMACHIA: THE BULLS. A STUDY OF THE ANIMALS IN VARIOUS POSITIONS.

(FROM AN ETCHING, HITHERTO UNPUBLISHED, IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

TAUROMACHIA: BULL-FIGHTER FETTERED IN THE ARENA.

(FROM AN ETCHING, HITHERTO UNPUBLISHED, IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

TAUROMACHIA: A BLIND GUITAR-PLAYER TOSSED BY A BULL.

(FROM AN ETCHING IN THE PRINT ROOM OF THE BRITISH MUSEUM.)]

* * * * *

THE SPANISH SERIES

Edited by ALBERT F. CALVERT

A new and important series of volumes, dealing with Spain in its various aspects, its history, its cities and monuments. Each volume will be complete in itself in a uniform binding, and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued, some volumes having over 300 pages of reproductions of pictures, etc.

Crown 8vo Price 3/6 net

1 GOYA with 600 illustrations
2 TOLEDO “ 510 “
3 MADRID “ 450 “
4 SEVILLE “ 300 “
5 MURILLO “ 165 “
6 CORDOVA “ 160 “
7 EL GRECO “ 140 “
8 VELAZQUEZ “ 142 “
9 THE PRADO “ 223 “
10 THE ESCORIAL “ 278 “
11 ROYAL PALACES OF SPAIN “ 200 “
12 GRANADA AND ALHAMBRA “ 460 “
13 SPANISH ARMS AND ARMOUR “ 386 “
14 LEON, BURGOS AND SALAMANCA “ 462 “
15 CATALONIA, VALENCIA, & MURCIA
16 VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA “ 390 “

* * * * *

_UNIFORM WITH THIS VOLUME_

MURILLO

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES

While the names of Murillo and Velazquez are inseparably linked in
the history of Art as Spain’s immortal contribution to the small
band of world-painters, the great Court-Painter to Philip IV. has
ever received the lion’s share of public attention. Many learned
and critical works have been written about Murillo, but whereas
Velazquez has been familiarised to the general reader by the aid of
small, popular biographies, the niche is still empty which it is
hoped that this book will fill.

In this volume the attempt has been made to show the painter’s art
in its relation to the religious feeling of the age in which he
lived, and his own feeling towards his art. Murillo was the product
of his religious era, and of his native province, Andalusia. To
Europe in his lifetime he signified little or nothing. He painted
to the order of the religious houses in his immediate vicinity; his
works were immured in local monasteries and cathedrals, and,
passing immediately out of circulation, were forgotten or never
known.

* * * * *

_UNIFORM WITH THIS VOLUME_

SPANISH ARMS AND ARMOUR

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN

Although several valuable and voluminous catalogues of the Spanish
Royal Armoury have, from time to time, been compiled, this “finest
collection of armour in the world” has been subjected so often to
the disturbing influences of fire, removal, and re-arrangement,
that no hand catalogue of the Museum is available, and this book
has been designed to serve both as a historical souvenir of the
institution and a record of its treasures.

The various exhibits with which the writer illustrates his
narrative are reproduced to the number of nearly 400 on art paper,
and the selection of weapons and armour has been made with a view
not only to render the series interesting to the general reader,
but to present a useful text book for the guidance of artists,
sculptors, antiquaries, costumiers, and all who are engaged in the
reproduction or representation of European armoury.

* * * * *

_UNIFORM WITH THIS VOLUME_

THE ESCORIAL

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS FROM PICTURES AND PHOTOGRAPHS

The Royal Palace, Monastery, and Mausoleum of El Escorial, which
rears its gaunt, grey walls in one of the bleakest but most
imposing districts in the whole of Spain, was erected to
commemorate a victory over the French in 1557. It was occupied and
pillaged by the French two and a-half centuries later, and twice it
has been greatly diminished by fire; but it remains to-day, not
only the incarnate expression of the fanatic religious character
and political genius of Philip II., but the greatest mass of
wrought granite which exists on earth, the leviathan of
architecture, the eighth wonder of the world.

In the text of this book the author has endeavoured to reconstitute
the glories and tragedies of the living past of the Escorial, and
to represent the wonders of the stupendous edifice by reproductions
of over two hundred and seventy of the finest photographs and
pictures obtainable. Both as a review and a pictorial record it is
hoped that the work will make a wide appeal among all who are
interested in the history, the architecture, and the art of Spain.

* * * * *

_UNIFORM WITH THIS VOLUME_

TOLEDO

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH 510 ILLUSTRATIONS

The origin of Imperial Toledo, “the crown of Spain, the light of
the world, free from the time of the mighty Goths,” is lost in the
impenetrable mists of antiquity. Mighty, unchangeable, invincible,
the city has been described by Wörmann as “a gigantic open-air
museum of the architectural history of early Spain, arranged upon a
lofty and conspicuous table of rock.”

But while some writers have declared that Toledo is a theatre with
the actors gone and only the scenery left, the author does not
share the opinion. He believes that the power and virility upon
which Spain built up her greatness is reasserting itself. The
machinery of the theatre of Toledo is rusty, the pulleys are jammed
from long disuse, but the curtain is rising steadily if slowly, and
already can be heard the tuning-up of fiddles in its ancient
orchestra.

In this belief the author of this volume has not only set forth the
story of Toledo’s former greatness, but has endeavoured to place
before his readers a panorama of the city as it appears to-day, and
to show cause for his faith in the greatness of the Toledo of the
future.

* * * * *

_UNIFORM WITH THIS VOLUME_

SEVILLE

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS

Seville, which has its place in mythology as the creation of
Hercules, and was more probably founded by the Phœnicians, which
became magnificent under the Roman rule, was made the capital of
the Goths, became the centre of Moslem power and splendour, and
fell before the military prowess of St. Ferdinand, is still the
Queen of Andalusia, the foster-mother of Velazquez and Murillo, the
city of poets and pageantry and love.

Seville is always gay, and responsive and fascinating to the
receptive visitor, and all sorts of people go there with all sorts
of motives. The artist repairs to the Andalusian city to fill his
portfolio; the lover of art makes the pilgrimage to study Murillo
in all his glory. The seasons of the Church attract thousands from
reasons of devotion or curiosity. And of all these myriad visitors,
who go with their minds full of preconceived notions, not one has
yet confessed to being disappointed in Seville.

The author has here attempted to convey in the illustrations an
impression of this laughing city where all is gaiety and mirth and
ever-blossoming roses, where the people pursue pleasure as the
serious business of life in an atmosphere of exhilarating
enjoyment.

* * * * *

_UNIFORM WITH THIS VOLUME_

THE PRADO

A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG

This volume is an attempt to supplement the accurate but formal
notes contained in the official catalogue of a picture gallery
which is considered the finest in the world. It has been said that
the day one enters the Prado for the first time is an important
event like marriage, the birth of a child, or the coming into an
inheritance; an experience of which one feels the effects to the
day of one’s death.

The excellence of the Madrid gallery is the excellence of
exclusion; it is a collection of magnificent gems. Here one becomes
conscious of a fresh power in Murillo, and is amazed anew by the
astonishing apparition of Velazquez; here is, in truth, a rivalry
of miracles of art.

The task of selecting pictures for reproduction from what is
perhaps the most splendid gallery of old masters in existence, was
one of no little difficulty, but it is believed that the collection
is representative, and that the letterpress will form a serviceable
companion to the visitor to The Prado.

* * * * *

_UNIFORM WITH THIS VOLUME_

GRANADA AND THE ALHAMBRA

A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION TO H.I.M. THE EMPRESS EUGÉNIE

This volume is the third and abridged edition of a work which the
author was inspired to undertake by the surpassing loveliness of
the Alhambra, and by his disappointment in the discovery that no
such thing as an even moderately adequate illustrated souvenir of
“this glorious sanctuary of Spain” was obtainable. Keenly conscious
of the want himself, he essayed to supply it, and the result is a
volume that has been acclaimed with enthusiasm alike by critics,
artists, architects, and archæologists.

In his preface to the first edition, Mr. Calvert wrote: “The
Alhambra may be likened to an exquisite opera which can only be
appreciated to the full when one is under the spell of its magic
influence. But as the witchery of an inspired score can be recalled
by the sound of an air whistled in the street, so--it is my
hope--the pale ghost of the Moorish fairy-land may live again in
the memories of travellers through the medium of this pictorial
epitome.”

* * * * *

_UNIFORM WITH THIS VOLUME_

EL GRECO

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140 OF HIS PICTURES

In a Series such as this, which aims at presenting every aspect of
Spain’s eminence in art and in her artists, the work of Domenico
Theotocópuli must be allotted a volume to itself. “El Greco,” as he
is called, who reflects the impulse, and has been said to
constitute the supreme glory of the Venetian era, was a Greek by
repute, a Venetian by training, and a Toledan by adoption. His
pictures in the Prado are still catalogued among those of the
Italian School, but foreigner as he was, in his heart he was more
Spanish than the Spaniards.

El Greco is typically, passionately, extravagantly Spanish, and
with his advent, Spanish painting laid aside every trace of
Provincialism, and stepped forth to compel the interest of the
world. Neglected for many centuries, and still often misjudged, his
place in art is an assured one. It is impossible to present him as
a colourist in a work of this nature, but the author has got
together reproductions of no fewer than 140 of his pictures--a
greater number than has ever before been published of El Greco’s
works.

* * * * *

_UNIFORM WITH THIS VOLUME_

VELAZQUEZ

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES

Diego Rodriguez de Silva y Velazquez--“our Velazquez,” as Palomino
proudly styles him--has been made the subject of innumerable books
in every European language, yet the Editor of this Spanish Series
feels that it would not be complete without the inclusion of yet
another contribution to the broad gallery of Velazquez literature.

The great Velazquez, the eagle in art--subtle, simple,
incomparable--the supreme painter, is still a guiding influence of
the art of to-day. This greatest of Spanish artists, a master not
only in portrait painting, but in character and animal studies, in
landscapes and historical subjects, impressed the grandeur of his
superb personality upon all his work. Spain, it has been said, the
country whose art was largely borrowed, produced Velazquez, and
through him Spanish art became the light of a new artistic life.

The author cannot boast that he has new data to offer, but he has
put forward his conclusions with modesty; he has reproduced a great
deal that is most representative of the artist’s work; and he has
endeavoured to keep always in view his object to present a concise,
accurate, and readable life of Velazquez.

* * * * *

_UNIFORM WITH THIS VOLUME_

ROYAL PALACES OF SPAIN

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF THE SPANISH KINGS. PROFUSELY ILLUSTRATED

Spain is beyond question the richest country in the world in the
number of its Royal Residences, and while few are without artistic
importance, all are rich in historical memories. Thus, from the
Alcazar at Seville, which is principally associated with Pedro the
Cruel, to the Retiro, built to divert the attention of Philip IV.
from his country’s decay; from the Escorial, in which the gloomy
mind of Philip II. is perpetuated in stone, to La Granja, which
speaks of the anguish and humiliation of Christina before Sergeant
Garcia and his rude soldiery; from Aranjuéz to Rio Frio, and from
El Pardo, darkened by the agony of a good king, to Miramar, to
which a widowed Queen retired to mourn: all the history of Spain,
from the splendid days of Charles V. to the present time, is
crystallised in the Palaces that constitute the patrimony of the
Crown.

The Royal Palaces of Spain are open to visitors at stated times,
and it is hoped that this volume, with its wealth of illustrations,
will serve the visitor both as a guide and a souvenir.

* * * * *

_UNIFORM WITH THIS VOLUME_

VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS

The glory of Valladolid has departed, but the skeleton remains, and
attached to its ancient stones are the memories that Philip II. was
born here, that here Cervantes lived, and Christopher Columbus
died. In this one-time capital of Spain, in the Plaza Mayor, the
fires of the Great Inquisition were first lighted, and here Charles
V. laid the foundation of the Royal Armoury, which was afterwards
transferred to Madrid.

More than seven hundred years have passed since Oviedo was the
proud capital of the Kingdoms of Las Asturias, Leon, and Castile.
Segovia, though no longer great, has still all the appurtenances of
greatness, and with her granite massiveness and austerity, she
remains an aristocrat even among the aristocracy of Spanish cities.
Zamora, which has a history dating from time almost without date,
was the key of Leon and the centre of the endless wars between the
Moors and the Christians, which raged round it from the eighth to
the eleventh centuries.

In this volume the author has striven to re-create the ancient
greatness of these six cities, and has preserved their memories in
a wealth of excellent and interesting illustrations.

* * * * *

_UNIFORM WITH THIS VOLUME_

LEON, BURGOS AND SALAMANCA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS

In Leon, once the capital of the second kingdom in Spain; in
Burgos, which boasts one of the most magnificent cathedrals in
Spain, and the custodianship of the bones of the Cid; and in
Salamanca, with its university, which is one of the oldest in
Europe, the author has selected three of the most interesting
relics of ancient grandeur in this country of departed greatness.

Leon to-day is nothing but a large agricultural village, torpid,
silent, dilapidated; Burgos, which still retains traces of the
Gotho-Castilian character, is a gloomy and depleting capital; and
Salamanca is a city of magnificent buildings, a broken hulk, spent
by the storms that from time to time have devastated her.

Yet apart from the historical interest possessed by these cities,
they still make an irresistible appeal to the artist and the
antiquary. They are content with their stories of old-time
greatness and their cathedrals, and these ancient architectural
splendours, undisturbed by the touch of a modernising and
renovating spirit, continue to attract the visitor.

* * * * *

_UNIFORM WITH THIS VOLUME_

MADRID

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450 ILLUSTRATIONS

Madrid is at once one of the most interesting and most maligned
cities in Europe. It stands at an elevation of 2,500 feet above the
sea leve, in the centre of an arid, treeless, waterless, and
wind-blown plain; but whatever may be thought of the wisdom of
selecting a capital in such a situation, one cannot but admire the
uniqueness of its position, and the magnificence of its buildings,
and one is forced to admit that, having fairly entered the path of
progress, Madrid bids fair to become one of the handsomest and most
prosperous of European cities.

The splendid promenades, the handsome buildings, and the spacious
theatres combine to make Madrid one of the first cities of the
world, and the author has endeavoured with the aid of the camera,
to place every feature and aspect of the Spanish metropolis before
the reader. Some of the illustrations reproduced here have been
made familiar to the English public by reason of the interesting
and stirring events connected with the Spanish Royal Marriage, but
the greater number were either taken by the author, or are the work
of photographers specially employed to obtain new views for the
purpose of this volume.

* * * * *

_UNIFORM WITH THIS VOLUME_

GOYA

A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF HIS PICTURES

The last of the old masters and the first of the moderns, as he has
been called, Francisco José de Goya y Lucientes is not so
familiarised to English readers as his genius deserves. He was born
at a time when the tradition of Velazquez was fading, and the
condition of Spanish painting was debased almost beyond hope of
salvation; he broke through the academic tradition of imitation;
“he, next to Velazquez, is to be accounted as the man whom the
Impressionists of our time have to thank for their most definite
stimulus, their most immediate inspiration.”

The genius of Goya was a robust, imperious, and fulminating genius;
his iron temperament was passionate, dramatic, and revolutionary;
he painted a picture as he would have fought a battle. He was an
athletic, warlike, and indefatigable painter; a naturalist like
Velazquez; fantastic like Hogarth; eccentric like Rembrandt; the
last flame-coloured flash of Spanish genius.

It is impossible to reproduce his colouring; but in the
reproductions of his works the author has endeavoured to convey to
the reader some idea of Goya’s boldness of style, his mastery of
frightful shadows and mysterious lights, and his genius for
expressing all terrible emotions.

* * * * *

_UNIFORM WITH THIS VOLUME_

CORDOVA

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH 160 ILLUSTRATIONS

Gay-looking, vivacious in its beauty, silent, ill-provided,
depopulated, Cordova was once the pearl of the West, the city of
cities, Cordova of the thirty suburbs and three thousand mosques;
to-day she is no more than an overgrown village, but she still
remains the most Oriental town in Spain.

Cordova, once the centre of European civilisation, under the Moors
the Athens of the West, the successful rival of Baghdad and
Damascus, the seat of learning and the repository of the arts, has
shrunk to the proportions of a third-rate provincial town; but the
artist, the antiquary and the lover of the beautiful, will still
find in its streets and squares and patios a mysterious spell that
cannot be resisted.

BY ALBERT F. CALVERT

LIFE OF CERVANTES

A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”

Size Crown 8vo. 150 pp. Price 3/6 net

PRESS NOTICES

“A popular and accessible account of the career of
Cervantes.”--_Daily Chronicle._

“A very readable and pleasant account of one of the great writers
of all time.”--_Morning Leader._

“Mr. CALVERT is entitled to the gratitude of book-lovers for his
industrious devotion at one of our greatest literary
shrines.”--_Birmingham Post._

“It is made trebly interesting by the very complete set of
Cervantes’ portraits it contains, and by the inclusion of a
valuable bibliography.”--_Black and White._

“We recommend the book to all those to whom Cervantes is more than
a mere name.”--_Westminster Gazette._

“A most interesting résumé of all facts up to the present time
known.”--_El Nervion de Bilbao, Spain._

“The most notable work dedicated to the immortal author of _Don
Quixote_ that has been published in England.”--_El Graduador,
Spain._

“Although the book is written in English no Spaniard could have
written it with more conscientiousness and enthusiasm.”--_El
Defensor de Granada, Spain._

BY ALBERT F. CALVERT

THE ALHAMBRA

OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION). DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.

Size 10 x 7-1/2. Price £2 2s. net

PRESS NOTICES

“It is hardly too much to say that this is one of the most
magnificent books ever issued from the English Press.”--_Building
World._

“One is really puzzled where to begin and when to stop in praising
the illustrations.”--_Bookseller._

“The most complete record of this wonder of architecture which has
ever been contemplated, much less attempted.”--_British Architect._

“A treasure to the student of decorative art.”--_Morning
Advertiser._

“Mr. CALVERT has given us a Book Beautiful.”--_Western Daily
Press._

“It is the last word on the subject, no praise is too
high.”--_Nottingham Express._

“May be counted among the more important art books which have been
published during recent years.”--_The Globe._

“Has a pride of place that is all its own among the books of the
month.”--_Review of Reviews._

“Has in many respects surpassed any books on the Alhambra which up
to the present have appeared in our own country or abroad.”--_El
Graduador, Spain._

“It is one of the most beautiful books of modern times.”--_Ely
Gazette._

“One of the most artistic productions of the year.”--_Publishers’
Circular._

“The most beautiful book on the Alhambra issued in
England.”--_Sphere._

“The standard work on a splendid subject.”--_Daily Telegraph._

“A remarkable masterpiece of book production.”--_Eastern Daily
Press._

“A perfect treasure of beauty and delight.”--_Keighley News._

“A magnificent work.”--_Melbourne Age, Australia._

“Immense collection of fine plates.”--_The Times._

“A standard work, the compilation of which would credit a life’s
labour.”--_Hull Daily Mail._

BY ALBERT F. CALVERT

MOORISH REMAINS IN SPAIN

BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS, ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.

Crown 4to. (7-1/2 x 10 ins.) Price £2 2s. net

PRESS NOTICES

“The making of this book must surely have been a veritable labour
of love; and love’s labour has certainly not been lost.”--_Pall
Mall Gazette._

“The best age of Moorish architecture in Spain is shown with
remarkable vividness and vitality.”--_The Scotsman._

“A most gorgeous book.... We cheerfully admit Mr. CALVERT into the
ranks of those whom posterity will applaud for delightful yet
unprofitable work.”--_Outlook._

“A large and sumptuous volume.”--_Tribune._

“The illustrations are simply marvels of reproduction.”--_Dundee
Advertiser._

“One of the books to which a simple literary review cannot pretend
to do justice.”--_Spectator._

“A special feature of a work of peculiar interest and value are the
illustrations.”--_Newcastle Chronicle._

“The illustrations are given with a minuteness and faithfulness of
detail, and colour, which will be particularly appreciated and
acknowledged by those who are most acquainted with the subject
themselves.”--_Liverpool Post._

“It is impossible to praise too highly the care with which the
illustrations have been prepared.”--_Birmingham Daily Post._

“It is illustrated with so lavish a richness of colour that to turn
its pages gives one at first almost the same impression of
splendour as one receives in wandering from hall to hall of the
Alcazar of Seville; and this is probably the highest compliment we
could pay to the book or its author.”--_Academy._

“It is certainly one of the most interesting books of the
year.”--_Crown._

“The occasional delicacy of design and harmony of colour can
scarcely be surpassed ... a valuable and profusely illustrated
volume.”--_Guardian._

“An excellent piece of work.”--_The Times._

“Mr. CALVERT has performed a useful work.”--_Daily Telegraph._

“A truly sumptuous volume.”--_The Speaker._

“Mr. CALVERT has given a very complete account of the evolution of
Moresco art.”--_The Connoisseur._