Chapter IV: Part 4
SECTION OF PART OF THE COURT OF THE LIONS]
CAPITAL IN THE COURT OF THE LIONS, WITH A SCALE OF ONE METRE]
DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS]
FRIEZE OVER COLUMNS, COURT OF THE LIONS]
DETAIL OF THE CENTRAL ARCH IN THE COURT OF THE LIONS]
THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN OF THE COURT OF THE LIONS]
ENTABLATURE IN THE COURT OF THE LIONS]
CUPOLA OF THE PAVILION IN THE COURT OF THE LIONS]
ENTRANCE TO THE COURT OF THE LIONS
LITTLE TEMPLE, THE COURT OF THE LIONS]
THE COURT OF THE LIONS]
THE LITTLE TEMPLE
THE FOUNTAIN
THE COURT OF THE LIONS]
THE COURT OF THE LIONS]
THE COURT OF THE LIONS, WEST ANGLE]
MOROCCO EMBASSY, DECEMBER, 1885]
THE COURT OF THE LIONS FROM THE WEST TEMPLE]
THE COURT OF THE LIONS FROM THE WEST TEMPLE]
WEST GALLERY IN THE COURT OF THE LIONS]
THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS]
THE COURT OF THE LIONS, LEFT-HAND ANGLE]
THE COURT OF THE LIONS, FAÇADE OF THE HALL OF THE TWO SISTERS]
THE COURT OF THE LIONS FROM THE ENTRANCE]
DETAIL OF THE ENTRANCE TO THE COURT OF THE LIONS]
DETAIL IN THE COURT OF THE LIONS]
MOSAICS, NORTH SIDE
MOSAICS, SOUTH SIDE
THE COURT OF THE LIONS]
HALL OF THE ABENCERRAGES]
HALL OF THE ABENCERRAGES]
HALL OF THE ABENCERRAGES]
HALL OF THE ABENCERRAGES]
WOODEN DOORS, HALL OF THE ABENCERRAGES]
GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
COURT OF THE MYRTLES; OR, OF THE FISH-POND. FAÇADE OF THE HALL OF AMBASSADORS]
COURT OF THE MYRTLES; OR, OF THE FISH-POND]
GENERAL VIEW OF THE COURT OF THE MYRTLES; OR, OF THE FISH-POND]
NORTH SIDE OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
GALLERY IN THE COURT OF THE MYRTLES; OR, OF THE FISH-POND]
GENERAL VIEW OF THE COURT OF THE MYRTLES AND COMARES TOWER]
COURT OF THE MYRTLES, EAST FAÇADE]
DETAIL IN THE COURT OF THE MYRTLES]
COURT OF THE MYRTLES, EAST FAÇADE]
EXTERIOR OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
COURT OF THE MYRTLES; OR, OF THE FISH-POND FORMED BY YUSÚF I.]
THE COURT OF THE FISH-POND; OR, OF THE MYRTLES
GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES]
THE HALL OF THE BATHS]
THE SULTAN’S BATH]
THE SULTANA’S BATH]
THE BATHS, HALL OF REPOSE]
CHAMBER OF REPOSE]
SECTION OF THE HALL OF THE BATHS]
LONGITUDINAL SECTION THROUGH THE BATHS]
GROUND PLAN OF THE BATHS IN THE ALHAMBRA]
CEILING OF THE HALL OF THE BATHS]
PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA]
A SECTION OF THE BATHS IN THE ALHAMBRA]
CHAMBER OF REPOSE
SULTAN’S BATH CONSTRUCTED BY YUSÚF I.]
INTERIOR OF THE INFANTAS’ TOWER]
SECTIONS OF THE INFANTAS’ TOWER]
INTERIOR OF THE TOWER OF THE INFANTAS, UPPER PART]
BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR PLAIN, OF GRANADA]
ALCOVE OF THE “CAPTIVE” (ISABEL DE SOLIS)]
INTERIOR OF THE TOWER OF THE “CAPTIVE” (ISABEL DE SOLIS)]
THE “CAPTIVE’S” TOWER FROM THE ENTRANCE]
INTERIOR OF THE MOSQUE
ROOM IN THE “CAPTIVE’S” TOWER]
HALL OF JUSTICE
BATHS, THE CHAMBER OF REPOSE]
BALCONY OF THE FAVOURITE, “LINDARAJA”]
ALCOVE IN THE “LINDARAJA” APARTMENTS]
GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE BEEN OCCUPIED BY “LINDARAJA” A FAVOURITE SULTANA]
DETAIL, INTERIOR OF THE BALCONY OF “LINDARAJA”]
DETAIL, LOWER PART OF THE BALCONY OF “LINDARAJA”]
DETAIL OF THE CENTRAL PART OF THE BALCONY OF “LINDARAJA”]
THE QUEEN’S BOUDOIR AND DISTANT VIEW OF THE GENERALIFE]
THE QUEEN’S BOUDOIR AND VIEW OF THE GENERALIFE]
THE QUEEN’S BOUDOIR AND OLD ALBAICIN QUARTER]
THE QUEEN’S BOUDOIR AND DEFILE OF THE DARRO]
LINDARAJA’S GARDEN AND THE APARTMENTS IN WHICH WASHINGTON IRVING STAYED]
ANGLE OF THE BALCONY OF LINDARAJA]
BALCONY OF THE FAVOURITE LINDARAJA]
INTERIOR OF THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS]
EXTERIOR OF THE CAPTIVE’S TOWER]
THE TOWER OF THE CAPTIVE, ISABEL DE SOLIS]
INTERIOR OF THE INFANTAS’ TOWER, UPPER PART]
INTERIOR OF THE INFANTAS’ TOWER]
DETAIL OF THE UPPER PART OF THE BALCONY OF LINDARAJA]
HALL OF THE TWO SISTERS]
ENTRANCE TO THE HALL OF THE TWO SISTERS]
INTERIOR OF THE HALL OF THE TWO SISTERS]
HALL OF THE TWO SISTERS]
HALL OF THE TWO SISTERS]
TEMPLE AND FAÇADE OF THE HALL OF THE TWO SISTERS]
VIEW IN THE HALL OF THE TWO SISTERS]
HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I.]
UPPER BALCONY OF THE HALL OF THE TWO SISTERS]
HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR]
CEILING OF THE HALL OF THE TWO SISTERS]
DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS]
DETAIL OF THE LATERAL WINDOWS OF THE HALL OF THE TWO SISTERS]
DETAIL IN THE HALL OF THE TWO SISTERS]
PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS]
INSCRIPTION IN THE HALL OF THE TWO SISTERS]
FRIEZE IN THE HALL OF THE TWO SISTERS]
PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS]
DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS]
BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS]
MOSAIC IN DADO OF RECESS
MOSAIC IN DADO OF THE ENTRANCE TO THE HALL OF THE TWO SISTERS]
MOSAIC IN DADO OF HALL OF AMBASSADORS
MOSAIC IN DADO OF THE HALL OF THE TWO SISTERS]
WINE GATE. WEST FAÇADE]
DETAIL OF THE ONLY ANCIENT “JALOUSIE” REMAINING IN THE ALHAMBRA]
EL JARRO. ARAB VASE NOW IN THE MUSEUM OF THE PALACE]
EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM OF THE PALACE]
AN ARAB VASE OF THE FOURTEENTH CENTURY IN THE NICHE WHEREIN IT STOOD UNTIL THE YEAR 1837]
SWORD OF THE LAST MOORISH KING OF GRANADA, COMMONLY CALLED “THE SWORD OF BOABDIL”]
THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY 2, 1492]
GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE ALHAMBRA, WHO REIGNED 1232-1272 A.D.]
DETAILS AND INSCRIPTIONS, AND ARABIAN CAPITALS]
THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA, TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492]
MOSAIC PAVEMENT IN THE QUEEN’S DRESSING ROOM (TOCADOR DE LA REYNA)
MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA]
THE HOUSE OF CARBON]
THE ANCIENT GRANARY MARKET AND HOUSE OF CARBON]
ELEVATION OF THE CASA DEL CARBON, OR HOUSE OF CARBON, ONCE KNOWN AS THE HOUSE OF THE WEATHERCOCK]
COURTYARD OF A MOORISH HOUSE IN THE ALBAICIN]
INTERIOR OF AN ARAB HOUSE IN THE ALBAICIN]
THE PROCLAMATION OF BOABDIL. BY PLÁCIDO FRANCES
(NATIONAL EXHIBITION OF BEAUX ARTS, 1884)]
THE AUTHOR IN THE ALHAMBRA]
CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA. THE SPLENDID CORNICE AT THE RIGHT-HAND TOP CORNER IS FROM THE LOGGIA OF THE GENERALIFE]
MISCELLANEOUS ORNAMENT IN THE ALHAMBRA]
THE FABLE OF JUPITER AND LEDA IN THE ALHAMBRA]
BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA]
ARABIAN SWORD]
CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA]
ENCAUSTIC-TILE WORK IN THE ROYAL ROOM OF SANTO DOMINGO]
VARIOUS MOSAICS FROM THE ALHAMBRA]
INSCRIPTIONS IN THE ALHAMBRA]
PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE ALHAMBRA]
GENERAL VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
ANCIENT CISTERN. EARLY FOURTEENTH CENTURY]
THE ALHAMBRA
_Specially drawn for The Spanish Series_]
PART OF EXTERIOR OF THE PALACE OF CHARLES V.]
ELEVATION OF THE PALACE OF CHARLES V.]
SECTION OF THE PALACE OF CHARLES V.]
FOUNTAIN OF THE EMPEROR CHARLES V.]
VIEW OF THE ALHAMBRA FROM THE HOMAGE TOWER]
INTERIOR OF THE PALACE OF CHARLES V.]
DOORWAY OF THE PALACE OF CHARLES V.]
BAS-RELIEF IN THE PALACE OF CHARLES V.]
PORCH OF THE PALACE OF CHARLES V. FROM THE WEST]
ROMAN COURT, PALACE OF CHARLES V.]
GROUND PLAN OF THE GENERALIFE AT GRANADA
A. Advanced parts B. The Inner Gallery, commanding a view of the Gardens C, C, C, C. Terraces and Aqueducts D, D, D, E, E. The surrounding country ]
THE GENERALIFE]
THE PRINCIPAL COURT OF THE GENERALIFE]
THE COURT OF THE FISH POND IN THE GENERALIFE]
PROMENADES AND GARDENS OF THE GENERALIFE]
THE GENERALIFE]
FRONT VIEW OF THE PORTICO OF THE GENERALIFE]
TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE]
GALLERY IN THE GENERALIFE]
THE GENERALIFE
GALLERY IN THE ACEQUIA COURT]
THE GENERALIFE
ENTRANCE TO THE PORTRAIT GALLERY]
GARDEN OF THE GENERALIFE]
ELEVATION OF THE PORTICO OF THE GENERALIFE]
THE ACEQUIA COURT IN THE GENERALIFE]
A CORNER OF THE ACEQUIA COURT IN THE GENERALIFE]
CYPRESS COURT
A CORNER IN THE ACEQUIA COURT]
THE CYPRESS OF THE SULTANA IN THE GENERALIFE]
A CEILING IN THE GENERALIFE]
THE GENERALIFE. THE ACEQUIA COURT FROM THE MAIN ENTRANCE]
THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
EXTERIOR VIEW OF THE GENERALIFE]
ENTRANCE TO THE GENERALIFE]
THE GENERALIFE. COURT OF THE SULTANA’S CYPRESS]
THE GENERALIFE. THE ACEQUIA COURT FROM THE INTERIOR]
SOUTH FAÇADE OF THE PALACE OF CHARLES V.]
BAS-RELIEF IN THE PALACE OF CHARLES V.]
BAS-RELIEF IN THE PALACE OF CHARLES V.]
GATE OF THE GRANADAS]
PROMENADES AND HOTELS OF THE ALHAMBRA]
THE GATE OF JUSTICE AND FOUNTAIN OF CHARLES V.]
ENVIRONS OF THE ALHAMBRA. FOUNTAIN OF CHARLES V.]
GATE OF JUSTICE. PRINCIPAL ENTRANCE TO THE ALHAMBRA]
GATE OF JUSTICE]
GATE OF THE VINE. EAST FAÇADE]
ENVIRONS OF THE ALHAMBRA. TOWER OF THE PEAKS]
TOWER OF THE PEAKS]
GENERAL VIEW OF THE ALHAMBRA FROM THE SILLA DEL MORO]
GENERAL VIEW OF THE ALHAMBRA FROM THE GIPSY QUARTERS]
GENERAL VIEW OF THE ALHAMBRA FROM THE GENERALIFE]
VIEW OF GRANADA AND THE ALHAMBRA FROM THE SACROMONTE]
GENERAL VIEW OF THE ALHAMBRA FROM ST. NICHOLAS]
THE WATCH TOWER, THE CATHEDRAL, AND GRANADA]
VILLAS ON THE BANKS OF THE RIVER DARRO]
A VIEW OF THE ALHAMBRA]
VILLAS ON THE BANKS OF THE RIVER DARRO]
THE WATCH TOWER AND CATHEDRAL]
THE RED TOWER]
THE HOMAGE TOWER AND GIPSY QUARTERS. EXTERIOR OF THEIR CAVES]
CARRERA DEL RIO DARRO]
THE GATE OF ELVIRA. THE OLD ENTRANCE TO THE FORTIFICATIONS]
WASHING PLACE IN THE PUERTA DEL SOL]
COURTYARD OF AN ARAB HOUSE]
A MOORISH ARCHWAY]
INTERIOR OF AN OLD HOUSE IN THE CALLE DEL HORNO DE ORO]
INTERIOR OF AN OLD HOUSE IN THE ALBAICIN]
THE CATHEDRAL AND GENERAL VIEW]
GENERAL VIEW OF THE CATHEDRAL]
GENERAL VIEW OF THE EXTERIOR OF THE CATHEDRAL]
ENTRANCE TO THE ROYAL CHAPEL]
EXTERIOR OF THE ROYAL CHAPEL OF THE CATHOLIC SOVEREIGNS]
DETAIL OF THE EXTERIOR OF THE ROYAL CHAPEL]
EXTERIOR OF THE ROYAL CHAPEL]
EXTERIOR OF THE CATHEDRAL]
EXTERIOR OF THE ROYAL CHAPEL]
EXTERIOR OF THE CATHEDRAL. THE GATE OF PARDON]
GOTHIC PINNACLE ON THE ROYAL CHAPEL]
THE CATHEDRAL, VIEW FROM THE CHOIR]
THE CATHEDRAL. GENERAL VIEW OF THE CHANCEL AND HIGH ALTAR]
BAS RELIEF IN THE ALTAR-PIECE OF THE ROYAL CHAPEL]
GENERAL VIEW OF THE CHANCEL IN THE CATHEDRAL]
THE ROYAL CHAPEL. SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
ROYAL CHAPEL. DETAIL OF THE SEPULCHRE OF THE CATHOLIC SOVEREIGNS]
THE ROYAL CHAPEL. SCULPTURE OF KING FERDINAND THE CATHOLIC]
SEPULCHRE OF FERDINAND]
SEPULCHRE OF ISABELLA THE CATHOLIC]
PORTAL OF THE CHURCH OF SAN JUAN DE DIO]
SEPULCHRE OF ALONSO CANO IN SAN GERONIMO]
HEAD OF JOHN THE BAPTIST]
HEAD OF JOHN THE BAPTIST]
HEAD OF JOHN THE BAPTIST]
EXTERIOR OF THE CARTUJA MONASTERY]
SACRISTY IN THE CARTUJA, LEFT SIDE]
SACRISTY IN THE CARTUJA, RIGHT SIDE]
CARTUJA. SANTO SANTORUM]
CARTUJA. DETAIL OF THE CUPBOARDS IN THE SACRISTY]
ALTARS IN THE CARTUJA. PICTURES BY SANCHEZ Y COTÁN, A MONK OF THE ORDER]
CARTUJA. THE IMMACULATE CONCEPTION. BY MURILLO]
CARTUJA. THE VIRGIN OF THE ROSARY. BY MURILLO]
CARTUJA. ST. JOSEPH AND THE CHILD, SCULPTURE BY ALONSO CAÑO]
CARTUJA. ST. MARY MAGDALENE, SCULPTURE BY ALONSO CAÑO]
CARTUJA. HORSEMEN HANGING MARTYRS. BY SANCHEZ COTÁN]
CARTUJA. THE BAPTISM OF OUR LORD. BY SANCHEZ COTÁN]
CARTUJA. THE HOLY FAMILY. BY SANCHEZ COTÁN]
THE CRUCIFIXION OF OUR LORD. BY MORALES]
THE CONCEPTION OF OUR LADY. BY MORALES]
THE GIPSY QUARTERS. EXTERIOR OF THE CAVES]
THE GIPSY QUARTERS. AN “AT HOME”]
GIPSY DANCE IN THEIR QUARTERS]
GIPSY TYPES AT THE DOORS OF THEIR CAVES]
GIPSY DANCE IN THEIR QUARTERS]
GIPSY DANCERS AND THEIR CAPTAIN, J. AMAYA]
BRIDGE OF THE GENIL]
GENERAL VIEW]
GENERAL VIEW OF THE OLD ALBAICIN]
GENERAL VIEW FROM THE WATCH TOWER]
OLD ARAB PALACE. NOW THE PROPERTY OF A SPANISH NOBLEMAN]
THE OLD TOWN HALL]
THE ROYAL GATE AND STREET OF THE CATHOLIC SOVEREIGNS]
MONUMENT TO COLUMBUS IN THE PASEO DEL SALÓN]
THE RAW SILK MARKET]
THE RAW SILK MARKET. ANCIENT ARAB SILK MARKET]
EXTERIOR OF AN OLD HOUSE, CUESTA DEL PESCADO]
THE COURT OF JUSTICE]
CARRERA DEL DARRO]
MARKET AND GIPSY FAIR IN THE TRIUNFO]
CALLE DE SAN ANTON]
ANTEQUERUELA QUARTER, SIERRA NEVADA, AND THE “LAST SIGH OF THE MOOR”]
CARRERA DE GENIL AND VIEW OF THE SIERRA NEVADA]
PLAZA DE MARIANA PINEDA, ARAB HOUSE, AND VIEW OF THE SIERRA NEVADA]
GENERAL VIEW OF THE ALHAMBRA AND OF THE SIERRA NEVADA FROM ST. MICHAEL]
HUÉTOR HIGH ROAD AND VIEW OF THE SIERRA NEVADA]
VILLAS ON THE BORDERS OF THE RIVER DARRO]
DEFILE OF THE DARRO]
THE GREEN BRIDGE AND VIEW OF THE SIERRA NEVADA]
VIEW OF THE SIERRA NEVADA]
GENERAL VIEW OF THE SIERRA NEVADA AND THE RIVER GENIL]
GRANADA
_Specially drawn for The Spanish Series_]
ARMS OF GRANADA]
THE
SPANISH SERIES
Edited by ALBERT F. CALVERT
A new and important series of volumes, dealing with Spain in its various aspects, its history, its cities and monuments. Each volume will be complete in itself in a uniform binding, and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued, some volumes having over 300 pages of reproductions of pictures, etc.
Crown 8vo Price 3/6 net
1 GOYA with 600 illustrations 2 TOLEDO ” 510 ” 3 MADRID ” 450 ” 4 SEVILLE ” 300 ” 5 MURILLO ” 165 ” 6 CORDOVA ” 160 ” 7 EL GRECO ” 140 ” 8 VELAZQUEZ ” 142 ” 9 THE PRADO ” 223 ” 10 THE ESCORIAL ” 278 ” 11 ROYAL PALACES OF SPAIN ” 200 ” 12 GRANADA AND ALHAMBRA ” 460 ” 13 SPANISH ARMS AND ARMOUR ” 386 ” 14 LEON, BURGOS AND SALAMANCA ” 462 ” 15 VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA ” 390 ”
* * * * *
_UNIFORM WITH THIS VOLUME_
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
While the names of Murillo and Velazquez are inseparably linked in the history of Art as Spain’s immortal contribution to the small band of world-painters, the great Court-Painter to Philip IV. has ever received the lion’s share of public attention. Many learned and critical works have been written about Murillo, but whereas Velazquez has been familiarised to the general reader by the aid of small, popular biographies, the niche is still empty which it is hoped that this book will fill.
In this volume the attempt has been made to show the painter’s art in its relation to the religious feeling of the age in which he lived, and his own feeling towards his art. Murillo was the product of his religious era, and of his native province, Andalusia. To Europe in his lifetime he signified little or nothing. He painted to the order of the religious houses in his immediate vicinity; his works were immured in local monasteries and cathedrals, and, passing immediately out of circulation, were forgotten or never known.
* * * * *
_UNIFORM WITH THIS VOLUME_
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
Although several valuable and voluminous catalogues of the Spanish Royal Armoury have, from time to time, been compiled, this “finest collection of armour in the world” has been subjected so often to the disturbing influences of fire, removal, and re-arrangement, that no hand catalogue of the Museum is available, and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures.
The various exhibits with which the writer illustrates his narrative are reproduced to the number of nearly 400 on art paper, and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader, but to present a useful text book for the guidance of artists, sculptors, antiquaries, costumiers, and all who are engaged in the reproduction or representation of European armoury.
* * * * *
_UNIFORM WITH THIS VOLUME_
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS FROM PICTURES AND PHOTOGRAPHS
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest but most imposing districts in the whole of Spain, was erected to commemorate a victory over the French in 1557. It was occupied and pillaged by the French two and a-half centuries later, and twice it has been greatly diminished by fire; but it remains to-day, not only the incarnate expression of the fanatic religious character and political genius of Philip II., but the greatest mass of wrought granite which exists on earth, the leviathan of architecture, the eighth wonder of the world.
In the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the Escorial, and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable. Both as a review and a pictorial record it is hoped that the work will make a wide appeal among all who are interested in the history, the architecture, and the art of Spain.
* * * * *
_UNIFORM WITH THIS VOLUME_
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH 510 ILLUSTRATIONS
The origin of Imperial Toledo, “the crown of Spain, the light of the world, free from the time of the mighty Goths,” is lost in the impenetrable mists of antiquity. Mighty, unchangeable, invincible, the city has been described by Wörmann as “a gigantic open-air museum of the architectural history of early Spain, arranged upon a lofty and conspicuous table of rock.”
But while some writers have declared that Toledo is a theatre with the actors gone and only the scenery left, the author does not share the opinion. He believes that the power and virility upon which Spain built up her greatness is reasserting itself. The machinery of the theatre of Toledo is rusty, the pulleys are jammed from long disuse, but the curtain is rising steadily if slowly, and already can be heard the tuning-up of fiddles in its ancient orchestra.
In this belief the author of this volume has not only set forth the story of Toledo’s former greatness, but has endeavoured to place before his readers a panorama of the city as it appears to-day, and to show cause for his faith in the greatness of the Toledo of the future.
* * * * *
_UNIFORM WITH THIS VOLUME_
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
Seville, which has its place in mythology as the creation of Hercules, and was more probably founded by the Phœnicians, which became magnificent under the Roman rule, was made the capital of the Goths, became the centre of Moslem power and splendour, and fell before the military prowess of St. Ferdinand, is still the Queen of Andalusia, the foster-mother of Velazquez and Murillo, the city of poets and pageantry and love.
Seville is always gay, and responsive and fascinating to the receptive visitor, and all sorts of people go there with all sorts of motives. The artist repairs to the Andalusian city to fill his portfolio; the lover of art makes the pilgrimage to study Murillo in all his glory. The seasons of the Church attract thousands from reasons of devotion or curiosity. And of all these myriad visitors, who go with their minds full of preconceived notions, not one has yet confessed to being disappointed in Seville.
The author has here attempted to convey in the illustrations an impression of this laughing city where all is gaiety and mirth and ever-blossoming roses, where the people pursue pleasure as the serious business of life in an atmosphere of exhilarating enjoyment.
* * * * *
_UNIFORM WITH THIS VOLUME_
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG
This volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a picture gallery which is considered the finest in the world. It has been said that the day one enters the Prado for the first time is an important event like marriage, the birth of a child, or the coming into an inheritance; an experience of which one feels the effects to the day of one’s death.
The excellence of the Madrid gallery is the excellence of exclusion; it is a collection of magnificent gems. Here one becomes conscious of a fresh power in Murillo, and is amazed anew by the astonishing apparition of Velazquez; here is, in truth, a rivalry of miracles of art.
The task of selecting pictures for reproduction from what is perhaps the most splendid gallery of old masters in existence, was one of no little difficulty, but it is believed that the collection is representative, and that the letterpress will form a serviceable companion to the visitor to The Prado.
* * * * *
_UNIFORM WITH THIS VOLUME_
GRANADA AND THE ALHAMBRA
A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL PERMISSION TO H.I.M. THE EMPRESS EUGÉNIE
This volume is the third and abridged edition of a work which the author was inspired to undertake by the surpassing loveliness of the Alhambra, and by his disappointment in the discovery that no such thing as an even moderately adequate illustrated souvenir of “this glorious sanctuary of Spain” was obtainable. Keenly conscious of the want himself, he essayed to supply it, and the result is a volume that has been acclaimed with enthusiasm alike by critics, artists, architects, and archæologists.
In his preface to the first edition, Mr. Calvert wrote: “The Alhambra may be likened to an exquisite opera which can only be appreciated to the full when one is under the spell of its magic influence. But as the witchery of an inspired score can be recalled by the sound of an air whistled in the street, so--it is my hope--the pale ghost of the Moorish fairy-land may live again in the memories of travellers through the medium of this pictorial epitome.”
* * * * *
_UNIFORM WITH THIS VOLUME_
EL GRECO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF OVER 140 OF HIS PICTURES
In a Series such as this, which aims at presenting every aspect of Spain’s eminence in art and in her artists, the work of Domenico Theotocópuli must be allotted a volume to itself. “El Greco,” as he is called, who reflects the impulse, and has been said to constitute the supreme glory of the Venetian era, was a Greek by repute, a Venetian by training, and a Toledan by adoption. His pictures in the Prado are still catalogued among those of the Italian School, but foreigner as he was, in his heart he was more Spanish than the Spaniards.
El Greco is typically, passionately, extravagantly Spanish, and with his advent, Spanish painting laid aside every trace of Provincialism, and stepped forth to compel the interest of the world. Neglected for many centuries, and still often misjudged, his place in art is an assured one. It is impossible to present him as a colourist in a work of this nature, but the author has got together reproductions of no fewer than 140 of his pictures--a greater number than has ever before been published of El Greco’s works.
* * * * *
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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.
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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.
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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.
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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.
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MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH 450 ILLUSTRATIONS
Madrid is at once one of the most interesting and most maligned cities in Europe. It stands at an elevation of 2,500 feet above the sea level, in the centre of an arid, treeless, waterless, and wind-blown plain; but whatever may be thought of the wisdom of selecting a capital in such a situation, one cannot but admire the uniqueness of its position, and the magnificence of its buildings, and one is forced to admit that, having fairly entered the path of progress, Madrid bids fair to become one of the handsomest and most prosperous of European cities.
The splendid promenades, the handsome buildings, and the spacious theatres combine to make Madrid one of the first cities of the world, and the author has endeavoured with the aid of the camera, to place every feature and aspect of the Spanish metropolis before the reader. Some of the illustrations reproduced here have been made familiar to the English public by reason of the interesting and stirring events connected with the Spanish Royal Marriage, but the greater number were either taken by the author, or are the work of photographers specially employed to obtain new views for the purpose of this volume.
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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.
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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._
FOOTNOTES:
[A] He is reckoned as Mohammed VI. by the writers who deny the title of Sultan to the usurper of Mohammed V.’s throne.
[B] Known as Mohammed X.
[C] I adopt Mr. U. R. Burke’s statement of the relationship between Abu-l-Hassan, Zoraya, and Boabdil. (Burke, “History of Spain,” II. p. 98.)
[D] Here was lodged the cavalry of the Moorish Sultans.
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Granada and the AlhambraChapter IV: Part 4
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