Chapter III: Salamanca 96 (5)

PROVINCIAL MUSEUM OF SAN MARCOS: TRAY, CRUCIFIX, AND VASE.

LEON.]

PROVINCIAL MUSEUM OF SAN MARCOS: CROSS OF SANTIAGO DE PEÑALVA.

LEON.]

PROVINCIAL MUSEUM OF SAN MARCOS: CHRIST IN THE BYZANTINE STYLE, AND THE VIRGIN IN THE GOTHIC STYLE.

LEON.]

PROVINCIAL MUSEUM OF SAN MARCOS: SAN FRANCISCO.

LEON.]

DON ORDOÑO II. PRESENTING HIS PALACE TO THE VIRGIN.

LEON.]

STANDARD OF ALFONSO VII., EMPEROR, NOW BELONGING TO THE ILLUSTRIOUS FAMILIES OF LEON.

LEON.]

TOWER OF THE PONCES.

LEON.]

LAS CASAS CONSISTORIALES.

LEON.]

HOUSE OF THE GUZMANES.

LEON.]

BASTIONS OF THE ANCIENT WALLS.

LEON.]

CALLE DE SANTA ANA.

LEON.]

CORNER OF THE HOUSE OF THE GUZMANES.

LEON.]

VIEW OF THE RAILWAY STATION.

LEON.]

GENERAL VIEW OF ASTORGA.

LEON.]

MOUNTAINEERS OF THE PROVINCE.

LEON.]

IVORY CASKET OF THE NINTH CENTURY, FROM SAN ISIDORO AT LEON, NOW IN THE NATIONAL ARCHÆOLOGICAL MUSEUM.]

TWO STATUES IN THE ARCHÆOLOGICAL MUSEUM.

LEON.]

VIEW OF BURGOS.]

GENERAL VIEW OF BURGOS.]

LA PLAZA MAYOR.

BURGOS.]

GENERAL VIEW FROM THE CASTLE.

BURGOS.]

MANSION OF THE CID.

BURGOS.]

EL PASEO DEL ESPOLON.

BURGOS.]

VIEW FROM THE PROVINCIAL MUSEUM.

BURGOS.]

A VIEW OF BURGOS.]

THE CATHEDRAL.

BURGOS.]

FAÇADE OF THE CATHEDRAL.

BURGOS.]

CATHEDRAL: PUERTA DE LA PELLEGERIA.

BURGOS.]

CATHEDRAL: VIEW FROM THE CLOISTERS.

BURGOS.]

CATHEDRAL: UPPER PART OF THE TOWER.

BURGOS.]

CATHEDRAL: THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: PRINCIPAL FRONT.

BURGOS.]

CATHEDRAL: FROM THE CLOISTERS GARDEN.

BURGOS.]

TOWERS OF THE CATHEDRAL.

BURGOS.]

CATHEDRAL: ONE OF THE SPIRES.

BURGOS.]

BOSSES.

DETAIL, SPIRE WINDOWS.

ANGLE AND CROCKET OF SPIRE.

BURGOS CATHEDRAL.]

INTERIOR OF SPIRE.

DOORWAY TO SPIRE.

BURGOS CATHEDRAL.]

COURT OF THE CATHEDRAL.

BURGOS.]

GENERAL PLAN OF THE CATHEDRAL.

BURGOS.]

BURGOS CATHEDRAL.]

CATHEDRAL: VIEW OF THE PRINCIPAL NAVE AND HIGH ALTAR.

BURGOS.]

BURGOS CATHEDRAL.]

CATHEDRAL: VIEW OF THE NAVE FROM THE GATE OF THE PELLEGERIA.

BURGOS.]

CATHEDRAL: BACK PART OF THE HIGH ALTAR.

BURGOS.]

CATHEDRAL: CHOIR STALLS.

BURGOS.]

INTERIOR OF THE CATHEDRAL.

BURGOS.]

DETAILS IN THE CATHEDRAL.

BURGOS.]

DETAILS IN THE CATHEDRAL.

BURGOS.]

DETAILS IN THE CATHEDRAL.

BURGOS.]

DETAILS IN THE CATHEDRAL.

BURGOS.]

DETAILS IN THE CATHEDRAL.

BURGOS.]

DETAILS IN THE CATHEDRAL.

BURGOS.]

CATHEDRAL: EXTERIOR OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: INTERIOR VIEW OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: DETAILS OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: DETAILS OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: THE CONSTABLE’S CHAPEL FROM THE ALTAR.

BURGOS.]

CATHEDRAL: ENTRANCE TO THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: DETAILS OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: ALTAR-PIECE ON THE EPISTLE SIDE OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: WINDOWS OF SACRISTY, THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: DOORWAY AND WINDOW IN THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: SANTA ANA, IN THE ALTAR-PIECE OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: ST. MARGARET WITH THE MONSTER AT HER FEET, IN THE ALTAR-PIECE OF THE CONSTABLE’S CHAPEL.

BURGOS.]

CATHEDRAL: DETAILS OF THE PRINCIPAL CHAPEL.

BURGOS.]

CATHEDRAL: DETAILS OF THE EXTERIOR OF THE PRINCIPAL CHAPEL.

BURGOS.]

CATHEDRAL: EXTERIOR OF THE PRINCIPAL CHAPEL.

BURGOS.]

CATHEDRAL: CHAPEL OF ST. ANNE.

BURGOS.]

CATHEDRAL: DETAILS OF THE ALTAR-PIECE IN THE CHAPEL OF ST. ANNE.

BURGOS.]

CATHEDRAL: CHAPEL OF SANTA TECLA.

BURGOS.]

CATHEDRAL: STAIRCASE LEADING TO PUERTA ALTA DE LA CORONERIA.

BURGOS.]

CATHEDRAL: VIEW OF THE CLOISTERS.

BURGOS.]

CATHEDRAL: GATE OF THE OLD SACRISTY IN THE CLOISTERS.

BURGOS.]

CATHEDRAL: THE CLOISTER GATE.

BURGOS.]

CATHEDRAL: PUERTA DEL SARMENTAL.

BURGOS.]

CATHEDRAL: GATE OF PARDON.

BURGOS.]

CATHEDRAL: A DOORWAY.

BURGOS.]

CATHEDRAL: A DOORWAY.

BURGOS.]

CATHEDRAL: PORCH OF THE PELLEGERIA.

BURGOS.]

CATHEDRAL: PUERTA ALTA DE LA CORONERIA.

BURGOS.]

CATHEDRAL: PUERTA ALTA DE LA CORONERIA.

BURGOS.]

CATHEDRAL: THE FAMOUS COFFER OF THE CID.

BURGOS.]

CATHEDRAL: CENTRAL DOME IN THE CROSS-AISLE.

BURGOS.]

CATHEDRAL: PROCESSIONAL DOOR IN THE CLOISTERS.

BURGOS.]

CATHEDRAL: ENTRANCE TO THE CLOISTERS.

BURGOS.]

CATHEDRAL: DETAIL OF THE DOOR LEADING TO THE GOTHIC CLOISTERS.

BURGOS.]

CLOISTERS OF THE CATHEDRAL.

BURGOS.]

THE LOWER CLOISTERS. ELEVENTH CENTURY.

BURGOS.]

CATHEDRAL: THE CLOISTERS.

BURGOS.]

CATHEDRAL: THE CLOISTERS.

BURGOS.]

CATHEDRAL: THE CLOISTERS.

BURGOS.]

CATHEDRAL: DETAIL OF THE CLOISTERS.

BURGOS.]

CATHEDRAL: BAS-RELIEF IN THE LOWER CLOISTERS. ELEVENTH CENTURY.

BURGOS.]

CATHEDRAL: BAS-RELIEFS IN THE LOWER CLOISTERS. ELEVENTH CENTURY.

BURGOS.]

CATHEDRAL: SOFFITS OF CLOISTER ARCHES AND ORNAMENTS FROM DOORS.

BURGOS.]

SAN FERNANDO AND DOÑA BEATRIZ OF SWABIA IN THE CATHEDRAL CLOISTERS.

BURGOS.]

CATHEDRAL: LONGITUDINAL SECTION OF THE CLOISTERS. ELEVENTH CENTURY.

BURGOS.]

CATHEDRAL: DETAILS OF THE SEPULCHRE OF DON FERNANDO DIEZ DE FUENTE-PELAYO.

BURGOS.]

NICHES WITH TOMBS IN THE CATHEDRAL CLOISTERS.

BURGOS.]

CATHEDRAL: PUERTA DEL SARMENTAL.

BURGOS.]

CATHEDRAL: SEPULCHRE OF DON FERNANDO DIEZ DE FUENTE-PELAYO. ABBOT OF ST. MARTIN.

BURGOS.]

DETAILS OF SCREENS IN THE CATHEDRAL.

BURGOS.]

CATHEDRAL: EL CRISTO DE LOS HUEVOS.

BURGOS.]

CATHEDRAL: SEPULCHRE OF ARCHBISHOP LUIS DE ACUÑA.

BURGOS.]

CATHEDRAL: SEPULCHRE OF THE FOUNDER OF THE CATHEDRAL.

BURGOS.]

CATHEDRAL: OUR LADY LA MAYOR, STATUE OF SILVER.

BURGOS.]

CATHEDRAL: PROCESSIONAL CRUCIFIX IN SILVER GILT, THE WORK OF JUAN DE ARFE IN 1592.

BURGOS.]

CATHEDRAL: GOLD ENAMELLED VASE WITH COVER AND ANTIQUE MEDALLIONS. TWO SILVER GILT GOBLETS, AND JUG.

BURGOS.]

CATHEDRAL: DOUBLE-HANDLED VESSEL WITH COVER, THE WORK OF DOM. URQUIZA DE MADRID, IN 1771.

BURGOS.]

CATHEDRAL: STATUES OF SAINTS AND ECCLESIASTICS.

BURGOS.]

CATHEDRAL: DETAILS OF BALCONIES.

BURGOS.]

CATHEDRAL: REMAINS OF ALTAR. RELIEVO FROM PORTAL. ELEVENTH CENTURY.

BURGOS.]

CATHEDRAL: COMPARTMENT OF APSIS.

BURGOS.]

CATHEDRAL: PART OF THE OPEN GALLERY OR TRIFORIUM.

BURGOS.]

CATHEDRAL: DETAILS OF THE CHOIR STALLS.

BURGOS.]

ALTAR-PIECE OF THE CHURCH OF SAN NICOLÁS.

BURGOS.]

LA CARTUJA: GENERAL VIEW OF THE CHURCH.

BURGOS.]

LA CARTUJA: GATE OF THE CHURCH.

BURGOS.]

LA CARTUJA: SEPULCHRE OF THE INFANTE DON ALONSO.

BURGOS.]

LA CARTUJA: INTERIOR VIEW OF THE CHURCH.

BURGOS.]

LA CARTUJA: SEPULCHRE OF THE INFANTE DON ALONSO.

BURGOS.]

LA CARTUJA: SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.]

LA CARTUJA: SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.]

LA CARTUJA: STATUE OF SAN BRUNO.

BURGOS.]

LA CARTUJA: DETAILS OF THE SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.]

LA CARTUJA: DETAILS OF THE SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.]

LA CARTUJA: DETAILS OF THE SEPULCHRE OF THE SOVEREIGNS JOHN II. AND ISABEL OF PORTUGAL.

BURGOS.]

LA CARTUJA DE MIRAFLORES: DETAILS OF THE CHOIR STALLS, AND STALL OF THE OFFICIATING PRIEST.

BURGOS.]

LA CARTUJA DE MIRAFLORES: STALLS OF THE LAY BROTHERS.

BURGOS.]

LA CARTUJA DE MIRAFLORES: A SIDE DOOR.

BURGOS.]

LA CARTUJA DE MIRAFLORES: DETAIL OF THE CHOIR.

BURGOS.]

LA CARTUJA DE MIRAFLORES: CHOIR STALLS.

BURGOS.]

LA CARTUJA DE MIRAFLORES: DETAIL OF THE CHOIR STALLS.

BURGOS.]

LA CARTUJA DE MIRAFLORES: THE PRIOR’S STALL.

BURGOS.]

LA CARTUJA: DETAIL OF THE SEPULCHRE OF DON JUAN II. AND HIS WIFE.

BURGOS.]

LA CARTUJA: SEPULCHRE OF THE INFANTE DON ALONSO. BROTHER OF ISABEL I.

BURGOS.]

LA CARTUJA: TOMB OF THE INFANTE.

BURGOS.]

LA CARTUJA: COMPARTMENT OF KING’S TOMB.

BURGOS.]

LA CARTUJA: PORTIONS OF CORNICE, KING’S TOMB.

BURGOS.]

LA CARTUJA: ORNAMENT FROM THE INFANTE’S TOMB.

BURGOS.]

PORTION OF THE KING’S STATUE.

PORTION OF INFANTE’S ROBE.

INFANTE’S PRIE DIEU CLOTH.

LA CARTUJA: KING’S EFFIGY. INFANTE’S ROBE. INFANTE’S PRIE-DIEU CLOTH.

BURGOS.]

PANELLED WALL BEHIND THE INFANTE’S STATUE

LA CARTUJA: PANELLED WALL. ALABASTER CROWN AND TASSELS.

BURGOS.]

LA CARTUJA DE MIRAFLORES: A SIXTEENTH-CENTURY CHIMNEYPIECE.

BURGOS.]

CATHEDRAL AND LA CARTUJA: EFFIGIES FROM TOMBS.

BURGOS.]

LA CARTUJA: CEILING ORNAMENTS. CATHEDRAL: DETAILS FROM THE CONSTABLE’S MONUMENT.

BURGOS.]

CONVENT OF LAS HUELGAS: VIEW OF THE TEMPLE.

BURGOS.]

CONVENT OF LAS HUELGAS: FAÇADE OF THE MONASTERY.

BURGOS.]

CONVENT OF LAS HUELGAS: PATIO DE SAN FERNANDO.

BURGOS.]

CONVENT OF LAS HUELGAS: ENTRANCE TO THE CHURCH.

BURGOS.]

CONVENT OF LAS HUELGAS.

BURGOS.]

CHURCH OF LAS HUELGAS.

BURGOS.]

A SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.]

DETAILS OF THE EXTERIOR OF SANTA MARIA LA REAL, COMMONLY CALLED DE LAS HUELGAS.

BURGOS.]

CLOISTERS AND SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.]

A SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.]

A SEPULCHRE IN THE CONVENT OF LAS HUELGAS.

BURGOS.]

SEPULCHRES IN THE CHOIR OF SANTA MARIA LA REAL DE LAS HUELGAS.

BURGOS.]

CONVENT OF LAS HUELGAS: VIEW OF THE CHOIR.

BURGOS.]

CONVENT OF LAS HUELGAS: THE CLOISTERS.

BURGOS.]

CONVENT OF LAS HUELGAS: CLOISTERS OF SAN FERNANDO.

BURGOS.]

CONVENT OF LAS HUELGAS: ENTRANCE TO THE NAVE OF ST. JOHN.

BURGOS.]

CONVENT OF LAS HUELGAS: DOOR IN THE CHAPEL OF SAN SALVADOR.

BURGOS.]

CONVENT OF LAS HUELGAS: THE CLOISTERS.

BURGOS.]

CONVENT OF LAS HUELGAS: FLAG TAKEN BY ALFONSO VIII. AT THE BATTLE OF LAS NAVAS.

BURGOS.]

GATE OF THE KING’S HOSPITAL.

BURGOS.]

FAÇADE OF THE CHURCH OF THE HOSPITAL OF THE KING.

BURGOS.]

INTERIOR VIEW OF THE COURTYARD OF THE HOSPITAL OF THE KING.

BURGOS.]

CLOISTERS IN THE MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.]

MONASTERY OF SANTO DOMINGO DE SILAS (SILOS).

BURGOS.]

CASKETS AND CHALICE IN THE MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.]

RELIQUARY, DETAILS, AND PATEN IN THE MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.]

DETAIL OF AN ALTAR: MONASTERY OF SANTO DOMINGO DE SILOS.

BURGOS.]

THE ARCH OF FERNAN GONZALEZ.

BURGOS.]

GATE OF THE HOSPITAL OF ST. JOHN.

BURGOS.]

MONASTERY OF SAN JUAN DE ORTEGA: SEPULCHRE OF THE FOUNDER.

BURGOS.]

GATE OF THE HOUSE OF THE ‘CORDON.’

BURGOS.]

HOUSE OF THE ‘CORDON.’

BURGOS.]

CHURCH OF SAN GIL: CHAPEL OF THE NATIVITY.

BURGOS.]

ALTAR-PIECE OF THE BUENA MAÑANA IN SAN GIL.

BURGOS.]

CHURCH OF SAN GIL: ALTAR-PIECE OF THE CHAPEL OF THE KINGS.

BURGOS.]

GATE OF THE CHURCH OF SAN LESMES.

BURGOS.]

ALTAR-PIECE IN SAN LESMES.

BURGOS.]

PORCH OF THE CHURCH OF SAN ESTÉBAN.

BURGOS.]

ENTRANCE TO THE PARISH CHURCH OF SAN NICOLÁS.

BURGOS.]

ALTAR-PIECE IN SAN NICOLÁS DE BARI.

BURGOS.]

ARCHWAY OF SANTA MARIA, SIXTEENTH CENTURY.

BURGOS.]

GATE OF SANTA MARIA.

BURGOS.]

THE ARCO DE SANTA MARIA.

BURGOS.]

PROVINCIAL MUSEUM: ARABESQUES OF THE ARCO DE SANTA MARIA.

BURGOS.]

EXTERIOR VIEW AND DETAIL OF THE ARCH OF SANTA MARIA.

BURGOS.]

PROVINCIAL MUSEUM: SEPULCHRE OF DON JUAN DE PADILLA IN FRESDELVAL, FIFTEENTH CENTURY.

BURGOS.]

PROVINCIAL MUSEUM: SEPULCHRE OF DON JUAN DE PADILLA.

BURGOS.]

INTERIOR VIEW OF THE PROVINCIAL MUSEUM.

BURGOS.]

PROVINCIAL MUSEUM: FRONT OF AN ALTAR IN ENAMELLED BRONZE, ELEVENTH CENTURY.

BURGOS.]

PROVINCIAL MUSEUM: VISIGOTHIC SEPULCHRE OF SIXTH CENTURY, FOUND AT BRIVIESCA.

BURGOS.]

COFFIN OF BRIVIESCA: PRESERVED IN THE PROVINCIAL MUSEUM.

BURGOS.]

PROVINCIAL MUSEUM: ROMAN STATUE FOUND IN THE RUINS OF SALONICA.

BURGOS.]

TRANSVERSE SECTION AND DETAILS OF THE CHURCH OF SAN JUAN (BAÑOS).

BURGOS.]

CHURCH OF GAMONAL.

BURGOS.]

INTERIOR OF THE CHURCH OF GAMONAL.

BURGOS.]

PORTAL OF THE CHURCH OF THE VILLA DE SASAMÓN.

BURGOS.]

TOWER OF THE CHURCH OF THE VILLA DE SANTA MARIA DEL CAMPO.

BURGOS.]

CHAPEL OF OUR LADY OF THE VALLEY IN THE RODILLA MONASTERY. GENERAL VIEW OF THE EXTERIOR.

BURGOS.]

CHAPEL OF OUR LADY OF THE VALLEY IN THE RODILLA MONASTERY.

PORCH.

INTERIOR.

BURGOS.]

MONASTERY OF FRESDELVAL: PORTAL.

BURGOS.]

MONASTERY OF FRESDELVAL: HOSPICE.

BURGOS.]

MONASTERY OF FRESDELVAL: CLOISTERS.

BURGOS.]

MONASTERY OF FRESDELVAL: WINDOW IN THE RUINED TEMPLE.

BURGOS.]

MONASTERY OF FRESDELVAL: WINDOW IN THE RUINED TEMPLE.

BURGOS.]

OLMILLOS CASTLE.

BURGOS.]

A COURTYARD.

BURGOS.]

LERMA: THE DUKE OF LERMA’S PALACE AND THE COLLEGE.

BURGOS.]

LERMA: THE COLLEGE.

BURGOS.]

LERMA: INTERIOR OF THE COLLEGIATE CHURCH.

BURGOS.]

LERMA: SEPULCHRE OF THE CARDINAL DUKE OF LERMA.

BURGOS.]

LERMA: DETAILS OF THE SEPULCHRE OF THE CARDINAL DUKE OF LERMA.

BURGOS.]

LERMA: THE MAGDALENE.

(COPY OF A PICTURE BY LEONARDO DA VINCI.)

BURGOS.]

LERMA: OUR LADY OF THE SILLA.

(COPY OF A PICTURE BY RAPHAEL.)

BURGOS.]

BRIDGE OF HORADADA.

BURGOS.]

CATHEDRAL, FROM THE EAST.

SALAMANCA.]

GENERAL VIEW FROM THE SCHOOL.

SALAMANCA.]

GENERAL VIEW OF SALAMANCA.]

GENERAL VIEW OF SALAMANCA.]

A PORTION OF SALAMANCA.]

ROMAN BRIDGE OVER THE TORMES.

SALAMANCA.]

BRIDGE OF BEJAR.

SALAMANCA.]

VIEW OF THE ANCIENT WALL.

SALAMANCA.]

PRINCIPAL NAVE OF THE OLD CATHEDRAL.

SALAMANCA.]

NAVE OF CROSS-AISLE OF THE OLD CATHEDRAL.

SALAMANCA.]

SEPULCHRES IN THE OLD CATHEDRAL.

SALAMANCA.]

LONGITUDINAL SECTION OF THE OLD CATHEDRAL.

SALAMANCA.]

DOÑA ELENA, DIED 1272.

CHANTRE APARICIO, DIED 1274.

SEPULCHRES IN THE OLD CATHEDRAL.

SALAMANCA.]

DON ALONSO VIDAL, DEAN OF AVILA.

DON DIEGO LOPEZ, ARCHDEACON OF LEDESMA.

SEPULCHRES IN THE CROSS-AISLE, OLD CATHEDRAL.

SALAMANCA]

SEPULCHRE IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.]

SEPULCHRE IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.]

SEPULCHRE IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.]

CAPITALS OF THE SEPULCHRES IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.]

CAPITALS OF THE SEPULCHRES IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.]

CAPITALS OF THE SEPULCHRES IN THE CLOISTERS OF THE OLD CATHEDRAL.

SALAMANCA.]

CAPITALS AND EFFIGIES IN THE OLD CATHEDRAL.

SALAMANCA.]

CAPITALS IN THE OLD CATHEDRAL.

SALAMANCA.]

THE OLD CATHEDRAL.

SALAMANCA.]

DETAILS OF THE OUTSIDE AND PLAN OF THE CUPOLA OF THE OLD CATHEDRAL.

SALAMANCA.]

THE CATHEDRAL.

SALAMANCA.]

VIEW OF THE CATHEDRAL FROM THE ‘SEMINARIO.’

SALAMANCA.]

CATHEDRAL: EAST FAÇADE.

SALAMANCA.]

TOWER OF THE CATHEDRAL.

SALAMANCA.]

CATHEDRAL: THE TOWER DEL GALLO.

SALAMANCA.]

PRINCIPAL FAÇADE OF THE CATHEDRAL.

SALAMANCA.]

PRINCIPAL NAVE IN THE CATHEDRAL.

SALAMANCA.]

CATHEDRAL: VIEW OF THE CROSS-AISLE.

SALAMANCA.]

CATHEDRAL: ENTRANCE TO THE CHAPEL OF THE BISHOP OF SEVILLE, DON DIEGO DE ANAYA.

SALAMANCA.]

CATHEDRAL: VIEW OF THE SACRISTY.

SALAMANCA.]

CATHEDRAL CHAPEL IN THE CLOISTERS.

SALAMANCA.]

CHAPEL OF ST. BARBARA IN THE CATHEDRAL CLOISTERS.

SALAMANCA.]

CATHEDRAL: DOME OF THE TOWER OF THE ‘GALLO.’

SALAMANCA.]

CATHEDRAL: GENERAL VIEW OF THE PUERTA DEL NACIMIENTO.

SALAMANCA.]

CATHEDRAL: GATE OF THE NATIVITY.

SALAMANCA.]

CATHEDRAL: GATE OF ST. CLEMENT.

SALAMANCA.]

CATHEDRAL: GATE OF THE ‘RAMOS.’

SALAMANCA.]

CATHEDRAL: GATE OF THE PATIO CHICO.

SALAMANCA.]

CATHEDRAL: RIGHT HAND GATE; OR, GATE OF THE BISHOP.

SALAMANCA.]

CATHEDRAL: THE BEHEADING OF ST. JOHN BAPTIST.

BY JAC. GERONIMO ESPINOSA.

SALAMANCA.]

CATHEDRAL: THE VIRGIN HOLDING THE DEAD BODY OF HER DIVINE SON.

PIETÁ IN WOOD, BY SALVADOR CARMONA.

SALAMANCA.]

CATHEDRAL: WOODEN CRUCIFIX WITH WHICH THE TROOPS OF THE CID WERE HARANGUED. THE SMALLER CRUCIFIX THE CID CARRIED BENEATH HIS ARMOUR.

SALAMANCA.]

CATHEDRAL: CHAIR AND TABLE IN THE CHAPTER HALL.

SALAMANCA.]

GENERAL VIEW OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.]

DETAIL OF THE FAÇADE OF SANTO DOMINGO.

SALAMANCA.]

FAÇADE OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.]

DETAIL OF THE FAÇADE OF SANTO DOMINGO.

SALAMANCA.]

CLOISTERS OF SANTO DOMINGO.

SALAMANCA.]

INTERIOR OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.]

ARCHES IN THE CHOIR OF THE CHURCH OF SANTO DOMINGO.

SALAMANCA.]

INTERIOR VIEW OF THE SACRISTY OF SANTO DOMINGO.

SALAMANCA.]

DOOR OF THE CONFERENCE HALL OF SANTO DOMINGO.

SALAMANCA.]

GENERAL VIEW OF THE CLOISTERS OF SANTO DOMINGO.

SALAMANCA.]

CLOISTERS OF SANTO DOMINGO.

SALAMANCA.]

FRESCO IN THE CHURCH OF SANTO DOMINGO, BY PALOMINO.

SALAMANCA.]

DOOR OF THE CHURCH OF ST. MARTIN.

SALAMANCA.]

GATE OF THE CHURCH OF ST. MARTIN.

SALAMANCA.]

DOOR OF THE CHURCH OF SAN JUSTO.

SALAMANCA.]

CHURCH OF THE AUGUSTINES: THE CONCEPTION OF THE VIRGIN, BY RIBERA.

SALAMANCA.]

GATE OF THE CHURCH OF SAN BENITO.

SALAMANCA.]

PARISH CHURCH OF THE HOLY SPIRIT.

SALAMANCA.]

PORTAL OF THE PARISH CHURCH OF THE HOLY SPIRIT.

SALAMANCA.]

CHURCH OF THE THIRD ORDER OF ST. FRANCIS.

SALAMANCA.]

VIEW OF THE SEMINARY FROM THE IRLANDESES.

SALAMANCA.]

VIEW OF THE SEMINARY.

SALAMANCA.]

CHAPTER-HALL IN THE SEMINARY.

SALAMANCA.]

THE SEMINARY: ABRAHAM OFFERING MELCHISEDECH BREAD AND WINE.

SALAMANCA.]

THE SEMINARY: THE QUEEN OF SHEBA VISITING SOLOMON, BY RUBENS.

SALAMANCA.]

THE SEMINARY: CHRIST SCOURGED. STATUE IN WOOD BY SALVADOR CARMONA.

SALAMANCA.]

GENERAL VIEW OF THE UNIVERSITY.

SALAMANCA.]

FAÇADE OF THE UNIVERSITY.

SALAMANCA.]

UPPER PART OF THE FAÇADE OF THE UNIVERSITY.

SALAMANCA.]

LOWER PART OF THE FAÇADE OF THE UNIVERSITY.

SALAMANCA.]

UNIVERSITY: MEDALLION REPRESENTING THE CATHOLIC SOVEREIGNS OVER THE PRINCIPAL ENTRANCE.

SALAMANCA.]

FAÇADE OF THE UNIVERSITY.

SALAMANCA.]

LIBRARY IN THE UNIVERSITY.

SALAMANCA.]

UNIVERSITY: ALTAR OF THE CHAPEL.

SALAMANCA.]

GALLERY IN THE UNIVERSITY.

SALAMANCA.]

PORTICO OF THE UNIVERSITY.

SALAMANCA.]

DETAILS OF THE PORCH OF THE UNIVERSITY.

SALAMANCA.]

DETAILS OF THE PORCH OF THE UNIVERSITY.

SALAMANCA.]

DOOR OF THE LIBRARY OF THE UNIVERSITY.

SALAMANCA.]

COURT OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.]

FAÇADE OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.]

PORCH OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.]

PORTICO OF THE CHAPEL OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.]

COURT OF THE COLLEGE OF THE IRLANDESES.

SALAMANCA.]

DETAILS OF THE COURT OF THE ARCHBISHOP’S COLLEGE, NOW OF THE IRLANDESES.

SALAMANCA.]

GATE OF SANTA MARIA DE LAS DUEÑAS.

SALAMANCA.]

PROVINCIAL MUSEUM: MODEL IN WOOD FOR AN ALTAR FOR THE CATHEDRAL, BY MANUEL RODRIGUEZ.

SALAMANCA.]

PROVINCIAL MUSEUM: ARM-CHAIR OF FR. ANTONIO DE SOTOMAYOR.

SALAMANCA.]

PROVINCIAL MUSEUM: ST. MICHAEL OVERCOMING SATAN. SILVER STATUE. THE WORK OF JUAN DE ARFE.

SALAMANCA.]

CLOISTERS IN THE RUINS OF THE SCHOOL OF THE VEGA.

SALAMANCA.]

CAPITALS IN THE COLLEGE OF THE VEGA.

SALAMANCA.]

STATUE OF OUR LADY OF THE VEGA.

SALAMANCA.]

THE HOUSE OF SALINAS.

SALAMANCA.]

COURTYARD OF THE HOUSE OF SALINAS (UPPER PART).

SALAMANCA.]

DETAIL OF THE COURTYARD OF THE HOUSE OF SALINAS.

SALAMANCA.]

GENERAL VIEW OF THE COLLEGE OF CALATRAVA.

SALAMANCA.]

STAIRCASE IN THE COLLEGE OF CALATRAVA.

SALAMANCA.]

TOWER OF THE ‘CLAVERO.’

SALAMANCA.]

GENERAL VIEW OF THE SCHOOL.

SALAMANCA.]

FAÇADE OF THE SCHOOL.

SALAMANCA.]

INTERIOR GATE OF THE SCHOOL.

SALAMANCA.]

ENTRANCE TO THE SCHOOL.

SALAMANCA.]

PORCH OF THE ARCHIVOS OF THE SCHOOL.

SALAMANCA.]

COURTYARD OF THE SCHOOL.

SALAMANCA.]

BACK OF THE SCHOOL.

SALAMANCA.]

COURTYARD OF THE SCHOOL.

SALAMANCA.]

PRINCIPAL FAÇADE OF THE HOUSE OF THE SHELLS.

SALAMANCA.]

GRATED WINDOW OF THE HOUSE OF THE SHELLS.

SALAMANCA.]

TRIPLE GRATED WINDOW OF THE HOUSE OF THE SHELLS.

SALAMANCA.]

BALCONY AND TRIPLE GRATED WINDOW OF THE HOUSE OF THE SHELLS.

SALAMANCA.]

DOORWAY IN THE HOUSE OF THE SHELLS.

SALAMANCA.]

COURTYARD IN THE HOUSE OF THE SHELLS.

SALAMANCA.]

HOUSE OF MONTEREY.

SALAMANCA.]

TOWER OF THE HOUSE OF MONTEREY.

SALAMANCA.]

HOUSE OF MONTEREY.

SALAMANCA.]

LA PLAZA MAYOR.

SALAMANCA.]

THE TOWN HALL.

SALAMANCA.]

PATIO DE LA GOBERNACIÓN.

SALAMANCA.]

ANCIENT COLLEGE, NOW THE HOUSE OF THE PROVINCIAL DEPUTATION.

SALAMANCA.]

RIVER GATE THROUGH WHICH HANNIBAL ENTERED.

SALAMANCA.]

HOUSE OF DOÑA MARIA THE BRAVE.

SALAMANCA.]

AVENUE OF THE CAMPO OF SAN FRANCISCO.

SALAMANCA.]

STATUE OF FR. LUIS DE LEON.

SALAMANCA.]

THE PACIFICATION OF THE FACTIONS OF SALAMANCA. A RELIEF BY DON ANICETO MARINAS.]

MARKET, PROVINCE OF SALAMANCA: ‘A BAD BARGAIN,’ BY J. ARANJO.

(NATIONAL EXHIBITION OF BEAUX-ARTS, 1884.)]

PEASANTS’ DANCE, BY D. FIERROS.

SALAMANCA.]

CHARRO, OR PEASANT OF THE PROVINCE.

SALAMANCA.]

* * * * *

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 ” 288 ” 16 VALLADOLID, OVIEDO, SEGOVIA, } ” 390 ” ZAMORA, AVILA AND ZARAGOZA }

* * * * *

UNIFORM WITH THIS VOLUME

MURILLO

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

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

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

UNIFORM WITH THIS VOLUME

SPANISH ARMS AND ARMOUR

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

THE ESCORIAL

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

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

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

UNIFORM WITH THIS VOLUME

TOLEDO

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

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

SEVILLE

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS

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

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

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

UNIFORM WITH THIS VOLUME

THE PRADO

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

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

GRANADA AND THE ALHAMBRA

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

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

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

UNIFORM WITH THIS VOLUME

EL GRECO

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

VELAZQUEZ

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

Diego Rodriguez de Silva Y Velazquez--“our Velazquez,” as Palomino
proudly styles him--has been made the subject of innumerable books
in every European language, yet the Editor of this Spanish Series
feels that it would not be complete without the inclusion of yet
another contribution to the broad gallery of Velazquez literature.
The great Velazquez, the eagle in art--subtle, simple,
incomparable--the supreme painter, is still a guiding influence of
the art of to-day. This greatest of Spanish artists, a master not
only in portrait painting, but in character and animal studies, in
landscapes and historical subjects, impressed the grandeur of his
superb personality upon all his work. Spain, it has been said, the
country whose art was largely borrowed, produced Velazquez, and
through him Spanish art became the light of a new artistic life.

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

UNIFORM WITH THIS VOLUME

ROYAL PALACES OF SPAIN

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 390 ILLUSTRATIONS

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

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

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

UNIFORM WITH THIS VOLUME

LEON, BURGOS AND SALAMANCA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 ILLUSTRATIONS

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

MADRID

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

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

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

UNIFORM WITH THIS VOLUME

GOYA

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

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

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

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

* * * * *

UNIFORM WITH THIS VOLUME

CORDOVA

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

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 × 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 × 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 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._

End of Project Gutenberg's Leon, Burgos and Salamanca, by Albert F. Calvert