Chapter X: Café Life of the Madrileños 166 (5)

An American traveller, writing anonymously in 1831, says that a bull-fight always drew several thousand people to the Plaza. In the winter, states this observer, the _corridas_ took the form of combats with young bulls, whose horns were covered with pads or balls. These bulls were called _novillos embolados_, and they were baited by novices and amateurs. This writer describes the tragic encounter of a notable _torero_, known as El Sombrerero, who was so called because he had been a hatter. El Sombrerero was the foremost _espada_ in Spain in his time, and he was wont to perform the most valiant feats in the ring. He was once fighting an exceptionally savage bull, which swerved suddenly in a charge, and caught his opponent upon the point of his horns. The _espada_ was lifted off, and carried from the ring in a state of insensibility. He recovered of his injuries, and resolved to abandon bull-fighting and to return to his trade of hat-making. But the small earnings of this occupation did not satisfy him, and El Sombrerero went back to the ranks of the bull-fighters. He had, however, lost his nerve, and in a fight at Granada he was hissed for his timidity in engaging a very fierce bull.

Manuel Romero was one of the most popular of _toreros_ in 1830. He was a short, rather stout man, though well built and extremely nimble. His features had “an air of cold-blooded ferocity as became one whose business it was to incur danger and to deal death.” Romero wore a very resplendent dress in the ring, with much lace and jewellery.

Théophile Gautier describes a _corrida_ with the zest of one who found a genuine delight in the spectacle. It is somewhat curious that men of refined instincts can look on unconcernedly at the sufferings of horses and bulls; but human nature presents such singular anomalies in abundance. Gautier relates how Sevilla, a famous _picador_, had his horse lifted off its legs, and tossed in the air by the bull, while the rider maintained his coolness and retained his seat in the saddle. Antonio Rodriguez was a celebrated picador of this day (1840), and Gautier pays a tribute to his valour and extraordinary agility. The favourite _espadas_ of this date were Juan Pastor and Joaquin Rodriguez.

Is the courage of the Spanish _torero_ declining? There are one-time _aficionados_ of bull-fighting who declare that the art is not so exciting, scientific, and well studied as in bygone days, and yet there is scarcely any decline in the absorbing interest devoted to the _corridas_ in all parts of the Peninsula. Prosper Mérimée, in his “Lettres à une Inconnue,” written in 1859, supports the view that bull-fighting has deteriorated. He writes: “I was present at a bull-fight on Monday, and it amused me a very little indeed. I was unlucky enough to know all too early in life what a degree of excellence this sport can attain to, and after having seen Montes, I really cannot look at his degenerate successors with any degree of pleasure. The animals have degenerated, too, as well as the men.”

No doubt there are many able exponents of bull-fighting still left in Spain, and there are writers in abundance who could probably prove that the sport is as stirring as ever. We, who have not seen Montes and Romero, and other dead heroes of the Plaza de Toros, are scarcely in a position to decide whether the bull-fighter’s art has degenerated. If the daring of the _espada_ of to-day is called into question, it must be said that while there are men who will stand motionless as statues, and allow a furious bull to sniff at them, and others who will stand still to the rush of a bull, and receive the beast on the point of the sword, there are still fighters prepared to risk their lives in exhibitions of intrepidity. There remain some _toreros_ who perform the perilous feat of vaulting over the bull with a pole, and many who expose themselves to a deadly thrust of the horns while planting the darts in the animal’s neck. The coolness of several of the leading professors of bull-fighting is unquestioned, and it cannot be denied that the patrons of the ring are not still exacting in their desire for hair-raising performances.

It is perhaps correct to state that there is a little more sympathy for the horses than in the old days of the _lidia_. Many Spanish people express disgust at the sight of the mangled carcasses of the miserable, worn-out horses, which are forced to end their hard lives in this cruel manner. But your true _aficionado_ has no scruples of pity, and he will assert that a bull does not fight at his best until he has seen blood flow.

Perhaps the greatest of all bull-fighters was Frascuelo. The Spaniards declare that no _torero_ has taken his place. Guerra, his rival, was a fine fighter, but he has retired, and lives on his laurels at Cordova. Frascuelo was the leader of what may be called the dare-devil school of bull-fighters. He was always at close quarters with the bull, and he strove to out-do the most daring _espadas_ of his day. Bombita, or Bombita-Chico, is a young _torero_ of great courage and especially popular in Madrid, where he was born.

Mazzantini is now only seen occasionally in the Plaza de Toros. He is a big stalwart man, but past his prime, though he is still esteemed by his admirers as the best fighter in Spain. Conejito, who was wounded in Barcelona in 1903, is another favourite of the public. But the first exponent of bull-fighting is, in the opinion of the majority, the handsome and plucky Fuentes. This _torero_ is not only a proficient _espada_; he plays all the parts in the ring except that of _picador_. Fuentes exercises a weird power over his bulls. He fixes the bull with his keen eyes as he approaches him, and steps backward, slowly followed by the enraged and fascinated _toro_, in whose neck he deliberately sticks a dart. The spell of this man’s eyes has a subtle influence which seems to utterly bewilder a bull. Again and again the bull advances to the attack, only to turn aside from the glare of the _espada’s_ eyes.

The favourite device of Bombita is to kneel on the ground, shaking the _muleta_ in the bull’s face. In such a position it is, of course, almost impossible for the _espada_ to skip aside when the bull charges, and the art of the trick lies in receiving the horns upon the red cloth. Guerra, sometimes called Guerrita, used to allow the bull to pass so close to him that his side was often scratched by the point of the horn.

Every stratagem and feat of the _espada_ in the final _suerte_ of the ring has its technical name, such as _pase de pecho_, _pase natural_, and _paso por alto_, and all these tricks are closely watched and criticised by the vast concourse of spectators. Fuentes has written learnedly upon the theory and practice of his art, describing the various _pases_ minutely. Those who are interested in the literature of the bull-ring will find a complete account of the life of the bull from the placid days of youth upon the plains, down to the last tragic scene in the Plaza, in _Los Toros_, an illustrated pamphlet by E. Contreras y R. de Palacio. Fuller and more advanced “tauromachian” literature may be purchased in Madrid. Among the works of note are Bedoya’s _Historia del Toreo_, _Annales del Toréo_, by Velazquez, and _En la Plaza_, by Pascual Millan. There are several magazines and journals much read by the devotees of the sport, such as _La Lidia_ and _El Toréo_. Bull-fighting is a subject of perennial interest in Madrid, and the _literatura taurina_, issued in the city, would fill many book-shelves.

Pascual Millan describes the bull-fight as “a grand spectacle in which art, bravery, nobility, light, sun, colour, animation, and beauty” all play a part. This writer asserts that the theories of bull-fighting can rarely be carried into practice, as there is nothing stable or fixed in the art. Pepe-Illo, a famous _espada_, wrote a treatise on the conduct of the fighter in the arena, which was highly interesting; but, had his views been put into practice, they would “have excluded every bull-fighter from the arena.” Señor Millan thinks that rules are impossible; that everything done in the ring is the outcome of inspiration on the spur of the moment. Lagartijo sums up the matter thus: “Bull-fighting is very simple: you place yourself in front of the bull, the bull comes and you move away; you do not move away, then the bull moves you away. And there you are.”

The directions as to moving aside when the bull charges are plain enough, and the counsel is obvious. But in the method of avoiding the horns of the bull lies the art of the _espada_, and in this movement he reveals his genius, and displays adroitness, grace, and daring. No proficient performer ever allows _toro_ to chase him about the ring. He bounds aside as the bull bears down upon him, and receives the furious attack of the beast upon the fluttering _muleta_. Sometimes the red cloth is waved aloft, high over the bull’s horns, causing the animal to rear upon his hind legs in a savage effort to wreak his rage on the offending _muleta_. An expert _torero_ knows perfectly well that the bull directs his fury at the fluttering cloth or cloak rather than at the man who manipulates it.

The boldest of bull-fighters, Espartero, stood so pluckily in the path of a charging bull that he was more than once thrown several yards by a violent butt from the beast’s horns. This fighter used to employ his fists upon the bull’s head, and his method was always to fight at the closest quarters. It was said that Espartero suffered more fear of hunger than of death by the horns of a bull; and in his desire for fame and wealth, he continually courted tragedy in the ring and behaved with reckless daring. Espartero was killed in 1894 during a fight with the first bull of the day.

Guerra retired in 1899, and his leave-taking was a source of much regret among the _aficionados_ of bull-fighting, who declared that he was the last of the great _toreros_. Pascual Millan, the chronicler of modern bull-fighting, asserts that the successors of Guerra cannot be compared with him for refinement and grace in their displays. He gives prominence to Antonio Fuentes, “the only one who came into the ring with some foundation, bringing a certain personal note which raised him a few inches above the common level.” Among the living exponents of the art of the _espada_ may be mentioned Torerito, Torres, Reverte, Ronal, Algabeño, and above all, “Bombita.”

The _corrida_ may seem to assume an undue importance in the life of Spain. It is, however, to be regarded as a reflection of the Spanish character, and bull-fighting in Madrid cannot be dismissed as a mere recreation of the mob. Bull-fighting is taken seriously among a serious-minded people, who regard it as one of the great institutions of the country. It is a survival of the warlike temper, a manifestation of the love of courage and the admiration for endurance, and it remains as the last vestige of the traditions of the age of chivalry in Spain.

This intense enthusiasm, this profound interest in the killing of bulls is bewildering to the foreigner, who cannot accept the sport in such a serious spirit. It is almost as grave a matter as a canon of the Church whether an _espada_ wields the sword in accordance with the tradition of the ring. The writers upon bull-fighting are divided into schools of critics and eulogists, who dissect every _pase_ minutely, or extol the “æsthetics” of a finished artist with the darts or the sword. There are volumes of serious literature upon the _lidia_, which amaze the stranger who peruses them. We have nothing like it in the sporting literature of England. Our books upon hunting or racing are not written with all the earnestness and fervour of treatises on matters of faith; but the taurine monographs of Spain are composed in the temper of piety, and the rules of the ring are set down as though they were the articles of a creed. When a famous jockey appears in the street, he is not mobbed by a crowd of admirers; but the _espada_ in Spain is acclaimed everywhere as a great hero and the darling of the people.

Bull-fighting is a deep-rooted passion of the people of Spain, and it has to be reckoned with in any examination of the Spanish character. Its ethics and its sociological significance cannot be discussed here. We must accept the _corrida_, whether we approve of it or not, as one of the chief institutions of the capital of Spain. Madrid is the Mecca of the bull-fighter.

X

CAFÉ LIFE OF THE MADRILEÑOS

In every part of Spain the _café_ is a popular resort and the rendezvous of friends. Here all classes foregather to discuss the news, to criticise the new bull-fighter, to extol a favourite dancer, to transact business, to play at dominoes or draughts, to read the journals, to sip coffee, and to smoke cigarettes. Many hours of each day are dedicated by the Madrileño to the _café_. He goes there as a matter of routine for his morning _refresco_, and again in the evening for his coffee with a dash of spirit.

The _cafés_ are comfortable, and they provide for different classes of customers. They are never decorated in a resplendent manner; but, as Gautier observed, “this want of splendour is amply compensated by the excellence and variety of the refreshments.” Gautier mentions the Café de Levante among others, and this is still a favourite resort of men-about-town. In the Calle de Alcalá are three representative coffee-houses, the Café de Madrid, the Café Suizo, and the Café de Fornos. The Café Inglés is in the Calle de Sevilla. The houses of refreshment in the Puerta del Sol are the resort of all types of Madrid character, from the diplomat to the professional swindler. From nine o’clock in the evening until two in the morning these _cafés_ are thronged. The customary beverage is _café con leche_ (coffee with milk) or black coffee, with a drop of cognac. Light wines and spirits are also provided, but these are used sparingly by the majority of the Madrileños, for, whatever may be the faults of the Spaniard, immoderation in the use of alcohol is certainly not one of them.

To attract the attention of the waiters at the _cafés_, you clap your hands, or make a hissing sound between your closed teeth. The coffee is usually excellent, and the spirit is brought to you in a bottle marked with measures. The crowds in the Madrid _cafés_ lack the picturesqueness of those in some of the smaller towns of Castile, Murcia, and Andalusia, where the dress of the provinces is still worn. You will see no majas in the capital; the grisettes of Madrid cannot be distinguished from the rest of the female population. The _capa_ is, however, still worn by men of almost all ranks, and these, and the broad-brimmed hats, give a touch of the romantic to the throngs in the coffee-houses of the Puerta del Sol.

There are wine-shops and taverns in Madrid, but the seats are not luxurious, and there is no display of carved mahogany and engraved glass, and no separation of the classes. The “accommodation” may be somewhat rude; still the wine is good and cheap, and the tone and atmosphere of the _posada_ are more wholesome than those of the London public-house. A glass of the wine of the country can be bought for a penny in these taverns, and the finest wines cost only a few pence the glass. Immense wine-barrels flank the walls, and there is an array of spirit and fruit syrup bottles behind the counter.

The chief hotels of Madrid are the Hotel de la Paz, Hotel del Universo, the Roma, and the Hotel de Paris. They are centrally situated, and fairly well appointed. The meals are _almuerzo_ and _comida_, corresponding to luncheon and dinner. There is no meal in Spain resembling the hearty English breakfast. The Spaniard takes a cup of chocolate and a dry roll upon rising, and goes about his business or his pleasure until eleven or twelve o’clock, when _almuerzo_, the first real meal of the day, is served.

Some of the Spanish dishes are only palatable to English people after a taste for them has been sedulously cultivated. Many of the viands are flavoured with garlic. The _menu_ for _comida_ consists of soup, fish, an egg dish, meat, sometimes a _puchero_ or stew, and cakes and fruit. Table wine is usually provided free of charge. Every man smokes in the dining-room, both during and after meals.

Among the best restaurants are the Fornos, the Italiano and the Inglés.

PRINTED BY
TURNBULL AND SPEARS
EDINBURGH

MADRID

_Specially drawn for The Spanish Series_]

ARMS OF MADRID]

GENERAL VIEW OF MADRID.]

VIEW OF MADRID FROM THE TEJA.]

GENERAL VIEW OF MADRID.]

VIEW OF MADRID FROM SAN ISIDRO.]

THE FOUNTAIN OF CYBELE AND CALLE DE ALCALÁ.]

THE NORTHERN RAILWAY STATION AND ROYAL PALACE.]

PUERTA DEL SOL.]

PUERTA DEL SOL.]

CALLE DE ALCALÁ.]

CALLE DE ALCALÁ.]

CALLE DE ALCALÁ.]

CALLE DE ALCALÁ.]

CARRERA DE SAN JERÓNIMO.]

CALLE DE ALCALÁ.]

CALLE DE SEVILLA.]

CALLE DE ALCALÁ.]

PLAZA DE CASTELAR.]

CALLE DE TOLEDO.]

IN OLD MADRID.]

PASEO DE RECOLETOS.]

PASEO DE RECOLETOS.]

PASEO DE RECOLETOS.]

PASEO DE RECOLETOS.]

CALLE DE ALCALÁ AND STATUE OF AGUIRRE.]

PASEO DE LA CASTELLANA.]

PLAZA DE ISABEL II.]

PLAZA DE ORIENTE.]

PLAZA MAYOR.]

PLAZA MAYOR.]

PLAZA MAYOR AND STATUE OF PHILIP III.]

CALLE DE SERRANO.]

CALLE DE LA PRINCESA ON GOOD FRIDAY.]

ENTRANCE TO THE PARK OF ALFONSO XIII.]

CASA DE CAMPO. THE LAKE.]

TOLEDO BRIDGE.]

TOLEDO BRIDGE.]

TOLEDO BRIDGE.]

SEGOVIA BRIDGE.]

ENTRANCE TO THE RETIRO.]

ENTRANCE TO THE RETIRO.]

PRINCIPAL ENTRANCE TO THE RETIRO.]

RETIRO. THE PARTERRE.]

RETIRO. THE LAKE.]

RETIRO. THE CRYSTAL PALACE.]

Retiro. Arab Pavilion.]

RETIRO. ARAB TEMPLE.]

GATE OF ALCALÁ.]

GATE OF HIERRO.]

GATE OF TOLEDO.]

CHAMBER OF DEPUTIES.]

THE CORTES. TWO BRONZE LIONS IN FRONT OF THE PALACE.]

INTERIOR OF THE CHAMBER OF DEPUTIES.]

INTERIOR OF THE CHAMBER OF DEPUTIES.]

RECEPTION ROOM AT THE CHAMBER OF DEPUTIES. DECORATED BY DON A. MÉLIDA.]

RECEPTION ROOM AT THE CHAMBER OF DEPUTIES. DECORATED BY DON A. MÉLIDA.]

FAÇADE OF THE HOSPITAL. CALLE FUENCARRAL.]

LA LATINA.]

PORTAL OF THE HOSPITAL OF THE CONCEPTION OR “LA LATINA” IN THE CALLE DE TOLEDO.]

STAIRCASE OF LA LATINA.]

PORTAL AND STAIRCASE OF THE HOSPITAL DE LA LATINA.]

ARABIAN PALACE OF THE PRADO.]

ARABIAN PALACE OF THE PRADO.]

LUJANES TOWER.]

THE AGUIRRE SCHOOL.]

THE SPANISH THEATRE.]

THE ROYAL THEATRE.]

THE TREASURY OFFICE IN THE CALLE DE ALCALÁ.]

PALACE OF THE MARQUÉS DE PORTUGALETE.]

PALACE OF THE MARQUÉS DE LINARES.]

THE BANK OF SPAIN.]

THE WAR OFFICE.]

SOUTHERN FAÇADE OF THE MUSEUM AND THE STATUE OF MURILLO.]

THE PRADO GALLERY. NORTH FAÇADE.]

THE PRADO GALLERY.]

THE NEW EXCHANGE.]

THE TOWN HALL.]

THE NORTHERN RAILWAY STATION.]

CÍRCULO DE CONTRIBUYENTES.]

THE SENATE HOUSE.]

HISPANO-AMERICAN BANK.]

THE SPANISH ACADEMY.]

THE ATOCHA STATION.]

NATIONAL LIBRARY.]

THE NATIONAL LIBRARY AND MUSEUM.]

NATIONAL LIBRARY. DETAIL OF THE FAÇADE.]

NATIONAL LIBRARY AND MUSEUM. EAST FAÇADE.]

NATIONAL LIBRARY. SPHINX.]

THE EQUITABLE BUILDINGS IN THE CALLE DE ALCALÁ.]

STATUE OF MARÍA CRISTINA AND MUSEUM OF REPRODUCTIONS.]

INTERIOR OF THE NEW EXCHANGE.]

THE HOME OFFICE.]

ASTRONOMICAL OBSERVATORY.]

THE EXCHANGE.]

THE WAR OFFICE.]

THE TOWN HALL.]

MINISTERIO DE FOMENTO.]

HERMITAGE OF SAN ISIDRO.]

REFUGE OF OUR LADY OF MERCY.]

CHURCH OF SAN FRANCISCO EL GRANDE.]

SAN FRANCISCO EL GRANDE.

GENERAL VIEW FROM THE CHOIR.]

SAN FRANCISCO EL GRANDE. THE CONCESSION OF THE JUBILEE OF THE PORCIÚNCULA.]

SAN FRANCISCO EL GRANDE. LEFT SIDE OF THE CUPOLA.]

CRYPT IN THE ALMUDENA CATHEDRAL.]

THE CATHEDRAL. PARTIAL VIEW OF THE CRYPT.]

CHURCH OF LAS CALATRAVAS.]

LAS CALATRAVAS.]

CHURCH OF EL BUEN SUCESO.]

GENERAL VIEW OF THE CHURCH EL BUEN SUCESO.]

CHURCH OF SAN JOSÉ.]

CHURCH OF SAN ISIDRO EL REAL.]

INTERIOR OF THE CHURCH OF SAN ISIDRO.]

CHURCH OF LA VIRGEN DEL PUERTO.]

CHURCH OF LAS SALESAS. THE SUFFERING CHRIST.]

CHURCH OF SAN CAYETANO.]

ALTAR PIECE IN THE BISHOP’S CHAPEL.]

DOOR IN THE BISHOP’S CHAPEL.]

THE BISHOP’S CHAPEL. LEFT SIDE OF THE DOOR.]

THE BISHOP’S CHAPEL. RIGHT SIDE OF THE DOOR.]

THE BISHOP’S CHAPEL. UPPER PART OF THE DOOR.]

THE BISHOP’S CHAPEL. SEPULCHRE OF THE BISHOP OF PLASENCIA.]

THE BISHOP’S CHAPEL. SEPULCHRE OF DON FRANCESCO DE VARGAS.]

THE BISHOP’S CHAPEL. SEPULCHRE OF DOÑA INES DE CARVAJAL.]

PARISH CHURCH OF ST ANDREW. SEPULCHRE OF SAN ISIDRO PLOUGHMAN, PATRON SAINT OF MADRID.]

INTERIOR OF THE CHURCH OF SAN JERÓNIMO.

FROM A PICTURE IN THE PRADO OF THE PRINCE OF THE ASTURIAS (FERDINAND VII.) TAKING THE OATH OF ALLEGIANCE IN 1789.]

VIEW OF THE INTERIOR OF THE CHURCH OF SAN JERÓNIMO.]

SAN ANTONIO DE LA FLORIDA.]

CHURCH OF SAN ANTONIO DE LA FLORIDA.]

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

FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]

FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]

FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]

FRESCO IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]

GROUP OF ANGELS IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]

GROUP OF ANGELS IN SAN ANTONIO DE LA FLORIDA, BY GOYA.]

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

SAN ANTONIO DE LA FLORIDA. PAINTING IN THE PRINCIPAL CHAPEL, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE CENTRES OF THE INTRADOS OF THE CHOIR AND PRINCIPAL CHAPEL ARCHES, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE INTRADOS OF THE CHAPEL ARCH, LEFT SIDE, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS ON THE INTRADOS OF THE CHAPEL ARCH, RIGHT SIDE, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. TRIANGLES FORMED BY THE DOME ADJOINING THE PRINCIPAL CHAPEL, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. TRIANGLES FORMED BY THE DOME ADJOINING THE CHOIR, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS AT THE LEFT SIDES OF THE WINDOWS OF THE DOME, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. PAINTINGS AT THE RIGHT SIDES OF THE WINDOWS OF THE DOME, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. CENTRE OF THE COMPOSITION ON THE CUPOLA FACING THE ENTRANCE, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE, BY GOYA.]

SAN ANTONIO DE LA FLORIDA. SECOND GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE, BY GOYA.]

THE PRADO.]

THE PRADO.]

THE PRADO GALLERY.]

THE PRADO. THE VELAZQUEZ GALLERY.]

MADRID PICTURE GALLERY]

MADRID PICTURE GALLERY.]

SCENE IN THE LIFE OF SANTO DOMINGO DE GUZMAN, BY PEDRO BERRUGUETE.

PRADO.]

ECCE HOMO, BY LUIS DE MORALES.

PRADO.]

THE BAPTISM OF CHRIST, BY NAVARRETE.

PRADO.]

PORTRAIT OF DON CARLOS, SON OF PHILIP II., BY ALONSO SÁNCHEZ COELLO.

PRADO.]

THE INFANTAS ISABEL CLARA EUGENIA AND CATALINA MICAELA, DAUGHTERS OF PHILIP II., BY ALONSO SÁNCHEZ COELLO.

PRADO.]

JACOB RECEIVING THE BLESSING OF HIS FATHER ISAAC, BY RIBERA.

PRADO.]

VISION OF ST PETER THE APOSTLE TO ST PETER NOLASCO, BY ZURBARÁN.

PRADO.]

LOS BORRACHOS, BY VELAZQUEZ.

PRADO.]

THE FORGE OF VULCAN, BY VELAZQUEZ.

PRADO.]

THE SURRENDER OF BREDA, BY VELAZQUEZ.

PRADO.]

PHILIP IV., BY VELAZQUEZ.

PRADO.]

QUEEN ISABEL OF BOURBON, BY VELAZQUEZ.

PRADO.]

DON BALTASAR CARLOS, BY VELAZQUEZ.

PRADO.]

PHILIP IV. IN HUNTING COSTUME, BY VELAZQUEZ.

PRADO.]

DON BALTASAR CARLOS IN HUNTING COSTUME, BY VELAZQUEZ.

PRADO.]

DUKE OF OLIVARES, BY VELAZQUEZ.

PRADO.]

ÆSOP, BY VELAZQUEZ.

PRADO.]

ST ANTONY ABBOT VISITING ST PAUL, BY VELAZQUEZ.

PRADO.]

LAS HILANDERAS, BY VELAZQUEZ.

PRADO.]

LAS MENINAS, BY VELAZQUEZ.

PRADO.]

OUR LADY OF THE IMMACULATE CONCEPTION, BY MURILLO. PRADO.]

EL TIÑOSO: ST ELIZABETH OF HUNGARY TENDING THE SICK IN HER HOSPITAL, BY MURILLO.

PRADO.]

FATHER CABANILLAS, BY MURILLO.

PRADO.]

THE CHILD JESUS AS SHEPHERD, BY MURILLO.

PRADO.]

DETAIL OF PLATE 179, BY MURILLO.

PRADO.]

THE VISION OF ST BERNARD, BY MURILLO.

PRADO.]

THE VIRGIN OF THE ROSARY, BY MURILLO.

PRADO.]

THE CHILD ST JOHN, BY MURILLO.

PRADO.]

THE CHILDREN, JESUS AND ST JOHN, KNOWN BY THE NAME OF “LOS NIÑOS DE LA CONCHA,” BY MURILLO.

PRADO.]

THE HOLY FAMILY AND THE BIRD, BY MURILLO.

PRADO.]

HEAD OF THE HOLY SHEPHERD (FRAGMENT), BY MURILLO.

PRADO.]

LA PORCIÚNCULA (THE VISION OF ST FRANCIS), BY MURILLO.

PRADO.]

THE MARTYRDOM OF ST ANDREW THE APOSTLE AT PATRAS, BY MURILLO.

PRADO.]

THE DREAM OF THE ROMAN SENATOR AND HIS WIFE, WHICH PRODUCED THE CHURCH OF ST MARIA MAGGIORE AT ROME, BY MURILLO.]

THE ROMAN SENATOR AND HIS WIFE TELLING THEIR DREAM TO POPE LIBERIUS, BY MURILLO.]

THE ANNUNCIATION, BY EL GRECO,

PRADO.]

THE HOLY FAMILY, BY EL GRECO.

PRADO.]

THE CRUCIFIXION, BY EL GRECO.

PRADO.]

THE DEAD CHRIST IN THE ARMS OF GOD THE FATHER, BY EL GRECO.

PRADO.]

CHARLES IV., BY GOYA.

PRADO.]

QUEEN MARIA LUISA, BY GOYA.

PRADO.]

THE NUDE MAJA, BY GOYA.

PRADO.]

THE DRAPED MAJA, BY GOYA.

PRADO.]

THE FAMILY OF CHARLES IV., BY GOYA.

PRADO.]

GOYA AT THE AGE OF 80, BY V. LÓPEZ.

PRADO.]

JESUS AND MARY MAGDALENE, BY CORREGGIO.

PRADO.]

THE HOLY FAMILY AND THE LAMB, BY RAFAEL.

PRADO.]

A CARDINAL, BY RAFAEL.

PRADO.]

MADONNA AND CHILD, WITH ST BRIDGET AND ST HULPUS, BY TITIAN.

PRADO.]

THE CROWN OF THORNS, BY DOMINGO TIEPOLO.

PRADO.]

PORTRAIT OF ALBRECHT DÜRER, BY HIMSELF.

PRADO.]

QUEEN ARTEMISIA, BY REMBRANDT.

PRADO.]

VILLAGE FÊTE, BY TENIERS.

PRADO.]

GALLERY OF THE ARCHDUKE LEOPOLD IN BRUSSELS, BY TENIERS.

PRADO.]

THE THREE GRACES, BY RUBENS.

PRADO.]

THE HOLY FAMILY, BY RUBENS.

PRADO.]

VAN DYCK AND COUNT BRISTOL, BY VAN DYCK.

PRADO.]

THE LAST SUPPER, BY JUAN DE JUANES.

PRADO.]

THE CATHOLIC SOVEREIGNS ADORING THE VIRGIN, BY JUAN DE BORGOÑA. PRADO.]

A GOTHIC KING, BY ALONSO CANO.

PRADO.]

THE WATER FROM THE ROCK, BY JUAN DE LAS ROELAS, EL CLÉRIGO.

PRADO.]

A SOUL IN PAIN, BY RIBALTA.

PRADO.]

PORTRAIT OF PHILIP II., BY PANTOJA DE LA CRUZ.

PRADO.]

PORTRAIT OF PEDRO BERRUGUETE. 15TH CENTURY.

COLLECTION OF DON JOSÉ DE LAZARO GALDEANO.]

ARCHITECTURE, PAINTING, AND SCULPTURE, BY G. SUÑOL.

ALLEGORIC GROUP INTENDED FOR THE FAÇADE OF THE PRADO.]

THE EMPEROR CHARLES V.

PRADO MUSEUM.]

THE EMPRESS ISABEL OF PORTUGAL, WIFE OF CHARLES V.

THE PRADO.]

A SATYR AND CHILDREN DANCING.

THE PRADO.]

MARBLE RELIEF. LIFE-SIZE FIGURES.

THE PRADO.]

MARBLE RELIEF. BACCHANTES. LIFE-SIZE FIGURES.

THE PRADO.]

BRONZE HEADS.

THE PRADO.]

TAPESTRY. THE BAPTIST TAKING LEAVE OF HIS PARENTS TO DEVOTE HIMSELF TO PENITENCE.]

TAPESTRY. THE VIRGIN ENTHRONED, GIDEON SHOWING THE LAMB’S SKIN, AND OTHER SCENES.]

EFFIGY OF ST FERDINAND, KING OF SPAIN.

CHAPEL ROYAL.]

(1 TO 5) CROWNS AND VOTIVE CROSSES OF GUARRAZAR.

(6) REMAINS OF ST FERDINAND’S ROBE.

(7) MOORISH SPURS OF ST FERDINAND.

ROYAL ARMOURY.]

C 1. SPANISH MAN-AT-ARMS, 15TH CENTURY.

ROYAL ARMOURY.]

C 4. SPANISH CROSSBOWMAN, 15TH CENTURY.

ROYAL ARMOURY.]

C 2. SPANISH HALBERDIER, 15TH CENTURY.

ROYAL ARMOURY.]

MACE-BEARER OF THE 16TH CENTURY WITH SURCOAT DISPLAYING THE ARMS OF CASTILE AND LEON.]

A 26. TILTING HARNESS OF CHARLES V.

ROYAL ARMOURY.]

A 112. ARMOUR PRESENTED TO CHARLES V. BY THE DUKE OF MANTUA.

ROYAL ARMOURY.]

ARMOUR OF CHARLES V. MADE BY DESIDERIO COLMAN.

(1849 CATALOGUE.)

ROYAL ARMOURY.]

A 231. ARMOUR MADE FOR PRINCE PHILIP (II.) BY WOLF OF LANDSHUT (1550).

ROYAL ARMOURY.]

ARMOUR OF CHARLES V., AUGSBURG OR NUREMBERG MAKE.

(1849 CATALOGUE.)

ROYAL ARMOURY.]

A 37. TILTING HARNESS OF CHARLES V. MADE BY DESIDERIO COLMAN, HELMSCHMIED.

ROYAL ARMOURY.]

A 65. TILTING HARNESS OF CHARLES V.

ROYAL ARMOURY.]

A 149. ARMOUR OF CHARLES V. (1541).

ROYAL ARMOURY.]

A 243. EQUESTRIAN ARMOUR OF PHILIP II. MADE BY SIGMUND WOLF OF LANDSHUT.

ROYAL ARMOURY.]

ARMOUR OF KING PHILIP II.

ROYAL ARMOURY.]

ARMOUR OF PHILIP II., ENGRAVED WITH THE ROYAL ARMS OF ENGLAND.

ROYAL ARMOURY.]

A 290. ARMOUR OF KING SEBASTIAN OF PORTUGAL.

ROYAL ARMOURY.]

A 290. ARMOUR OF KING SEBASTIAN, BACK PLATE (DETAILS).

ROYAL ARMOURY.]

A 291. ARMOUR OF PHILIP III. MADE BY LUCIO PICININO OF MILAN.

ROYAL ARMOURY.]

ARMOUR MADE AT PAMPLONA FOR THE DUKE OF SAVOY (1620).

ROYAL ARMOURY.]

HALF ARMOUR OF PHILIP IV.

ROYAL ARMOURY.]

MILANESE BRIGANTINE WHICH BELONGED TO CHARLES V.

ROYAL ARMOURY.]

B 1. BOY’S HALF ARMOUR MADE IN ITALY FOR THE INFANTE, AFTERWARDS PHILIP III.

ROYAL ARMOURY.]

D 1. BOY’S HALF ARMOUR MADE FOR THE INFANTE, AFTERWARDS PHILIP III. (SECOND VIEW.)

ROYAL ARMOURY.]

B 4. HALF ARMOUR PRESENTED TO THE INFANTE, AFTERWARDS PHILIP III., BY THE DUKE OF TERRANOVA.

ROYAL ARMOURY.]

B 18. BOY’S HALF ARMOUR MADE FOR THE INFANTE FERNANDO, SON OF PHILIP III.

ROYAL ARMOURY.]

HALF ARMOUR BELONGING TO PRINCE PHILIP, AFTERWARDS PHILIP IV.

ROYAL ARMOURY.]

A 434. GORGET. SUBJECT: THE SIEGE OF OSTEND, 1601.

ROYAL ARMOURY.]

A 434. GORGET OF PHILIP II.

SUBJECT: THE BATTLE OF NIEUPORT.

ROYAL ARMOURY.]

HELMET OF PHILIP II. MADE AT AUGSBURG IN 1549.

ROYAL ARMOURY.]

A 243. HELMET OF PHILIP II. MADE BY WOLF OF LANDSHUT IN 1554.

ROYAL ARMOURY.]

A 290. BURGONET OF KING SEBASTIAN OF PORTUGAL.

ROYAL ARMOURY.]

A 292. BURGONET MADE FOR PHILIP III. BY LUCIO PICININO.

ROYAL ARMOURY.]

A 350. HELMET FOR THE DUKE OF SAVOY (SIDE VIEW).

ROYAL ARMOURY.]

D 3. BURGONET OF CHARLES V. DESIGNED BY GIULIO ROMANO.

ROYAL ARMOURY.]

M 5. HELMET OF FRANCIS I. OF FRANCE, TAKEN AT THE BATTLE OF PAVIA.

ROYAL ARMOURY.]

1511. SATIN AND VELVET TURBAN FOUND IN THE PALACE OF MUSTAFA, BEY OF ORAN, IN 1722.

1533. STEEL TURBAN OF ALI PASHA, TURKISH ADMIRAL AT LEPANTO.

ROYAL ARMOURY.]

D 63. THE “PLUS ULTRA” SHIELD DESIGNED BY GIULIO ROMANO.

D 10. SHIELD, EARLY 17TH CENTURY.

DESIGN: WARRIORS IN COMBAT.

ROYAL ARMOURY.]

D 69. ITALIAN SHIELD, 16TH CENTURY.

DESIGN: THE TRIUMPH OF LOVE.

D 68. SHIELD OF AUGSBURG MAKE, 16TH CENTURY.

ROYAL ARMOURY.]

D 79. SHIELD PRESENTED TO PHILIP III. BY THE DUKE OF SAVOY IN 1603.

ROYAL ARMOURY.]

D 86. MOORISH LEATHER SHIELD, END OF 15TH CENTURY.

ROYAL ARMOURY.]

M 6. SHIELD AND SWORD OF FRANCIS I. OF FRANCE, TAKEN AT THE BATTLE OF PAVIA. DESIGN: THE GALLIC COCK ATTACKING A WARRIOR AND PUTTING HIM TO FLIGHT.

ROYAL ARMOURY.]

A 242. POMMEL AND CANTLE OF SADDLE OF PHILIP II.

ROYAL ARMOURY.]

A 291. CANTLE-PLATES OF SADDLE MADE BY LUCIO PICININO.

ROYAL ARMOURY.]

TURKISH SADDLE GIVEN TO CHARLES III.

ROYAL ARMOURY.]

TROPHY FORMED OF SEVERAL PIECES OF ARMOUR OF PHILIP II.

ROYAL ARMOURY.]

ARMOUR OF A GREYHOUND.

ROYAL ARMOURY.]

1987, 1992. SPANISH ARQUEBUSES, END OF 16TH CENTURY.

1955. PETRONEL, 16TH CENTURY.

1961. SPANISH ARQUEBUS, WITH OCTAGONAL BARREL INLAID WITH MOTHER OF PEARL AND IVORY, 16TH CENTURY.

1972, 1977, 1946. KEYS OR CRANKS TO COCK THE ARQUEBUSES.

ROYAL ARMOURY.]

DOUBLE BREECH-LOADING CANNON, IN BRONZE, USED IN SPAIN AT THE END OF THE 15TH CENTURY.

ROYAL ARMOURY.]

SEDAN CHAIR OF PHILIP V.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

SEDAN CHAIR OF FERDINAND VI.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

SEDAN CHAIR OF CHARLES IV.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

SEDAN CHAIR OF PHILIP V.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

SEDAN CHAIR OF CHARLES III.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

CAMPAIGN LITTER OF THE EMPEROR CHARLES V.

ROYAL ARMOURY.]

CARRIAGE GIVEN BY NAPOLEON I. TO CHARLES IV.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

THE CROWN COACH.

(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.)

ROYAL ARMOURY.]

GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]

GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]

GENERAL VIEW OF THE INTERIOR OF THE OLD ARMOURY.]

ROYAL ACADEMY OF HISTORY.

EXTERIOR OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]

ROYAL ACADEMY OF HISTORY.

PART OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]

ROYAL ACADEMY OF HISTORY.

PAINTINGS ON THE EXTERIOR OF THE TRIPTYCH-RELIQUARY FROM THE STONE MONASTERY IN ARAGON.]

STATUE OF PHILIP III. IN THE PLAZA MAYOR.]

STATUE OF PHILIP IV. IN THE PLAZA DE ORIENTE.]

STATUE OF ESPARTERO THE PEACE-MAKER.]

STATUE OF GENERAL CONCHA, MARQUÉS DEL DUERO.]

STATUE OF VELAZQUEZ.]

STATUE OF MURILLO.]

RETIRO. STATUE OF GOYA.]

STATUE OF CERVANTES.]

CERVANTES.]

STATUE OF CALDERÓN DE LA BARCA.

(THE WORK OF J. FIGUERAS.)]

ISABEL THE CATHOLIC. BRONZE GROUP IN THE CASTELLANA.

(THE WORK OF OMS.)]

MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]

MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]

MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]

MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]

MONUMENT TO THE MEMORY OF COLUMBUS IN THE PASEO DE RECOLETOS.]

MONUMENT TO COMMEMORATE THE 2ND OF MAY.]

FOUNTAIN OF NEPTUNE IN THE PRADO.]

THE FOUNTAIN OF CYBELE.]

THE PRADO, WITH THE FOUNTAIN OF THE FOUR SEASONS.]

THE ROYAL PALACE FROM THE CASA DE CAMPO.]

ROYAL PALACE. THE CHANGING OF THE GUARD (HALBERDIERS).]

THE PALACE.]

THE PALACE FROM THE PLAZA DE ORIENTE.]

THE ROYAL PALACE.]

FAÇADE OF PALACE.]

PALACE AND PLAZA DE LA ARMERIA.]

THE QUEEN MOTHER LEAVING THE PALACE.]

PRINCIPAL STAIRCASE.]

DETAIL OF THRONE ROOM.]

GENERAL VIEW OF THRONE ROOM.]

THE THRONE.]

ROOM OF CHARLES III.]

THE QUEEN’S ROOM.]

ROOM OF MIRRORS.]

GASPARINI ROOM OF CHARLES III.]

HALL OF COLUMNS.]

THE WEDDING.

THE KING AND QUEEN LEAVING THE CHURCH AND ENTERING THE ROYAL COACH.]

A BATTLE OF FLOWERS.]

HIS MAJESTY THE KING OF SPAIN.]

H.M. QUEEN VICTORIA OF SPAIN.]

THE KING AND QUEEN OF SPAIN.]

H.M. QUEEN VICTORIA.]

HER MAJESTY THE QUEEN MOTHER.]

DON CARLOS OF BOURBON.]

MEDAL STRUCK IN HONOUR OF THE ROYAL MARRIAGE.]

A LADY WITH A MANTILLA.]

MANTILLAS.]

AN OUT-DOOR PELOTA COURT, WITH SIX PLAYERS, THREE AGAINST THREE.]

A TARTAÑA.]

SKETCHES IN SPAIN.]

SKETCHES IN SPAIN.]

A DANCER.]

THE COUNSELLOR OF THE VILLAGE.]

BULL-FIGHTERS AT THE TAVERN.]

VIEW OF THE MONASTERY OF THE ESCORIAL.]

VIEW OF THE MONASTERY (EAST SIDE).]

THE COLONNADE OF THE MONASTERY.]

UPPER CLOISTER OF THE MONASTERY.]

LOWER CLOISTER OF THE MONASTERY.]

THE EVANGELISTS’ COURT.]

PRINCIPAL STAIRCASE OF THE MONASTERY.]

INTERIOR OF THE CHURCH.]

PANTEON OF THE KINGS.]

PANTEON OF THE INFANTES.]

CHAPTER ROOM. (MONASTERY.)]

SACRISTY. (MONASTERY.)]

ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.

(SACRISTY OF THE MONASTERY.)]

RETABLO AT THE HIGH ALTAR.

(BASILICA OF THE MONASTERY.)]

LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.]

THE TABERNACLE IN THE ESCORIAL CHURCH.]

CHOIR STALLS. (BASILICA OF THE MONASTERY.)]

LIBRARY OF THE MONASTERY.]

APOLLO AND MERCURY, BY PEREGRINO TIBALDI.

(FRESCO ON THE ARCH OF THE ESCORIAL LIBRARY.)]

RECEPTION HALL. (PALACE.)]

HALL OF AMBASSADORS. (PALACE.)]

DINING-HALL. (PALACE.)]

POMPEIAN HALL. (PALACE.)]

“CASA DEL PRINCIPE” OR LOWER LODGE.]

COFFEE-ROOM. (CASA DEL PRINCIPE.)]

THE LAST SUPPER, BY TITIAN. (THE ESCORIAL.)]

THE HOLY FAMILY, BY RAFAEL.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

ST MAURICE AND OTHER MARTYRS, BY EL GRECO.

(CHAPTER HALL OF THE ESCORIAL.)]

THE DREAM OF PHILIP II., BY EL GRECO.

(CHAPTER HALL OF THE ESCORIAL.)]

COUNTRY DANCE, BY GOYA.]

THE WASHERWOMEN, BY GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)]

THE CHINA MERCHANT, BY GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)]

THE GRAPE-SELLERS, BY GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)]

CHILDREN PICKING FRUIT, BY GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)]

THE KITE, BY GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)]

A SMOKER, BY TENIERS.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE STORY OF THE PASSION.

DIPTYCH, IN IVORY, OF THE 13TH CENTURY.

(FROM THE CAMARÍN OF ST THERESA.)]

EGYPTIAN BRONZES. AMON-RA AND ISIS.

NATIONAL ARCHÆOLOGICAL MUSEUM.]

EGYPTIAN BRONZES. OSIRIS AND OSOR-API.

NATIONAL ARCHÆOLOGICAL MUSEUM.]

ALCALÁ DE HENARES. PASEO DE CERVANTES.]

ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]

ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]

ALCALÁ DE HENARES. FAÇADE OF THE ARCHIVES.]

COURT OF THE ALCALÁ DE HENARES. GENERAL CENTRAL ARCHIVES.]

ALCALÁ DE HENARES.

CHAPEL OF THE “OIDOR.” ACTUAL STATE OF THE NORTH WALL.]

ALCALÁ DE HENARES. ACTUAL STATE OF THE SOUTH WALL.]

ALCALÁ DE HENARES.

CHAPEL OF THE “OIDOR.” ACTUAL STATE OF THE FRIEZE ROUND THE NORTH WALL.]

ALCALÁ DE HENARES. THE UNIVERSITY.]

ALCALÁ DE HENARES. FAÇADE OF THE UNIVERSITY.]

ALCALÁ DE HENARES.

LONGITUDINAL SECTION OF THE CHAPEL OF SAN ILDEFONSO IN THE UNIVERSITY.]

ALCALÁ DE HENARES.

DETAILS OF THE FAÇADE OF THE UNIVERSITY.]

ALCALÁ DE HENARES. DETAILS OF THE FAÇADE OF THE UNIVERSITY.]

ALCALÁ DE HENARES.

PASEO DE LA ESTACIÓN.]

ALCALÁ DE HENARES.

MOORISH PALACE.]

ALCALÁ DE HENARES.

INTERIOR OF THE CATHEDRAL.]

ALCALÁ DE HENARES.

INTERIOR OF THE CATHEDRAL.]

ALCALÁ DE HENARES.

THE CATHEDRAL. NAVE.]

ALCALÁ DE HENARES.

SEPULCHRE OF DON ALONSO CARRILLO, ARCHBISHOP OF TOLEDO.]

ALCALÁ DE HENARES.

SEPULCHRE OF CARDINAL FRANCISCO XIMÉNEZ DE CISNEROS.]

ALCALÁ DE HENARES.

SEPULCHRE OF THE ARCHBISHOP OF TOLEDO, DON ALFONSO CARRILLO DE ACUÑA.]

ALCALÁ DE HENARES.

DETAILS OF THE SEPULCHRE OF CARDINAL FRANCISCO XIMÉNEZ DE CISNEROS.]

ALCALÁ DE HENARES.

CHAPEL OF SANTIAGO IN THE CHURCH OF SANTA MARÍA.]

ALCALÁ DE HENARES.

CHAPEL OF SANTIAGO IN THE CHURCH OF SANTA MARÍA.]

ALCALÁ DE HENARES. STAIRCASE IN THE ARCHBISHOP’S PALACE.]

ALCALÁ DE HENARES.

DETAILS OF THE WESTERN COURT AND ENTRANCE COURT, ARCHBISHOP’S PALACE.]

ALCALÁ DE HENARES.

LONGITUDINAL SECTION AND DETAILS OF THE ARCHBISHOP’S PALACE.]

ALCALÁ DE HENARES.

FRONTISPIECE of a Book called “Vita Cristi Cartuxano.”]

MUÑOZA BULLS, THE PROPERTY OF THE DUKE OF VERAGUA, BY JOAQUÍN DÍEZ.]

TESTING A “BECERRO,” OR YOUNG BULL, AT TABLADA, NEAR SEVILLE, BY JOAQUÍN DÍEZ.]

SELECTING BULLS FROM THE HERD OF THE DUKE OF VERAGUA AT “LA MUÑOZA,” BY JOAQUÍN DÍEZ.]

THE TOILET OF THE TOREADOR BEFORE THE BULL-FIGHT, BY V. ESQUIVEL.]

BEFORE THE BULL-FIGHT BY B. FERRANDIZ.]

TOREADORS PREPARING TO ENTER THE ARENA, BY J. AGRASOT.]

ENTERTAINING THE BULL-FIGHTER, BY ALARCÓN.]

“HERE COMES THE BULL!” BY P. FRANCÉS.

NATIONAL EXHIBITION OF BEAUX-ARTS, 1887.]

“THE UNINVITED GUEST,” BY E. MÉLIDA.]

HEAD OF A BULL, BY JOAQUÍN DÍEZ.]

PRINCIPAL FAÇADE OF THE NEW PLAZA DE TOROS.]

PRINCIPAL ENTRANCE TO THE NEW PLAZA DE TOROS.]

INTERIOR OF THE NEW PLAZA DE TOROS.]

BULL-FIGHT. ENTRANCE OF THE “CUADRILLA.”]

BULL-FIGHT. A PICADOR INCITING THE BULL.]

BULL-FIGHT. THE PICADOR.]

BULL-FIGHT. THE PICADOR.]

BULL-FIGHT. A “QUITE.”]

BULL-FIGHT. A “QUITE” OF EL GALLO.]

BULL-FIGHT. LAGARTIJO AFTER A “RECORTE.”]

BULL-FIGHT. THE BANDERILLAS.]

BULL-FIGHT.

FRASCUELO IRRITATING THE BULL WITH A CLOAK BEFORE KILLING HIM.]

BULL-FIGHT. LAGARTIJO IRRITATING THE BULL WITH A CLOAK BEFORE KILLING HIM.]

BULL-FIGHT. THE BULL BEING DRAGGED OUT OF THE ARENA.]

LADIES AT THE BULL-FIGHT.]

THE PROCESSION.]

THE PICADOR.]

A TURN WITH HIS BACK TO THE BULL.]

THE MATADOR.]

BULL-FIGHT. LEAP OVER THE BULL’S NECK.]

BULL-FIGHT. LEAP WITH THE POLE.]

BULL-FIGHT. BANDERILLAS.]

TOREADOR WOUNDED DURING A BULL-FIGHT, BY LIZCANO.]

GUERRITA. BANDERILLERO.]

LUIS MAZZANTINI AND CUADRILLA.]

BULL-FIGHT.

LAST MOMENTS OF A TOREADOR AFTER BEING ATTACKED IN THE ARENA, BY R. NOVAS.]

* * * * *

THE SPANISH SERIES

Crown 8vo. Gilt Top. Price 3/6 net.

“Mr. A. CALVERT’S Spanish Series will be heartily welcomed by all students of Spanish art, for it is not too much to say that never before has an attempt been made to present to the public so vast a number of reproductions from quite acceptable photographs of Spanish works of art at so low a price.”--_The World._

“ ...Calculated to give English readers a most comprehensive survey of this fascinating land, and to convey a clear idea of its historic greatness. The get-up of the books is in every way worthy of a series of this magnitude.”--_Sketch._

“Every volume in the Spanish Series has taught us to expect a high standard of excellence.”--_Daily News._

GOYA with 612 illustrations
TOLEDO “ 510 “
MADRID “ 453 “
GALICIA ---
SEVILLE “ 300 “
MURILLO “ 165 “
CORDOVA “ 160 “
EL GRECO “ 136 “
VELAZQUEZ “ 136 “
THE PRADO “ 220 “
THE ESCORIAL “ 278 “
SCULPTURE IN SPAIN “ 140 “
VALENCIA AND MURCIA “ 300 “
ROYAL PALACES OF SPAIN “ 164 “
VIZCAYA AND SANTANDER
SPANISH ARMS AND ARMOUR “ 386 “
GRANADA AND THE ALHAMBRA “ 460 “
LEON, BURGOS AND SALAMANCA “ 462 “
CATALONIA AND BALEARIC ISLANDS “ 250 “
THE ROYAL TAPESTRIES AT MADRID “ 200 “
VALLADOLID, OVIEDO, SEGOVIA, }
ZAMORA, AVILA AND ZARAGOZA } “ 413 “

* * * * *

_UNIFORM WITH THIS VOLUME_

EL GRECO

A BIOGRAPHY & APPRECIATION. WITH 136 PLATES

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

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

VELAZQUEZ

A BIOGRAPHY & APPRECIATION. WITH 136 PLATES

DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ--“our Velazquez,” as Palomino proudly styles him--has been made the subject of innumerable books in every European language, yet the Editor of this Spanish series feels that it would not be complete without the inclusion of yet another contribution to the broad gallery of Velazquez literature.

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

THE PRADO

A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. WITH 220 PLATES

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

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

* * * * *

_UNIFORM WITH THIS VOLUME_

VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 413 PLATES

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

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

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

VALENCIA AND MURCIA

A GLANCE AT AFRICAN SPAIN, WITH 300 ILLUSTRATIONS

Every traveller to the fertile Provinces which form the subject of this volume has been forcibly impressed by their outward resemblance to the more favoured parts of Northern Africa. And here, only to a degree less than in Andalusia, the Moors made themselves very much at home, and have left behind them ineffaceable impressions.

In this delightful region the dusky invaders established themselves at Valencia, which they dubbed the City of Mirth. The history of the land is alike a fevered dream of mediævalism. Across its pages flit the shadowy forms of Theodomir, and the Cid and Jaime lo Conqueridor, standing out against a back-ground of serried hosts and flaming cities. The people to-day are true children of the sun, passionate, vivacious, physically well proportioned. The country is a terrestrial paradise, where the flowers ever blossom and the sun ever shines. To-day the Valencian supplements the bounty of Nature by enterprise and industry. His ports pulsate with traffic, and side by side with memorials of the life of a thousand years ago, modern social Spain may be studied at Alicante and El Cabanal, the Brighton and Trouville of the Peninsula.

* * * * *

_UNIFORM WITH THIS VOLUME_

THE ROYAL TAPESTRIES

AT MADRID

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE COLLECTION OF BEAUTIFUL TAPESTRIES IN THE ROYAL PALACE AT MADRID. WITH OVER 200 PLATES

The Royal Palace at Madrid contains the most valuable and interesting collection of Tapestries in Europe. These were for the most part woven in Flanders, some in the early fifteenth century, at a time when the industry in that country had reached its zenith. At a later period the work of the Flemish artists was imitated in Spain itself with no little success. Among the designers of these superb works of art were Quentin Matsys, Pieter Breughel, and the Divine Raphael himself. Not artistically only but historically the collection is of rare interest.

SPANISH ARMS AND ARMOUR

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. WITH 386 PLATES

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

GRANADA AND THE ALHAMBRA

WITH AN ACCOUNT OF THE MOSLEM RULE IN SPAIN AND OF THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, AND 460 PLATES

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

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_UNIFORM WITH THIS VOLUME_

LEON, BURGOS AND SALAMANCA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 PLATES

In Leon, once the capital of the second kingdom in Spain; in Burgos which boasts one of the most magnificent cathedrals in Spain, and the custodianship of the bones of the Cid; and in Salamanca, with its university, which is one of the oldest in Europe the author has selected three of the most interesting relics of ancient grandeur in this country of departed greatness. Leon to-day is nothing but a large agricultural village, torpid, silent, dilapidated; Burgos, which still retains traces of the Gotho-Castilian character, is a gloomy and depleting capital; and Salamanca is a city of magnificent buildings, a broken hulk, spent by the storms that from time to time have devastated her.

CATALONIA AND THE BALEARIC ISLANDS

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 250 PLATES

Catalonia is the Spain of to-day and of the future. There are those who believe that Catalonia contains all the elements essential to the complete regeneration of Spain, and that she will raise the whole country to her industrial level. But the old county of Barcelona has a glorious and stirring past, as well as a promising future. Her history goes back to the days of Charlemagne, and has to tell of merchant princes and of hazardous commercial enterprise reminding one of the Italian maritime republics. The Balearic Islands, one of which (Minorca) was long an English possession, constitute one of the most flourishing provinces of the Kingdom. Delightful as a place of sojourn or residence, Majorca and her sister isles reveal many and conspicuous traces of that prehistoric race which once offered bloody sacrifices to the Sun on all the shores of the Inland Sea.

THE ESCORIAL

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. WITH PLANS AND 278 PLATES

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

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_UNIFORM WITH THIS VOLUME_

GALICIA

THE LAND AND THE PEOPLE. A HISTORICAL AND DESCRIPTIVE ACCOUNT. ILLUSTRATED

The old kingdom of Galicia may not inaptly be termed the Wales of Spain. Its people approximate closely to the old Celtic type, with a large admixture of the Teutonic blood of that strange forgotten tribe, the Suevi, who held sway here for two centuries. Though every traveller in Spain has met the sturdy patient Gallegos in the capacity of porters, servants, and workers, few trouble to visit their country, a pleasant land of green hills, deep valleys smiling lakes, brawling streams and long fjords like gulfs.

ROYAL PALACES OF SPAIN

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF THE SPANISH KINGS. WITH 164 PLATES.

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

VIZCAYA AND SANTANDER

SOME ACCOUNT OF THE CANTABRIAN LAND AND OF SPANISH NAVARRE. BY ALBERT F. CALVERT

Whether or not the Basques be the aboriginal inhabitants of the Peninsula, they are at least the oldest of its peoples, and among the most interesting. Their language, their customs their _fueros_ of local code, above all their mysterious origin, have been the themes of discussion and speculation among the learned for centuries--and are likely to continue so. Meanwhile they flourish exceedingly, and their towns, or at least their sea-ports hum with life and energy.