Chapter V: Appendix: II

LIST OF THE PRINCIPAL PAINTERS WHOSE WORKS ARE IN THE ESCORIAL

ARTIST. SUBJECT. SITUATION.

Cano. Virgin and Infant Christ. Apartments of Princess.

Carducci. Portraits of Saints. Relicario of Church.
Arts and Sciences (fresco). Library.

Coello. Altarpieces. In Chapels.
Father Sigüenza. Upper Prior’s Chamber.

El Greco. St. Maurice. The Old Church.

Giordano. Life of David. Ceiling of Choir of Church.
Eight Frescoes. Dome of Church.
San Juan. Ante-Sacristy.
Frescoes. Staircase of Monastery.

Goya. Frescoes of Spanish Customs. Palace.

Holbein. San Geronimo. Lecture Hall.

Juanes. Virgin and Infant. Apartments of the Queen.

Navarrete Our Lady and San Juan. In Church near Prior’s Seat.
(El Mudo). Crucifixion. Library of Church.
Abraham and Angels. Salas de los Capitulos.
San Geronimo. “
Birth of Christ. Upper Gallery of Cloisters.
Appearance of Jesus. “
Burial of San Lorenzo. Lecture Hall.

Pantoja. Various. Oratories of Church.
Carlos V. Lower Prior’s Chamber.
Philip II. Library.
Philip III. Apartments of Princess.

Reni. Scriptural. Sacristy of Church.

Ribera. San Geronimo. Ante-Sacristy of Church.
Birth of Christ. Salas de los Capitulos.
Philip II. Apartments of the Prince.
San Antonio. Workroom of Palace.

Teniers. Various Frescoes. Palace.

Tibaldi. Birth of Christ.
Adoration of the Magi. Altar Screen of Church.
Elias.
Old Testament Scenes. In Chapels.
Altarpieces. “
Frescoes of Sciences. Library.

Tintoretto. Entombment. Prior’s Hall.
Washing the Apostles’ Feet. Sacristy of Church.

Titian. San Geronimo.
Agony in the Garden. Salas de los Capitulos.
Last Supper. “
Prayer in the Garden. “
Our Lady of Sorrows. “
Adoration of the Magi. “
Ecce Homo. “

Velazquez. Sons of Jacob. Sacristy of Church.

Zuccaro. The Flagellation. Altar Screen of Church.
Birth of Christ. Old Church.

Zurbarán. Sons of Jacob. Sacristy of Church.
A Portrait. Reading-Room.

PLAN OF THE MONASTERY.]

VIEW OF THE MONASTERY.]

VIEW OF THE MONASTERY FROM THE ORCHARD.]

VIEW OF THE MONASTERY FROM THE ENTRANCE OF THE ‘REAL SITIO.’]

VIEW OF THE MONASTERY FROM THE ROMERAL.]

VIEW OF THE MONASTERY (EAST SIDE).]

PRINCIPAL FAÇADE OF THE COURT OF THE KINGS.]

VIEW OF THE COURT OF THE KINGS.]

BALCONY IN THE COURT OF ‘LA COMPAÑA.’]

VIEW OF THE ‘CASA DEL PRINCIPE,’ OR LOWER LODGE.]

ASCENT TO THE SILLA DEL REY, THE CHAIR OF PHILIP II.]

THE SILLA DEL REY, THE CHAIR OF PHILIP II.]

THE HORCA CROSS, NEAR THE ESCORIAL.]

GARDEN OF THE CASITA DE ABAJO.

(ESCORIAL.)]

SOURCE OF THE SEMINARIO.]

SOURCE OF THE SEMINARIO.

(ESCORIAL.)]

THE COLONNADE OF THE MONASTERY.]

VIEW OF THE UPPER CLOISTER OF THE MONASTERY.]

VIEW OF THE UPPER CLOISTER OF THE MONASTERY.]

LOWER CLOISTER OF THE MONASTERY.]

VIEW OF THE LOWER CLOISTER OF THE MONASTERY.]

SNOW-PIT AND POND OF ‘CONVALESCENTS.’]

‘CONVALESCENTS’ GALLERY.]

THE MONKS’ WALK AND ‘CONVALESCENTS’ GALLERY.

(ESCORIAL.)]

‘CONVALESCENTS’ GALLERY.]

THE EVANGELISTS’ COURT.]

COURT WITH THE SPRINGS OF THE EVANGELISTS.]

SHIELD OF THE EMPEROR CHARLES V.]

COURT OF THE EVANGELISTS.]

INTERIOR OF THE CHURCH.]

DOOR-KNOCKER OF THE CHURCH AT THE ESCORIAL.]

CHOIR STALLS.

(BASILICA OF THE MONASTERY.)]

INTERIOR VIEW FROM THE CHOIR.

(BASILICA OF THE MONASTERY.)]

INTERIOR VIEW.

(BASILICA OF THE MONASTERY.)]

RETABLO AT THE HIGH ALTAR.

(BASILICA OF THE MONASTERY.)]

INTERIOR VIEW FROM THE HIGH ALTAR.

(BASILICA OF THE MONASTERY.)]

ALTAR-PIECE AT THE HIGH ALTAR.]

ST. HIERONYMUS AND ST. AUGUSTINE.

(STATUES OF THE ALTAR-PIECE.)]

ST. MATTHEW AND ST. MARK.

(STATUES OF THE ALTAR-PIECE.)]

ST. PAUL.

(STATUE OF THE ALTAR-PIECE.)]

ST. GREGORY AND ST. AMBROSE.

(STATUES OF THE ALTAR-PIECE.)]

ST. PETER.

(STATUE OF THE ALTAR-PIECE.)]

ST. JOHN AND ST. LUKE.

(STATUES OF THE ALTAR-PIECE.)]

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

MARBLE STATUE OF ST. LAURENT AT THE ENTRANCE OF THE CHOIR.]

INTERIOR VIEW OF THE CHAPEL.]

THE TABERNACLE.

(ESCORIAL.)]

PANTEON OF THE KINGS.

(ENTRANCE GATE.)]

BEAUTIFUL ROCK CRYSTAL CANDELABRUM IN THE CHOIR OF THE ESCORIAL.]

CASKET IN MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH BEAUTIFUL ENGRAVED ROCK CRYSTAL.

(RELIQUARY OF THE ESCORIAL.)]

VIEW OF THE PANTEON OF THE KINGS.

ESCORIAL.]

PANTEON OF THE INFANTES (INTERIOR).]

PANTEON OF THE INFANTES (INTERIOR).]

TOMB OF CHARLOTTE OF BOURBON.

(PANTEON OF THE INFANTES.)]

TOMB OF DON JOHN OF AUSTRIA.

(PANTEON OF THE INFANTES.)]

VIEW OF THE PRINCIPAL STAIRCASE OF THE MONASTERY.]

LIBRARY OF THE MONASTERY.]

LIBRARY OF THE MONASTERY.]

LIBRARY OF THE MONASTERY.]

LIBRARY OF THE MONASTERY.]

GOLDEN MS. (10TH CENTURY).

(LIBRARY OF THE MONASTERY.)]

PRAYER-BOOK OF ISABELLA THE CATHOLIC.

(LIBRARY OF THE MONASTERY.)]

SONGS OF ST. MARY. MS. BELONGING TO ALFONSO THE WISE (13TH CENTURY).

(LIBRARY OF THE MONASTERY.)]

LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.

(LIBRARY OF THE MONASTERY.)]

MASS-BOOK OF PHILIP II.

(LIBRARY OF THE MONASTERY.)]

BREVIARY OF CHARLES V.

(LIBRARY OF THE MONASTERY.)]

PSALTER OF THE EMPEROR CHARLES V.

(LIBRARY OF THE ESCORIAL.)]

NATURAL HISTORY OF PLINY THE YOUNGER. ITALIAN MS. OF THE 16TH CENTURY.

(LIBRARY OF THE ESCORIAL.)]

PAGE 238 OF THE MASS-BOOK OF ISABELLA THE CATHOLIC: MS. OF THE 15TH CENTURY, THE VIGNETTE OF WHICH CONTAINS THE NAME OF THE QUEEN.

(LIBRARY OF THE ESCORIAL.)]

FIRST PAGE OF A HEBREW BIBLE: PRECIOUS MSS. OF THE END OF THE 14TH CENTURY.

(LIBRARY OF THE ESCORIAL.)]

PERSIAN MS., THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH CENTURY.

(LIBRARY OF THE ESCORIAL.)]

MANUSCRIPT OF THE YEAR 1050.

(LIBRARY OF THE ESCORIAL.)]

VIRGIL’S POEMS: MS. OF THE 15TH CENTURY, WRITTEN IN SPAIN.

(LIBRARY OF THE ESCORIAL.)]

VIRGIL: MANUSCRIPT OF THE YEAR 966.

(LIBRARY OF THE ESCORIAL.)]

VIRGIL: MANUSCRIPT OF THE YEAR 966.

(LIBRARY OF THE ESCORIAL.)]

THE APOCALYPSE OF ST. JOHN: MANUSCRIPT OF THE 15TH CENTURY.

(LIBRARY OF THE ESCORIAL.)]

TWO PAGES OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.

(LIBRARY OF THE ESCORIAL.)]

THE TREE OF LOVE, WRITTEN IN 1288.

(LIBRARY OF THE ESCORIAL.)]

PERSIAN MANUSCRIPT, THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH CENTURY.

(LIBRARY OF THE MONASTERY.)]

MASS-BOOK OF ISABEL THE CATHOLIC, MANUSCRIPT OF THE 15TH CENTURY.

(LIBRARY OF THE ESCORIAL.)]

FRONTISPIECE OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.

(LIBRARY OF THE ESCORIAL.)]

MASS-BOOK OF THE EMPRESS ISABEL, MOTHER OF PHILIP II.

(LIBRARY OF THE ESCORIAL.)]

MASS-BOOK OF PHILIP III. AND QUEEN MARGARITA.

(LIBRARY OF THE ESCORIAL.)]

GREEK MANUSCRIPT OF THE END OF THE 14TH CENTURY.

(LIBRARY OF THE ESCORIAL.)]

BREVIARY OF PHILIP II. (16TH CENTURY).

(LIBRARY OF THE MONASTERY.)]

MASS-BOOK AND HOLY OFFICE OF PHILIP II.

(LIBRARY OF THE MONASTERY.)]

LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.

(LIBRARY OF THE MONASTERY.)]

ARABIAN MANUSCRIPT (NATURAL HISTORY).

(LIBRARY OF THE MONASTERY.)]

READING DESK IN THE CHOIR.

(ESCORIAL.)]

SACRISTY (MONASTERY).]

PARANYMPH OF THE COLLEGE (MONASTERY).]

OUR LORD CRUCIFIED, SCULPTURED IN MARBLE (MONASTERY).]

INTERMENT OF PHILIP II. (MONASTERY).]

CHAPTER ROOM (MONASTERY).]

CHAPTER ROOM (MONASTERY).]

CHAPTER HALL (MONASTERY).]

PRESENTATION OF THE VIRGIN

AT THE TEMPLE,<br />ATTRIBUTED TO VAN EYCK (MONASTERY).]

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

(SACRISTY OF THE MONASTERY.)]

EMBROIDERED ALTAR-CLOTHS.

(FROM THE SACRISTY.)]

EMBROIDERED COPES.

(SACRISTY OF THE ESCORIAL.)]

CASKET OF MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH ENGRAVED ROCK CRYSTAL.

(RELICARIO OF THE ESCORIAL.)]

CHRIST ON THE CROSS, IN WROUGHT COPPER.

(RELICARIO OF THE ESCORIAL.)]

BRONZE LECTERN REPRESENTING AN EAGLE, MADE AT ANTWERP IN 1571.

(CHAPTER HALL OF THE ESCORIAL.)]

BRONZE LECTERN REPRESENTING AN ANGEL, MADE AT ANTWERP IN 1571, BY JEAN SIMON.

(CHAPTER HALL OF THE ESCORIAL.)]

ST. MICHAEL OVERCOMING THE DEVIL, BY PEDRO ROLDAN,

(CHAPTER HALL OF THE ESCORIAL.)]

CHRIST, WITH THE VIRGIN AND ST. JOHN: STATUES IN MARBLE.

(THE ESCORIAL.)]

GATE OF THE SANTA FORMA.

(SACRISTY OF THE MONASTERY.)]

MIRROR IN ROCK CRYSTAL.

(SACRISTY OF THE ESCORIAL.)]

ALTAR-PIECE OF CHARLES V., IN WROUGHT COPPER.

(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)]

ALABASTER STATUE OF ST. JOHN BAPTIST.

(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)]

INSIDE COVER OF A RELIQUARY WHICH BELONGED TO PIUS V. 1566-1572.

(FROM THE CAMARIN OF ST. THERESA.)]

RELIQUARY OF ROCK CRYSTAL.

(FROM THE CAMARIN OF ST. THERESA.)]

BONE RELIQUARY OF THE END OF THE 12TH CENTURY.

(CAMARIN OF ST. THERESA.)]

RELIQUARY OF WROUGHT IRON, INLAID.

(RELICARIO OF THE ESCORIAL.)]

RELIQUARY OF WROUGHT IRON, INLAID.

(RELICARIO OF THE ESCORIAL.)]

RECEPTION HALL.

(PALACE.)]

RECEPTION HALL.

(PALACE.)]

VIEW OF THE DINING HALL.

(PALACE.)]

VIEW OF THE DINING HALL.

(PALACE.)]

ANTE-ROOM.

(CASA DEL PRINCIPE.)]

HALL OF AMBASSADORS.

(PALACE.)]

A ROOM OF PHILIP II.

(PALACE.)]

MEMORIAL OF KING PHILIP II.

(ESCORIAL.)]

CHAIRS OF PHILIP IV.

(PALACE.)]

ESCUTCHEON OF KING PHILIP II.

(THE ESCORIAL.)]

BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD.

(THE HALL OF CHINA OF THE CASA DEL PRINCIPE AT THE ESCORIAL.)]

BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD PANELS.

(CASA DEL PRINCIPE.)]

VIEW OF THE DINING HALL.

(Casa del Principe.)]

THE JUDGMENT OF SOLOMON (IVORY).

(CASA DEL PRINCIPE.)]

THE FISHERMAN CAUGHT IN THE NETS (IVORY).

(CASA DEL PRINCIPE.)]

SCULPTURE IN IVORY CALLED ‘PRINCESA DE SAN SEVERO.’

(CASA DEL PRINCIPE.)]

THE ADORATION OF THE SHEPHERDS (IVORY).

(CASA DEL PRINCIPE.)]

ROUND TABLE WITH A TRAY OF SÈVRES PORCELAIN.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

TABLE, CHAIR, AND PORCELAIN FROM THE ROYAL WORKS AT BUEN RETIRO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

MARY MAGDALENE: FROM THE ROYAL WORKS AT BUEN RETIRO.

(CASA DEL PRINCIPE.)]

BUEN RETIRO PORCELAIN: IMITATION OF WEDGWOOD.

(CASA DEL PRINCIPE.)]

TOP OF A ROUND TABLE IN SÈVRES PORCELAIN.

(CASA DEL PRINCIPE.)]

THE DESCENT FROM THE CROSS: SCULPTURE IN IVORY.

(PALACE.)]

ANTE-ROOM OF CHOICE WOODS.

(PALACE.)]

CHAIR OF THE EMPEROR CHARLES V.

(PALACE.)]

THE EMPEROR CHARLES V., THE EMPRESS ISABEL, HIS DAUGHTER MARIA, HIS SISTERS ELEONORA, QUEEN OF FRANCE, AND MARIA, QUEEN OF HUNGARY.

(ESCORIAL.)]

POMPEIAN HALL.

(PALACE.)]

ORATORY OF CHOICE WOODS IN THE ANTE-CHAMBER.

(PALACE.)]

EXPEDITION TO THE AZORES.

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (1ST SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (2ND SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (3RD SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (4TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (5TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (6TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (7TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (8TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (9TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

BATTLE OF HIGUERUELA, 1431 (10TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)]

FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.

(HALL OF BATTLES IN THE ESCORIAL.)]

FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.

(HALL OF BATTLES IN THE ESCORIAL.)]

FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.

(HALL OF BATTLES IN THE ESCORIAL.)]

SURRENDER OF THE CHATELET FORT.

(HALL OF BATTLES.)]

THE SIEGE OF HAN AND SURRENDER OF ITS CASTLE.

(HALL OF BATTLES.)]

BATTLE OF GRAVELINAS.

(HALL OF BATTLES.)]

PREPARATIONS FOR THE BATTLE OF GRAVELINAS.

(HALL OF BATTLES.)]

TAKING OF ST. QUINTIN BY THE SPANISH INFANTRY REGIMENTS.

(HALL OF BATTLES.)]

BATTLE BEFORE ST. QUINTIN.

(HALL OF BATTLES.)]

PREPARATIONS FOR THE SIEGE OF ST. QUINTIN.

(HALL OF BATTLES.)]

DEPARTURE OF THE SPANISH ARMY FROM THE FORTIFIED PLACE OF ST. QUINTIN.

(HALL OF BATTLES.)]

THE DUKE OF ALBA REVIEWING HIS TROOPS AT CANTILLANA.

(HALL OF BATTLES.)]

EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE GOTHS, UNTIL PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.

(LIBRARY OF THE ESCORIAL.)]

PLUTO AND PROSERPINA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

ALLEGORY OF AFRICA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

PHAETON STRUCK BY JUPITER’S THUNDERBOLT.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE BATTLE OF LEPANTO, BY L. GIORDANO.

(REPRODUCED FROM THE FRESCO IN THE ESCORIAL.)]

EXPEDITION TO THE TERCEIRE ISLE (AZORES).

(FRAGMENT OF A FRESCO PAINTING IN THE HALL OF BATTLES.)]

APOLLO AND MERCURY, BY PEREGRINO TIBALDI.

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

A SWEET SINGER, BY WATTEAU.

(MUSEUM OF THE ESCORIAL.)]

A LOVE SCENE, BY WATTEAU.

(MUSEUM OF THE ESCORIAL.)]

PHILIP II. RECEIVING A DEPUTATION FROM THE LOW COUNTRIES IN THE ESCORIAL, BY SANT ARCOS.]

PORTRAIT OF PHILIP II. AT THE AGE OF 71, BY ANTONIO MORO.

(LIBRARY OF THE ESCORIAL.)]

SECOND SET OF EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE GOTHS, UNTIL PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.

(LIBRARY OF THE ESCORIAL.)]

ST. ISIDORE, BY CORRADO.

(IN THE MUSEUM AT THE ESCORIAL.)]

PAN AND MISENUS, BY PEREGRINO TIBALDI.

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

HOMER AND VIRGIL, BY PEREGRINO TIBALDI.

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

SOLOMON AND THE QUEEN OF SHEBA, BY V. CARDUCCI.

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

PINDAR AND HORACE, BY PEREGRINO TIBALDI.

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

THE VISITATION, BY PEREGRINO TIBALDI.

(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]

THE MARRIAGE OF THE VIRGIN, BY PEREGRINO TIBALDI.

(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]

THE ANNUNCIATION, BY LUCAS CANGIAGI.

(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]

TRIPTYCH, WITH PAINTINGS ON VELLUM.

(CAMARIN OF ST. THERESA.)]

THE SEVEN CAPITAL SINS, BY JEROME BOSCH, ON WOOD.

(In the Room of Philip II. at the Escorial.)]

THE STORY OF THE PASSION: DIPTYCH, IN IVORY, OF THE 13TH CENTURY.

(FROM THE CAMARIN OF ST. THERESA.)]

FRIEZE OF THE STAIRCASE IN THE MONASTERY, REPRESENTING THE BATTLE, SIEGE, AND CAPTURE OF ST. QUINTIN, AND THE FOUNDATION OF THE MONASTERY, BY L. GIORDANO.]

‘LA SANTA FORMA.’ THE MASTERPIECE OF CLAUDE COELLO.

(SACRISTY OF THE ESCORIAL.)]

THE RESURRECTION, BY PEREGRINO TIBALDI.

(THE CLOISTER OF THE ESCORIAL.)]

THE INTERMENT OF CHRIST, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)]

JESUS AT THE PHARISEE’S HOUSE, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)]

THE RESURRECTION OF OUR LORD: FLORENTINE SCHOOL, GREY PAINTING.

(CHAPTER HALL OF THE ESCORIAL.)]

THE BIRTH OF OUR LORD, BY TINTORETTO.

(CHAPTER ROOM OF THE ESCORIAL.)]

THE ANNUNCIATION, BY PAUL VERONESE.

(CHAPTER ROOM OF THE ESCORIAL.)]

PORUS BROUGHT BEFORE ALEXANDER THE GREAT, BY CARLOS VAN LOO.

(MONASTERY OF THE ESCORIAL.)]

THE CROWN OF THORNS, BY JEROME BOSCH, ON WOOD.

(CHAPTER HALL OF THE ESCORIAL.)]

TRIPTYCH, BY JEROME BOSCH.

(CHAPTER HALL OF THE ESCORIAL.)]

TRIPTYCH, REPRESENTING THE TERRESTRIAL DELIGHTS, AND THE PUNISHMENT OF SIN IN HELL, BY JEROME BOSCH.

(CHAPTER HALL OF THE ESCORIAL.)]

PORTRAIT OF CHARLES V. AT THE AGE OF 47, BY JUAN PANTOJA.

(CHAPTER HALL OF THE ESCORIAL.)]

CHRIST BRINGING FORTH THE SOULS OF THE SAINTS: FLORENTINE SCHOOL.

(CHAPTER HALL OF THE ESCORIAL.)]

THE WASHING OF FEET, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)]

THE NATIVITY, BY JOSEF RIBERA.

(CHAPTER HALL OF THE ESCORIAL.)]

THE LAST SUPPER, BY TITIAN.

(THE ESCORIAL.)]

ST. CHRISTOPHER (ON WOOD), BY J. PATENIER.

(CHAPTER HALL OF THE ESCORIAL.)]

JACOB RECEIVING JOSEPH’S COAT, BY VELAZQUEZ.

(CHAPTER HALL OF THE ESCORIAL.)]

THE PENITENT MAGDALENE, BY L. GIORDANO.

(CHAPTER HALL OF THE ESCORIAL.)]

MUMMY OF CHARLES V., BY V. PALMAROLI.

(THE ESCORIAL.)]

JACOB GUARDING THE FLOCKS OF LABAN, BY J. RIBERA.

(CHAPTER HALL OF THE ESCORIAL.)]

THE SATYR MARSYAS FLAYED ALIVE BY APOLLO, BY L. GIORDANO.

(CHAPTER HALL OF THE ESCORIAL.)]

LOT AND HIS FAMILY, BY A. VACCARO.

(CHAPTER HALL OF THE ESCORIAL.)]

THE ADORATION OF THE MAGI, BY VERONESE.

(CHAPTER HALL OF THE ESCORIAL.)]

THE CHASTISEMENT OF ARACHNE, BY L. GIORDANO.

(CHAPTER HALL OF THE ESCORIAL.)]

ALEXANDER CONQUERING DARIUS, BY F. SOLIMENA.

(MONASTERY.)]

ST. MAURICE AND OTHER MARTYRS, BY EL GRECO.

(CHAPTER HALL OF THE ESCORIAL.)]

QUEEN ESTHER, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)]

THE ANNUNCIATION, AND THE BIRTH OF CHRIST. BY COXCIS.

(CHAPTER HALL OF THE ESCORIAL.)]

THE HOLY TRINITY, BY J. RIBERA.

(CHAPTER HALL OF THE ESCORIAL.)]

VISION OF JESUS TO HIS MOTHER, BY P. VERONÈSE.

(CHAPTER HALL OF THE ESCORIAL.)]

THE CARNATION GARDENER, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)]

THE WATER-SELLER, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)]

THE YOUNG BULL AT CARABANCHEL DE ABAJO, BY F. BAYEU

(TAPESTRY IN THE PALACE.)]

PROMENADE OF LAS DELICIAS, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)]

THE PORK MERCHANT, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)]

DEPARTURE FOR THE HUNT, AFTER P. WOUWERMAN, BY GINES DE AGUIRRE.

(TAPESTRY IN THE PALACE.)]

DESCENT FROM THE CROSS (R. VAN DER WEYDEN).]

CHILD RIDING A SHEEP, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

A LADY AND HER CAVALIER, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

COUNTRY DANCE, BY F. GOYA.

(TAPESTRY IN THE DINING HALL OF THE PALACE.)]

CASTING OF BULLETS IN A FOREST, BY GOYA.

(CASA DEL PRINCIPE, ESCORIAL.)]

THE KITE, BY F. GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)]

THE WASHERWOMEN, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

YOUNG MAN WITH A BIRD, AND A BAGPIPER, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

A PROMENADE IN ANDALUSIA, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE CHINA MERCHANT, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

DOGS IN A LEASH, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE LITTLE GIANTS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE GRAPE-SELLERS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE CARD-PLAYERS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE WOOD-CUTTERS, BY F. GOYA.

(TAPESTRY IN THE DINING HALL OF THE PALACE.)]

CHILDREN PICKING FRUIT, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

CHILDREN CLIMBING A TREE, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE SEE-SAW, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

THE REAPERS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)]

TAPESTRY AFTER THE POMPEIAN STYLE.

(IN THE PALACE.)]

STORY OF TELEMACHUS: THE DANCE OF THE NYMPHS.

(GOBELIN TAPESTRY IN THE PALACE.)]

STORY OF TELEMACHUS: NEPTUNE WRECKING ULYSSES’ VESSEL.

(GOBELIN TAPESTRY IN THE PALACE.)]

STORY OF TELEMACHUS: CALYPSO.

(GOBELIN TAPESTRY IN THE PALACE.)]

STORY OF TELEMACHUS: YOUNG TELEMACHUS.

(GOBELIN TAPESTRY IN THE PALACE.)]

CHILDREN PLAYING AT BULL-FIGHTING, BY F. BAYEU.

(TAPESTRY IN THE ESCORIAL PALACE.)]

THE GARDENS OF BUEN RETIRO.

(TAPESTRY IN THE PALACE.)]

ST. JOSEPH AND THE CHILD JESUS.

(CASA DEL PRINCIPE, ESCORIAL.)]

THE JUDGMENT OF SOLOMON, BY F. DE URBINA.

(CEILING IN THE PRIOR’S CELL IN THE MONASTERY.)]

THE VIRGIN, BY CORRADO.

(CASA DEL PRINCIPE, ESCORIAL.)]

WOMAN READING A LETTER, BY D. TENIERS.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE CONVERSION OF ST. PAUL, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

APOLLO GRIEVING OVER THE DEATH OF HIS SON PHAETON: BUEN-RETIRO CHINA.

(CASA DEL PRINCIPE.)]

THE FALL AND DEATH OF JULIAN THE APOSTATE, BY L. GIORDANO.

(CASA DEL PRINCIPE.)]

THE BAGPIPER, BY D. TENIERS.

(CASA DEL PRINCIPE.)]

ST. JOHN THE BAPTIST, BY ANNIBALE CARACCI.

(CASA DEL PRINCIPE.)]

A SMOKER, BY D. TENIERS.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE HELIADES, DAUGHTERS OF THE SUN, CHANGED INTO POPLARS, AFTER THE DEATH OF THEIR BROTHER PHAETON: BUEN-RETIRO CHINA.

(CASA DEL PRINCIPE.)]

THE CONCEPTION OF THE VIRGIN, BY AN UNKNOWN ARTIST.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE HOLY FAMILY, BY RAPHAEL.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

SEMIRAMIS FIGHTING THE ENEMY. BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE RAPE OF THE SABINES, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

ALLEGORY OF AMERICA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

ALLEGORY OF ASIA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)]

THE DREAM OF PHILIP II., BY EL GRECO.

(CHAPTER HALL OF THE ESCORIAL.)]

EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]

EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]

EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]

THE PRINCE’S ROOM.

(ESCORIAL.)]

POMPEIAN ROOM.

(ESCORIAL.)]

TOWER ROOM (CASITA DE ABAJO)

(ESCORIAL.)]

THE ROYAL PALACE AND MONASTERY: PLAN AND SECTION.]

* * * * *

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 an 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

MURILLO. A Biography and Appreciation. Illustrated by over 165
reproductions from photographs of his most celebrated pictures.

SPANISH ARMS AND ARMOUR. A Historical and Descriptive Account of
the Royal Armoury at Madrid. Illustrated with 386 reproductions
from photographs.

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.

CORDOVA. A Historical and Descriptive Account of the Ancient City
which the Carthaginians styled the “Gem of the South.” With over
155 Illustrations.

SEVILLE. A Historical and Descriptive Account. With 300
Illustrations.

THE PRADO. A Guide and Handbook to the Royal Picture Gallery of
Madrid. Illustrated with 221 reproductions from photographs of Old
Masters.

IN PREPARATION

GOYA GRANADA VELAZQUEZ TOLEDO ROYAL PALACES MADRID LEON, BURGOS, &C. VALLADOLID, SEGOVIA, &C.

* * * * *

_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 of 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

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 over 300 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 of European armoury for the guidance of artists, sculptors, antiquaries, costumiers, and all who have practical interest in historical accuracy.

_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_

CORDOVA

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH OVER 155 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, is now no more than 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.

_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, was the centre of Moslem power and splendour, and fell before the military prowess of St. Ferdinand, is still the Queen of Andalusia, the Spanish Athens, 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 with 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

This volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a 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, 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_

TOLEDO

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH OVER 480 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_

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 OVER 450 ILLUSTRATIONS

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_

VELAZQUEZ

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

Diego Rodriguez de Silva y Velazquez--“our Velasquez,” as Palomino proudly styles him--has been made the subject of innumerable books in every European language, yet the General 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 magnet 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_

MADRID

A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH OVER 300 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 AN 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_

LEON, BURGOS AND SALAMANCA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH OVER 350 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 was 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_

VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA

A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH OVER 325 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 four cities, and has preserved their memories in a wealth of excellent and interesting illustrations.

_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 Frió, 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.

* * * * *

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)

Size 10 x 7½ 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._

* * * * *

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. (7½ x 10 ins.) Price £2 2s. net

PRESS NOTICES

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

_Pall Mall Gazette._

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

_The Scotsman._

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

_Outlook._

“A large and sumptuous volume.”

_Tribune._

“The illustrations are simply marvels of reproduction.”

_Dundee Advertiser._

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

_Spectator._

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

_Newcastle Chronicle._

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

_Liverpool Post._

“It is impossible to praise too highly the care with which the illustrations have been prepared.”

_Birmingham Daily Post._

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

_Academy._

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

_Crown._

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

_Guardian._

“An excellent piece of work.”

_The Times._

“Mr. CALVERT has performed a useful work.”

_Daily Telegraph._

“A truly sumptuous volume.”

_The Speaker._

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

_The Connoisseur._

* * * * *

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._

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

_Westminster Gazette._

“Nothing could be more useful than this careful and authoritative book.”

_Vanity Fair._

“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._

“Nothing better could be desired.”

_Literary World._

“A capital and most interesting little book.”

_The Queen._

“Excellent little volume.”

_The Graphic._

“A book full of information and of convenient compass.”

_Onlooker._

“A handy, compendious life, with good Quixotic pictures.”

_Rapid Review._

“Can be heartily recommended to all who want to know something of the life of Cervantes.”

_Nottingham Express._

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

_Birmingham Post._

“Should be greatly appreciated by all lovers of the chivalrous Knight.”

_Dublin Express._

“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._