Chapter II: Part 2

The volume of the Monegre is divided into old and new water, the former belonging of right to the ancient riparian proprietors, the latter to the owners of the locks and reservoirs. A very vicious system prevails at Lorca. There, a private company has obtained all rights in the water of Guadalentin, subject to the condition of supplying the old proprietors of the adjoining lands with 500 litres per second every day. Only in rainy seasons, when the company’s barrage is swept away by the torrent (as it usually is some five or six times in the year), does the water become public property. When this happens the company is not allowed to make the barrage any stronger when it is rebuilt. In seasons of drought the owners are masters of the situation, and are able to recoup themselves for the losses thus incurred by forcing up prices to a figure absolutely ruinous to all but the richest cultivators. There is only one palliation to this system, that the bidder who has bought the first lot can buy as many of the lots following as he may desire at the same figure. Notwithstanding this poor concession it would seem that the principle of private ownership has been pushed a little too far in this part of the world.

Here is M. Brunhés’ account of the water auction at Lorca:

“The sale takes place in a badly lit hall with naked walls, on a level with the street, with which it communicates by an immense door almost its own breadth. This door remains open during the sale, and the crowd of bidders stand partly in the street. The hall has no floor; you stand on the bare ground. Opposite the door at the end of the hall is a railed-off daïs, entered by a side door, and without any direct communication with the public side. On the daïs the secretaries are seated at a large table covered by a threadbare green cloth. Behind the table are five arm-chairs. In one is seated the presiding officer (a civil engineer who must own no land in the Vega). On a stool is stationed the crier.

“At eight o’clock in the morning, at a sign from the presiding officer, the crier pronounces these words in a singing monotonous voice, and without any pause between the two phrases: ‘In honour of the Holy Sacrament of the Altar, who buys the first lot of Sotellana?’ Immediately shouts go up, ‘Eight, nine, or ten reales!’ One voice overpowers the other, wide mouths vociferate loudly, necks are strained, muscles grow tense with excitement. The bidders press and crush each other against the iron railing, for the one nearest has the best chance of being heard. The presiding officer listens and follows the frantic shouting with sovereign calm. Suddenly, with a quick gesture, he designates the highest bidder. At once the clamour ceases. Amid absolute silence the man indicated calls out his name, which the clerks write down.

“The men are hatless. Some wear black or dark-coloured handkerchiefs bound round their heads, but all hold their broad-brimmed hats in their hands. No one smokes or talks till the bidding recommences, and even those in the street are silent and bareheaded. It is easy to see that all are peasants. Heads are closely cropped; here are no beards or moustaches, no one wears a collar, and most carry a cloak other than the aristocratic _capa_ on the shoulders or arm. It is a curious and impressive sight enough these bronzed physiognomies, animated by one desire to obtain, as cheaply as may be, possession of the supreme good, water.”

Such is the province of Murcia in the twentieth century. When vegetation depended only on the sun and very infrequent rain, the land can have been very little better than an arid wilderness. And yet its possession has from the earliest times been a matter of keen dispute. To the early inhabitants have always been ascribed those simple guileless virtues with which the eighteenth century endowed the noble savage. Like the high-souled inhabitants of More’s “Utopia,” they used the gold and silver, in which their mountains abounded, for the meanest articles of domestic use. But this admirable custom seems unfortunately to have been based on mere ignorance of the value of their treasures.

More sophisticated were the Phœnicians, who scented the precious metals from afar, and here, as everywhere, established their commercial centres. Next, the Greeks swooped down and planted colonies, rivalry between the two races precipitating the fierce conflict between their respective allies, the Carthaginians and the Romans. New Carthage, or Cartagena, was founded by Hasdrubal; his son made it the starting-place of his famous march to Rome. The city made a brave resistance to Scipio, and its fall marked the downfall of the Carthaginian in Spain.

As an outpost of the Roman Empire this district was one of the first abandoned to the attacks of the barbarians. Under the Visigoths it became a duchy with the name of Aurariola, which offered so determined a resistance to the Mussulman that it was enabled to retain its independence, subject merely to the Khalifa as suzerain. Here, as in so many Iberian sieges, the women played no small part. Dressed as men, they paraded the walls of the city: and by this stratagem enabled Duke Theodomir to obtain such favourable terms.

Perpetuating the memory of this Duke, the province lasted under the name of Todmir some sixty-eight years as a self-governing State. But the last governors allied themselves with Charlemagne. Arab invaders poured in, who soon swamped the Christian population and Todmir was completely absorbed into the Moslem Empire.

A new capital, Murcia, was founded, that soon rivalled Toledo and Cordoba as a manufactory of arms. After undergoing the usual vicissitudes of Moorish States, it was taken in 1266 by Jaime el Conqueridor, and handed over to his son-in-law, the King of Castile. For two hundred years it endured the attacks of the Moors of Granada, acting meanwhile as a buffer to the Christian kingdom.

Murcia to-day seems a survival of the Middle Ages. The legend goes that Adam returning to earth recognised the province as the only relic of the world he left. The Murcians are a conservative people, clinging to the beliefs and ideas of their forefathers, untouched by the march of thought. Religion is the changeless background of their lives, and often its picturesque ceremonies completely hold the stage. One of the most interesting of their religious festivals is the Passion Procession held on Good Friday. According to tradition this has continued without interruption since 1603, except in the year 1809 only, when it was forbidden by the Government.

Organised by the Confraternity of Jesus, the great feature of the procession is the magnificent series of carved groups (known as _pasos_) representing scenes from the Biblical narrative. These are the work of the great master Salzillo, who is said to have carved no fewer than 1792 wooden figures in his long life of seventy-six years. During the eighteenth century the Trades Guilds of Murcia gave special support to the Confraternity. They are accordingly granted the privilege of carrying the different _pasos_ in the procession. Thus the “Kiss of Judas” is borne by the bakers; Santa Veronica by the weavers; while the tailors carry the gigantic group of the Last Supper. The bearers, all alike clad in purple, carry lighted candles and musical instruments. Their hoods shroud their heads, the eyes alone being visible through slits; a knotted rope girdles the waist, and stockings of coarse white wool, instead of the bare feet demanded by the original statute, acknowledge the claims of the twentieth century.

It is six o’clock on Good Friday morning. The streets are thronged with eager sightseers; heads are devoutly bared and many a plain wooden cross is displayed to mark the sympathy of the crowd. A band of mounted gendarmes clears the way. The standard-bearer chants to the populace that “This is done in remembrance of the Passion of Our Lord Jesus Christ.” Smothered in flowers the first five _pasos_ are borne along. Then to the sound of drum and trumpet, with the ringing of bells and the blare of bugles, Our Father Jesus passes, enveloped in a cloud of flaming candles, accompanied by the Holy Brotherhood. The remaining _pasos_ follow close, the clergy and the representatives of King and Bishop bringing up the rear.

The _pasos_ themselves will repay inspection. Though abounding in ludicrous anachronisms, often in flabby sentiment, they are beautifully carved and superbly mounted. It is said that £1000 was offered by an enthusiastic German for the uplifted arm of St. Peter in the “Kiss of Judas.”

The first group of the Last Supper is of enormous size, requiring no fewer than twenty-four bearers during the procession. Among the tailors of the city there is keen competition for this honour, for the splendid collation that is offered by the pious to the lifeless feasters is later sold by auction for the benefit of the bearers. The price it fetches is no small one, for it is regarded as true _pain béni_, bringing happiness to those who eat. The Agony in the Garden is reputed of supernatural design and is known as “The Pearl of Salzillo.” The Angel Gabriel is considered unrivalled, and the legend goes that the Duke of Wellington bid £80,000 for this one figure. The figures are magnificently clothed, the sword and crown of Jesus being set down in the accounts of the brotherhood at £200 and £120 respectively. Perhaps the finest of the groups is that which comes last--our Lady of Dolours, whose expression of supreme sorrow has rarely been equalled whether by chisel or brush. It is said that the sculptor copied it from the countenance of his own daughter, to whom, with this end in view, he had deliberately presented a forged letter announcing the suicide of her betrothed. The _pasos_ are deposited in the Ermita de Jesus, where they can be seen by the traveller.

In the town of Murcia itself the influence of the Cross has almost completely banished the Crescent. Gone is the Alcazar, where the Amirs mimicked the State of Cordoba and Toledo; gone is the mosque, where thousands of turbaned heads bowed daily towards Mecca. But in the centre of the city is one of those squares found in every southern and eastern city, which in Spain is always named after the Constitution, in Italy after Victor Emmanuel, and in France after the Republic. To cross it in the afternoon would mean sudden death, for Murcia is one of the hottest corners of Europe. But later a gentle breeze springs up and the citizens troop out to meet with friends upon the Malecon and admire the charming view of the Segura valley, which, as M. Brunhés has said, is “an admirable zone of model agricultural establishment.” This fertile huerta bespeaks industry as great as that of the Swiss or Scottish peasant, for the worship of sloth with which Mr. O’Shea charges the Murcian people is groundless and unjust.

A visit to the Cathedral will exhaust the architectural sights of Murcia. Even this is not of first-class interest. Dating in parts from 1386 and Gothic in style, the west front is Churrigueresque, though fortunately not in the most florid style of that unhappy architect. The earthquake of 1829 and a fire in the middle of the last century have greatly damaged the interior, but the general effect is sufficiently striking. The choir-stalls of carved walnut are very beautiful, but the reredos is poor. The eighth wonder of the world, in the opinion of the inhabitants, is the little Velez Chapel modelled on the Constable’s Chapel at Burgos, but parts of it, according to Don Rodrigo Amador de los Rios, show the painful caprices and aberrations which announce the death agony of a powerful art. Just beyond the Junteron Chapel, with its wealth of beautifully sculptured figures and designs in the most exuberant Renaissance style, is the urn where the city carefully guards the internal organs of Alfonso the Learned--a gruesome legacy but one greatly valued.

Much older than Murcia, the old Visigothic capital Carthagena has preserved even fewer monuments of antiquity, though it has not lost the military character first impressed upon it by its founder Hasdrubal. For this is the first arsenal of Spain and perhaps its strongest fortress. Its splendid sheltered harbour is defended by powerful forts and formidable batteries. Their fire has not always been directed upon the enemies of Spain. For many months in 1873 over them waved the red flag of the Intransigents, the extreme communistic republicans, who, simultaneously with the Carlists of the north, threatened to ruin Castelar’s Government at Madrid. The acquisition of the great national arsenal without firing a shot was, of course, of the utmost advantage to the determined revolutionaries. The garrison, in addition to the enthusiastic population, included several revolted battalions of regular troops under General Contreras.

Against this terrible stronghold of the Revolution, General Martinez Campos advanced with an army from Madrid, with orders to reduce the place with the utmost despatch. This was easier said than done. Supplies were lacking; the advantage in artillery lay entirely with the besieged. The Carlists effected diversions in favour of the Intransigents--an odd coalition. Meanwhile three of the revolutionary vessels were seized by a Prussian squadron as pirates--an utterly unjustifiable interference with the domestic affairs of another State. The Prussians and Italians exacted, moreover, a war indemnity of 50,000 pesetas from the Cantonal Junta, which body became a prey to internal dissensions. One of its members was assassinated. Taking advantage of these embarrassments of the besieged the republican troops redoubled their efforts. Señor Castelar came down from Madrid to assume the supreme command, and Martinez Campos was superseded by General Lopez Dominguez. An incessant bombardment was kept up, the besieged responding shell by shell. In January the frigate _Tetuan_ was burnt to the water’s edge, and a day or two later the explosion of the magazine destroyed hundreds of the garrison. The end was near. The city had for half a year defied almost the whole kingdom and withstood the covert attacks of foreign Powers. The Government troops forced their way into wretched, blood-drenched Carthagena; Galvez, Contreras, and the leaders of the cantonal movement escaped by sea in the ironclad _Numancia_, which far exceeded the Government vessels in speed, and took refuge in Algeria. Thus collapsed a movement which was, after the Commune of Paris, the most determined organised attempt ever made to subvert the existing constitution of European society.

I have given at some length this chapter in the history of Carthagena, partly because the town has little interest of itself, and partly because these events though so recent and significant are ignored by most writers of travel books. Out of so much evil good came at last, for these well-nigh fatal disorders opened the eyes of the Spaniards to the instability of the Madrid Government and formed the prelude to the reign of peace inaugurated by the accession to the throne of King Alfonso XII.

Boasting less than most Spanish provinces of sights that appeal only to the casual tourist, Murcia is interesting as a region of perpetual struggle and bloodshed; of struggle against nature, of struggles between differing religions, and of the deadly internecine feuds of race and race.

VALENCIA: GENERAL VIEW]

VALENCIA: GENERAL VIEW, LOOKING SOUTH]

VALENCIA: VIEW FROM THE PUENTE DEL MAR]

VALENCIA: GENERAL VIEW]

VALENCIA: VIEW FROM THE PUENTE DEL MAR]

VALENCIA: ENTRANCE TO THE TOWN BY THE PUERTA DE SANTA LUCIA]

VALENCIA: THE FAIR AT THE PUERTA DE SANTA LUCIA]

VALENCIA: PUERTA DE SERRANOS]

VALENCIA: PUERTA DE CUARTE]

VALENCIA: THE MARKET-PLACE]

VALENCIA: THE PUENTE REAL]

VALENCIA: PASEO DE LA GLORIETA]

VALENCIA: PASEO DE LA GLORIETA]

VALENCIA: PASEO DE LA ALAMEDA]

VALENCIA: FOUNTAIN OF THE ALAMEDA]

VALENCIA: PLAZA DE LA ADUANA]

VALENCIA: PLAZA DE SANTO DOMINGO]

VALENCIA: PLAZA DE SAN FRANCISCO]

VALENCIA: PLAZA DE TÉTUAN]

VALENCIA: PLAZA DE LA CONSTITUCION]

VALENCIA: CALLE DE LA BAJADA DE SAN FRANCISCO]

VALENCIA: CALLE DE SAN VICENTE]

VALENCIA: TROS ALT]

VALENCIA: CALLE DE LA BOLSERIA Y TROS ALT]

VALENCIA: GENERAL VIEW OF THE CATHEDRAL]

VALENCIA CATHEDRAL: GATE OF THE APOSTLES]

VALENCIA: THE CATHEDRAL, PUERTA DEL PALAU]

VALENCIA CATHEDRAL: A DOOR]

VALENCIA: THE TEMPLE]

VALENCIA: THE MIGUELETE]

VALENCIA: CHURCH OF SANTA CATALINA]

VALENCIA: CHURCH OF SANTA CATALINA]

VALENCIA: CHURCH OF LOS SANTOS JUANES]

VALENCIA: FAÇADE OF SAN MIGUEL EL REAL]

VALENCIA: CHURCH OF SANTA CRUZ]

VALENCIA: CHURCH OF SANTA CRUZ]

VALENCIA: ENTRANCE TO THE CHURCH OF SAN ANDRÉS]

VALENCIA: THE CAMPO-SANTO]

VALENCIA: THE CAMPO-SANTO]

VALENCIA: THE CAMPO-SANTO]

VALENCIA: THE AUDIENCIA, OLD PALACE OF THE CORTES]

VALENCIA: ROYAL HALL IN THE AUDIENCIA, UPPER PART]

VALENCIA: ROYAL HALL IN THE AUDIENCIA, LOWER PART]

VALENCIA: INTERIOR DOOR OF THE AUDIENCIA]

VALENCIA: THE EXCHANGE]

VALENCIA: THE EXCHANGE. DETAIL OF THE GALLERY]

VALENCIA: INTERIOR OF THE EXCHANGE]

VALENCIA: INTERIOR DOOR OF THE EXCHANGE]

VALENCIA: COLEGIO DEL PATRIARCA]

VALENCIA: COURTYARD IN THE COLEGIO DEL PATRIARCA]

VALENCIA: COURTYARD OF THE UNIVERSITY]

VALENCIA: ENTRANCE TO THE CIVIL HOSPITAL]

VALENCIA: GATE OF MOSEN S’ORRELL]

VALENCIA: THE CUSTOM-HOUSE]

VALENCIA: THE ARCHBISHOP’S PALACE]

VALENCIA: THE BULL-RING]

VALENCIA: TOBACCO FACTORY]

VALENCIA: A PRIVATE HOUSE]

VALENCIA: STATUE OF KING JAIME]

VALENCIA: STATUE OF RIBERA]

VALENCIA: STATUE OF ST. CHRISTOPHER]

VALENCIA: PALACE OF THE MARQUÉS DE DOS AGUAS]

VALENCIA: PALACE OF THE MARQUÉS DE DOS AGUAS]

VALENCIA: PORTAL OF THE PALACE OF THE MARQUÉS DE DOS AGUAS]

VALENCIA: PALACE OF THE MARQUES DE RIPALDA]

GENERAL VIEW OF GRAO]

GRAO HARBOUR]

GRAO HARBOUR]

GRAO HARBOUR]

CAMINO DEL GRAO: HERMITAGE OF AVE MARIA]

VALENCIA: A “TARTANA,” OR CHAR-À-BANC]

VALENCIA: PEASANTS]

VALENCIA: PEASANTS]

VALENCIA: PEASANTS]

VALENCIA: TYPES OF WOMEN]

VALENCIA: TRIBUNAL DES EAUX]

VALENCIA: BARBERS ON THE BRIDGE OF SERRANOS]

VALENCIA: ZIGZAG OF THE CABRILLAS]

ENVIRONS OF VALENCIA: A ROAD IN CABAÑAL]

ENVIRONS OF VALENCIA: A ROAD IN CABAÑAL]

VALENCIA: THE SHORES OF THE MEDITERRANEAN]

VALENCIA: THE SHORES OF THE MEDITERRANEAN]

MURVIEDRO: GENERAL VIEW]

MURVIEDRO: GENERAL VIEW]

MURVIEDRO: VIEW FROM THE STATION]

MURVIEDRO: VIEW FROM THE CASTLE]

MURVIEDRO: THE CASTLE AND TOWN]

MURVIEDRO: THE CASTLE]

MURVIEDRO: THE CASTLE FROM ONE OF THE COURTS]

MURVIEDRO: ENTRANCE TO THE CASTLE]

MURVIEDRO: GENERAL VIEW OF THE ROMAN AMPHITHEATRE]

MURVIEDRO: GENERAL VIEW OF THE ROMAN AMPHITHEATRE]

MURVIEDRO: THE ROMAN AMPHITHEATRE]

MURVIEDRO: INTERIOR OF THE ROMAN AMPHITHEATRE]

MURVIEDRO: PRINCIPAL GATE OF THE ROMAN AMPHITHEATRE]

MURVIEDRO: ENTRANCE TO THE ROMAN AMPHITHEATRE]

MURVIEDRO: ENTRANCE TO THE ROMAN AMPHITHEATRE]

JATIVA: GENERAL VIEW]

JATIVA: VIEW FROM THE STATION]

JATIVA: THE CIVIL HOSPITAL]

ALICANTE: GENERAL VIEW]

ALICANTE: THE CASTLE]

ALICANTE: VIEW FROM THE CASTLE]

ALICANTE: THE BREAKWATER]

ALICANTE: GENERAL VIEW]

ALICANTE: GENERAL VIEW]

ALICANTE: GENERAL VIEW]

ALICANTE: PASEO DE LOS MARTIRES]

ALICANTE: PASEO DE LOS MARTIRES]

ALICANTE: PASEO DE LOS MARTIRES]

ALICANTE: PASEO DE LOS MARTIRES]

ALICANTE: PASEO DE NUÑEZ]

ALICANTE: THE TOWN HALL]

ALICANTE: THE TOWN HALL]

ALICANTE: MONUMENT TO QUIJANO]

ALICANTE: THE BULL-RING]

ELCHE: GENERAL VIEW]

ELCHE: GENERAL VIEW]

ELCHE: GENERAL VIEW]

ELCHE: VIEW OF THE TOWN]

ELCHE: PLAZA MAYOR]

ELCHE: VIEW FROM THE STATION]

ELCHE: THE ROAD TO ALICANTE]

ELCHE: THE ROAD FROM ALICANTE]

ELCHE: THE TOWN HALL]

ELCHE: CHURCH OF SAN JUAN]

ELCHE: BRIDGE OVER THE RAMBLA DE ELCHE]

ELCHE: VIEW FROM THE RAILWAY BRIDGE]

ELCHE: THE CANAL]

ELCHE: WASHING LINEN IN THE CANAL]

ELCHE: A CANAL]

ELCHE: TOWER OF RAPSAMBLANC, BELONGING TO THE CONDE DE LUNA]

ELCHE: CASTLE OF THE DUQUE DE ALTAMIRA, NOW A PRISON]

ELCHE: MILL AND CASTLE OF THE DUQUE DE ALTAMIRA]

ELCHE: CASTLE OF THE DUQUE DE ALTAMIRA]

ELCHE: CASTLE AND MILL]

ELCHE: PALMS]

ELCHE: COUNTRY SPINNERS]

ELCHE: CASA DE LA HUERTA]

ELCHE: A COUNTRY ROAD]

ELCHE: A COUNTRY HOUSE]

ELCHE: A COUNTRY HOUSE]

ELCHE: A FAMOUS PALM]

ELCHE: A PALM CELEBRATED FOR ITS RESEMBLANCE TO A COLUMN]

ELCHE: PALM GROVES]

ELCHE: A ROAD]

SAX: GENERAL VIEW]

MURCIA: GENERAL VIEW]

MURCIA: VIEW FROM THE TOWER OF THE CATHEDRAL, TOWARDS THE SOUTH]

MURCIA: VIEW OF THE TOWN]

MURCIA: GENERAL VIEW OF THE TOWN]

MURCIA: GENERAL VIEW OF THE TOWN]

MURCIA: GENERAL VIEW OF THE TOWN]

MURCIA: GENERAL VIEW]

MURCIA: THE BRIDGE]

MURCIA: THE RIVER]

MURCIA: THE BRIDGE OVER THE SEGURA]

MURCIA: THE RIVER SEGURA]

MURCIA: THE FAIR]

MURCIA: THE FAIR]

MURCIA: THE MARKET-PLACE]

MURCIA: PLAZA DE SANTO DOMINGO ON MARKET-DAY]

MURCIA: PASEO DEL MALECON]

MURCIA: PLAZA DE SANTA CATALINA]

MURCIA: PLAZA DE TOROS, NOW PLAZA DE SAN AUGUSTIN]

MURCIA: PASEO DEL ARENAL]

MURCIA: PLAZA DE SAN PEDRO]

MURCIA: PASEO DE FLORIDABLANCA AND PALACE OF THE EXHIBITION]

MURCIA: PLAZA DE SANTA ISABELLA]

MURCIA: CALLE DEL PUENTE]

MURCIA: PLAZA DE LA GLORIÉTA]

MURCIA: PLAZA DE LA GLORIÉTA]

MURCIA: THE CATHEDRAL]

MURCIA: GENERAL VIEW OF THE CATHEDRAL]

MURCIA: PRINCIPAL FAÇADE OF THE CATHEDRAL]

MURCIA: TOWER OF THE CATHEDRAL]

MURCIA: SIDE DOOR OF THE CATHEDRAL]

MURCIA CATHEDRAL: GATE OF THE APOSTLES]

MURCIA CATHEDRAL: CHAPEL OF THE MARQUÉS DE LOS VELEZ]

MURCIA CATHEDRAL: DETAIL OF THE FAÇADE]

MURCIA: DETAIL OF THE CATHEDRAL]

MURCIA CATHEDRAL: WINDOW OF THE BELFRY]

MURCIA CATHEDRAL: PRINCIPAL NAVE]

MURCIA CATHEDRAL: LATERAL NAVE]

MURCIA CATHEDRAL: BEHIND THE CHOIR]

MURCIA CATHEDRAL: ENTRANCE TO THE CHAPEL OF THE MARQUÉS DE LOS VELEZ]

MURCIA CATHEDRAL: CHAPEL OF THE MARQUÉS DE LOS VELEZ]

MURCIA CATHEDRAL: THE HIGH ALTAR]

MURCIA CATHEDRAL: THE HIGH ALTAR]

MURCIA CATHEDRAL: GENERAL VIEW OF THE CHOIR]

MURCIA CATHEDRAL: THE BISHOP’S THRONE, IN THE CHOIR]

MURCIA CATHEDRAL: DETAIL OF THE CHOIR STALLS]

MURCIA CATHEDRAL: DETAIL OF THE CHOIR STALLS]

MURCIA CATHEDRAL: THE SACRISTY]

MURCIA CATHEDRAL: TOMB OF ALFONSO THE WISE]

MURCIA: CHURCH OF SANTO DOMINGO]

MURCIA: CHURCH OF SANTO DOMINGO]

MURCIA: CHURCH OF SAN BARTOLOMÉ]

MURCIA: FAÇADE OF THE CONVENT DE LA MISERICORDIA]

MURCIA: PALACE OF THE MARQUÉS DE VILLAFRANCA DE LOS VELEZ AND CONVENT OF SANTA CLARA]

MURCIA: THE EPISCOPAL PALACE]

MURCIA: CASA HUERTA DE LAS BOMBAS]

MURCIA: PALACE OF THE MARQUÉS DE ALMODOVAR]

MURCIA: PALACE OF THE BARON DE ALBALA]

MURCIA: PALACE OF THE MARQUÉS DE ESPINARDO]

MURCIA: THE “CONTRASTE”]

MURCIA: MONUMENT TO SALZILLO]

MURCIA: ROMAN ALTAR DEDICATED TO PEACE, FOUND IN CARTHAGENA AND MOVED IN 1594 TO THE PALACE OF THE MARQUÉS DE ESPINARDO]

MURCIA: HOUSE IN THE CALLE JABONERIA]

MURCIA: HOUSE OF THE PAINTER VILLASIS]

MURCIA: A BALCONY IN THE CALLE TRAPERIA]

MURCIA: PUERTA CADENAS]

MURCIA: TEATRO DE ROMEA]

MURCIA: THE BULL RING]

MURCIA: THE TOWN HALL]

MURCIA: THE TOWN HALL]

MURCIA: PROCESSION LEAVING THE CHURCH OF JESUS IN HOLY WEEK ST. VERONICA]

MURCIA: PROCESSION LEAVING THE CHURCH OF JESUS IN HOLY WEEK

THE KISS OF JUDAS]

MURCIA: PROCESSION IN HOLY WEEK. THE GARDEN OF GETHSEMANE]

MURCIA: PROCESSION IN HOLY WEEK. OUR LORD FALLING]

MURCIA: PROCESSION IN HOLY WEEK. THE SCOURGING]

MURCIA: CHURCH OF JESUS THE LAST SUPPER, BY ZARZILLO]

MURCIA: PILGRIMAGE OF ST. BLAS]

MURCIA: RUINS OF THE ARAB BATHS]

ENVIRONS OF MURCIA: CONVENT OF SAN JERONIMO]

ENVIRONS OF MURCIA: HERMITAGE OF THE FUENSANTA]

ENVIRONS OF MURCIA: HERMITAGE OF THE FUENSANTA]

ENVIRONS OF MURCIA: HERMITAGE OF THE FUENSANTA]

ENVIRONS OF MURCIA: CASTLE OF MONTEAGUDO]

MURCIA: PAISAJE DE LA HUERTA]

MURCIA: PAISAJE DE LA HUERTA]

MURCIA: PAISAJE DE LA HUERTA]

MURCIA: A CART LOADED WITH “TINAJAS”]

MURCIA: HARVEST-TIME]

ENVIRONS OF MURCIA: THE HUERTA DES CAPUCINS]

ENVIRONS OF MURCIA: THE HUERTA DES CAPUCINS]

ENVIRONS OF MURCIA: VIEW FROM THE HUERTA DES CAPUCINS]

ENVIRONS OF MURCIA: THE HUERTA DES CAPUCINS, DATE-GATHERING]

ORIHUELA: GENERAL VIEW]

ORIHUELA: GENERAL VIEW FROM THE PUERTA DE MURCIA]

ORIHUELA: THE RIVER SEGURA]

ORIHUELA: THE RIVER SEGURA FROM THE EAST]

ORIHUELA: DOOR OF THE CHURCH OF SANTIAGO]

CARTHAGENA: GENERAL VIEW]

CARTHAGENA: A PARTIAL VIEW.]

CARTHAGENA: VIEW FROM THE STATION]

CARTHAGENA: VIEW FROM THE HIGH ROAD]

CARTHAGENA: VIEW FROM QUITAPELLIJOS]

CARTHAGENA: VIEW FROM THE FORT OF ATALAYA]

CARTHAGENA: VIEW FROM THE FORT OF ATALAYA]

CARTHAGENA: VIEW FROM ST. JOSEPH’S MILL]

CARTHAGENA: VIEW FROM ST. JOSEPH’S MILL]

CARTHAGENA: VIEW FROM THE FORT OF GALERA]

CARTHAGENA: VIEW FROM THE FORT OF GALERA]

CARTHAGENA: VIEW OF THE HARBOUR]

CARTHAGENA: SANTA LUCIA AND THE HARBOUR]

CARTHAGENA: THE HARBOUR FROM SANTA LUCIA]

CARTHAGENA: THE HARBOUR FROM SANTA LUCIA]

CARTHAGENA: THE HARBOUR FROM THE POWDER MAGAZINE]

CARTHAGENA: THE HARBOUR FROM TRINCABATIJOS]

CARTHAGENA: VIEW FROM THE ESPLANADERO]

CARTHAGENA: THE ENTRANCE TO THE HARBOUR FROM TRINCABATIJOS]

CARTHAGENA: THE BREAKWATER]

CARTHAGENA: ENTRANCE TO THE HARBOUR]

CARTHAGENA: ENTRANCE TO THE ARSENAL]

CARTHAGENA: PUERTA DEL MAR]

CARTHAGENA: PUERTA DE MURCIA]

CARTHAGENA: PLAZA DE LAS MONJAS]

CARTHAGENA: THE MARINE COLLEGE]

CARTHAGENA: THE BULL-RING]

ARCHENA: THE BATHS, FROM LA SIERRA DE VERDELENA]

ARCHENA: GENERAL VIEW OF THE BATHS FROM THE WEST]

ARCHENA: GENERAL VIEW OF THE BATHS AT THE ENTRANCE TO THE VILLAGE]

ARCHENA: ENTRANCE TO THE BATHS]

ARCHENA: THE CARRETERA AND RIVER SEGURA]

ARCHENA: VIEW OF THE CHURCH]

ARCHENA: INTERIOR OF THE CHURCH]

ARCHENA: THE CHURCH: ALTAR OF THE “VIRGEN DE LA SALUD”]

ENVIRONS OF ARCHENA: VIEW OF VILLANUEVA]

ENVIRONS OF ARCHENA: VIEW OF BLANCA FROM THE SALTO DEL PALOMO]

ENVIRONS OF ARCHENA: VIEW OF BLANCA FROM BUJAMENTE]

ENVIRONS OF ARCHENA: VILLAGE AND GARDENS OF ULEA FROM VILLANUEVA]

ENVIRONS OF ARCHENA: VILLAGE AND GARDENS OF ULEA, EAST SIDE]

ENVIRONS OF ARCHENA: VILLAGE OF OJOS AND MOUNTAINS]

ENVIRONS OF ARCHENA: THE GARDENS OF OJOS, FROM THE LOVERS’ LEAP]

ENVIRONS OF ARCHENA: THE LOVERS’ LEAP]

LORCA: GENERAL VIEW]

LORCA: VIEW FROM THE RAILWAY STATION]

End of Project Gutenberg's Valencia and Murcia, by Albert F. Calvert