,,the ,,spanish ,,series                
,,seville                               
,,the ,,spanish ,,series                
,edited by ,,albert ,f4 ,,calvert       
,,murillo                               
,,spanish ,,arms ,,and ,,armour         
,,the ,,escorial                        
,,cordova                               
,,seville                               
,,the ,,prado                           
,in ,preparation                        
,,goya                                  
,,granada ,,and ,,alhambra              
,,velazquez                             
,,toledo                                
,,royal ,,palaces ,,of ,,spain          
,,madrid                                
,,leon1 ,,burgos ,,and ,,salamanca      
,,valladolid1 ,,oviedo1 ,,segovia1      
,,zamora1 ,,avila  ,,zaragoza           
,,seville                         ,,an  
,,historical ,,and ,,descriptive        
,,account ,,of                          
8,,the ,,pearl ,,of ,,andalusia0        
,,by ,,albert ,f4 ,,calvert             

,,with #cjj ,,illustrations             
,,london3 ,,john ,,lane1 ,,the ,,bodley 
,,head                    ,,new ,,york3 
,,john ,,lane ,,company ,,mcmvii        
,,turnbull ,,and ,,spears4 ,,printers1  
,,edinburgh          ,,preface          
,there is a charm and compelling        
fascination about ,seville which        
produces in the traveller visiting the  
city for the first time a  sensation of 
physical ecstasy4 ,the spell of the     
,pearl of ,andalusia is  instant and    
enduring2 ,i have not met a man or woman
 proof against its  witchery4 ,george   
,borrow shed tears of rapture as he     
beheld ,seville from  the ,cristina     
,promenade1 and 8listened to the thrush 
and the nightingale  piping forth their 
melodious songs in the woods1 and       
inhaled the breeze  laden with the      
perfume of its thousand orange gardens40
 ,the ,moors left  their beloved capital
 at the height of its prosperity1 in the
 full  flower of its beauty2 change has 
not affected its material importance1   

and time has not staled its infinite    
variety4 ,a ,christian ,cathedral now   
stands on the foundation of the great   
mosque of ,abu ,yakub ,yusuf2 but  the  
,moorish ,giralda1 the most expressive  
monument of the ,mohammedan  occupation1
 still beckons the distant traveller    
onwards to the promised  land2 the      
,alcazar breathes the spirit of its     
,oriental masters2 and the  shimmering  
,torre del ,oro still reflects the light
 of the setting sun  upon the broad     
bosom of the rose-coloured river4       
,the history of ,seville from the time  
of its subjugation by ,musa is  a volume
 of romance2 its pages are illumined by 
the cold light of  flashing steel and   
stained with the blood of tyrants1      
traitors1 and  innocent men2 but it     
forms a chronicle which the reader will 
follow  with absorbing interest4 ,the   
more exacting student will satisfy his  
thirst for knowledge in ,dr ,dozy's     
8,history of the ,mohammedans of        
,spain10 in ,gayangos' translation of   

,el ,makkari's 8,history of the         
,mohammedan ,dynasties in ,spain10 in   
,coppee's 8,history of the ,conquest  of
 ,spain10 and ,pedro de ,madrazo's      
8,sevilla0--to refer to only a few of   
the many learned works that have been   
published on the subject4 ,many  will   
continue to be content with the few     
pages of ,notes which appear in  the    
various ,spanish ,guides2 but a certain 
section1 it is hoped1 of the  ,english  
travelling public1 will find in this    
book an album1 a handbook1  and a       
history which will supply a long-felt   
want4    ,in my attempt to produce a    
volume which will appeal both to the    
artist  and the tourist1 to the         
archologist as well as the least        
imaginative  sightseer1 ,i have         
reproduced a number of illustrations    
which may  incline some persons to      
accuse me of a superabundant regard for 
detail4  ,it is true that many pages are
 devoted to intricacies of decoration   
which the general reader may find of    

small interest1 but my object in        
multiplying this detail is to satisfy   
the requirements of those who  would    
fathom the mystery of ,moslem art4 ,when
 ,i was first in ,granada ,i  inquired  
for pictures of the minuti of many      
choice examples of design1  and1 failing
 to obtain anything of the kind1 ,i had 
to employ a local  artist to make       
sketches of the detail of the mosaics4  
,that experience  determined me1 in     
treating of these ,mohammedan cities of 
,spain1 to  include those reproductions 
for which ,i had searched in vain1 and  
to  make my illustrations1 as far as    
possible1 the last word on the subject  
of ,arabian architecture and ornament4  
,for the historical portion of the      
letterpress ,i have laid under tribute  
the authorities already mentioned1 and  
,i have also to acknowledge the         
assistance received in the compilation  
from ,mr ,e4 ,b4 d',auvergne4    ,a     
large number of the photographs included
 here were supplied by ,messrs  ,rafael 

,garzon and ,senan  ,gonzalez of        
,granada1 ,hauser  ,menet of  ,madrid1  
,ernst ,wasmuth of ,berlin1 publisher of
 ,uhde's 8,baudenkmaeler in  ,spanien   
und ,portugal10 and ,eugen ,twietmayer  
of ,leipzig1 publisher of  ,junghandel's
 8,die ,baukunst ,spaniens10 and my     
thanks are due to them for  the         
courteous permission to reproduce their 
work in this volume4    ,some of the    
illustrations are reproductions of      
pictures which were  at one time in the 
,san ,telmo ,collection4 ,as that       
collection has been  distributed ,i have
 been unable to trace the originals1 but
 as they were  so closely identified    
with ,seville ,i make no apology for    
including them4    ,a4 ,f4 ,c4          
8,,royston10      ,,swiss ,,cottage1    
,n4,w4          ,,contents              
,,page    ,,seville                     
#a    ,,moorish ,,seville               
#e    ,,seville ,,under ,,the           
,,castilian ,,kings                     
#ce    ,,the ,,alcazar                  

#de    ,,the ,,cathedral                
#fi    ,,other ,,buildings ,,of ,,the   
,,fifteenth ,,and  ,,sixteenth          
,,centuries                             
#hi    ,,buildings ,,of ,,the           
,,seventeenth ,,and ,,eighteenth        
,,centuries                             
#aja    ,,the ,,painters ,,of ,,seville 
#ajg    ,,the ,,old ,,roman ,,city      
#ace          ,,illustrations           
,,title                                 
,,plate    ,general view of ,seville    
from the ,giralda ,tower1 ,west  side of
 the ,city4    ,first view              
#a    ,general view of ,seville from the
 ,giralda ,tower1 ,west  side of the    
,city4    ,second view                  
#b    ,general view of ,seville from the
 ,giralda ,tower1 ,east  side           
#c    ,general view of ,seville from the
 ,giralda ,tower1 ,central  part of the 
,city                                   
#d    ,general view of ,seville from the
 ,giralda ,tower1 ,north  side          
#e    ,procession of the ,conception of 

the ,virgin passing  through the ,plaza 
de ,san ,francisco                      
#f    ,view of ,seville                 
#g    ,view of ,seville                 
#h    ,view of ,seville                 
#i    ,view of ,seville                 
#aj    ,view of ,seville                
#aa    ,view of ,seville                
#ab    ,view of ,seville                
#ac    ,view of ,seville                
#ad    ,bridge over the ,guadalquivir   
#ae    ,hercules ,avenue                
#af    ,the ,plaza ,nueva               
#ag    ,view of ,triana from the ,tower 
of ,gold                                
#ah    ,view of ,seville from ,triana   
#ai    ,view of ,seville from ,triana   
#bj    ,the ,tower of ,gold from ,san   
,telmo                                  
#ba    ,a street in ,seville            
#bb    ,the ,tower of ,gold             
#bc    ,church of ,san ,marcos1 from the
 ,palace of the ,dueas                  
#bd    ,church of ,san ,marcos          
#be    ,court of the ,hotel de ,madrid  

#bf    ,hospital1 with the ,mosaics     
painted by ,murillo                     
#bg    ,portal of the ,convent of ,santa
 ,paula                                 
#bh    ,church of ,santa ,catalina      
#bi    ,church of ,todos ,santos        
#cj    ,the ,provincial ,museum1 with   
,murillo's statue                       
#ca    ,statue of ,murillo              
#cb    ,general view of the ,town ,hall 
#cc    ,the ,town ,hall1 left side      
#cd    ,the ,town ,hall1 left side1     
detail of the interior angle            
#ce    ,door of the ,town ,hall         
#cf    ,the ,town ,hall1 detail of the  
principal part                          
#cg    ,general view of the ,town ,hall 
#ch    ,the ,town ,hall1 detail of the  
faade                                   
#ci    ,the ,town ,hall1 detail of the  
principal door                          
#dj    ,window in the ,town ,hall       
#da    ,principal facade of the ,tobacco
 ,factory                               
#db    ,the ,tobacco ,factory           

#dc    ,cigar makers1 ,seville          
#dd    ,the 8,sevillanas0 ,dance        
#de    ,sevillian ,costumes--,a         
,courtyard                              
#df    ,general view of the ,exchange   
#dg    ,court in the ,exchange          
#dh    ,the ,aceite ,postern and ancient
 ramparts                               
#di    ,the ,roman walls near the gate  
of the ,macarena                        
#ej    ,the ,roman ,amphitheatre of     
,italica                                
#ea    ,general view of the ,palace of  
,san ,telmo from the ,river             
#eb    ,principal ,portal of the ,san   
,telmo ,palace                          
#ec    ,interior of the ,hall of        
,columns in the ,san ,telmo  ,palace    
#ed    ,interior view of the ,duke of   
,montpensier's study in  ,san ,telmo    
#ee    ,various objects found in the    
sepulchres at ,san ,telmo4  7,in the    
,palace of ,san ,telmo7                 
#ef    ,palms in the ,gardens of ,san   
,telmo                                  

#eg    ,the sepulchres of the victims of
 ,don ,juan ,tenorio in  the ,gardens of
 ,san ,telmo                            
#eh    ,the ,roman ,sepulchres in the   
,gardens of ,san ,telmo                 
#ei    ,view in the ,gardens of ,san    
,telmo                                  
#fj    ,the ,aviary in the ,gardens of  
,san ,telmo                             
#fa    ,the ,river in the ,gardens of   
,san ,telmo                             
#fb    ,the ,cocoa ,tree and east side  
of ,san ,telmo                          
#fc    ,the ,zapote1 a tree in the      
,gardens of ,san ,telmo                 
#fd    ,the ,island and ,river in the   
,gardens of ,san ,telmo                 
#fe    ,the ,yucca1 a rare tree in the  
,gardens of ,san ,telmo                 
#ff    ,general view of the ,hospital de
 la ,sangre                             
#fg    ,church of the ,sagrario1 north  
side                                    
#fh    ,principal faade of the ,hospital
 de la ,sangre                          

#fi    ,porch of the ,church of the     
,hospital de la ,sangre                 
#gj    ,bas-relief1 ,hospital de la     
,sangre1 the work of  ,torregiano       
#ga    ,general view of the exterior of 
the ,cathedral                          
#gb    ,the ,giralda1 from the ,patio de
 los ,naranjos                          
#gc    ,the top of the ,giralda         
#gd    ,the ,dancing ,choir-boys1       
,seville ,cathedral                     
#ge    ,dancing-boys1 ,seville          
,cathedral                              
#gf    ,the ,gate of the ,archbishop    
#gg    ,plaza de ,san ,francisco1 with  
the ,giralda and  ,cathedral            
#gh    ,plaza del ,triunfo1 the         
,cathedral1 and the ,exchange1  from the
 ,gate of the ,lion                     
#gi    ,the ,fte                        
#hj    ,gate of ,san ,miguel in the     
,cathedral                              
#ha    ,gate of the ,cathedral called de
 las ,campanillas                       
#hb    ,gate of the ,baptist in the     

,cathedral                              
#hc    ,the ,gate of the ,lizard in the 
,cathedral                              
#hd    ,general view of the ,cathedral  
from the ,tribune of the  principal door
                                        
#he    ,principal ,sacristy in the      
,cathedral                              
#hf    ,principal ,entrance to the      
,cathedral                              
#hg    ,interior view of the ,principal 
,sacristy in the ,cathedral             
#hh    ,the ,gamba ,chapel              
#hi    ,the ,cathedral1 the ,gamba      
,chapel1 and entrance to that  of the   
,antigua                                
#ij    ,chapels of the ,conception and  
the ,annunciation in the  ,cathedral    
#ia    ,the ,cathedral4 ,the ,chapel of 
the ,conception                         
#ib    ,the ,cathedral4 ,detail of the  
,high ,altar                            
#ic    ,the ,cathedral4 ,retablo1 or    
altar-piece of the ,high ,altar         
#id    ,iron railings of the lateral    

part of the ,high ,altar                
#ie    ,the ,cathedral4 ,wrought-iron   
screen in the ,choir                    
#if    ,the ,cathedral4 ,wrought-iron   
screen of the ,high ,altar              
#ig    ,st ,christopher carrying the    
,child ,jesus1 by ,mateo  ,perez        
,alesio1 in the ,cathedral              
#ih    ,san ,fernando ,square           
#ii    ,gardens of the ,alcazar         
#ajj    ,general view of the ,gardens of
 the ,alcazar                           
#aja    ,view of the ,gardens of the    
,alcazar                                
#ajb    ,general view of the ,gardens of
 the ,alcazar                           
#ajc    ,the ,gardens of the ,alcazar4  
,lake and ,gallery of ,don  ,pedro ,i41 
the ,cruel                              
#ajd    ,the ,gardens of the ,alcazar4  
,view of the ,gallery of  ,don ,pedro   
,i41 the ,cruel                         
#aje    ,the ,hothouses in the ,gardens 
of the ,alcazar                         
#ajf    ,calle de las ,vedras in the    

,gardens of the ,alcazar                
#ajg    ,the ,gardens of the ,alcazar4  
,parterre of ,doa ,maria  de ,padilla   
#ajh    ,the ,alcazar4 ,baths of ,doa   
,maria de ,padilla                      
#aji    ,magnificent altar in faience1  
painted in the fifteenth  century4 7,in 
the ,oratory of the ,catholic           
,sovereigns  in the ,alcazar47          
#aaj    ,town ,hall of ,seville4        
,details of doors and balconies         
#aaa    ,town ,hall of ,seville4        
,details                                
#aab    ,parish ,church of ,san ,marcos 
#aac    ,various ,towers of ,seville    
#aad    ,details of the ,mosaic commonly
 called ,el ,grande                     
#aae    ,sculpture and details of       
ancient churches                        
#aaf    ,architectural parts1           
bas-reliefs1 and ceramic objects        
#aag    ,faade of the ,consistorial     
houses                                  
#aah    ,entrance to the ,alcazar1      
,seville                                

#aai    ,principal ,faade of the        
,alcazar                                
#abj    ,gate of the principal entrance1
 ,alcazar                               
#aba    ,interior of the ,hall of       
,ambassadors1 ,alcazar                  
#abb    ,hall of ,ambassadors1 ,alcazar 
#abc    ,interior of the ,hall of       
,ambassadors1 ,alcazar                  
#abd    ,interior of the ,hall of       
,ambassadors1 ,alcazar                  
#abe    ,hall of ,ambassadors1 ,alcazar 
#abf    ,hall of ,ambassadors1 ,alcazar 
#abg    ,hall of ,ambassadors4 ,alcazar 
#abh    ,upper part of the ,court of the
 ,dolls1 ,alcazar                       
#abi    ,court of the ,dolls from the   
,room of the ,prince1 ,alcazar          
#acj    ,court of the ,dolls1 ,alcazar  
#aca    ,angle in the ,court of the     
,dolls1 ,alcazar                        
#acb    ,court of the ,dolls1 ,alcazar  
#acc    ,court of the ,dolls1 ,alcazar  
#acd    ,court of the ,dolls1 ,alcazar  
#ace    ,court of the ,dolls1 ,alcazar  

#acf    ,court of the ,dolls1 ,alcazar  
#acg    ,court of the ,dolls1 ,alcazar  
#ach    ,gallery on the second storey of
 the ,court of the ,dolls1  ,alcazar    
#aci    ,upper part of the ,court of the
 ,dolls1 ,alcazar                       
#adj    ,upper part of the ,court of the
 ,dolls1 ,alcazar                       
#ada    ,entrance to the ,dormitory of  
the ,moorish ,kings1  ,alcazar          
#adb    ,dormitory of the ,moorish      
,kings1 ,alcazar                        
#adc    ,front of the sleeping-saloon of
 the ,moorish ,kings1  ,alcazar         
#add    ,sleeping-saloon of the ,moorish
 ,kings1 ,alcazar                       
#ade    ,intercolumniation1 where ,don  
,fadrique was assassinated1  ,alcazar   
#adf    ,sultana's ,quarters1 ,alcazar  
#adf    ,room in which ,king ,st        
,ferdinand died1 ,alcazar               
#adg    ,interior of the ,hall of ,st   
,ferdinand1 ,alcazar                    
#adh    ,front of the ,hall of ,st      
,ferdinand1 ,alcazar                    

#adi    ,gate of the ,hall of ,st       
,ferdinand1 ,alcazar                    
#aej    ,gallery of the ,hall of ,st    
,ferdinand1 ,alcazar                    
#aea    ,throne of ,justice1 ,alcazar   
#aeb    ,court of the ,hundred ,virgins1
 ,alcazar                               
#aec    ,court of the ,virgins1 ,alcazar
                                        
#aed    ,general view of the ,court of  
the ,hundred ,virgins1  ,alcazar        
#aee    ,court of the ,virgins1 ,alcazar
                                        
#aef    ,front of the ,dormitory of the 
,moorish ,kings and the  ,court of the  
,virgins1 ,alcazar                      
#aeg    ,gallery in the ,court of the   
,virgins1 ,alcazar                      
#aeh    ,the ,court of the ,virgins1    
,capital of the door of the ,hall  of   
,ambassadors1 ,alcazar                  
#aei    ,the ,alcazar4 ,court of the    
,virgins4 ,capital of the  gate of the  
,hall of ,charles ,v4                   
#afj    ,palace of the ,dueas1 ,door of 

the ,chapel                             
#afa    ,palace of the ,dukes of ,alcal1
 commonly called ,casa  de ,pilatos     
#afb    ,the ,court in the ,house of    
,pilate                                 
#afc    ,court of the ,house of ,pilate 
#afd    ,gallery in the ,court of the   
,house of ,pilate                       
#afe    ,house of ,pilate               
#aff    ,gallery in the ,court of the   
,house of ,pilate                       
#afg    ,angle and statue in the ,house 
of ,pilate                              
#afh    ,house of ,pilate4 ,entrance to 
the ante-room of the  ,chapel           
#afi    ,the staircase in the ,house of 
,pilate1 by ,barrera                    
#agj    ,house of ,pilate4 ,entrance    
door of the ,oratory                    
#aga    ,house of ,pilate4 ,way out to  
the flat roofs in the ,high  ,gallery   
#agb    ,staircase in the ,house of     
,pilate                                 
#agc    ,house of ,pilate4 ,doors of the
 officers in the ,high  ,gallery        

#agd    ,house of ,pilate4 ,window of   
the ,prtor's ,hall leading  to the      
,garden                                 
#age    ,house of ,pilate4 ,barred      
window in the ,prtor's  ,garden         
#agf    ,house of ,pilate4 ,bolt on the 
,prtor's ,gate                          
#agg    ,house of ,pilate4 ,window in   
the ,ante-room of the  ,chapel          
#agh    ,house of ,pilate4 ,section of  
the ceiling in the ,prtor's  ,hall      
#agi    ,palace of the ,dueas in        
,seville                                
#ahj    ,house of ,pilate4 ,mosaics in  
the ,hall of the ,fountain              
#aha    ,palace of the ,dueas in        
,seville4 ,glazed tiles in the  socles  
of the ,chapel and arches               
#ahb    ,mosaic of the ,peristyle in the
 ,palace                                
#ahc    ,house of ,pilate4 ,mosaic in   
the ,hall of the ,fountain              
#ahd    ,mosaic in the ,court of the    
,house of ,pilate                       
#ahe    ,mosaic in the ,court of the    

,house of ,pilate                       
#ahf    ,mosaic in the ,court of the    
,house of ,pilate                       
#ahg    ,house of ,pilate4 ,mosaic in   
the ,chapel                             
#ahh    ,bartolom ,esteban ,murillo4    
,born in ,seville1 #afag                
#ahi    ,altar-screen of the ,la ,gamba1
 by ,luis de ,vargas4  ,seville         
,cathedral                              
#aij    8,descent from the ,cross10 by  
,pedro ,campaa1  ,seville ,cathedral    
#aia    8,st ,anthony of ,padua visited 
by the ,infant ,saviour  while kneeling 
at his prayers10 by   ,murillo4         
,seville ,cathedral                     
#aib    8,our ,lord baptized by ,st     
,john ,baptist10 by ,murillo4  ,seville 
,cathedral                              
#aic    8,the ,guardian ,angel10 by     
,murillo4 ,seville ,cathedral           
#aid    8,st ,leander10 by ,murillo4    
,seville ,cathedral                     
#aie    8,st ,isidore10 by ,murillo4    
,seville ,cathedral                     

#aif    8,st ,ferdinand1 crowned and    
robed10 by ,murillo4  ,seville          
,cathedral                              
#aig    8,madre ,francisca ,dorotea     
,villalda10 by ,murillo4  ,seville      
,cathedral                              
#aih    8,st ,anthony with the ,infant  
,saviour10 by ,murillo4  ,seville       
,museum                                 
#aii    8,our ,lady of the ,immaculate  
,conception10 by  ,murillo4 ,seville    
,museum                                 
#bjj    8,our ,lady of the ,immaculate  
,conception10 by  ,murillo4 ,seville    
,museum                                 
#bja    8,our ,lady of the ,immaculate  
,conception10 by  ,murillo4 ,seville    
,museum                                 
#bjb    8,our ,lady of the ,immaculate  
,conception10 by  ,murillo4 ,seville    
,museum                                 
#bjc    8,st ,justa and ,st ,rufina1    
,patron ,saints of ,seville1  holding   
between them the ,giralda ,tower10 by   
,murillo4 ,seville ,museum              

#bjd    8,st ,bonaventure and ,st       
,leander10 by ,murillo4  ,seville       
,museum                                 
#bje    8,st ,thomas of ,villanueva1    
giving alms at the door of  his         
,cathedral10 by ,murillo4 ,seville      
,museum                           #bjf  
8,the ,annunciation of ,our ,lady10 by  
,murillo4  ,seville ,museum             
#bjg    8,st ,felix of ,cantalisi1      
restoring to ,our ,lady the  ,infant    
,saviour1 whom she had placed in his    
arms10  by ,murillo4 ,seville ,museum   
#bjh    8,adoration of the ,shepherds of
 ,bethlehem10 by  ,murillo4 ,seville    
,museum                                 
#bji    8,st ,peter ,nolasco kneeling   
before ,our ,lady of  ,mercy10 by       
,murillo4 ,seville ,museum              
#baj    8,the ,deposition1--,st ,francis
 of ,assisi supporting  the body of ,our
 ,lord nailed by the left hand to the   
,cross10 by ,murillo4 ,seville ,museum  
#baa    8,st ,joseph and the ,infant    
,saviour10 by ,murillo4  ,seville       

,museum                                 
#bab    8,st ,john the ,baptist in the  
,desert leaning against a  rock10 by    
,murillo4 ,seville ,museum              
#bac    8,st ,augustine and the ,flaming
 ,heart10 by ,murillo4  ,seville ,museum
                                        
#bad    8,st ,felix of ,cantalisi and   
the ,infant ,jesus10 known  as 8,san    
,felix de las ,arrugas10 by ,murillo4   
,seville ,museum                        
#bae    8,st ,anthony with the ,infant  
,saviour10 by ,murillo4  ,seville       
,museum                                 
#baf    8,deposition from the ,cross10  
by ,murillo4 ,seville  ,museum          
#bag    8,our ,lady with the ,infant    
,saviour in her ,arms10 by  ,murillo4   
7,an early picture47 ,seville ,museum   
#bah    8,our ,lady and the ,infant     
,saviour10 known as 8,la  ,virgen de la 
,servilleta10 by ,murillo4 ,seville     
,museum                                 
#bai    8,our ,lady seated1 with the    
,infant ,saviour in her lap10  by       

,murillo4 7,an early picture47 ,seville 
,museum                       #bbj      
8,st ,thomas of ,aquin10 by ,zurbarn4   
,seville ,museum                    #bba
    8,the ,virgin of the ,grotto10 by   
,zurbarn4 ,seville  ,museum             
#bbb    8,st ,bruno talking to the      
,pope10 by ,zurbarn4 ,seville  ,museum  
#bbc    8,the ,day of ,judgment10 by    
,martin de ,vos4 ,seville  ,museum      
#bbd    8,our ,lady of the ,immaculate  
,conception10 by ,j4  ,valdes ,leal4    
,seville ,museum                        
#bbe    8,jesus crowning ,st ,joseph10  
by ,zurbarn4 ,seville  ,museum          
#bbf    8,the ,devout ,punyon10 by      
,zurbarn4 ,seville  ,museum             
#bbg    8,our ,lady of the ,immaculate  
,conception10 the  ,virgin surrounded by
 ,cherubim1 by ,fr4 ,pacheco4  ,seville 
,museum                                 
#bbh    8,our ,lord's ,miracle of the   
,loaves and ,fishes10 by  ,murillo4     
,seville ,hospital                      
#bbi    8,moses striking the ,rock in   

,horeb10 by ,murillo4 ,la  ,caridad1    
,seville                                
#bcj    8,st ,john of ,god1 sinking     
under the weight of a sick  man1        
assisted by an ,angel10 by ,murillo4 ,la
  ,caridad1 ,seville                    
#bca    8,the ,death of ,st             
,hermenigild0 by ,j4 de las ,roelas4    
,hospital de la ,sangre1 ,seville       
#bcb    8,the ,apostleship10 by ,juan de
 las ,roelas4 ,hospital  de la ,sangre1 
,seville                                
#bcc    8,the ,end of this ,world's     
,glories10 by ,valdes ,leal4  ,la       
,caridad1 ,seville                      
#bcd    8,piet1 or the ,virgin          
supporting the dead body of  her ,divine
 ,son10 altar-screen1 by ,luis de       
,vargas4  ,santa ,maria la ,blanca1     
,seville                                
#bce    8,st ,joseph1 holding the       
,infant ,saviour in his arms10  by      
,murillo4 ,san ,telmo1 ,seville         
#bcf    8,our ,lady of the ,girdle10 by 
,murillo1 ,san ,telmo1  ,seville        

#bcg    8,portrait of ,ferdinand        
,,vii410 by ,goya4 ,san ,telmo1         
,seville                                
#bch    8,portrait of ,charles ,,iv410  
by ,goya4 ,san ,telmo1  ,seville        
#bci    8,the ,annunciation10 by ,f4    
,zurbarn4 ,san ,telmo1  ,seville        
#bdj    8,the ,death of ,laocoon and his
 ,sons at the ,siege of  ,troy10 by ,el 
,greco4 ,san ,telmo1 ,seville           
#bda    8,caton of ,utique tearing open 
his wounds10 by ,josef  ,ribera4 ,san   
,telmo1 ,seville                        
#bdb    8,piet4 ,the ,virgin holding the
 dead ,saviour in her  arms10 by        
,morales4 ,san ,telmo1 ,seville         
#bdc    8,portrait of ,el ,greco10 by   
himself4 ,gallery of ,san  ,telmo1      
,seville                                
#bdd    8,the ,miracle of ,st ,vu4 ,st  
,hugo in the refectory  with several    
,chartreux10 by ,zurbarn4 ,seville      
,museum                                 
#bde    8,the ,martyrdom of ,st         
,andrew10 by ,j4 de las ,roelas4        

,seville ,museum                        
#bdf    8,the ,last ,supper10 by ,p4 de 
,cespedes4 ,seville  ,museum            
#bdg    8,christ on the ,cross10 by     
,zurbarn4 ,seville ,museum              
#bdh    ,portrait of the figure in      
,pacheco's picture at ,seville1         
supposed to represent ,cervantes        
#bdi    8,the ,virgin and the ,child    
,jesus10 by ,alonso ,cano4  ,seville    
,cathedral                              
#bej    8,the ,descent from the ,cross10
 by ,alego ,fernandez4  ,seville        
,cathedral                              
#bea    ,the ,cathedral                 
#beb    ,the ,giralda                   
#bec    ,the ,giralda                   
#bed    ,cathedral4 ,the ,gate of       
,pardon                                 
#bee    ,cathedral4 ,puerta de los      
,palos                                  
#bef    ,plan of the ,cathedral         
#beg    ,cathedral4 ,view of an organ   
#beh    ,cathedral4 ,monument to        
,columbus                               

#bei    ,cathedral4 ,silver ,tabernacle 
7weighing forty-five  arrobas7          
#bfj    ,alcazar ,gardens               
#bfa    ,alcazar ,gardens               
#bfb    ,alcazar ,gardens               
#bfc    ,house of ,pilate4 ,the ,goddess
 ,ceres                                 
#bfd    ,house of ,pilate4 ,the ,goddess
 ,pallas ,pacifer                       
#bfe    ,italica                        
#bff    ,roman ,walls                   
#bfg    ,patio de ,banderas and the     
,giralda                                
#bfh    ,plaza de ,san ,francisco       
#bfi    ,st ,mark's ,church             
#bgj    ,plaza de ,san ,fernando        
#bga    ,the ,town ,hall4 ,details of   
the old part                            
#bgb    ,faade of the ,palace of ,san   
,telmo                                  
#bgc    ,statue of ,velazquez           
#bgd    ,plaza de la ,constitucin       
#bge    ,plaza de la ,constitucin       
#bgf    ,calle de ,sierpes              
#bgg    ,calle de ,sierpes              

#bgh    ,a street in ,seville           
#bgi    ,hercules ,avenue               
#bhj    ,the ,pasadera                  
#bha    ,courtyard of ,la ,caridad      
#bhb    ,plaza de ,san ,fernando        
#bhc    ,plaza de ,gavidia              
#bhd    ,view from the ,pasadera        
#bhe    ,the ,drive                     
#bhf    ,paseo de las ,delicias         
#bhg    ,the ,quay                      
#bhh    ,partial view of ,seville       
#bhi    ,plaza de ,toros                
#bij    ,fields of ,san ,sebastian      
#bia    ,park of ,maria ,luisa          
#bib    ,railway ,station of ,m4,z4,a4  
,principal ,faade                       
#bic    ,railway ,station of ,m4,z4,a4  
,general ,view                          
#bid    ,triana ,bridge                 
#bie    ,view from ,triana ,bridge      
#bif    ,view from ,triana              
#big    ,san ,telmo from ,triana        
#bih    ,the ,cathedral4 ,our ,lord     
,crucified4 ,sculpture in the  ,sacristy
                                        

#bii    ,plan of ,seville               
#cjj          ,,seville      ,seville is
 the most ,spanish of the cities of     
,spain4 ,on her white walls  the        
sunlight plays perpetually1 the air is  
laden with the scent of the  orange1 the
 sound of the guitar and castanets is   
heard continually in  the narrow        
streets4 ,this is the ,south of romance1
 the ,south of which  northerners dream 
and towards which so many of them are   
drawn by an  irresistible fascination4  
,the cities of ,leon and ,castile are   
grim and  ,gothic4 ,cordova is ,moorish2
 but ,seville is not essentially one nor
  the other1 but presents that blending 
of both styles which makes her  typical1
 which stands for all that ,spain means 
to the average foreigner4    ,seville   
lives4 ,cordova is dead1 and ,granada   
broods over her past4 ,these  are       
cemeteries of a vanished civilisation4  
,alone among the ancient  seats of      
,moorish dominion1 ,seville has         
maintained her prosperity4 ,her         

wharves1 as in the days of ,al ,mansr1  
are still the resort of sailors  from   
many lands4 ,there is still wealth in   
her palaces and genius in her  schools4 
,to-day she holds the first place in    
native art1 and ,garcia  y ,ramos1      
,sanchez ,perrier1 ,jimenez ,aranda1 and
 ,bilbao not unworthily  continue the   
traditions of ,murillo and ,zurbarn4    
,the city is ,moorish1 but informed     
throughout with the spirit of ,spain4   
,in ,cordova the ,spaniard seems a      
stranger2 in ,seville he has assimilated
  and adapted all that was bequeathed by
 his onetime rulers till you  might     
think the place had always been his4 ,it
 is as though the glowing  metal of     
,andalusian life and temper had been    
poured into a mould made  expressly by  
other hands to receive it4 ,thus        
,seville has not died nor  decayed like 
her rivals4 ,her vitality intoxicates   
the northerner4  ,valds says1 8,seville 
has ever been for me the symbol of      
light1 the  city of love and joy40      

,in my book1 8,moorish ,remains in      
,spain10 ,i have sketched the history   
of the city and briefly referred to its 
importance under the ,roman  sway4 ,with
 the few monuments remaining from that  
time ,i do not purpose  dealing         
separately--incorporated as they have   
been1 for the most part1  with works of 
more recent construction4 ,nor has      
,roman influence left  very profound    
traces in ,seville1 any more than in the
 rest of ,spain4  ,seor ,rafael         
,contreras justly remarks that ,roman   
civilisation made  no deep impression on
 the country or the people4 8,we have in
 ,spain10  he continues1 8aqueducts1    
bridges1 circuses1 baths1 roads1 vases1 
urns1 milliaria1 statues1 and jewellery4
 ,specimens are still found1  but1      
strictly speaking1 art with us has never
 been either ,roman or  ,greek40 ,and   
,seville1 in particular1 even during the
 ,roman occupation1  was rather a ,punic
 than a ,latin town4 ,as to the         
successors of the  ,csars--the          

,visigoths--to them can only be ascribed
 a few capitals and  stone ornaments1   
roughly executed in the ,byzantine      
style4 ,these1 like  the ,roman remains1
 were used by the ,moors in the         
construction of those  buildings that   
have determined the physiognomy of      
,seville4          ,,moorish ,,seville  
,seville was not among the spoils of    
,tarik1 conqueror at the ,guadalete4    
,that general having directed his march 
upon ,toledo1 it was reserved to  his   
superior officer1 ,musa ,ben ,nosseyr1  
to subdue the proudest city  of ,btica4 
,the citizens held out for a month and  
then retired upon  ,beja in ,alemtejo4  
,the ,arabian commander left a garrison 
in the city1  henceforward to be known  
for five hundred and thirty-six years as
  ,ishbiliyah1 and pushed forward to    
,merida4 ,the ,sevillians took advantage
  of his absence to shake off his yoke1 
assisted by the people of ,beja  and    
,niebla4 ,their triumph was short lived4
 ,abdelasis1 son of ,musa1 fell  upon   

them like a thunderbolt1 extinguished   
the rising in blood1 and  made the city 
the seat of government of the newly     
acquired provinces4    ,the interesting 
personality and tragic fate of          
,seville's first ,viceroy  have made the
 site of his residence a question of    
some importance4  ,it was formerly      
believed that he occupied the ,acropolis
 or ,citadel1  supposed then to be      
covered by the ,alcazar4 ,the researches
 of ,seores  ,gayangos and ,madrazo have
 made it plain1 however1 that he        
established  his headquarters in a      
church which had been dedicated by the  
sister of  ,st ,isidore to the martyrs  
,rufina and ,justa1 now amalgamated with
 the  convent of ,la ,trinidad4         
,adjacent to this building ,abdelasis   
erected a  mosque2 and it was within its
 walls1 while reciting the first surah  
of  the ,koran1 that he was assassinated
 by the emissaries of the ,khalif of    
,damascus--death being a not uncommon   
reward in the ,middle ,ages for too     

brilliant military services rendered to 
one's sovereign4    ,the seat of        
government was transferred1 soon after  
the murder of the  son of ,musa1 to     
,cordova1 and ,seville sank for a time  
to a subsidiary  rank4 ,the various     
cities of ,andalusia were allotted by   
the governor  ,abdelmelic among the     
different ,syrian peoples who had       
flocked over  on the news of the        
conquest2 and ,ishbiliyah1 according to 
,seor de  ,madrazo1 was assigned to the 
citizens of ,horns1 the classic ,emesa4 
,owing to intermarriage between the     
conquerors and the natives1 the         
distinction between the ,moslems        
according to the places of origin  of   
these early settlers was soon lost in   
that drawn between the  pure-blooded    
,arabs and the ,muwallads or            
half-breeds4 ,in the meantime  the germs
 of ,arabian culture had fallen upon a  
kindly soil1 and a  new school of art   
and letters was in process of formation 
in ,spain4  ,the imposing monuments of  

,roman1 ,greek1 and ,byzantine          
civilisation1  which the victorious     
hosts of ,islam found ever in their     
path1 were not  without influence upon  
their conceptions of the beautiful in   
form4  ,the fusion of the               
,hispano-,goths and ,arabs likewise     
tended to produce  a commingling of     
spirit1 and ultimately to give birth to 
an art and  a culture racy of the soil4 
8,according to all contemporary         
writers10  says ,seor ,rafael           
,contreras1 8it is beyond all doubt that
 the style  which the artists of the    
,renaissance called ,moorish 7in the    
sense of  originating in ,northern      
,africa7 was never anything of the sort4
 ,the  details so much admired on       
account of their richness1 the vaultings
 and  the arched hollows practised in   
the walls1 the festoons of the arches1  
the commarajias and alicates1 were      
,spanish works finer and more  delicate 
than those of the ,east4 ,the root was  
originally in ,arabia1 but  it was      

happily transplanted to ,spain1 where   
blossomed that beautiful  flower which  
diffuses its perfume after a lapse of   
seven centuries40    ,under the ,western
 ,khalifate1 ,seville flourished in     
spite of the  assaults and internecine  
warfare of which it was frequently the  
theatre4 ,when in #hhh ,andalusia became
 temporarily split up into several      
nominally independent states1 the city  
acknowledged the sway of ,ibrahim  ,ibn 
,hajjaj4 ,the chronicler ,ben ,hayn1    
often quoted by ,seor de ,madrazo1      
describes this prince as keeping up     
imperial state and riding forth         
attended by five hundred horsemen4 ,he  
ventured to assume the tiraz1  the      
official garb of the ,amirs of ,cordova4
 ,to his court flocked the  poets1 the  
singers1 and the wise men of ,islam4 ,of
 him it was written1  8,in all the ,west
 ,i find no right noble man save        
,ibrahim1 but he is  nobility itself4   
,when one has known the delight of      
living with him1  to dwell in any other 

land is misery40 ,flattery did not blind
 the  sagacious ,ibn ,hajjaj to the     
insecurity of his position1 and he bowed
  before the rising star of the new     
,khalifa1 ,abd-er-,rahman ,,iii4 ,in    
#iac  ,ishbiliyah opened her gates to   
that powerful ruler and again became    
subject to ,cordova4 ,the city lost     
nothing by its timely submission4 ,the  
generous and beneficent ,khalifa        
narrowed and deepened the channel of    
the ,guadalquivir1 thus rendering it    
navigable4 ,he introduced the palm  tree
 from ,africa1 planted gardens1 and     
adorned the city with splendid          
edifices4 ,much of the splendour of the 
,court of ,cordova was reflected  on    
,seville1 which certainly rivalled the  
capital as a seat of learning4  ,among  
its citizens was ,abu ,omar ,ahmed ,ben 
,abdallah1 surnamed ,el ,begi  or 8the  
,sage10 the author of an encyclopdia of 
sciences1 which was  long esteemed as a 
work of marvellous erudition4 ,according
 to ,cond1  ,abdallah was frequently    

consulted by the magistrates1 even in   
his early  youth1 in affairs of the     
gravest import4    ,the public edifices 
of the ,pearl of ,andalusia were no     
doubt worthy of  its fame as a home of  
wisdom and culture4 ,in addition to the 
mosque  built by ,abdelasis1 near or on 
the spot where the convent of ,la       
,trinidad now stands1 a notable ornament
 of the city was the mosque  raised on  
the site of the basilica of ,st         
,vincent--immortalised by  several      
memorable ,councils4 8,but who10 asks   
,seor de ,madrazo1 8would  be capable   
to-day of describing this edifice8      
,nothing of it remains  except the      
memory of the place where it stood4     
,other structures1  ampler and more     
majestic1 replaced it when1 under the   
,almoravides and  ,almohades1 ,seville  
recovered its rank as an independent    
kingdom4 ,let  us content ourselves with
 recording that the principal mosque1   
built  at the same time as and on the   
model of that of ,cordova1 although on  

a smaller and less sumptuous scale1 was 
situated on the site of the  existing   
,cathedral1 and that in the ninth       
century it was burnt by the  ,normans4  
,in consequence it is impossible to say 
if the great horseshoe  arches which    
occur in the cloister of the ,cathedral 
are works earlier  or later than that   
event4 ,it does not appear probable that
 in the time  of the ,khalifs the mosque
 of ,seville could have had the         
considerable  dimensions suggested by   
the northern boundary of the patio de   
los  naranjos4 ,that line is #ccj       
,castilian feet1 which would give the   
mosque1 extending from north to south1 a
 length about double1 the  breadth of   
the atrium included--unlikely dimensions
 for a temple which1  compared with the 
,jama of ,cordova1 was unquestionably of
 the second  class4 ,no one knows who   
ordered the construction of the         
primitive  mosque of ,seville40    ,the 
irruption of the ,normans1 one of the   
results of which was the  demolition of 

this edifice1 took place in #hei4 ,the  
pirates were  afterwards defeated off   
the coast of ,murcia by the ,moorish    
squadron1  and made sail for ,catalonia4
 ,a serious descent had taken place in  
#hdd4 ,lisbon was the first city to fall
 a victim to the ,northmen1 whom  we    
next hear of at ,cadiz and at ,sidonia1 
where they defeated the  ,khalifa's     
troops in a pitched battle4 ,fierce     
fighting took place before  the walls of
 ,ishbiliyah1 the invaders being        
uniformly victorious4 ,laden  with the  
richest booty1 they at length retired   
overland to ,lisbon1  where they took to
 their ships4 ,they not only destroyed  
the mosque of  ,seville1 but threw down 
the city walls1 which dated from ,roman 
times4  ,these were repaired by         
,abd-er-,rahman ,,ii41 to be partially  
demolished  again by ,abd-er-,rahman    
,,iii4 on his triumphal entry into the  
amirate of  ,ibrahim ,ibn ,hajjaj4      
,the subjection of ,seville to the yoke 
of the ,khalifs of ,cordova was1        

unhappily for the city and for ,islam   
generally1 not of long duration4  ,the  
mighty ,wizir1 ,al ,mansr1 restored the 
waning power of the ,crescent  and drove
 back the ,christians into the mountain 
fastnesses of the  ,north4 ,but the     
collapse of the ,western ,khalifate had 
been postponed1  not averted4 ,this ,al 
,mansr well knew4 ,on his deathbed he   
reproached  his son for yielding to     
unmanly tears1 saying1 8,this is to me a
  signal of the approaching decay of    
this empire40 ,his prediction did  not  
long await fulfilment4 ,in #ajji1 seven 
years after his death1 his  second son1 
,abd-er-,rahman ,sanjul1 had the        
audacity to proclaim himself  the       
,khalif ,hisham's heir4 ,the empire     
became at once resolved into  its       
component parts4 ,on all sides the kadis
 and governors revolted4  ,independent  
amirates were set up in all the         
considerable towns4 ,at  ,ishbiliyah the
 shrewd and powerful kadi1 ,mohammed    
,ben ,abbad1 perceived  his opportunity1

 but contrived to excuse his ambition by
 a specious  pretence of legality4 ,an  
impostor1 impersonating the legitimate  
,khalifa1 ,hisham1 appeared on the      
troubled scene4 ,ben ,abbad espoused his
  cause and pretended to govern the city
 in his name4 ,his power firmly         
established1 the kadi announced that the
 ,khalifa was dead and had  designated  
him as his lawful successor4 ,for the   
second time1 ,seville  rose to the      
dignity of an independent state4    ,the
 ,abbadites were a splendour-loving     
race4 ,their ,court was extolled by     
,arabian writers as rivalling that of   
the ,abbasside sultans4 ,under their    
rule the city waxed every year more     
beautiful1 more prosperous4 ,patrons  of
 art and letters1 the amirs were        
vigorous and capable sovereigns1 and  in
 all ,musulman ,spain no state was more 
powerful than theirs1 except  ,toledo4  
,the second monarch of the dynasty1 ,abu
 ,amru ,abbad1 better known  as         
,mo'temid1 was a mighty warrior4 ,he    

reduced ,algarve and took ,cordova4     
,when not engaged in martial exploits he
 took delight in composing  verses1 in  
the society of talented men1 and in the 
contemplation of  the garden of his     
enemies' heads1 which he had laid out at
 the door of  his palace4 ,he was       
succeeded in #ajfi by his son           
,abul-,kasim ,mohammed1 a  native of    
,beja4    ,the ,crescent was waning4    
,all ,al ,mansr's conquests had been    
recovered  by the ,christians4 ,toledo  
fell before the arms of ,alfonso ,,iii4 
,the  ,castilians overran ,portugal and 
penetrated into ,andalusia4 ,the ,amir  
of ,ishbiliyah took the only course open
 to him at the moment1 and  cultivated  
the friendship of the ,castilian king4  
,he consented to the  removal of the    
body of ,st ,isidore from ,italica to   
,leon1 and gave his  daughter ,zayda in 
a sort of left-handed marriage to       
,alfonso ,,iii4 ,as the  ,christian king
 was already the husband of ,queen      
,constancia1 and ,zayda's  dowry        

consisted of the most valuable conquests
 of the ,amir ,mut'adid1  this          
transaction did not reflect much credit 
on either party4 ,but it  purchased for 
,seville a period of peace and security1
 during which its  inhabitants became   
hopelessly enervated by luxury and ease4
    ,the ,abbadite sovereigns have left 
but few traces on the city which  they  
did so much to embellish and improve4   
,to them1 however1 may be  ascribed the 
foundation of the ,alcazar4 ,such at    
least is the opinion  of ,seor de       
,madrazo4 ,in the horseshoe arches of   
the ,saln de los  ,embajadores with     
their rich ,corinthian capitals--on     
which the names of  different ,khalifas 
are inscribed--we detect a resemblance  
to the mosque  of ,cordova1 and         
recognise the early ,saracenic style1   
unaffected by  ,african1 or properly    
,moorish1 influence4 ,to the same period
 and school  of architecture1 ,seor de  
,madrazo attributes the ornate arcading 
of the  narrow staircase leading from   

the entrance court to near the balcony  
of the chapel2 and the three arches with
 capitals in the abandoned  apartment   
adjoining the ,saln de los ,principes4  
,the ultra-semicircular  curve of the   
arch occurs very rarely in later or true
 ,moorish  architecture4    ,the ,moslem
 conquerors had1 in the majority of     
cases1 converted to their  use the      
,christian churches in the cities they  
occupied4 ,many of the  mosques that    
adorned ,ishbiliyah during the reign of 
the race of ,abbad  had been adapted in 
this way1 the lines of pillars being    
readjusted in  most cases to give the   
structure that south-easterly direction 
that the  law of ,islam required4       
,traces of these ,abbadite mosques      
remain in the  churches of ,san ,juan   
,bautista and ,san ,salvador4 ,on the   
wall of the  former was found an        
inscription which has been thus         
translated by ,don  ,pascual de         
,gayangos3 8,in the name of the clement 
and merciful ,allah4  ,may the blessing 

of ,allah be on ,mohammed1 the seal of  
the ,prophets4 ,the  ,princess and      
august mother of ,er-,rashid            
,abu-l-hosaya ,obayd' allah1 son  of    
,mut'amid ,abu-l-,kasim ,mohammed ,ben  
,abbad 7may ,allah make his empire  and 
power lasting1 as well as the glory of  
both671 ordered this minaret  to be     
raised in her mosque 7which may ,allah  
preserve671 awaiting the  abundance of  
,his rewards2 and the work was finished1
 with the help of  ,allah1 by the hand  
of the ,wizir and ,katib1 the ,amir     
,abu-l-,kasim ,ben  ,battah 7may ,allah 
be propitious to me671 in the moon of   
,shaaban1 in the  year #dgh40    ,the   
site of the present collegiate church of
 ,san ,salvador was occupied  by a      
mosque1 which was used by the ,moors for
 a considerable time after  the         
,christian conquest1 and preserved its  
form down to the year #affi4  ,an       
inscription on white marble relates that
 a minaret was constructed  in the year 
#ajhj1 by ,mut'amid ,ben ,abbad1 that   

8the calling to prayer  might not be    
interrupted40    ,the reign of the      
,abbadites was brought to a close by the
 advent of the  ,almoravides 7a word    
allied to ,marabut71 who1 at the        
invitation of  the ,andalusian amirs1   
invaded ,spain in the last quarter of   
the eleventh  century4 ,it was a story  
common enough in history4 ,the ,africans
 came at  first as the friends and      
allies of the ,spanish ,arabs1 and      
effectually  stemmed the tide of        
,christian successes2 but in #ajia1     
,yusuf1 the  ,almoravide leader1 annexed
 ,ishbiliyah and all ,andalusia to his  
vast  empire4 ,the city became a mere   
provincial centre1 the appanage of  the 
,berber monarch4 ,mo'temid1 loaded with 
chains1 was transported to  ,africa1    
where he died in #ajie1 having reigned  
as amir twenty-seven  years4    ,the    
,almoravides lived by the sword and     
perished by the sword4  ,perpetually    
engaged in warfare1 among themselves or 
with the  ,christians1 they left no deep

 impress on the character of ,seville or
  of ,andalusia generally4 ,with them   
the student of the arts in ,spain has   
little concern4 ,they burst like a      
tornado over the land1 destroying  much1
 creating nothing4 ,little more than    
half-a-century had passed  since the    
downfall of the ,abbadites1 when the    
star of the ,almoravides  paled before  
the rising crescent of the ,almohades or
 ,al ,muwahedun4 ,the  new sectaries1 as
 fierce as their predecessors1 but more 
indomitable  and austere1 wrested all   
,barbary from the descendants of        
,tashrin and  annexed ,ishbiliyah to    
their empire in #aadf4    ,the reign of 
the ,almohades is the most interesting  
period in the  history of the city4 ,it 
was marked by the foundation of         
,seville's most  important existing     
edifices1 and by the introduction of a  
new style  of architecture4 ,hitherto1  
what is loosely called ,moorish art1 had
  been native ,andalusian art1 following
 ,saracenic or ,syrian ideals4 ,of  this

 first period1 the ,mezquita at ,cordova
 is the finest monument4  ,seville is   
peculiarly the city of the second1 or   
true1 ,moorish period4  ,byzantine and  
,oriental influences disappeared and    
were supplanted by  the ,african or1    
more properly1 ,berber1 character4 ,the 
new conquerors  of ,andalusia were a    
rude1 hardy race1 and we find something 
virile  and coarse in their             
architecture4 8,beside the ,giralda of  
,seville10  remarks ,herr ,karl ,eugen  
,schmidt1 8the columns of the mosque of 
,cordova  seem small2 the pretty halls  
of the ,alhambra have something weak and
  feminine40 ,the weakness of the       
,almohade builders1 as is usually the   
case with imperfectly civilised peoples1
 lay in an excessive fondness  for      
ornamentation4 ,seor de ,madrazo's      
criticism1 though severe1 is1  on the   
whole1 just4 ,while admitting the beauty
 of certain of their  innovations1 such 
as the stalactited dome 7afterwards     
carried out  with so much effect at     

,granada7 and the pointed arch1 he goes 
on to  say1 8,the ,almohade architecture
 displays that debased taste which  is  
imitative rather than instinctive1 and  
which creates only by  exaggerating     
forms to a degree inconsistent with the 
design--differing  from the ,mudejar    
work of the thirteenth to the fifteenth 
centuries1  which reveals an instinctive
 feeling for the beautiful in ornament1 
which never loses sight of the graceful1
 the elegant1 and the bold1 and  which  
consequently never betrays any          
aberration4 ,the ,almohade style1  in   
short1 at once manifests the vigour of  
the barbarian civilised  by conquest2   
the ,mudejar style has the enduring     
character of the  works of a man of     
taste1 wise in good and evil fortune2   
both are the  faithful expression of the
 culture of peoples of different origins
 and  aptitudes40 ,elsewhere the same   
authority observes1 8,it is certain that
  the innovation characteristic of      
,musulman architecture in ,spain in  the

 eleventh and twelfth centuries1 cannot 
be explained as a natural  mutation from
 the ,arabic art of the ,khalifate1 or  
as a prelude to  the art of ,granada1   
because there is very little similarity 
between  the style called secondary or  
,moorish and the ,arab-,byzantine and   
,andalusian2 while1 on the other hand1  
it is evident that the ,saracenic       
monuments of ,fez and ,morocco1 of the  
reigns of ,yusuf ,ben ,tashfin1  ,abdul 
,ben ,ali1 ,al ,mansr1 and ,nasr1       
partake of the character of the         
ornamentation introduced by the         
,almohades into ,spain40    ,the most   
important example of this style is the  
,giralda1 now adjacent  to the          
magnificent ,christian cathedral which  
was reared in later  days on the        
foundations of the great mosque4 ,seor  
de ,madrazo has  reconstructed for us   
the general form and aspect of the      
finest monument  of ,almohade piety4    
,the mosque replaced that which had been
 destroyed  by the ,normans1 and appears

 to have embodied some part of the      
original  structure1 to judge from the  
horseshoe arches still to be seen in the
  ,claustro de la ,granada4 ,the work   
was begun by order of ,yusuf1 the son   
of ,abd-er-,rahman1 the founder of the  
dynasty4 ,the mosque formed a           
rectangle1 extending from north to      
south1 and surrounded by cloisters  and 
courtyards4 ,the interior was divided   
into longitudinal naves by a  series of 
marble columns1 which supported an      
adorned ceiling of carved  and painted  
wood4 ,the mihrab1 or sanctuary1 would  
have been at the  southern extremity1   
after the ,syrian custom1 it taking the 
,spanish  ,muslims some time to realise 
that ,mecca lay east rather than south  
of ,andalusia4 ,the mosque would also   
have contained a maksurrah1 or          
vestibule1 for the imam and his         
officials1 the nimbar1 or pulpit1 for   
the sovereign1 and the tribune for the  
preacher4 ,in the northern court  was   
the existing fountain for ablutions1    

surmounted by a cupola1 and  surrounded 
by orange and palm-trees4 ,the eastern  
court was known as the  ,court of the   
,elms4 ,in all probability1 attached to 
the sacred edifice1  was the turbeh1 or 
tomb of the founder4    ,the ,giralda is
 not only the most important and famous 
of minarets1 but  is among the three or 
four most remarkable towers in the      
world4 ,it is  more to ,seville than    
,giotto's campanile to ,florence2 it    
rivals in fame  the now vanished        
campanile of ,st ,mark's4 ,unlike       
similar edifices in  ,egypt and ,syria1 
minarets among the western ,moslems were
 built strong  and massive1 rather than 
slender and elegant4 ,the ,giralda10    
says ,herr  ,schmidt1 8is one of the    
strongest buildings in the world1 and   
few of  our ,christian church towers    
could have withstood so successfully the
  lightning and the earthquake40    ,the
 ,giralda is quadrangular in section1   
and covers a space of #ac4fj  square    
metres4 ,the architect--whose name is   

variously spelt ,gever1  ,hever1 and    
,djabir--is said to have used quantities
 of ,roman remains  and statuary as a   
base for the foundations4 ,the thickness
 of the  wall at the base is nine feet1 
but it increases with the height1 the   
interior space narrowing accordingly4   
,the lower part of the tower is of      
stone1 the upper part of brick4 ,at a   
height of about #ae metres above  the   
ground begin those decorations in stone 
which lend such elegance  and beauty to 
this stout structure4 ,they consist in  
vertical series of  windows--mostly     
ajimeces or twin-windows--some with the 
horseshoe1  others the pointed arch1    
flanked on either side by broad vertical
 bands  of beautiful stone tracery1     
resembling trellis-work4 ,the windows   
are  enclosed in arches which exhibit   
considerable diversity of design4 ,the  
decoration as a whole is harmonious and 
beautiful4    ,the ,moorish tower only  
reaches to a height of #gj metres4 ,the 
remaining  portion1 reaching upwards for

 another #be metres1 is of ,christian   
workmanship4 ,before this was added1 the
 tower appears to have been  crowned1   
like most ,west ,african minarets1 by a 
small pinnacle or  turret4 ,this        
supported four balls or apples of gilded
 copper1 one of  which was so large that
 the gates of ,seville had to be widened
 that it  might be brought into the     
city4 ,the iron bar which supported the 
balls  weighed about ten hundredweights1
 and the whole was cast by a ,sicilian  
,arab named ,abu ,leyth1 at a cost of   
#ej1jjj sterling4 ,we owe these         
particulars to a ,mohammedan writer of  
the period1 and his accuracy was        
confirmed in #acie1 when the balls1     
having been thrown to the ground by  an 
earthquake1 were carefully weighed and  
examined4    ,the upper or newer part of
 the ,giralda was built by ,fernando    
,ruiz  in #aefh4 ,despite its ,doric and
 ,ionic columns and ,renaissance style1 
it does not mar the beauty and harmony  
of the whole building1 and  is itself a 

remarkably graceful work4 ,the          
entablature of the second  stage or     
storey bears the words ,turris          
fortissima ,nomen ,domini4 ,the  whole  
fabric is surmounted by the bronze      
statue of ,faith1 executed  by ,bartolom
 ,morel in #aefh4 ,it stands fourteen   
feet high1 and weighs  twenty-five      
hundredweights1 yet so wonderful is the 
workmanship that  it turns with every   
breath of the wind4 ,hence the name     
applied to the  whole                   
tower--,giralda--from que gira1 8which  
turns40 ,the figure wears  a ,roman     
helmet4 ,the right hand clasps the      
labarum of ,constantine1 and  the left a
 palm branch symbolical of victory4     
,the ,giralda is ascended by means of   
thirty-five inclined planes1 up  which a
 horse might be ridden with ease to the 
very top4 ,the various  cuerpos or      
stages of the ascent are all named4 ,the
 ,cuerpo de ,campanas  is named after   
its fine peal of bells4 ,the bell named 
,santa ,maria was  hung in #aehh by     

order of the ,archbishop ,gonzalo de    
,mena4 ,it cost ten  thousand ducats1   
and weighs eighteen tons4 ,the ,cuerpo  
de ,azucenas 7or  of the lilies7 is so  
named after its urns with floral        
decorations in  ironwork4 ,el ,cuerpo   
del ,reloj 7clock tower7 contains a     
clock partly  constructed in #agfe by   
the monk ,jos ,cordero1 with pieces of  
another  placed here in #adjj in the    
presence of ,don ,enrique ,,iii4--the   
first  tower-clock set up in ,spain4    
,the ,cuerpos de ,estrellas 7stars7 and 
de  las ,corambolas 7billiard-balls7 are
 named after the predominant devices  in
 their schemes of decoration4    ,the   
highest platform of the ,giralda        
affords1 as might be expected1  a very  
extensive view4 ,on the whole1 the      
prospect is disappointing4  ,the        
neighbourhood of ,seville is not        
beautiful1 nor are there any  very      
notable sites or natural features       
included within the panorama4  ,standing
 below ,morel's great statue1 however1  

and gazing down upon the  city1         
interesting considerations naturally    
present themselves4 ,that  the figure of
 ,christian faith should thus be reared 
on the summit of a  building specially  
intended to stimulate the zeal and to   
excite the  devotion of the followers of
 ,islam is a reflection calculated to   
give  profound satisfaction to the      
devout ,spaniard4 ,the whimsical        
philosopher  may also find an           
appropriateness in the handiwork of the 
men of the  simpler1 cruder faith       
conducting one upwards to the more      
refined and  complicated creed4 ,i do   
not know if ,mohammedans ever visit     
,seville4  ,if so1 they doubtless       
console themselves for the desecration  
of their  sacred edifices by thoughts of
 ,hagia ,sophia and the onetime         
,christian  churches of the ,east4 ,and 
the ,giralda has fared better at the    
hands of  the ,christians than many a   
church of their own has done4 ,i may    
instance  the chapel at ,mayence1 which 

with practically no alteration in its   
architecture and internal arrangements  
now serves the purpose of a  beer-shop4 
,as the ,giralda attests the size and   
beauty of the great mosque1 so  several 
smaller towers exist in ,seville to mark
 the sites of the lesser  ,mohammedan   
temples4 ,the most important of these is
 the tower or minaret  of ,san ,marcos4 
,it is seventy-five feet high and ten   
feet broad--the  highest edifice in the 
city except the ,giralda4 ,it is built  
according  to the pure ,almohade style1 
8without any admixture10 points out     
,seor  de ,madrazo1 8of the features    
taken from the ,christian architecture  
of  the ,west40 ,according to ,mr       
,walter ,m4 ,gallichan there is a       
tradition  that ,cervantes used to      
ascend this tower to scan the vicinity  
in  search of a ,sevillian beauty of    
whom he was enamoured4 ,the church is   
,gothic1 and dates from #adgh1 but the  
beautiful portal exhibits ,mudejar      
workmanship1 and may be ascribed to the 

days of ,st ,ferdinand or of his        
immediate successors4    ,the parish    
churches of ,san ,juan ,bautista1 ,santa
 ,marina1 ,san ,esteban1  ,santiago1    
,santa ,catalina1 ,san ,julin1 ,san     
,ildefonso1 ,san ,andrs1 ,san  ,vicente1
 ,san ,lorenzo1 ,san ,bartolom1 ,santa  
,cruz1 and ,santa ,maria de las  ,nieves
 7some of which no longer exist71 were  
all mosques during the  ,almohade era4  
,a few continue to preserve their       
minarets and mihrabs1  generally        
restored and modified almost beyond     
recognition4    ,while attending by the 
construction of these numerous places of
 worship  to the spiritual needs of     
their subjects1 the ,almohade rulers    
neglected  no means of strengthening    
,ishbiliyah and of promoting its general
  prosperity4 ,the city became the most 
important seat of ,mohammedan power  in 
the ,west4 ,trade rapidly increased1 and
 the town became the principal  resort  
of the weavers1 metal-workers1 and other
 prominent ,moorish  craftsmen4 ,abu    

,yakub ,yusuf was the first to throw a  
bridge of boats  across the             
,guadalquivir1 over which troops first  
passed on ,october  #aath1 #aaga4 ,this 
bridge immensely added to the strength  
of the city as  a fortified place1 as it
 established permanent communication    
between  it and its principal source of 
supplies1 the fertile district called   
the ,ajarafa on the right bank of the   
river4 ,the charms of this expanse1     
otherwise known as the ,orchard of      
,hercules1 are rapturously described  by
 ,arab historians4 ,these are the words 
of the poet ,ibn ,saffar3 8,the         
,ajarafa surpasseth in beauty and       
fertility all the lands of the world4   
,the oil of its olives goeth even to far
 ,alexandria2 its farms and  orchards   
exceed those of other countries in size 
and convenience2 so  white and clean are
 they1 that they appear like so many    
stars in a  sky of olive gardens40 ,the 
,ajarafa is an ,arabia ,felix without   
wild  beasts1 the ,guadalquivir a ,nile 

without crocodiles4 ,el ,makkari says it
  measured about forty miles in each    
direction and contained a numerous      
population4 ,those who know the rather  
dreary country extending westward  of   
the modern city will realise the        
melancholy change brought about by      
time4    ,the city then1 as now1 was    
girdled by strong walls4 ,the gates     
were twelve in number4 ,those not turned
 towards the river were  strongly       
fortified with towers and bastions4 ,the
 farther bank of the  ,guadalquivir was 
defended by castles and redoubts4       
,upwards of a hundred  keeps and        
watch-towers studded the adjacent       
country4    ,one of the most vital      
points in the defensive works was the   
poetically-named ,torre del ,oro 7tower 
of gold71 which still exists1 and  is   
familiar to every visitor to the city4  
,the tower is a twelve-sided  polygon of
 three storeys4 ,it is surmounted by a  
smaller tower1 also  of twelve sides1   
which in turn supports a small round    

cupola4 ,this  superstructure was added 
in the eighteenth century1 whereas the  
main  building was erected by the       
,almohade governor ,abu-l-,ala in the   
year  #abbj4 ,the tower was in those    
days connected with the walls of the    
city  by what is called in military     
parlance a curtain1 which was pulled    
down as late as in #ahba4 ,the outwork  
faced another watch-tower on the        
opposite bank of the river1 and a great 
iron chain was drawn from the  one to   
the other1 effectually closing the      
harbour against hostile  vessels4 ,the  
assaults of the foeman and the deadlier 
ravages of time  have stripped this     
strong and graceful monument of the     
beautiful tiles  or azulejos with which 
it was once adorned1 and which seemed to
 have  earned for it its present name4  
,no ,dana1 alas6 waits in this tower of 
gold to-day for tyrant or deliverer4    
,the place is occupied by clerks1  whose
 pens are ever busy recording the       
shipments of coal brought by  incoming  

steamers2 and the immediate vicinity is 
infested by 8tramp0  sailors of all     
nationalities1 mostly ,british1 for     
whose benefit1  presumably1 rum1 8,old  
,tom10 and other stimulating but        
unromantic  beverages are dispensed at  
kiosks and bars4    ,the spot appears to
 have been the scene of a picturesque   
episode  recounted by ,contreras4 ,it is
 worth repeating as revealing the       
polished  character of the dusky amirs  
who ruled in ,ishbiliyah three hundred  
years before ,charles of ,orleans       
devoted his declining years1 in his     
palace by the ,loire1 to the making of  
ballads1 triolets1 and rondeaux4    ,the
 ,abbadite amir1 ,mut'adid-billah1 was  
walking one day in the field  of        
,marchab ,afida1 on the banks of the    
,guadalquivir1 and observed the  breeze 
ruffling the surface of the water4 ,he  
improvised the line--        8,the      
breeze makes of the water a cuirass0--  
and turning to the poet ,aben ,amr1     
called upon him to complete  the verse4 

,while the laureate was still in the    
throes of poetical  parturition1 a young
 girl of the people who happened to be  
standing by1  anticipated him1 and gave 
utterance to these original lines--     
8,a cuirass strong1 magnificent for     
combat1       ,as if the water had been 
frozen truly40    ,the prince was       
astonished at this display of the       
lyrical gift by a  woman of her         
condition1 and ordered one of his       
eunuchs to conduct her  to the palace4  
,on being questioned1 she informed him  
that she was  called ,romikiwa1 because 
she was the slave of ,romiya1 and was a 
driver  of mules4    8,are you married80
 asked the prince4    8,no1 sire40      
8,it is well1 for ,i shall buy you and  
marry you40    ,it is to be hoped that  
,romikiwa's merits as a wife exceeded   
her  abilities as a poetess4    ,the    
,alcazar1 the palace inhabited by this  
dilettante amir and his  successors of  
the race of ,abbad1 continued to be the 
principal  residence of the subsequent  

rulers of ,ishbiliyah1 both ,almoravides
  and ,almohades4 ,there can be no doubt
 that the latter restored and           
reconstructed the building to an extent 
that almost effaced the work  of the    
founders4 ,but the impress of the       
,berber architects was in its  turn     
almost entirely lost when the fabric    
came into the possession of  the        
,christians4 ,thus the ,alcazar cannot  
be rightly classed among the  monuments 
of the ,almohade period4 ,it is certain 
that its extent at this  time was       
greater than it is now4 ,its enclosure  
was bounded by the city  wall1 which ran
 down to the river1 and occupied the    
whole angle formed  by the two4 ,the    
,alcazar was then primarily a fortress1 
and its walls  were flanked on every    
side by watch-towers such as those with 
which its  front is still furnished4    
,the principal entrance seems to have   
been at  the ,torre de la ,plata 7silver
 tower71 which was standing as late as  
#ahba4 ,finally1 among the works of the 

last ,musulman rulers of ,seville1  we  
must not omit to mention the great      
aqueduct of four hundred and  ten       
arches1 called the ,caos de ,carmona1   
constructed in #aagb1 which  ensured the
 city an abundant supply of water from  
the reservoir of  ,alcal de ,guadaira4  
,the ,almohades had other palaces in the
 city4 ,the  old residence of ,abdelasis
 yet remained1 and we hear of the       
palaces of  ,st ,hermenegildo and of the
 ,bib ,ragel 7or northern gate74    ,the
 ,almohades kinged it nobly in          
,andalusia2 but these successive        
revivals of fervour and activity in     
,western ,islam may be compared to  the 
last strong spasms of a dying man4      
,despite these furious inrushes  of     
,almoravides and ,al-,muwahedun1 the    
,christians were slowly but surely      
gaining ground4 ,the lieutenants of     
,abd-ul-,mumin subjugated ,granada and  
,almeria in the east1 ,badajoz and      
,evora in the west4 ,the ,moorish amir  
of ,valencia did homage to ,yusuf1      

,abd-ul-,mumin's son and successor1 at  
,ishbiliyah4 ,the third sovereign of the
 dynasty1 ,yakub ,al ,mansr1 dealt  what
 seemed a crushing blow to the allied   
,spaniards at ,alarcos in #aaie4  ,had  
that victory been properly followed up1 
perhaps to this day a  ,mohammedan power
 might have been seated firmly in the   
south of ,spain1  and the ,strait of    
,gibraltar might have been a western    
,dardanelles4    ,but the ,christians   
rallied4 ,in #abab was fought the       
decisive battle  of ,las ,navas de      
,tolosa1 between the ,moorish ,khalif   
,an-,nasr and the  ,castilian ,king1    
,alfonso ,,viii4 ,the ,musulmans were   
totally defeated4 8,six  hundred        
thousand combatants10 says ,el ,makkari1
 with perhaps a trace of  ,oriental     
hyperbole1 8were led by ,an-,nasr to the
 field of battle2 all  perished1 except 
a few that did not amount to a thousand4
 ,this battle  was a malediction1 not   
only on ,andalus but on all the ,west40 
,yet the downfall of the ,islamite power

 did not immediately follow4  ,an-,nasr 
survived his defeat seven years1 and his
 son1 ,abu ,yusuf ,yakub                
,al-,mustanser1 reigned four more       
inglorious years4 ,his dying 7#abbc7    
without children was the signal for     
dissensions and disturbances  throughout
 his still vast empire4 ,while          
,abd-ul-,wahed was proclaimed  ,khalifa 
in ,morocco1 ,al ,adil took up the reins
 of sovereignty in ,murcia4  ,both      
pretenders soon disappeared from the    
troubled scene1 ,abd-ul-,wahed  being   
assassinated1 and his rival1 after      
having been defeated in ,spain  by the  
,christians1 being forced to take refuge
 in ,morocco1 there to  abdicate in     
favour of ,an-,nasr's son1 ,yahya4      
,abu-l-,ala1 ,al ,adil's  brother1 who  
had been left as governor in            
,ishbiliyah1 declared himself  ,khalifa 
on learning the accession of ,yahya4 ,he
 was the last of the race  of           
,abd-ul-,mumin to rule in the city4 ,he 
was driven from ,spain--to found  a     

wider empire in ,africa--by ,mohammed   
,ben ,yusuf1 variously styled ,ben  ,hud
 and ,al ,jodhami4    ,the storm-clouds 
were gathering fast over the beautiful  
city by the  ,guadalquivir4 ,spain's    
great national hero1 ,st ,ferdinand1 now
 wore the  crown of ,castile4 ,he routed
 the ,moors at ,jerez1 and in #abce     
wrested  from them their most ancient   
and glorious metropolis1 ,cordova4 ,the 
discord and sedition which history shows
 are the usual prelude to the           
extinction of a state1 were not wanting 
at ,seville4 ,ben ,hud died in  #abch1  
and his subjects turned once more in    
their despair to the ,african           
,almohades4 ,but no new army of ,ghazis 
crossed the strait to do battle  with   
the ,unbeliever4 ,despite their         
protestations of allegiance to the      
,khalifa of ,barbary1 the ,moors of     
,seville were left to fight their last  
fight unassisted4 ,when the ,castilian  
army appeared before the walls1  the    
defence was directed1 strangely enough  

for a ,mohammedan community1  by a junta
 of six persons4 ,their names are worthy
 of being recorded3  ,abu ,faris1 called
 by the ,spaniards ,axataf1 ,sakkf1     
,shoayb1 ,ben ,khaldn1  ,ben ,khiyar1   
and ,abu ,bekr ,ben ,sharih4    ,the    
siege of ,ishbiliyah lasted fifteen     
months4 ,material assistance  was lent  
to the ,spaniards by ,musulman          
auxiliaries1 among them the  ,amirs of  
,jan and ,granada4 ,the ,castilian fleet
 under ,admiral ,ramon  ,bonifaz        
dispersed the ,moorish ships1 while the 
,sevillian land forces  were driven to  
take refuge within the walls4 ,the      
,admiral succeeded  in breaking the     
chain stretched across the river1 and   
thus cut off  the garrison from their   
principal magazines in the suburb of    
,triana4  ,only when in the clutches of 
famine did the defenders ask for terms4 
,they offered to give up the city1 on   
the condition that they should  be      
allowed to demolish the mosque4 ,the    
,infante ,alfonso replied that  if a    

single brick were displaced1 the whole  
population would be put  to the sword4  
,the garrison finally surrendered on the
 promise that  all inhabitants who      
desired to do so should be free to leave
 the city  with their families and      
property1 and that those who elected to 
remain  should pay the ,castilian king  
the same tribute they had hitherto paid 
to the native ruler4 ,the brave ,abu    
,faris was invited to accept an         
honourable post under the conqueror1 but
 he magnanimously declined and  retired 
to ,africa4 ,thither thousands of his   
countrymen followed him4  ,indeed1      
probably only a few thousand ,moors     
remained behind in ,seville4            
,ferdinand took possession on ,december 
#bbnd1 #abdh4 ,he took up his  residence
 in the ,alcazar and allotted houses and
 territory to his  officers4 ,it is     
worthy of remark that the first         
,christian soldier to  ascend the       
,giralda was a ,scotsman named ,lawrence
 ,poore4 ,among the first  duties of the

 saintly king was the purification of   
the mosque and its  conversion into a   
,christian church4    ,seville1 after   
having remained in the hands of the     
,musulmans five  hundred and thirty-six 
years1 had passed from them for ever4   
,,seville ,,under ,,the ,,castilian     
,,kings      ,the outward transformation
 of the ,moorish ,ishbiliyah into       
,seville1  the ,christian capital1      
proceeded slowly and gradually4 ,the    
personal devotion and profound religious
 fervour of ,king ,ferdinand            
notwithstanding1 even the war which     
resulted in the taking of the  city     
cannot be regarded as a crusade4 ,as we 
have seen1 ,mohammedan  troops fought   
under the banners of the ,christian king
 and contributed  to his victory2 and in
 the division of the spoils these allies
 were  not forgotten4 ,satisfied with   
their triumph1 the ,castilians showed   
moderation in their treatment of their  
,muslim subjects4 ,the fall of          
,ishbiliyah was attended by no outburst 

of iconoclastic fury4 ,the  conquerors  
were delighted with the beauty and      
richness of their prize1  and had no    
desire to impair the handiwork of their 
predecessors4    ,the transition from   
the pure ,arabic and ,almohade styles of
 architecture  to what is called the    
,mudejar style was therefore almost     
imperceptible4  ,the physiognomy of the 
city altered but slowly4 ,but the       
alteration was  from the first          
inevitable4 ,houses and lands were      
bestowed on knights  from all parts of  
,spain on the condition of their        
residing permanently  in ,seville4      
,catalans1 ,galicians1 ,castilians of   
all trades and ranks  flocked in1 and   
their influence was bound sooner or     
later to assert  itself4 ,but the       
builders and artisan class remained for 
many years  composed of                 
,moors--sometimes ,christianised1 but   
thoroughly imbued  with the artistic    
traditions of their forebears4 ,thus    
came about that  peculiar and graceful  

blending of the ,moorish and ,gothic and
 earlier  ,renaissance styles known to  
,spanish writers as the ,mudejar4 ,its  
differentiation from the ,arabic        
naturally became more marked as the     
centuries rolled by4    ,moorish        
architecture was thus accepted by the   
conquerors of ,seville  both from choice
 and necessity4 ,but certain important  
modifications  in the structure of      
buildings became immediately necessary1 
owing to  the difference of faith and   
customs4 ,the mosque and the            
dwelling-house  alike had to undergo    
some alteration4 ,no mihrab was         
required1 nor  minaret1 nor the         
south-easterly position2 in the         
dwelling-house there  was no need for   
harem1 for retired praying-place1 for   
the baths so dear  to the ,andalusian   
,muslim4    ,probably the first building
 of importance to be affected by the    
change  of rulers was the mosque4 ,the  
outermost naves were divided into       
chapels1 the names and order of which   

have been preserved for us by  ,zuiga   
7quoted by ,madrazo74    ,the royal     
chapel occupied the centre of the       
eastern wall2 the other  chapels were3  
,san ,pedro1 ,santiago1 ,santa ,barbara1
 ,san ,bernardo1 ,san  ,sebastian 7in   
this chapel were buried some ,moors of  
the blood royal who  had been baptised  
and had served ,king ,ferdinand1 among  
them being ,don  ,fernando ,abdelmon1   
son of ,abu ,seyt1 ,amir of ,baeza71    
,san ,ildefonso1 ,san  ,francisco1 ,san 
,andrs1 ,san ,clemente1 ,san ,felipe1   
,san ,mateo 7containing  the sepulchre  
of the ,admiral of ,castile1 ,don ,juan 
de ,luna71 ,don ,alonso  ,perez de      
,guzman1 ,san ,miguel1 ,san ,marcos1    
,san ,lucas1 ,san ,bernabe1 ,san        
,simon1 and ,san ,judas1 and the        
,magdalena4 ,in the last-named chapel   
were  buried the knights who had taken  
part in the capture of the city4        
,attached to it was the altar of        
,nuestra ,seora de ,pilar1 a reputedly  
miraculous shrine which became the      

objective of pilgrims in after years4   
,chapels were also constructed in the   
four cloisters of the ,patio de  los    
,naranjos4 ,the cloister of the         
,caballeros contained eight--one of     
which1 ,santa ,lucia1 was the place of  
sepulchre of the ,haro family2 the      
cloister of the ,granada contained      
three2 the cloister of ,san ,esteban1   
three2 the cloister of ,san ,jorge or   
,del ,lagarto1 four--in one of  which1  
,san ,jorge1 reposed that doughty       
warrior1 ,garci ,perez de ,vargas1  who 
distinguished himself before all his    
compeers at the assault of  ,seville4   
,this cloister was named ,del ,lagarto  
from the remains of an  enormous        
crocodile1 a present from the ,sultan of
 ,egypt to ,king ,alfonso  el ,sabio1   
which are still suspended from the roof4
    ,the cathedral--for so we must now  
call the mosque--was endowed and  richly
 embellished by ,st ,ferdinand's son and
 successor1 the bookish  monarch        
,alfonso el ,sabio4 ,he also bestowed   

upon ,seville its existing              
coat-of-arms1 consisting of the device  
,,no#h;,,do1 which frequently appears1  
to the bewilderment of strangers1 on    
public buildings1 uniforms1 and         
documents4 ,the knot is in the          
vernacular madeja2 the device thus      
reads no madeja do1 or1 with an         
excusable pun1 no me ha dejado--8it  has
 not deserted me40 ,this honourable     
motto the city won by its loyalty  to   
,alfonso during the civil wars which    
distracted the kingdom during  his      
reign4 ,seville bears the splendid title
 of 8,most noble1 most loyal1  most     
heroic1 and unconquered city0 7muy      
noble1 muy leal1 muy  heroica1 y        
invicta74 ,the surname 8most noble0 was 
bestowed upon it  by ,st ,ferdinand2 the
 style 8most faithful0 it received from 
,juan ,,ii4 in  remembrance of its      
resistance to the ,infante ,don         
,enrique2 8most heroic0  from ,fernando 
,,vii4 in recognition of its devotion to
 the national cause  during the ,war of 

,independence2 and 8unconquered0 from   
,isabel ,,ii4 to  commemorate its       
defence against the army of ,espartero  
in ,july #ahdc4    ,the successors of   
the sainted king made their home in the 
,alcazar1 and  adapted themselves to an 
environment created by their traditional
 foes4  ,the personality which looms    
largest in the history of the city is   
that  of ,don ,pedro ,i41 surnamed the  
,cruel1 or1 by his few admirers1 #8the  
,justiciary4' ,what ,harun-al-,rashid is
 in the story of ,bagdad is this        
ferocious monarch in the annals of      
,seville4 ,countless are the tales1  the
 ballads1 and traditions of which he is 
the subject4 ,curiously  enough1 ,pedro 
enjoyed a certain measure of popularity 
in the country  he misgoverned4 ,he was 
undoubtedly a vigilant protector of the 
humbler  classes of his subjects against
 the tyranny of the aristocracy1 and    
officials1 and appears to have combined 
a grim humour and a strain of  what we  
should now call ,bohemianism1 with a    

tiger-like ferocity4 ,he was  fond of   
rambling incognito through the poorer   
quarters of the city2  and no account of
 ,seville can be considered complete    
without a relation  of one of his most  
notable adventures in the street called 
,calle de la  ,cabeza de ,don ,pedro4   
,the king had promulgated a decree      
holding the municipal authorities       
answerable with their lives for the     
preservation of peace and public  order 
within their jurisdiction4 ,a few nights
 later1 wandering1 heavily  cloaked as  
we may suppose1 through a dark alley1 a 
gentleman brushed  rudely against him4  
,a brawl ensued1 swords were drawn1 and 
,pedro ran  his subject through the     
body4 ,flattering himself that there had
 been no  witness to the encounter1 he  
stalked away4 ,in the morning the       
hidalgo's  body was found1 but there    
appeared to be no clue as to the        
assassin4  ,the king summoned the       
,alcalde and reminded him of the edict4 
,if the  miscreant were not discovered  

within two days the luckless magistrate 
must himself pay the penalty on the     
scaffold4 ,it was a situation with      
precisely the humorous aspect that      
,pedro relished4    ,but presently to   
the ,alcalde came an old lady with a    
strange but  welcome story4 ,she told   
how she had seen a fight between two    
gentlemen1  the previous night1 from her
 bed-chamber window4 ,she witnessed the 
fatal termination1 and lo6 the light of 
her candle fell full on the  face of the
 murderer2 and as he bent forward1 she  
heard his knee crack4  ,by his features 
and by this well-known physical         
peculiarity1 she  recognised1 beyond all
 possibility of a mistake1 the king4    
,next day the ,alcalde invited his      
sovereign to attend the execution of    
the criminal4 ,greatly wondering1 no    
doubt1 ,pedro came4 ,dangling from a    
rope he beheld his own effigy4 8,it is  
well10 he said1 after an ominous  pause4
 8,justice has been done4 ,i am         
satisfied40    ,we may be inclined to   

disagree with the king's conception of  
justice  as evinced on this occasion4   
,more equitable and humorous was his    
action when a priest1 for murdering a   
shoemaker1 was condemned by his         
ecclesiastical superiors to suspension  
from his sacerdotal functions  for      
twelve months4 ,pedro thereupon decreed 
that any tradesman who slew  a priest   
should be punished by being restrained  
from exercising his  trade for the like 
period6    ,the catalogue of this       
,castilian monarch's crimes proves      
interesting  if gloomy reading4 ,he left
 his wife1 ,blanche de ,bourbon1 to     
perish  in a dungeon2 he married ,juana 
de ,castro and insultingly repudiated   
her within forty-eight hours2 he put to 
death his father's mistress1  ,leonor de
 ,guzman4 ,he threw the young daughter  
of his brother1 ,enrique  de            
,trastamara1 naked to the lions1 like   
some ,christian virgin-martyr4  ,but the
 good-humoured 7and possibly well-fed7  
brutes refused to touch  the proffered  

prey4 ,not wishing to be outdone in     
generosity by a wild  beast1 ,pedro ever
 afterwards treated the maiden kindly4  
,she was known1  in remembrance of her  
terrible experience1 as ,leonor de los  
,leones4    ,the ,jew1 ,don ,simuel ,ben
 ,levi1 had served ,pedro long and only 
too  faithfully as treasurer and        
tax-gatherer4 ,it was whispered in his  
master's ear that half the wealth that  
should fill the royal coffers  was      
diverted into his own4 ,ben ,levi was   
seized without warning and  placed on   
the rack1 where the noble ,israelite is 
said to have died1  not of pain1 but of 
pure indignation4 ,under his house--so  
the story  has it--was a cavern filled  
with three piles of gold and silver so  
high that a man standing behind any one 
of them was completely hidden4  8,had   
,don ,simuel given me the third of the  
least of these three piles10  exclaimed 
the king1 8,i would not have had him    
tortured4 ,why would he  rather die than
 speak80    ,somewhat more excusable was

 the treatment meted out to the ,red    
,king  of ,granada1 ,abu ,sad2 for this 
prince was himself a usurper1 and had   
behaved traitorously towards his own    
sovereign and his suzerain1 the  ,king  
of ,castile4 ,fearing ,pedro's          
resentment1 he appeared at his court  at
 ,seville with a retinue of three       
hundred1 loaded with presents1 among    
which was the enormous ruby that now    
decorates the ,crown of ,england4  ,he  
was received in audience by the ,spanish
 king1 whom he begged to  arbitrate     
between him and the deposed ,king of    
,granada4 ,pedro returned  a gracious   
reply1 and entertained the ,red ,king in
 the ,alcazar4 ,before  many hours had  
passed the ,moors were seized in their  
apartments and  stripped of their       
raiment and valuables4 ,abu ,sad1       
mounted on a donkey  and ridiculously   
attired1 was taken1 with thirty-six of  
his courtiers1  to a field outside the  
town4 ,there they were bound to posts4  
,a train of  horsemen appeared1 ,don    

,pedro among them1 and transfixed the   
helpless  men with darts1 the king      
shouting as he hurled his missiles at   
the  luckless ,abu ,sad1 8,this for the 
treaty you made me conclude with        
,aragon60 8,this for the castle you lost
 me60 ,the ,moors met their death  with 
the stoical resignation of their race4  
,that atrocities committed against ,jews
 and infidels1 against even  members of 
the royal family1 should be regarded    
with indifference by  the public of that
 day need not surprise us4 ,but the     
people of ,seville  tamely suffered the 
most cruel wrongs to be inflicted by the
 tyrant on  their own fellow-citizens4  
,after his 7or rather the ,black        
,prince's7  victory over ,don ,enrique  
at ,najera 7#acfg71 the ,admiral        
,bocanegra and  ,don ,juan ,ponce de    
,leon were beheaded on the ,plaza ,san  
,francisco4 ,garci  ,jufre ,tenorio1 the
 mayor of the city1 also suffered death4
 ,the property  of ,doa ,teresa ,jufre  
was confiscated because she had spoken  

ill of  his ,majesty4 ,doa ,urraca      
,osorio1 because her son had taken part 
with  ,don ,enrique in the revolt1 was  
burned at the stake on the ,alameda4    
,her servant1 ,leonor ,dvalos1 threw    
herself into the flames and shared  the 
fate of her mistress4 ,in consequence of
 this persecution1 ,seville  lost       
several of her most illustrious         
families1 which either became           
extinguished or removed themselves to   
other parts of ,spain4    ,so much for  
the picturesque if repugnant personality
 of ,pedro ,i4 ,with  his sinister      
memory the ,alcazar is so intimately    
associated1 and the  part he took in its
 reconstruction was so conspicuous that 
this may be  deemed the proper place to 
deal with that famous building--one of  
the  two most important in ,seville4    
,,the ,,alcazar      8,the ,alcazar10   
says ,seor ,rafal ,contreras1 8is not a 
classic work1 nor  does it present      
to-day that stamp of originality and    
that ineffaceable  character which      

distinguish ancient works like the      
,parthenon and modern  works like the   
,escorial4 ,in the ,alcazar of ,yakub   
,yusuf the influence  of the heroic     
generation has faded away1 and it       
portrays instead  the daily life of our 
,christian kings who have enriched it   
with a  thousand pages of glorious      
history4 ,the ,almohades1 who impressed 
on  the building their ,african         
characteristics in #aaha1 and ,jalubi1  
who  had been a follower of ,al-,mehdi  
in the conquest of ,africa1 left on its 
walls traces of the ,roman influences   
met with in the course of their         
movements4 ,st ,ferdinand1 who conquered
 it1 ,don ,pedro ,i41 who restored  it1 
,don ,juan ,,ii41 who reconstructed the 
most elegant apartments1  the ,catholic 
sovereigns1 who built within its        
precincts chapels and  oratories1       
,charles ,v41 who added more than a half
 in the modified  style of that epoch of
 the ,renaissance1 ,philip ,,iii4 and   
,philip ,v41 who  enlarged it still more

 by building in the adjacent            
gardens--these1  and other princes who  
inhabited it during six centuries1 have 
changed  the original structure to such 
an extent that to-day it is far from    
being a monument of oriental art1 though
 we find it covered with fine           
arabesques and embellished with mosaics 
and gilding40    ,though not a monument 
of oriental art1 the ,alcazar seems to  
us to have  claims to rank as a specimen
 of ,moorish architecture2 for the      
general  character of the structure was 
determined by the restorations effected 
by order of ,pedro ,i41 and these were1 
probably exclusively1 the work  of      
,moorish artisans1 not only of ,seville1
 but from ,granada1 then a  ,moorish    
city4 ,this accounts for the resemblance
 of this palace to the  more famous     
,alhambra4 ,but the ,alcazar is not to  
be dismissed as a mere  pseudo-,moorish 
palace4 ,it remains1 to a great extent1 
the work of  ,moorish hands and the     
conception of ,moorish architects4      

,in spite of the severe strictures of   
fastidious observers1 the ,alcazar      
produces a very pleasing impression on  
northern visitors4 ,mr ,w4 ,m4          
,gallichan writes3 8,it is a palace of  
dreams1 encircled by lovely  perfumed   
gardens4 ,its courts and salons are     
redolent of ,moorish  days and haunted  
by the spirits of turbaned sheiks1      
philosophers1  minstrels1 and dark-eyed 
beauties of the harem4444 ,the          
nightingales  still sing among the      
odorous orange bloom1 and in the tangles
 of roses  birds still build their      
nests4 ,fountains tinkle beneath gently 
moving  palms2 the savour of orientalism
 clings to the spot4 ,here wise men     
discussed in the cool of summer nights1 
when the moon stood high over  the      
,giralda and white beams fell through   
the spreading boughs of the  lemon      
trees1 and shivered upon the tiled      
pavements4    8,in this garden the      
musicians played and the tawny dancers  
writhed and  curved their lissome       

bodies1 in dramatic ,eastern dances4    
,ichabod6 ,the  moody potentate1 bowed  
down with the cares of high office1 no  
longer  treads the dim corridor or      
lingers in the shade of the palm trees1 
lost  in cogitation4 ,no sound of gaiety
 reverberates in the deserted courts2   
no voice of orator is heard in the ,hall
 of ,justice4 ,the green lizards  bask  
on the deserted benches of the gardens4 
,rose petals strew the  paved paths4    
,one's footsteps echo in the gorgeous   
patios1 whose walls  have witnessed many
 a scene of pomp1 tragedy1 and pathos4  
,the spell of  the past holds one2 and  
before the imagination troops a long    
procession  of illustrious sovereigns1  
courtiers1 counsellors1 and menials40   
,the ,alcazar1 as we have said1 at the  
time of the reconquest covered a  much  
larger space than at present2 and its   
area was even greater in  the days of   
,pedro ,i4 ,its strength as a fortress  
may be gauged by a  glance at the       
remaining walls1 adjacent to the        

principal entrance4 ,in  the ,plaza de  
,santo ,tomas is an octagonal1          
one-storeyed tower1 called  the ,torre  
de ,abdalasis1 which once formed part of
 the building1 and is  said to have been
 the spot on which ,st ,ferdinand       
hoisted his flag on  the fall of        
,seville4 ,to enter the palace we pass  
across the ,plaza del  ,triunfo and     
enter the ,patio de las ,banderas1 so   
called either because  a flag was       
hoisted here when the royal family were 
in residence or on  account of the      
trophy displayed over one of the arches1
 composed of  the ,arms of ,spain with  
supporting flags4 ,from this court a    
colonnade  called the ,apeadero leads to
 the ,patio de la ,monteria4 ,it was    
built1  as an inscription over the      
portal records1 by ,philip ,,iii4 in    
#afjg1  and restored and devoted to the 
purposes of an armoury by the fifth     
sovereign of that name in #agbi4 ,the   
,patio de la ,monteria derives its  name
 from the ,royal ,lifeguards1 the       

,monteros de ,espinosa1 having their    
quarters here4 ,these courts1 with the  
commonplace private houses  which       
surround them1 occupy the site of the   
old ,moorish palace of  the ,almohades4 
,some of the houses exhibit vestiges of 
fine ,musulman  work4 ,the house ,no4 #c
 of the ,patio de las ,banderas formed  
part1 in the  opinion of ,gestoso y     
,perez1 of the ,stucco ,palace 7,palacio
 del ,yeso7  mentioned by ,ayala as     
having been built by ,pedro ,i4 ,that   
potentate1 it  is worthy of remark1 was 
accustomed to administer justice1       
tempered  with ferocity1 after the      
oriental fashion1 seated on a stone     
bench in  a corner of this patio4 ,the  
room in which the ,almohade governors   
presided over their tribunals still     
exists4 ,it is surrounded by houses1    
and is entered from the ,patio de la    
,monteria4 ,contreras sees in this  hall
 7the ,sala de ,justicia7 the traces of 
a work anterior to the  ninth century4  
,it was1 however1 restored by ,pedro4   

,it is square1 and  measures nine metres
 across4 ,the ceiling is of stucco and  
adorned with  stars1 wreaths1 and a     
painted frieze4 ,inscriptions in        
beautiful ,cufic  characters constitute 
the principal decoration of the         
apartment4 ,round  the four walls runs a
 tastefully worked stucco frieze1       
interrupted  by several right-angled    
apertures4 ,these were once covered1 in 
the  opinion of ,herr ,schmidt1 by      
screens of plaster1 which kept out the  
sun's heat but admitted the light2 or1  
according to ,gestoso y ,perez1 by      
tapestries 8which must have made the    
hall appear a miracle of wealth  and    
splendour40 ,thanks to its isolation1   
the ,sala de ,justicia escaped  the     
8restoration0 effected in the middle of 
the nineteenth century by  order of the 
,duc de ,montpensier4    ,it was in this
 hall 7often overlooked by visitors7    
that ,don ,pedro  overheard four judges 
discussing the division of a bribe they 
had  received4 ,they were beheaded on   

the spot1 and their skulls are still to 
be seen in the walls of the king's      
bed-chamber4    ,from the ,patio de la  
,monteria we pass into the ,patio del   
,leon4 ,in the  fifteenth century1 we   
read1 tournaments were often held here4 
,our  attention is at once directed to  
the superb faade of the main building   
or ,alcazar proper--the palace of ,don  
,pedro4 ,it is a splendid work of  art4 
,the columns are of rare marble with    
elegant ,moorish capitals4 ,the  portal 
is imposing1 and was rebuilt by ,don    
,pedro1 as the legend in  curious       
,gothic characters informs us3 #8,the   
most high1 the most noble1  the most    
powerful1 and most victorious ,don      
,pedro1 ,king of ,castile and  ,leon1   
commanded these palaces1 these          
alcazares1 and these entrances  to be   
made in the year of ,csar one thousand  
four hundred and two0  7#acfd74         
,elsewhere on the faade are the         
oft-repeated inscriptions in  ,cufic    
characters3 8,there is no conqueror but 

,allah10 8,glory to our  lord1 the      
,sultan10 8,eternal glory to ,allah10   
8,eternal is the dominion  of ,allah10  
etc4    ,this gate1 in the opinion of   
,contreras1 is of ,arabic origin and in 
the  ,persian style1 after which were   
built most of the entrances to mosques  
of the first period4 ,the square opening
 is often seen in ,egypt1 and           
supplanted the more graceful horse-shoe 
arch4 ,the pilasters are ,arabic        
throughout2 but the arch balconies1 the 
,byzantine columns1 and ,roman  capitals
 are works of ,don ,pedro's time4       
,the palace of the ,alcazar forms an    
irregular oblong4 ,the ,patio de las    
,doncellas or ,patio ,principal occupies
 the centre1 roughly speaking1  and upon
 it open the various halls and chambers 
according to the  usual ,moorish plan4  
,this patio is absurdly named from its  
being the  supposed place in which were 
collected the hundred damsels said to   
have been sent by way of annual tribute 
by ,mauregato to the ,moors4 ,it  is    

hardly necessary to say that the damsels
 would have been sent to  ,cordova1     
which was the capital of the ,khalifate1
 not to ,seville1 and  that this court  
was among the restorations of the       
fourteenth century4    ,the court is    
rectangular1 and surrounded by a gallery
 composed of white  marble columns in   
pairs1 supporting pointed arches4 ,the  
soffite 7or  inner side7 of the arch is 
scalloped or serrated4 ,the central arch
  in each side is higher and larger than
 its fellows1 and springs from  square  
imposts resting on the twin columns4 ,at
 each angle of the impost  is a graceful
 little pillar--8a characteristic10     
observes ,madrazo1  8of the             
,arabic-,grenadine architecture1 such as
 may often be noticed  in the           
magnificent ,alhambra of the            
,alhamares40 ,over the arches runs a    
flowing scroll with ,arabic             
inscriptions1 among them being 8,glory  
to  our lord the ,sultan ,don ,pedro2   
may ,god lend him ,his aid and render   

him  victorious01 and this very         
remarkable text1 8,there is but one     
,god2  ,he is eternal4 ,he was not      
begotten and does not beget1 and ,he has
 no  equal40 ,this is evidently an      
inscription remaining from ,musulman    
days1  and spared in their ignorance by 
the ,christian owners of the palace4    
,on the frieze will also be noticed the 
escutcheons of ,don ,pedro and  the     
,catholic sovereigns1 and the favourite 
devices of ,charles ,v4--the  ,pillars  
of ,hercules and motto 8,plus ,oultre40 
,behind the central arches  are as many 
doors with elaborately ornamented       
arches4 ,on either side of  each door is
 a double window1 framed with broad1    
ornamental bands1 with  conventional    
floral designs4 ,round the inner walls  
of the arcade runs a  high dado of      
glazed tile mosaic 7azulejo71           
brilliantly coloured and  cut with      
exquisite skill4 ,the combinations and  
variations of the design  repay         
examination1 and will be seen to extend 

all round the gallery4  ,this decoration
 was probably executed by ,moorish      
workmen in the time  of ,pedro ,i4      
,finally1 above the doors run wide      
friezes with shuttered  windows1 through
 which the light falls on the gleaming  
mosaic4 ,the  ceiling of the gallery    
dates from the time of ,ferdinand and   
,isabella1  but was restored in #ahef4  
,three recesses in the patio are pointed
 out as the spots where ,don  ,pedro    
held his audiences2 but ,contreras is of
 opinion that they are the  walled-up   
entrances to former corridors which     
communicated with the  ,harem4 ,that    
apartment probably faced the ,saln de   
los ,embajadores4    ,a wide cornice    
separates the lower part of the court   
from the upper  gallery4 ,this is       
composed of balustrades1 arches1 and    
columns in  white marble of the ,ionic  
order1 and was the work of ,don ,luis de
 ,vega  7sixteenth century74    ,one of 
the doors opening on to the ,patio de   
las ,doncellas gives  access to the     

,saln de los ,embajadores 7,hall of the 
,ambassadors71 the  finest apartment in 
the ,alcazar4 ,its dazzling splendour is
 produced  by the blending of five      
distinct styles1 the ,arabic1 ,almohade 
or  true ,moorish1 ,gothic1 ,grenadine  
or late ,moorish1 and ,renaissance4     
,measuring about thirty-three feet      
square1 it has four entrances1 of  which
 that giving on to the ,patio de las    
,doncellas may be considered  the       
principal4 ,here we find folding-doors  
in the ,arabic style of  extraordinary  
size and beauty4 ,each wing is #e4cj    
metres high by  #a4ig broad1 and adorned
 with painted inlaid work1 varied by    
,arabic  inscriptions4 ,one of these    
latter is of great interest4 ,it runs as
  follows3 8,our ,lord and ,sultan1 the 
exalted and high ,don ,pedro1 ,king of  
,castile and ,leon 7may ,allah prosper  
him and his architect71 ordered  these  
doors of carved wood to be made for this
 apartment 7in honour  of the noble and 
fortunate ambassadors71 which is a      

source of joy  to the happy city1 in    
which the palaces1 the alcazares1 and   
these  mansions for my ,lord and ,master
 were built1 who only showed forth his  
splendour4 ,the pious and generous      
,sultan ordered this to be done in the  
city of ,seville with the aid of his    
intercessor ,saint ,peter8 with  ,god4  
,joy shone in their delightful          
construction and embellishment4         
,artificers from ,toledo were employed  
in the work2 and this took place  in the
 fortunate year #adjd #acfd ,a4,d44     
,like the evening twilight and  the     
refulgence of the twilight of the aurora
 is this work4 ,a throne  resplendent in
 brilliant colours and eminence4 ,praise
 be to ,allah60    ,the three remaining 
portals present graceful round arches1  
enclosing  three lesser arches 7forming 
the actual entrances7 of the horse-shoe 
type4 ,these last are believed1 as we   
have said elsewhere1 to be of  ,abbadite
 origin4 ,the capitals of their         
supporting columns are fine  examples of

 the ,arab-,byzantine style4 ,above the 
horse-shoe arches1 and  comprised within
 the outer arch1 are three lattices4    
,the whole space  within the arch is    
covered with delicate filigree work4    
,this hall was once known as the ,saln  
de la ,media ,naranja 7,hall of the     
,half ,orange7 from the elegant shaping 
of its carved wooden ceiling4  ,this    
rests upon a frieze decorated with the  
,tower and ,lion1 and  supporting this  
again are beautiful carved and gilded   
stalactites or  pendants4 ,on the       
intervening wall spaces are ,cufic      
inscriptions on a  blue ground1 and     
female heads painted by                 
sixteenth-century vandals4  ,then       
follows another frieze with the devices 
of ,castile and ,leon1 below  which is a
 row of fifty-six niches1 containing the
 portraits of the  kings of ,spain from 
,receswinto the ,goth to ,philip ,,iii4 
,the earliest of  these seem to have    
been painted in the sixteenth century1  
while the  little columns and trefoil   

windows that separate them may be       
ascribed  to the end of the fourteenth4 
,the series is interrupted by four      
rectangular spaces1 formerly occupied by
 windows1 but now taken up by  elegant  
balconies in wrought iron1 the work of  
,francisco ,lpez 7#aeib74  ,the         
decoration of this magnificent chamber  
is completed by a high dado  of white1  
blue1 and green glazed tiles4 ,it was   
probably in this hall  that ,abu ,sad1  
8the ,red ,king10 was received by ,don  
,pedro prior to his  murder4    ,in an  
apartment to the right of the           
,ambassadors' ,hall1 a plaster frieze   
of ,arabic origin1 showing figures in   
silhouette1 may be noticed2 and  in a   
room to the left1 other silhouettes1    
apparently referring to the  qualities  
attributed by his admirers to ,pedro ,i4
    ,on the north side of the ,patio de 
las ,doncellas lies the so-called       
,dormitorio de los ,reyes ,moros        
7,bed-chamber of the ,moorish ,kings74  
,the  entrance arch is semicircular1 and

 includes three graceful lattice        
windows1 richly ornamented4 ,on either  
side of the door is a beautiful         
double-window with columns dating from  
the ,khalifate4 ,the doors  themselves  
are richly inlaid1 and painted with     
geometrical patterns4  ,the interior of 
the chamber is adorned1 like all other  
apartments  in the ,alcazar1 with       
plaster friezes1 and is so richly       
decorated  that scarcely a              
hand's-breadth 7remarks ,herr ,schmidt7 
is without  ornamentation4 ,to the right
 of the entrance lies a small apartment 
known as the ,sultan's ,alcove4         
,opposite the entrance from the patio   
are three horse-shoe arches belonging to
 the earliest period of                 
,spanish-,arabic art1 leading to an     
,al-,hami or alcove4    ,from the       
,dormitorio we may pass into the        
quaintly named ,patio de las  ,muecas1  
or ,puppet's ,court4 ,it is a spot with 
tragical associations1  for here took   
place the murder of the ,master of      

,santiago1 ,don ,fadrique  de           
,trastamara1 by his brother1 ,don       
,pedro--a fratricide to be avenged      
years after by another fratricide at    
,montiel4 ,the ,master1 after a         
campaign in ,murcia1 had been graciously
 received by the king1 and  went to pay 
his respects to the lovely ,maria de    
,padilla in another  part of the palace4
 ,it is said that she warned him of his 
impending  fate2 perhaps her manner1 if 
not her words1 should have aroused him  
to  a sense of his danger2 but the      
soldier prince returned to the royal    
presence4 8,kill the ,master of         
,santiago60 ,pedro shouted1 so the story
  goes4 ,the ,master's sword was        
entangled in his scarf2 he was separated
  from his retinue4 ,he fled to this    
court1 where he was struck down4 ,one   
of his retainers took refuge in ,maria  
de ,padilla's apartment1 where he  tried
 to screen himself by holding the king's
 daughter1 ,doa ,beatriz1  before his   
breast4 ,pedro tore the child away1 and 

despatched the  unfortunate man with his
 own hand4    ,the ,patio de las ,muecas
 is in the ,grenadine style4 ,it has    
suffered  severely at the hands of the  
restorers of #ahcc and #ahdc4 ,the      
arches  are semicircular and spring from
 brick pillars1 which are supported by  
marble columns with rich capitals4 ,the 
arches1 which form an arcade  round the 
court1 are decorated with fine mosaic   
and trellis 7ajaraca7  work4 ,the whole 
is tastefully painted4 ,the arches vary 
in size1 that  looking towards the      
,ambassadors' ,hall being almost        
pear-shaped4 ,the  columns are of       
different colours1 and the pillars they 
uphold are  inscribed with ,cufic       
characters4 ,the upper part of the patio
 reveals  a not very skilful attempt to 
imitate the lower4    8,the             
,ambassadors' ,hall as well as the      
,puppet's ,court10 says ,pedro  de      
,madrazo1 8are surrounded by elegant    
saloons1 commencing at the  principal   
faade of the ,alcazar1 running round the

 north-west angle of  the building1     
adjoining the galleries of the gardens  
del ,principe1 de  la ,gruta1 and de la 
,danza1 and terminating at the          
south-eastern angle  of the ,patio de   
las ,doncellas4 ,here is now the chapel1
 and there it  is believed that the     
luxurious apartment of the ,caracol     
7inhabited  by ,maria de ,padilla7      
stood4 ,this part was1 without doubt1   
that which  was called the ,palacio del 
,yeso1 or ,stucco ,palace1 on account of
 the  plaster decorations in the fashion
 of ,granada2 but in which of these     
rooms ,don ,pedro was playing draughts  
when the ,master of ,santiago  appeared 
before him1 it is impossible to say with
 certainty40    ,the ,saln del ,principe
 occupies the upper floor of the chief  
faade1  and receives light through the  
beautiful ajimices or twin-windows  so  
noticeable from without4 ,this spacious 
hall is divided into three              
compartments1 each of which has a fine  
ceiling4 ,two have been restored1  but  

the third was the work of ,juan de      
,simancas in the year #aedc4 ,the       
scheme of decoration is ,moorish4 ,the  
columns in this hall and the  adjoinng  
apartments are of marble1 with rich     
capitals4 ,according to  ,zurita 7quoted
 by ,madrazo71 these columns came from  
the royal palace at  ,valencia1 after   
the defeat of ,pedro of ,aragon by the  
,king of ,castile4    ,the oratory was  
built by order of ,ferdinand and        
,isabella in #aejd4 ,it  contains an    
admirable retablo in blue glazed        
tiles--probably the finest  work of the 
kind in ,spain--designed by an ,italian1
 ,francesco ,niculoso4  ,the            
centre-piece represents the ,visitation4
 ,it is believed that some  parts of the
 work were drawn by ,pedro ,milln1 a    
sculptor of ,seville4    ,the oratory is
 on the upper floor of the palace4 ,on  
the same storey  is the ,comedor1 or    
dining-hall1 a long1 narrow room with a 
fine  fifteenth-century ceiling1 and    
good tapestries on the walls4 ,a more   

interesting apartment is the bed-chamber
 of ,don ,pedro1 which has a good       
carved roof and dados of azulejos and   
stucco4 ,over the door four  heads may  
be seen painted4 ,they represent the    
skulls of the corrupt  judges on whom   
the unjust king executed summary        
justice4 ,the decoration  of this       
chamber is of the sixteenth century4    
,the royal apartments on this floor     
contain several important works  of art4
 ,in the room of the ,infantes is a     
portrait of ,maria ,luisa by  ,goya4    
,the ,saln ,azul 7,blue ,room71         
so-called from the colour of its        
tapestries1 contains some fine pastel   
paintings by ,muraton1 and some  notable
 miniatures on ivory4 ,the portraits of 
the family of ,isabel ,,ii4  by         
,bartolom ,lpez are worthy of           
inspection4    ,returning to the ground 
floor1 we enter the spacious ,saln de   
,carlos  ,v41 occupying one side of the 
,patio de las ,doncellas4 ,here1 it is  
asserted1 ,st ,ferdinand died2 but it is

 more probable that he expired  in the  
old ,moorish ,alcazar4 ,the fine        
ceiling1 decorated with the heads  of   
warriors and ladies1 was built by the   
,emperor after whom the hall is  named4 
,the stucco and the work are very       
beautiful4    ,an uninteresting         
apartment was erected by ,ferdinand     
,,vi4 over the famous  ,baths of ,maria 
de ,padilla1 which are approached       
through an arched  entrance1 and1       
surrounded by thick walls1 have more the
 appearance  of a dungeon than of a     
resort of ,love and ,beauty4 ,the pool  
still  remains where the lovely         
favourite bathed her fair limbs4 ,in her
 time  it had no other roof than the    
blue sky of ,andalusia1 and no further  
protection from prying eyes than that   
afforded by the orange and  lemon trees4
 ,at ,pedro's court it was esteemed a   
mark of gallantry and  loyalty to drink 
the waters of the bath1 after ,maria had
 performed her  ablutions4 ,observing   
that one of his knights refrained from  

this act  of homage1 the king questioned
 him and elicited the reply1 8,i dare   
not  drink of the water1 lest1 having   
tasted the sauce1 ,i should covet the   
partridge40 ,these baths were no doubt  
used by the ladies of the harem  in     
,moorish days4    ,the gardens of the   
,alcazar form a delicious pleasaunce1   
where the  orange and the citron diffuse
 their fragrance1 and fairy-like        
fountains  spring up suddenly beneath   
the unwary passenger's feet1 sprinkling 
him  with a cooling and perhaps not     
unwelcome dew4 ,but this paradise has   
its  serpent1 and that is the truculent 
shade of the cruel king1 which for  ever
 seems to haunt the ,alcazar4 ,here     
,pedro prowled one day1 when four       
candidates for the office of judge      
presented themselves before him4 ,to    
test their fitness for the post1 the    
king pointed to an orange floating  on  
the surface of a pool close by4 ,he     
asked each of the lawyers in  succession
 what the floating object was4 ,the     

three first replied  without            
consideration1 8,an orange1 sire40 ,but 
the fourth drew the fruit  from the     
water with his staff1 glanced at it1 and
 replied with absolute  accuracy1 8,half
 an orange1 sire40 ,he was appointed to 
the vacant  magistracy4    ,before      
leaving the ,alcazar1 we will briefly   
summarise the history of  its           
transformations and reconstructions4 ,as
 we have seen1 the palace  generally may
 be considered the work of ,don ,pedro4 
,in the reign of ,juan  ,,ii41 the ,saln
 de los ,embajadores was enriched with  
its fine cupola4 ,a  tablet1 discovered 
in #ahdc1 testifies that the architect  
was ,don ,diego  ,roiz1 and that the    
artisans employed in the work were made 
freemen of  the city4    ,various parts 
of the building were built or           
reconstructed by order  of ,ferdinand   
and ,isabella4 ,the architects were for 
the most part  ,christianised ,moors1   
among whom are mentioned ,maestre       
,mohammed ,agudo  7#adgi71 ,juan        

,fernandez 7#adgi71 ,diego ,fernandez   
7#adif71 and ,francisco  ,fernandez4    
,the latter was appointed ,master of the
 ,alcazar in #aejb1  and previous to his
 adoption of ,catholicism was named     
,hamet ,kubeji4  ,according to ,gestoso 
y ,perez1 a surprising number of        
artificers and  craftsmen were engaged  
about the ,alcazar at this time1 a      
powerful  inducement being exemption    
from taxes and military service4 ,the   
names  of ,juan and ,francisco de       
,limpias 7#adgi-aedj7 have been         
preserved among  the carpenters2 and    
,diego ,sanchez 7#adcg71 ,alfonso ,ruiz 
7#adgi71 and the  two ,sanchez de       
,castro 7#aejj71 among the painters4    
,several improvements were carried out  
under ,charles ,v4 and ,philip ,,ii41   
and a great deal of restoration was     
unfortunately necessitated by  the fires
 which seemed to break out with         
increasing frequency during  the        
sixteenth and seventeenth centuries4    
,still more disastrous was  the effect  

of the great earthquake of #agee4 ,then 
began the reign of  the vandal1 which   
did more damage to the palace than time1
 fire1 and  earthquake combined4    ,in 
#agfb1 the minister ,wall ordered the   
,alcazar to be repaired in  8the modern 
manner40 ,the ceilings which had been   
destroyed by fire  were replaced by     
others much too low1 and valuable       
arabesques were  recklessly sacrificed4 
,in #ahje1 some director with a genius  
for  transmogrification whitewashed the 
fine stucco work in the ,salon del      
,principe1 and altered the main         
entrance4 ,he also substituted a plaster
  ceiling for the bowl-shaped ,arab     
roofing1 and made strenuous efforts  to 
impair the beauty of the ,ambassadors'  
,hall4 ,in #ahcc a reaction took  place4
 ,don ,joaquin ,cortes and ,seor ,raso  
effected an artistic and  sympathetic   
restoration both of the ,prince's ,hall 
and the ,patio de las  ,muecas4 ,a more 
serious restoration was begun in #ahdb1 
at the instance  of the administrator1  

,don ,domingo de ,alcega4 ,the artist   
,becquer  contributed materially to the 
success of the work4 ,in the 'fifties1  
the  task of replacing and restoring the
 stucco ornamentation was completed2    
and under ,isabel ,,ii4 the thirty-six  
arches of the ,patio de las  ,doncellas 
were restored4 ,since that date the     
reconstructions have not  always        
displayed good taste2 but the revival of
 interest in her ancient  monuments     
which has taken place in ,spain of late 
years encourages us  to hope1 at least1 
that the appalling blunders of the early
 nineteenth  century will never be      
repeated4    ,after the ,alcazar1 the   
most noteworthy monument in ,seville1   
dating  from the reign of ,don ,pedro1  
is the church of ,omnium ,sanctorum4    
,this  edifice occupies the site of a   
,roman temple1 and was built by the     
,cruel  ,king in #acef4 ,it exhibits a  
very happy combination of the ,moorish  
and  ,gothic styles4 ,it is entered by  
three ogival doors1 and is divided  into

 three naves4 ,to the left of the faade 
is a graceful tower1 the  first storey  
of which is ,moorish1 ornamented        
somewhat after the style  of the        
,giralda4 ,on one of the doors is a     
shield bearing the arms of  ,portugal1  
which1 tradition says1 commemorates the 
pious generosity of  ,diniz1 king of    
that country1 when he visited ,alfonso  
the ,wise4 ,if the  ,sevillians have    
writ their annals true1 this goes to    
prove that an  earlier structure than   
the present must have existed here4     
,this1 by the  way1 was the parish      
church of ,rioja the poet4    ,san      
,lorenzo exhibits the fusion of the     
contending styles in an  interesting    
fashion4 ,it has five naves2 and the    
horseshoe windows in  its tower were    
converted into ogives at the time of its
 adaptation to  the ,christian cult4    
,the arcades of the naves are ogival in 
the middle1  and become by degrees      
semi-circular towards the extremities as
 the roof  becomes lower4 ,this church  

contains the miraculous picture of      
,nuestra  ,seora de ,rocamadour4        
,rocamadour1 in southern ,france1 was a 
celebrated  shrine of pilgrims in the   
thirteenth and fourteenth centuries4    
,several other churches in ,seville date
 from this epoch1 and present1 to  a    
greater or less extent1 evidences of the
 conflict between the ,moorish  and     
,gothic styles4 ,in addition to those   
mentioned1 ,madrazo names the           
following3 ,santa ,marina1 ,san         
,ildefonso1 ,san ,vicente1 ,san ,julin1 
,san  ,esteban1 ,santa ,catalina1 ,san  
,andrs1 ,san ,miguel1 ,san ,nicolas1    
,san  ,martin1 ,san ,gil1 ,santa ,lucia1
 ,san ,pedro1 and ,san ,isidoro4 ,when a
 mosque  was converted into a ,christian
 church1 the same authority remarks1 the
  horseshoe arch was pointed1 bells were
 placed in the minaret1 and the         
orientation was altered from north to   
south1 to east to west4 ,the five       
last-named churches were erected in the 
thirteenth century4 ,santa ,maria  de   

las ,nieves was1 until the year #acia1 a
 synagogue4 ,the decoration is  in the  
plateresco style1 and the doors are     
,gothic4 ,the church contains  a        
painting by ,luis de ,vargas1 and a     
picture attributed to ,murillo4         
,nearly in the centre of the city is the
 ,convent of ,santa ,ins1 with a        
beautiful and tastefully restored       
chapel4 ,the faade is ancient and       
graceful4 ,this church contains the     
remains 7said to be uncorrupted7 of  the
 foundress1 ,doa ,maria ,coronel1 one of
 ,don ,pedro's numerous victims4  ,that 
monarch had conceived a violent passion 
for her1 in the hopes of  gratifying    
which he put her husband to death in the
 ,torre del ,oro4 ,the  widow1 far from 
yielding to his solicitations1 took the 
veil1 and at  last1 to secure herself   
from his persecutions1 destroyed her    
beauty  by means of vitriol--a species  
of self-immolation much applauded by    
the devout in the ages of faith4 ,her   
sister1 ,doa ,aldonza1 was less         

successful in resisting the ardent      
monarch1 but died1 in the odour of      
sanctity1 ,abbess of ,santa ,ins4       
,among the secular buildings erected    
under the ,castilian rgime was  the     
existing ,tower of ,don ,fadrique1      
standing in the gardens of the  ,convent
 of the ,poor ,clares4 ,it was named    
after the son of ,st ,ferdinand  and    
,beatriz of ,swabia1 who was put to     
death by ,alfonso el ,sabio in  #abgf4  
,the tower is a fine square structure of
 ,roman workmanship1  seemingly1 in its 
lowest floor1 and showing a mixture of  
,moorish and  ,gothic architecture in   
its upper half4 ,it formed part of a    
sumptuous  palace erected in #abeb1 and 
bestowed in #abhi on the ,poor ,clares  
by ,king  ,sancho the ,brave4    ,in the
 ,calle ,guzman el ,bueno is a mansion  
called the ,casa ,olea4 ,it  contains a 
fine hall1 #h metres square1 the work of
 ,moorish artisans  of the time of ,don 
,pedro4 ,the beautiful inlaid and gilded
 artesonado  ceiling was removed about a

 century ago2 light is admitted through 
windows of the horseshoe pattern1 and   
the decorations consist of the          
characteristic stucco-work1 latticing1  
and ajaraca or trellis-work1  as fine as
 any to be seen at the ,lindaraja of    
,granada4 ,the dado of  coloured tiles  
has almost completely disappeared4 ,the 
,palacio de  ,montijo1 near the church  
of ,omnium ,sanctorum1 reveals many     
traces of  ,mudejar workmanship1 as also
 does a hall in the ,casa morisca of    
the ,calle de ,abades--not to be        
confounded with the ,casa de ,abades1   
belonging to the ,renaissance4          
,seville in the fourteenth and fifteenth
 centuries possessed no doubt  many     
palaces and private dwellings of        
magnificence2 but it was in             
ecclesiastical architecture that the    
spirit of the age found its truest      
expression and noblest monuments4       
,,the ,,cathedral      ,on the eighth   
day of ,july in the year #adja1 the     
,dean and ,chapter of  ,seville         

assembled in the ,court of the ,elms1   
and solemnly resolved that1  the        
,cathedral having been practically      
ruined by recent earthquakes1  a new one
 should be built so splendid that it    
should have no equal2  and that1 if the 
revenue of the ,see should not prove    
sufficient for  the cost of the         
undertaking1 each one present should    
contribute from  his own stipend as much
 as might be necessary4 ,then uprose a  
zealous  prebendary1 and cried1 8,let us
 build a church so great that those who 
come after us may think us mad to have  
attempted it60    ,such was the         
greatness of spirit in which the        
foundation of the  existing ,cathedral  
of ,seville was undertaken4 ,and the    
result is worthy  of the deep and fervid
 zeal of those old ,catholics of ,spain4
    ,the church took one hundred and    
twenty years to build4 ,pity it was that
  the noble-hearted priests who decreed 
the raising of the fane should  never   
have gazed upon much more than its      

skeleton6 ,first of all1 the            
mosque-cathedral of ,yakub was          
demolished1 only the ,giralda and the   
,patio de los ,naranjos1 with the       
northern1 eastern1 and western gates1   
being spared4 ,the ,royal ,chapel was   
pulled down in #adcb1 by permission  of 
,juan ,,ii4 ,the first stone had been   
laid in #adjb2 but1 strangely  and sadly
 enough1 the name of the architect who  
traced the plan has  not been preserved4
 ,some believe him to have been ,alonso 
,martinez2  others1 ,pero ,garca4 ,fame1
 we may well believe1 was a prize which 
the  pious builder esteemed but lightly4
 ,his reward lay in the greater         
glorification of his faith4    ,in      
#adfb1 we find ,juan ,normn directing   
the works2 in #adhh1 he had  passed from
 the scene and was succeeded by ,juan de
 ,hoz4 ,then came  ,alonso ,ruiz and    
,alonso ,rodriguez4 ,the building was   
practically finished  when1 in #aeaa1   
the cupola collapsed4 ,in #aeai1 ,juan  
,gil de ,hontaon1  the architect of     

,salamanca ,cathedral1 completed the    
reconstruction1  and the cathedral may  
be considered as having been finished1  
though  restorations and remodelling of 
various parts of the edifice have been  
going on ever since1 and masons are to  
this day engaged upon the dome4    ,this
 magnificent church is pre-eminent for  
size among the cathedrals  of ,spain1   
and ranks third in this respect among   
the sacred edifices  of the world4 ,st  
,peter's covers #bcj1jjj square feet1   
the ,mezquita at  ,cordova #afj1jjj1 and
 the ,cathedral of ,seville #abe1jjj4   
,our ,st ,paul's  covers only #hd1jjj   
square feet4 ,it follows that this      
cathedral is the  largest of ,gothic    
temples4    ,so stupendous a monument   
has naturally attracted comment from    
distinguished travellers and critics4   
,all have come under the spell of  its  
majesty and massive nobility4 ,thophile 
,gautier expressed himself  as follows3 
8,the most extravagant and most         
monstrously prodigious  ,hindoo pagodas 

are not to be mentioned in the same     
century as the  ,cathedral of ,seville4 
,it is a mountain scooped out1 a valley 
turned  topsy-turvy2 ,notre ,dame de    
,paris might walk erect in the middle   
nave1  which is of frightful height2    
pillars with the girth of towers1 and   
which appear so slender that they make  
you shudder1 rise out of the  ground or 
descend from the vaulted roof1 like     
stalactites in a giant's  grotto40      
,the ,italian1 ,de ,amicis1 is less     
fantastical in his rhapsodies4 8,at your
  first entrance1 you are bewildered1   
you feel as if you are wandering in  an 
abyss1 and for several moments you can  
only glance around in this  vast        
spaciousness1 to assure yourself that   
your eyes do not deceive  you1 that your
 fancy is playing you no trick2 you     
approach one of the  pillars1 measure   
it1 and look at those in the distance2  
though large as  towers1 they appear so 
slender that you tremble to think the   
building  is resting upon them4 ,you    

traverse them with a glance from floor  
to  ceiling1 and it seems that you could
 almost count the moments it would  take
 for the eye to climb them4444 ,in the  
central aisle1 another  cathedral1 with 
its cupola and bell-tower1 could easily 
stand40    ,lomas1 who is no great      
admirer of the building1 admits that    
8the first  view of the interior is one 
of the supreme moments of a lifetime4   
,the  glory and majesty of it are almost
 terrible4 ,no other building1 surely1  
is so fortunate as this in what may be  
called its presence40    ,the ,cathedral
 is oblong in shape1 and is #dad feet   
long by #bga feet  wide4 ,the nave is   
#ajj feet and the dome #aba feet high4  
,the principal faade looks west4 ,here  
is the principal entrance 7,puerta      
,mayor71 and two side doors1 the        
,puertas de ,san ,miguel and del        
,bautismo4  ,over the central door is a 
fine relief1 representing the           
,assumption1  by ,ricardo ,bellver1     
placed here in #ahhe4 ,this entrance is 

elaborately  decorated1 and adorned with
 thirty-two statues in niches4    ,the  
,puertas ,san ,miguel and del ,bautismo 
are decorated with  terra-cotta statues 
of saints and prelates1 the work of     
,pedro ,millan1  a fifteenth-century    
sculptor4 ,herr ,schmidt thinks very    
highly of these  fine performances4     
,each figure has life and distinct      
personality1 and  the treatment of the  
drapery harmonises wonderfully with the 
gestures  and physiognomy of the        
wearers4 ,the upper part of the faade is
 poor1  and dates only from #ahbg4      
,the southern faade is flanked by       
sacristies1 offices1 and courts1  above 
which appear the graceful flying        
buttresses1 gargoyles1 and  windows1 and
 the majestic dome of the main building4
 ,in the middle of  this side is a      
modern entrance1 the ,puerta de ,san    
,cristbal1 added by  ,casanova in #ahhg4
 ,in the eastern faade are two          
entrances--the ,puertas  de las         
,campanillas and de los ,palos--both    

enriched with fine sculpture  by ,pedro 
,millan2 the ,puerta de los ,palos has  
also a fine ,adoration of  the ,magi by 
,miguel ,florentin 7#aebj74    ,on the  
northern side of the ,cathedral we find 
the most important  remains of the      
pre-existing mosque1 the ,giralda1      
already described1  and the ,patio de   
los ,naranjos1 with the original        
fountain at which  the ,muslims         
performed their ablutions4 ,the patio is
 entered from the  street by the ,puerta
 del ,perdn1 a richly decorated         
horseshoe arch  erected by ,moorish     
hands by order of ,alfonso ,,xi41 to    
commemorate the  victory of the ,salado 
in the year #acdj4 ,in the sixteenth    
century this  door was restored and     
adorned with sculptures4 ,the colossal  
statues  of ,saints ,peter and ,paul1 in
 terra-cotta1 are the work of ,miguel   
,florentin4 ,he was among the earliest  
of the ,renaissance sculptors  to settle
 in ,spain4 ,by him also is the relief  
of the ,expulsion of  the               

,money-,changers from the ,temple1      
celebrating the substitution of  the    
,lonja or ,bourse for this gate as a    
rendezvous for merchants4 ,the          
plateresco work was executed by         
,bartolom ,lpez in #aebb4 ,the doors    
date  from ,alfonso's reign1 and are    
faced with bronze plates1 on which are  
,arabic inscriptions4    ,close to the  
,puerta del ,perdn is a shrine built in 
the wall with a  ,christ on the ,cross  
by ,luis de ,vargas4    ,entering the   
patio1 to the right we find the         
,sagrario1 or parish  church1 and to the
 left 7reached by a staircase7 the      
,biblioteca  ,colombina or ,chapter     
,library1 founded by ,fernando ,colon1  
son of  ,christopher ,columbus4 ,among  
the treasures it contains are a         
manuscript  of the great discoverer's   
travels1 with notes in his own hand2 a  
manuscript tract1 written by him in     
prison1 to prove that the existence  of 
,america was not contrary to ,scripture2
 the sword of ,garcia ,perez  de        

,vargas1 the great hero of the conquest 
of ,seville1 and a very  interesting    
thirteenth-century translation of the   
,bible4    ,the northern faade of the   
,cathedral is entered through three     
portals1  the westernmost of which1 the 
,puerta del ,sagrario1 is unfinished4   
,the ,puerta de los ,naranjos and the   
,puerta del ,lagarto lead from the      
patio4 ,the ,puerta del ,lagarto retains
 some traces of its ,moorish  origin4   
,it is named after the patched and      
painted stuffed alligator1  which has   
hung here since about the thirteenth    
century4 ,here may also  be seen a huge 
elephant's tusk1 and a bridle said to   
have belonged to  the ,cid4             
,referring more particularly to the     
exterior of the ,cathedral1 ,caveda     
says3 8,the general effect is truly     
majestic4 ,the open-work parapets  which
 crown the roofs1 the graceful lanterns 
of the eight winding  stairs that ascend
 in the corners to the vaults and       
galleries1 the  flying buttresses that  

spring lightly from aisle to nave1 as   
the jets  of a cascade from cliff to    
cliff1 the slender pinnacles that cap   
them1  the proportions of the arms of   
the transept and of the buttresses      
supporting the side walls1 the large    
pointed windows that open1 one  above   
another1 just as the aisles and chapels 
to which they belong  rise over each    
other1 the pointed portals and          
entrances--all these  combine in an     
almost miraculous manner1 although      
lacking the wealth of  detail1 the airy 
grace1 and the delicate elegance that   
characterise the  cathedrals of ,lon and
 ,burgos40    ,entering the church1 the 
gloom renders it difficult for a time to
  distinguish its exact configuration4  
,we find it is divided into a  nave and 
four aisles1 the former being fifty feet
 in width4 ,the fine  marble floor was  
laid in the years #aghg to #agie4 ,there
 is little  ornamentation1 the interior 
displaying a noble simplicity1 the      
beautiful effect being produced mainly  

by the grandeur and symmetry  of the    
vaultings1 archings1 and pillars4 ,the  
seventy-four exquisite  stained-glass   
windows1 however1 form a decorative     
series of the richest  kind4 ,they are1 
for the most part1 the work of northern 
artists4 ,micer  ,cristbal ,aleman      
7,master ,christoph the ,german7 began  
the first--the  first stained-glass     
window seen in ,seville--in #aejd1 the  
work being  carried on by the ,german   
,heinrich1 the ,flemings ,bernardino of 
,zeeland  and ,juan ,bernardino1 ,carlos
 of ,bruges1 and the great master ,arnao
 of  ,flanders4 ,the two latter         
designers are said to have received     
ninety  thousand ducats for their work4 
,the last window was completed in #affb 
by a ,spaniard named ,juan ,bautista de 
,lon4 ,the finest windows are  generally
 considered to be those representing the
 ,ascension1 ,st ,mary  ,magdalen1      
,lazarus1 and the ,entry into           
,jerusalem1 by ,arnao the ,fleming  and 
his brother 7#aebe71 and the            

,resurrection1 by ,carlos of ,bruges    
7#aeeh74    ,passing up the nave1 from  
the ,puerta ,mayor1 we find midway      
between that  entrance and the choir the
 ,tomb of ,fernando ,colon1 son of the  
great  ,columbus--8who would have been  
considered a great man10 says ,ford1    
8had  he been the son of a less great   
father40 ,the slab is engraved with     
pictures of the discoverer's vessels1   
and the inscription1  ,castilla  y  ,len
 ,mundo nuevo dio ,colon4 ,at this spot1
 during ,holy ,week1 is set  up the     
,monumento1 an enormous wooden temple in
 the shape of a ,greek  cross1 in which 
the ,sacrament is enshrined4 ,the       
structure was made by  ,antonio         
,florentin in #aedd4    ,extending to   
the middle of the nave is the ,coro or  
,choir1 open towards  the east or ,high 
,altar4 ,the trascoro or choir-screen is
 faced with  marbles1 eight columns of  
red breccia being especially fine4 ,the 
marble reliefs are fine examples of     
,genoese work4 ,over the altar is a     

fourteenth-century painting of the      
,madonna1 and there is also a picture   
by ,pacheco1 the inquisitor1            
representing ,st ,ferdinand receiving   
the  keys of ,seville from 8,axataf40   
,the side walls of the choir accommodate
  four little chapels1 exhibiting a     
harmonious combination of the ,gothic   
and plateresco styles in translucent    
alabaster4 ,the ,capilla de la          
,concepcion contains one of the finest  
examples of statuary in the             
,cathedral--the ,virgin1 by ,juan       
,martinez ,montaez4 ,ford says1 8,this  
sweet and dignified model was the       
favourite of his great pupil1 ,alonso   
,cano40 ,the choir was severely injured 
by the collapse of the dome  in #ahhh4  
,the pillars and baldachino are richly  
adorned with ,gothic  figures and       
stonework4 ,the fine gilt railing is the
 work of ,sancho  ,muoz 7#aeai74 ,but   
the chief glory of the choir is its     
exquisitely  carved stalls1 #aag in     
number1 executed between #adge and      

#aedh1 by ,nufro  ,sanchez1 ,dancart1   
and ,guillen4 ,moorish influence may be 
traced in the  patterns and the coloured
 inlaid work of the chairbacks4 ,the    
handsome  lectern bespeaks the skill of 
,bartolom ,morel4 ,till the collapse of 
the  dome1 the choir was the repository 
of a number of priceless missals1       
illuminated in the fifteenth1 sixteenth1
 and seventeenth centuries4  ,the organs
 are huge but inartistic4 ,as           
instruments1 they are beyond  all       
praise4 ,the older1 dating from #aggg1  
was built by ,jorge ,bosch1 the  other  
by ,valentin ,verdalonga in #ahag4      
8,between the choir and ,high ,altar is 
put up during ,holy ,week the  exquisite
 bronze candlestick1 #be feet high1     
called ,el ,tenebrario1  one of the     
finest specimens of bronze work of the  
sixteenth century  that exists 7it may  
be seen in the ,sacristy71 and wrought1 
in #aefb1  by ,morel2 when the ,miserere
 is sung1 it is lighted with thirteen   
candles1 twelve of which are put out one

 after another1 indicating that  the    
,apostles deserted ,christ2 one alone of
 white wax is left burning1  and is a   
symbol of the ,virgin1 true to the last4
 ,at ,easter1 also1 the  ,ciro ,pascual 
or fount candle1 equal to a large marble
 pillar1 #bd feet  high1 and weighing   
seven or eight hundredweight of wax1 is 
placed to  the left of the ,high ,altar0
 7,ford74    ,facing the choir stands   
the isolated ,capilla ,mayor1 containing
 the  ,high ,altar4 ,it is enclosed on  
three sides by a railing of wrought     
iron1 and on the fourth by a superb     
,gothic retablo4 ,schmidt considers     
this work the quintessence of late      
,gothic sculpture4 ,the middle parts    
date from the fifteenth1 the outer from 
the sixteenth century4 ,the             
ornamentation is of extraordinary       
delicacy and richness4 ,it is divided   
into forty-five compartments1 each      
containing subjects from the            
,scriptures and the lives of the saints 
in sculpture painted and gilded4  ,it is

 crowned by a crucifix and the statues  
of the ,virgin and ,st ,john4  ,this    
fine altar-piece was begun by the       
,fleming ,dancart in #adgi1 and was     
completed by ,spanish artists in #aebf4 
,behind the altar is the ,sacristy1     
adorned with terra-cotta statues by     
,miguel ,florentin1 ,juan ,marin1 and   
others4 ,here is kept a reliquary       
shaped like a triptych1 presented to the
 church by ,alfonso the ,wise1  and     
called the ,alphonsine ,tables4         
,behind the ,capilla ,mayor1 at the     
eastern extremity of the nave1 is the   
,capilla ,real 7,royal ,chapel74 ,the   
building--which1 as ,ford remarks1 is   
almost a church by itself--was begun by 
,gainza in #aead1 and finished  in #aeff
 by his successors1 ,fernan ,ruiz1 ,diaz
 de ,palacios1 and ,maeda4  ,the chapel 
is of the ,renaissance style1 and has a 
lofty dome4 ,there is  a handsome frieze
 showing the figures of children        
carrying shields and  lances4 ,the      
chapel is divided by light pillars into 

seven compartments1  of which the       
midmost is occupied by the altar of the 
,virgin de los  ,reyes4 ,this image was 
the gift of ,st ,louis of ,france to ,st
 ,ferdinand4  8,it is of great          
archological interest10 says ,ford2 8it 
is made like a  movable lay-figure2 the 
hair is of spun gold1 and the shoes are 
like  those used in the thirteenth      
century1 ornamented with the lilies of  
,france and the word 8,amor40 ,in #ahgc1
 the fine gold crown belonging to  this 
image a sixteenth-century work was      
stolen4 ,this image is seated  on a     
silver throne1 thirteenth-century work1 
embossed with the arms of  ,castile and 
,leon40 ,the body of ,st ,ferdinand1    
remarkably well preserved1  is contained
 in a silver urn1 placed on the original
 sepulchre1 which  is engraved with     
epitaphs in ,latin1 ,spanish1 ,hebrew1  
and ,arabic4 ,in  the vault beneath is  
the ivory figure of the ,virgin de las  
,batallas1  which the king always       
carried with him on his campaigns4 ,it  

is a fine  piece of ,gothic statuary4   
,ferdinand's sword is also preserved in 
this  chapel4 ,here are the tombs of    
,alfonso el ,sabio1 of ,beatriz of      
,swabia1  his mother1 of ,pedro ,i41    
,maria de ,padilla1 and various         
,infantes4 ,an  interesting trophy is   
the flag of the ,polish ,legion of the  
,french army1  taken by the ,spaniards  
at ,bailen4 ,the twelve statues in the  
entrance  to the ,capilla ,real are     
after the designs of ,peter ,kempener2  
there is  a ,mater ,dolorosa by ,murillo
 in the sacristy4 ,some of the later    
work  in this chapel exhibits those     
fantastic and grotesque features which  
became common1 under the name of ,estilo
 ,monstruoso1 in ,seville4    ,the      
entrance to this chapel is flanked by   
the ,capillas de ,san ,pedro  and de la 
,concepcion ,grande4 ,in the south aisle
 is the chapel of the  ,purification or 
of the ,marshal1 containing a remarkable
 altar-piece by  ,peter                 
,kempener--exhibiting the portraits of  

the founder1 ,marshal ,pedro            
,caballero1 and his family4 ,adjacent is
 the ,sala ,capitular1 in fine          
,renaissance style1 the work of ,gainza 
and ,diego de ,riao 7#aeca74 ,the  roof 
is formed by a fine cupola1 supported by
 ,ionic columns1 beneath  which is some 
admirable plateresco work1 with         
escutcheons1 triglyphs1  etc4 ,the hall 
contains a portrait of ,st ,ferdinand by
 ,francisco ,pacheco1  the 8,conception0
 and ovals by ,murillo1 and the 8,four  
,virtues0 by ,pablo  de ,cspedes4       
,beneath the windows are seen reliefs by
 ,velasco1 ,cabrera1  and ,vazquez4     
,the sacristy 7,sacristia ,mayor7 is in 
the ,renaissance style1 and lies  south 
of the ,sala ,capitular4 ,it was built  
by ,gainza in #aece1 after  designs by  
,riao1 who had died two years earlier4  
,one of the three  altars against the   
southern wall is adorned by the         
beautiful 8,descent  from the ,cross0 by
 ,peter ,kempener 7a native of          
,brussels1 called by the  ,spaniards    

,campaa71 before which ,murillo used to 
stand for hours in  rapt contemplation4 
,this priceless work of art was cut in  
five pieces  by the ,french1 with a view
 to its removal1 and has not been very  
well  restored4 ,the sacristy contains  
also three interesting paintings1       
dating from the early sixteenth century1
 by ,alejo ,fernandez2 and the  8,san   
,leandro0 and 8,san ,isidore0 of        
,murillo4    ,in this chamber is kept   
the treasury of the ,cathedral4 ,in it  
might be  included the superb silver    
monstrance by ,juan de ,arfe 7#aehj-hg74
 ,it  is twelve feet high1 and richly   
adorned with columns1 reliefs1 and      
statuettes4 ,the treasury likewise      
contains another monstrance1 studded    
with #abjj jewels2 a rock-crystal cup1  
said to have belonged to ,st            
,ferdinand2 and the keys presented to   
that sovereign on the surrender  of the 
city4 ,that given by the ,jews is of    
iron gilt1 with the words1  ,melech     
hammelakim giphthohh ,melek kolhaaretz  

gabo 7the ,king of kings  will open1 the
 ,king of all the earth will enter72 the
 other key is of  silver gilt and was   
surrendered by ,sakkf4 ,the inscription 
upon it is  in ,arabic1 and reads1 ,may 
,allah render eternal the dominion of   
,islam  in this city4    ,proceeding    
along the south aisle1 towards the main 
entrance1 we first  reach the ,capilla  
de ,san ,andrs1 the burying-place of the
 ancient  family of ,guzman4 ,behind the
 chapel of ,nuestra ,seora de las       
,dolores is  the fine ,sacristia de los 
,calices4 ,it is the work of those who  
built  the ,sacristia ,mayor4 ,it       
contains several fine paintings--the    
,saints  ,justa and ,rufina 7patrons of 
,seville7 by ,goya 7among his finest    
works71  the 8,angel de la ,guarda0 and 
the 8,st ,dorothy0 of ,murillo1 the     
8,death  of a ,saint0 by ,zurbarn1 the  
8,trinity of ,theotocopuli0 7,el        
,greco71  a triptych by ,morales1 and   
8,the ,death of the ,virgin0--an old    
,german  picture4 ,this crucifix over   

the altar is one of the most admirable  
productions of ,montaez4    ,the next   
chapel 7de la ,santa ,cruz7 is adorned  
by a fine 8,descent from  the ,cross0 by
 ,fernandez de ,guadelupe 7#aebg74 ,the 
,puerta de la ,lonja  has a fresco1     
painted in #aehd1 of 8,st ,christopher  
carrying the ,infant  ,jesus across a   
,river40 ,a representation of this saint
 is to be found in  nearly all ,spanish 
cathedrals1 owing to a curious          
superstition that to  look upon it      
secures the beholder for the rest of    
that day from an evil  death4 ,this     
fresco1 which measures thirty-two feet  
high1 is opposite  the 8,capilla de la  
,gamba0 7or1 of the leg--of ,adam74     
,here we find 8,la  ,generacion0--,luis 
de ,vargas's masterpiece4 8,the         
picture10 says ,herr  ,schmidt1 8is     
wholly in the ,italian style1 and one of
 the best examples  of this phase of the
 ,spanish ,renaissance40    ,the large  
chapel of the ,antigua contains the fine
 tomb of ,archbishop  ,mendoza1 by      

,miguel ,florentin1 erected in #aeji4   
,here is also a very  ancient mural     
painting1 after the ,byzantine style1 of
 the 8,madonna and  ,child10 which was  
placed here in #aegh1 and is of unknown 
and rather  mysterious origin4 ,the     
retablo is distinguished by marble      
statues in  the baroque style by ,pedro 
,duque ,cornejo4 ,the small sacristy    
behind  this chapel contains pictures by
 ,zurbarn1 ,morales1 and others4    ,the
 ,capilla de ,san ,hermenegildo has a   
good statue of the saint by  ,montaez1  
and a fine sepulchral monument to       
,archbishop ,juan de  ,cervantes        
7#adec71 by ,lorenzo ,mercadante de     
,bretaa1 the master of ,nufro  ,sanchez4
 ,the ,capilla de ,san ,jos contains    
8,the ,espousals of the ,virgin0  by    
,valds ,leal1 a 8,nativity of ,christ0  
by ,antolinez1 and an inferior  retablo 
78,the ,massacre of the ,innocents074   
,the ,capilla de ,santa ,ana  possesses 
a ,gothic retablo1 dating from about    
#adej1 and divided into  fourteen       

sections4 ,it comes from the old        
,mosque-,cathedral4 ,the lower  part of 
the work1 illustrating the life of ,st  
,anne1 dates from #aejd1  the artists   
having been ,hernandez and ,barbara     
,marmolejo4 ,from beneath  the tribune a
 staircase leads to the ,archives1 which
 escaped demolition  at the hands of the
 ,french1 through having been sent to   
,cadiz4 ,the  last chapel in the south  
aisle 7,san ,laureano7 is dedicated to a
 saint1  who1 like ,st ,denis of        
,france1 having been decapitated1       
performed the  unusual feat of walking  
away with his head under his arm4 ,here 
is the  tomb of ,archbishop de ,ejea1   
who died in #adag4    ,on the west side 
of the ,cathedral are five small        
chapels4 ,the  ,nacimiento chapel       
contains an admirable 8,nativity with   
the ,four  ,evangelists0 by ,luis de    
,vargas1 and a 8,virgin and ,st ,anne0  
by ,morales4  ,to the right of the      
,puerta ,mayor is the altar of ,nuestra 
,seora del  ,consuelo1 with a 8,holy    

,family10 the masterpiece of ,alonso    
,miguel de  ,tobar 7#afgh-agch71        
esteemed the ablest of ,murillo's       
pupils4 ,facing this  is the little     
altar of ,santo ,angel1 with a          
8,guardian ,angel0 by ,murillo4  ,the   
altar of the ,visitation has a good     
retablo by ,pedro ,villegas de          
,marmolejo 7#aejb-aefi71 and a statue of
 ,st ,jerome by his namesake1  ,geronimo
 ,hernandez4    ,near the north-western 
corner of the church the ,puerta del    
,sagrario  leads into the ,sagrario or  
,parish ,church4 ,this was built between
 #afah  and #affb in the ,baroque style 
by ,miguel ,zumarraga and ,fernandez de 
,iglesias4 ,the width of the single arch
 of which the roof consists is  believed
 to endanger the safety of the edifice4 
,the rich statues that  adorn the       
interior are by ,dayne and ,jose de     
,arce4 ,there is a notable  retablo by  
,pedro ,roldan which came from a        
,franciscan convent now  suppressed4    
,the wall of the sacristy is faced with 

beautiful azulejos  of the ,arabian     
period1 and in one of the side-chapels  
is a noteworthy  statue of the ,virgin  
by ,montaez4 ,in the vault beneath this 
impressive  church the ,archbishops of  
,seville are buried4    ,returning to   
the ,cathedral1 we find on the left the 
,capilla del  ,bautisterio or of ,san   
,antonio4 ,it is famous for one of      
,murillo's finest  works1 8,st ,anthony 
of ,padua's ,vision of the ,child       
,jesus40 ,this is the  picture which was
 stolen in #ahgd1 conveyed to ,new      
,york1 sold to a ,mr  ,schaus for #ej1  
and by him returned to the              
ecclesiastical authorities4  ,this      
chapel is also remarkable for its pila  
or font1 the work of  ,antonio          
,florentin1 and ,giralda windows4 ,next 
to it is the ,capilla de  las ,escalas1 
with two pictures by ,luca ,giordano1   
8strong in character1  drawing1 and     
colour10 and the sepulchre of ,bishop   
,baltasar del ,rio  7about #aejj72 then 
comes the ,capilla de ,santiago1 with   

paintings by  ,valds ,leal and ,juan de 
las ,roelas1 a stained-glass window with
 the  richest tones1 and the tomb of    
,archbishop ,gonzalo de ,mena 7#adja72  
and the ,capilla de ,san ,francisco1    
with another fine window1 and an        
ambitious 8,apotheosis of ,st ,francis0 
by ,herrera el ,mozo4    ,separated from
 this chapel by the ,puerta de los      
,naranjos is the  ,capilla de la        
,visitacion 7or ,doncellas74 ,the       
,puerta is furnished with  two altars1  
one1 the ,altar de la ,asuncin1 the     
other1 the ,virgen  de ,beln4 ,the      
former has a painting by ,carlo         
,maratta1 the latter a  8,virgin and    
,child0 by ,alonso ,cano4 ,the ,capilla 
de los ,evangelistas  has an altar-piece
 in nine parts by ,hernando de ,sturmio 
7#aeee71 which  shows us the ,giralda as
 it was before the present upper part   
had been  added4 ,crossing before the   
,puerta ,lagarto we reach the little    
chapel  of ,nuestra ,seora del ,pilar1  
with a notable 8,madonna and ,child0 by 

,pedro ,millan4 ,the altar-piece of the 
,capilla de ,san ,pedro1 between  this  
chapel and the ,capilla ,real1 has      
paintings by ,zurbarn1 hardly           
distinguishable in the dim light4 ,on   
the other side of the ,capilla ,real  is
 the ,chapel of la ,concepcion ,grande1 
containing pictures relating to  the    
,immaculate ,conception1 and a crucifix 
attributed to ,alonso ,cano4  ,here is  
also a fine modern monument to ,cardinal
 ,cienfuegos4          ,,other          
,,buildings ,,of ,,the ,,fifteenth ,,and
 ,,sixteenth ,,centuries      ,close to 
the ,church of ,san ,marcos is the      
,convent of ,santa ,paula with a  chapel
 dating from about #adge4 ,the house1   
which is of the religious of  ,st       
,augustine1 was founded by ,doa ,ana de 
,santillan and the ,portuguese  ,donha  
,isabel ,henriquez1 ,marqueza de        
,montemayor4 ,this illustrious lady  and
 her consort1 ,dom ,joo1 ,constable of  
,portugal1 are entombed in the  ,capilla
 ,mayor in separate niches4 ,the portal 

of this church is one of  the richest in
 ,europe4 ,it is magnificently decorated
 with white and  blue azulejos1 over the
 arch being seven medallions            
representing  the birth of ,christ and  
the life of ,st ,paul1 encircled with   
garlands  of flowers and fruit1 and the 
figures white on a blue ground4 ,in the 
tympanum of the arch are displayed the  
,arms of ,spain in white marble  on a   
field of blue tiles1 supported by an    
eagle1 and flanked by the  escutcheons  
of the ,catholic sovereigns4 ,the       
azulejo work was jointly  executed by   
,francesco ,niculoso of ,pisa and ,pedro
 ,millan4 ,the interior  of the church  
is in the sixteenth-century style1 and1 
except for the  tombs of the ,marqueses 
de ,montemayor1 not specially           
interesting4    ,in #adgb ,maese        
,rodrigo founded a college1 which       
afterwards became the  seat of the      
,university of ,seville1 and is now a   
seminary4 ,attached  to it is a chapel  
built in the first years of the         

sixteenth century4  ,it is a fine       
example of the late ,gothic style4 ,the 
retablo exhibits  good painting and     
carving by unknown artists4 ,the front  
of the altar  displays fine specimens of
 ,andalusian ceramic art4 8,the students
 of the  seminary10 says ,ford1 8wear a 
scarf of brilliant scarlet upon a black 
gown40    ,the most important monument  
of this period in ,seville is the ,casa 
,pilatos4 ,it illustrates the fusion of 
the ,moorish and ,renaissance  styles1  
almost to the effacement of the former4 
,in the architecture  of this period we 
usually find an ,arabic groundwork      
nearly obscured  by ornamentation of the
 newer style4 ,in the schemes of        
decoration the  conventional floral     
designs and geometrical patterns remain1
 while the  inscriptions1 which figured 
so largely in earlier work1 disappear4  
,the  stucco and azulejos no longer     
cover the whole walls1 and the windows  
and doors become larger and less        
graceful4 ,as ,herr ,schmidt remarks1   

effect was no longer sought for in the  
innately elegant but in bold1           
monumental compositions4    ,mr ,digby  
,wyatt 78,an ,architect's ,note-,book in
 ,spain07 indicates as  the two special 
points of architectural value possessed 
by the ,casa  de ,pilatos1 8the entirely
 moresque character of the stucco-work  
at a  comparatively late date1 and the  
profuse use of azulejos or coloured     
tiles4 ,it is 444 in and about the      
splendid staircase that this charming   
tile lining1 of the use of which we have
 here of very late years  commenced a   
very satisfactory revival1 asserts its  
value as a beautiful  mode of           
introducing clean and permanent         
polychromatic decoration40    ,the      
history of this beautiful building is of
 singular interest4 ,its  erection was  
begun in #aejj by the adelantado        
7governor71 ,don ,per  ,enriquez1       
continued by his son1 ,don ,fadrique    
,enriquez de ,ribera1 first  ,marqus de 
,tarifa1 after his return from a two    

years' pilgrimage in  the ,holy ,land1  
and finished by ,don ,per ,afan1 first  
,duque de ,alcal1  and sometime ,viceroy
 of ,naples1 in #aecc4 ,authorities     
differ whether  it received its name    
from its having been modelled on the    
,house of  ,pilate1 seen by ,don        
,fadrique1 or from the relics presented 
to the ,duque  de ,alcal by ,pope ,pius 
,v4 ,the ex-,viceroy was a liberal      
patron of the  arts4 ,he enriched his   
house with priceless works of art and a 
fine  library--since removed to ,madrid4
 ,he played the part of ,mcenas to the  
,varros of his generation4 ,here the    
wits1 the savants1 and the virtuosi  of 
,spain were made welcome1 and here they 
met together in a noble  coterie4 ,among
 the frequenters of the house may be    
named ,pacheco the  painter1 ,cspedes1  
the ,herreras1 ,gngora the poet1        
,jauregui1 ,baltasar  de ,alcazr1       
,rioja1 ,juan de ,arguizo1 and          
7probably7 ,cervantes4 ,herr  ,schmidt  
tells us that ,seville did not stand    

alone among the cities of  ,spain in    
boasting such a rallying-point for      
genius3 8,in ,guadalajara1  the palace  
of the ,mendozas1 in ,alba de ,tormes   
and ,abadia1 the castles  of the ,duque 
de ,alba1 in ,madrid1 the arts were     
treasured by ,antonio  ,perez2 in       
,zaragoza by the ,duque de              
,villahermosa1 in ,plasencia by ,don    
,luis de ,avila1 in ,burgos by the      
,velascos4 ,these and other families in 
,spain followed the example set by the  
,medici in ,italy40    ,the ground-plan 
of the ,casa de ,pilatos is ,moorish1   
with an inner court1  two storeys1      
guest-chambers1 and high outer walls    
surrounding a garden4  ,the exterior is 
plain and dignified4 ,the portal is of  
marble1 and  over the arch is the text1 
8,nisi ,dominus dificaverit domum1 in   
vanum  laboraverunt qui dificant eam10  
etc4 ,to the left of the door is a      
jasper cross fixed in the wall4 ,in     
,october #aeba1 the ,marqus de ,tarifa  
returned from the ,holy ,land1 and      

having traversed the path trodden by    
,christ on ,his way from ,pilate's house
 to ,calvary1 he placed this cross  on  
the wall and counted thence the fourteen
 stations of the cross4 ,the  last      
fortuitously coincided with the ,cruz   
del ,campo1 raised near the  ,caos de   
,carmona1 in the year #adhb4    ,the    
central patio is markedly ,moorish in   
character1 and is encircled  with       
arcades of extraordinary symmetry and   
beauty4 ,pedro de ,madrazo  calls       
attention to the harmonious variety and 
irregularity of the  arches and windows1
 comparing the effect thus produced to  
the admired  disorder of the forest and 
plantation4 ,the decoration of the walls
  and arches bears a general resemblance
 to that of the ,alcazar1 but  on closer
 examination the influence of the       
plateresco1 ,late ,gothic1  and         
,renaissance styles is revealed4 ,the   
fountain in the middle of the  patio is 
adorned with dolphins and four huge     
statues belonging to  the best period of

 ,roman art4 ,the chapel is in the mixed
 pointed and  ,moorish styles4 ,in the  
vestibule the ajaraca1 or trellis-work1 
the  azulejos1 and the ajimeces1 or     
twin-windows 7now converted into        
ordinary windows7 recall ,moorish art2  
while the ceiling is in the  plateresco 
style4 ,the arch of the chapel is       
,gothic1 and its walls are  laid with   
azulejos and stucco4 ,in the middle of  
the floor stands a  short marble column1
 a copy of the pillar at which ,christ  
is supposed  to have been scourged1     
preserved at ,rome2 it was the gift of  
,pius ,v4    ,the room called the       
,prtorium has a fine coffered ceiling   
and good  tiling4 ,the staircase is     
magnificent4 ,its walls are faced with  
azulejos1 and its ceiling is in the     
cupola or half-orange style  of the     
,saln de los ,embajadores4 ,another room
 on the upper floor is  adorned with    
paintings by ,pacheco1 the subject being
 ,ddalus and  ,icarus4 ,the view from   
the roof is perhaps the finest in the   

city4    ,the ,casa de ,pilatos1 as     
might be inferred from the character of 
its  founder1 is a veritable cabinet of 
antiques and precious objects1  marbles 
and fragments from ,italica figuring    
largely in the collection4    ,a notable
 private residence1 dating probably in  
its foundations  from the beginning of  
the fifteenth century1 is the ,casa de  
,abades1  sometimes called the ,casa de 
los ,pinelos4 ,it passed into the hands 
of  the ,genoese family from which it   
derives its second name1 and thence  to 
the ,cathedral ,chapter 7composed of    
abbs or abades74 ,in the  sixteenth     
century it became the property of the   
,ribera family1 the  owners of the ,casa
 de ,pilatos4 ,it is described by       
,madrazo as presenting  a fine example  
of the ,sevillian ,renaissance style1   
which would appear  to be compounded of 
all pre-existing styles4 ,mr ,digby     
,wyatt1 on the  other hand1 thinks the  
house more ,italian than ,spanish4 ,but 
the  beautiful patio1 the dados of      

azulejos1 and the ajimeces looking  on  
the courtyard are distinctly ,andalusian
 features4 ,there are also  traces of   
,moorish geometrical ornamentation1     
covered with repeated  coats of         
whitewash4    ,the ,palacio de las      
,dueas1 more properly the ,palace of the
 ,dukes of  ,alba1 and sometimes called 
,palacio de las ,pinedas1 is a vast and 
once  splendid mansion1 partaking of the
 mixed style of the two buildings  last 
described4 ,it boasted at one time      
eleven patios1 with nine  fountains1 and
 over one hundred marble columns4 ,a    
fine patio remains1  surrounded by a    
gallery with graceful columns4 ,the     
staircase1 with its  vaulted roof1      
recalls that of the ,casa de ,pilatos4  
,in the lower part is  a chapel of the  
fifteenth century1 which has fared very 
badly at the  hands of restorers or     
rather demolishers4 ,this palace was for
 a time  the residence of ,lord         
,holland1 an ardent admirer of ,spanish 
literature1  and the author 7#ahje7 of a

 memoir on ,lope de ,vega and ,guillen  
de  ,castro4    ,other notable          
residences of the nobility in ,seville  
are the ,casa de  ,bustos ,tavera1 and  
the ,palaces of the ,dukes of ,osuna and
 ,palomares and  the ,count of ,peaflor4
 ,these all date from what may be       
loosely called  ,mudejar times4    ,the 
,church of the ,university of ,seville  
is of interest4 ,the university  itself 
was originally a college of the ,society
 of ,jesus1 and was built  in the middle
 of the sixteenth century1 after designs
 ascribed to  ,herrera4 ,madrazo thinks 
it more likely that these were the work 
of  the ,jesuit ,bartolom de            
,bustamante4 ,the church forms a ,latin 
cross1 a  spacious half-orange dome     
covering the transept4 ,the ,renaissance
 style  is followed4 ,here repose the   
members of the illustrious ,ribera      
family1  their remains having been      
transported hither on the suppression of
 the  ,cartuja 7,carthusian ,monastery74
 ,the oldest of the tombs is also that  

of the oldest ,ribera1 who died in      
#adbc1 aged #aje years4 ,the finest is  
that of ,doa ,catalina 7died #aeje71 the
 work of a ,genoese sculptor4  ,other   
tombs are those of ,don ,pedro          
,henriquez1 ,diego ,gomez de ,ribera1   
,don ,perafan de ,ribera 7#adee71 and   
,beatriz ,portocarrero 7#adeh74 ,let    
into  the pavement is a magnificent     
bronze slab1 to the memory of the ,duque
  de ,alcal1 the owner of the ,casa de  
,pilatos4 ,among the sepulchres are     
those of the founder1 ,lorenzo ,suarez  
de ,figueroa1 whose favourite dog  is   
sculptured at his feet1 and ,benito     
,arias ,montano1 a savant who  died in  
#aeih4 ,over the altar are three        
paintings3 the 8,holy ,family10  the    
8,adoration of the ,magi10 and the      
8,nativity02 the first by ,roelas1  the 
other two by his pupil1 ,juan de        
,varela4 ,these1 especially the  first1 
are among the finest pictures in the    
city4 ,the statue of ,st  ,ignatius     
,loyola by ,montaez1 coloured by        

,pacheco1 is probably the only  faithful
 likeness of the ,saint4 ,in this church
 are also to be seen two  admirable     
works of ,alonso ,cano1 8,st ,john the  
,baptist0 and 8,st ,john the  ,divine40 
,the ,renaissance made itself felt in   
,spain during the reign of ,charles     
,v41 and was productive of the          
plateresco style4 ,seville contains two 
imposing monuments of this type of      
architecture--the ,ayuntamiento  7,town 
,hall7 and ,lonja 7,exchange74 ,the     
first-named was begun in #aebg  by      
,diego de ,riao1 and completed under    
,felipe ,,ii41 about forty years  later4
 ,madrazo considers the building        
8somewhat inharmonious through  the     
variety1 a little excessive1 of its     
lines1 but admirable for the  richness  
of the decoration and for fine and      
delicate execution--a  merit of the     
first importance in structures of this  
style1 where the  sculptor or           
stone-cutter ranked with the architect40
    ,the lower and older storey has     

three faades1 all elaborately chased    
and designed like silversmiths' work4   
,the central faade1 facing the  ,calle  
de ,gnova1 bears the statues of ,saints 
,ferdinand1 ,leandro1  and              
,isidoro--symbolical of the temporal and
 spiritual power4 ,the  right faade is  
the purest and most regular of the      
three4 ,the upper  storey1 belonging to 
the reign of ,felipe ,,ii41 appears     
almost plain  in comparison with the    
tower4 ,in the vestibule is a noble     
,latin  inscription relating to justice4
 ,the lower ,sala ,capitular is a       
magnificent apartment worthy1 as        
,madrazo remarks1 of the ,senate of a   
great republic4 ,it is adorned with the 
statues of the ,castilian kings  down to
 ,charles ,v41 with a rich frieze       
designed with genii1 masks1 and         
animals1 and with appropriate legends4  
,the upper ,sala ,capitular has a       
magnificent artesonado ceiling4 ,over   
the grand staircase are a fine  coffered
 ceiling and another in the form of a   

cupola4 ,the archives of  the           
municipality contain several valuable   
historical documents1 and the           
embroidered banner of ,st ,ferdinand4   
,the ,lonja or ,exchange dates from     
,felipe ,,ii4's reign4 ,the ,patio de   
los ,naranjos was formerly frequented by
 the merchants and brokers of  ,seville 
for the transaction of business1 and    
this practice interfering  seriously    
with divine worship in the ,cathedral1  
the ,archbishop1  ,cristobal de ,rojas1 
petitioned ,felipe ,,ii4 to follow the  
precedent just  established by ,sir     
,thomas ,gresham and to build an        
,exchange or ,casa de  ,contratacion4   
,the preparation of the plans was       
confided to ,herrera1 and  the building1
 under the direction of ,juan de        
,minjares1 was finished  in #aeih--;at  
precisely the time1 as ,ford remarks1   
that the commerce of  ,seville began to 
decline4 ,the ,lonja in its stern       
simplicity reflects1  like the          
,escorial1 the temper of ,felipe        

,,ii4--a sovereign1 unpopular  though he
 may have been1 in whom it is impossible
 not to recognise  the elements of      
greatness4 ,the edifice forms a         
perfectly regular  quadrangle1 and the  
sobriety of the decoration affords a    
striking  contrast to the gorgeous      
profusion of the ,ayuntamiento4 ,the    
inner  court is noble and severe with   
its gallery of ,doric and ,ionic        
columns4  ,the dignity of the whole has 
been impaired by later additions and    
restorations4 ,here are deposited the   
archives of the ,indies 7i4e4  ,south   
,america71 the documents being arranged 
in handsome mahogany  cases4 ,they have 
never been thoroughly gone through and  
examined4  ,the business men of ,seville
 soon abandoned their ,exchange1 and it 
is  chiefly to be remembered as the seat
 of ,murillo's ,academy of ,painters1   
founded in #affj4    ,in connection with
 the ,american traffic of ,seville it   
should be  mentioned that in the village
 of ,castilleja la ,cuesta1 near the    

city1  is the house where ,hernando     
,corts died in #aedg4 ,the place has    
been  acquired by the ,duc de           
,montpensier1 by whom it has been       
converted into  a sort of museum4 ,the  
,conquistador's bones rest in the       
country which1  with such intrepidity1  
he won for the ,spanish race4    ,the   
,civil ,hospital of ,seville1 otherwise 
known by the ghastly  designation of the
 ,hospital de las ,cinco ,llagas or del 
,sangre 7of the  ,five ,wounds or of the
 ,blood71 was designed in #aedj by      
,martin ,gainza4  ,it is a massive stone
 edifice of two storeys1 the lower      
,doric and  the upper ,ionic4 ,in the   
central patio is the chapel in the form 
of  a ,greek cross1 the faade exhibiting
 a tasteful combination of the  three   
,grecian styles4 ,the altarpiece is by  
,maeda and ,alonzo ,vazquez4  ,the      
pictures of saints are by ,zurbarn1 and 
the 8,apotheosis of ,st  ,hermenegild0  
and the 8,descent from the ,cross0 by   
,roelas4          ,,buildings ,,of ,,the

 ,,seventeenth ,,and ,,eighteenth       
,,centuries      ,about the middle of   
the seventeenth century there lived at  
,seville  a young gallant1 ,don ,miguel 
de ,maara by name1 whose excesses and   
escapades horrified even that lax       
generation4 ,marriage with the heiress  
of the ,mendozas did not sober him4 ,of 
him1 at this period of his life1  this  
much good may be said1 that he          
patronised and encouraged ,murillo4     
,but one day something happened3 quite  
suddenly the rake changed into  a       
devotee1 an ascetic--a saint in the     
seventeenth-century acceptation  of the 
word4 ,the wine-bibber forswore even    
chocolate as too tempting a  beverage4  
,what had happened to produce this      
startling reformation8 ,accounts vary4  
,some say that ,don ,miguel1 traversing 
the streets in insensate rage  against  
some custom-house officials1 was        
suddenly and vividly made  conscious of 
the enormous wickedness of his life4 ,a 
more picturesque  version is the        

following3 ,returning from a carousal   
one night1  the ,don found himself      
absolutely unable to discover his house 
or  the way thither4 ,wandering         
desperately up and down distressed1 and 
in perplexity of mind1 he perceived a   
funeral cortge approaching4  ,impelled  
by irresistible curiosity1 he stepped up
 to the bearers of  the bier and asked  
whose body they were carrying4 ,came the
 reply3 8,the  corpse of ,don ,miguel de
 ,maara40 ,the horror-stricken prodigal 
tore  aside the pall1 and lo6 the face  
of the dead man was his own4 ,the       
vision disappeared1 and the same instant
 the ,don found himself at the  door of 
his own house4 ,he entered it a changed 
man4    ,the church and hospital of ,la 
,caridad are the existing fruits of     
,don ,miguel's conversion4 ,as far back 
as #aegh1 there had existed at  ,seville
 a confraternity1 the objects of which  
were to assist condemned  criminals at  
their last moments and to provide them  
with ,christian  burial4 ,to this       

association the reformed rake turned his
 attention4  ,he converted the chapel   
into a hospital for the sick1 the poor1 
and  the pilgrims of all nations1 and   
liberally endowed it out of his ample   
resources4    ,the edifice is in the    
decadent ,greco-,roman style1 and was   
designed by  ,bernardo ,simn de ,pereda4
 ,the ,baroque faade is adorned with    
five  large blue faence designs on a    
white ground1 the subjects being ,faith1
  ,hope1 and ,charity1 ,st ,james1 and  
,st ,george4 ,tradition has it that     
these  were made after drawings by      
,murillo at the azulejo factory of      
,triana4  ,the church hardly appears to 
us to warrant the description 8one of   
the  most elegant in ,seville10 applied 
to it by ,sir ,w4 ,stirling-,maxwell4   
,under the ,high ,altar is buried the   
founder1 ,don ,miguel4 ,his own wish    
was to be buried at the entrance to the 
church1 with the epitaph3 ,aqui  yacen  
los huesos y cenizas del peor hombre que
 ha habido en el mundo  7,here lie the  

bones and ashes of the worst man that   
ever lived in  this world74 ,his sword1 
and his portrait painted by ,valds      
,leal1 are  preserved in the ,hospital4 
,as a museum of ,spanish art1 ,la       
,caridad possesses great importance4    
,the  altarpiece1 8,the ,descent from   
the ,cross10 is the masterpiece of      
,pedro  ,roldan4 ,the two paintings near
 the entrance by ,juan de ,valds ,leal  
7#afcj-afia7 are regarded by ,herr      
,schmidt as entitling that artist to    
rank as one of the greatest masters of  
realism of any age4 ,this opinion  is   
not shared by a recent writer 7,c4      
,gasquoine ,hartley71 who considers  the
 pictures theatrical1 though the        
execution exhibits a certain  power4    
8,in one of them a hand holds a pair of 
scales1 in which the  sins of the       
world--represented by bats1 peacocks1   
serpents1 and other  objects--are       
weighed against the emblems of ,christ's
 ,passion2 in the  other1 which is the  
finer composition1 ,death1 with a coffin

 under one  arm1 is about to extinguish 
a taper1 which lights a table spread    
with  crowns1 jewels1 and all the       
gewgaws of earthly pomp4 ,the words     
#8,in ,ictu  ,oculi' circle the gleaming
 light of the taper1 while upon the     
ground  rests an open coffin1 dimly     
revealing the corpse within40 ,murillo  
said  this picture had to be looked at  
with the nostrils closed4 ,for the two  
paintings ,valds received #egdj reals4  
,of the eleven pictures painted by      
,murillo for this church1 only six      
remain1 the others having been carried  
off by the ,french4 ,the subjects  are  
8,moses striking the ,rock10 the        
8,miracle of the ,loaves and ,fishes10  
the 8,charity of ,san ,juan de ,dios10  
the 8,annunciation10 the 8,infant       
,jesus10 and 8,st ,john40 ,the first    
picture1 depicting1 as it does1 the     
terrible thirst experienced by the      
,israelites1 is known as ,la ,sed       
7,thirst74 ,some critics think this is  
one of the finest of the master's       

productions4 ,as is usual in his        
compositions1 the figures are all  those
 of ordinary ,sevillian types4 8,the    
personality of ,christ in  the          
#8,miracle of the ,loaves and ,fishes1'0
 says ,c4 ,gasquoine ,hartley1  8lacks  
the force of the ancient prophet1 and   
the work as a whole  is inferior to its 
companion picture40 ,the 8,charity of   
,san ,juan de  ,dios0--representing the 
,saint carrying a beggar with the help  
of an  angel--is the best and most      
characteristic of the six paintings4    
,the  8,infant ,jesus0 and the 8,st     
,john0 are also very fine4 ,for the     
8,san  ,juan de ,dios0 and the 8,st     
,elizabeth of ,hungary0--,el            
,tioso--7now at  ,madrid7 together1     
,murillo was paid #ah1hdj reals2 for the
 ,moses1 #ac1cjj  reals2 and for the    
8,miracle of the ,loaves and ,fishes10  
#ae1igc reals4    ,the last building    
which may be said to rank as an         
architectural  monument erected in      
,seville is the ,palacio de ,san ,telmo1

 now the  residence of the ,duc de      
,montpensier4 ,in the year #afhb the    
,naval ,school  of ,san ,telmo was      
founded on the site of the former palace
 of the  ,bishops of ,morocco and the   
tribunal of the ,holy ,office4 ,the     
present  edifice1 begun1 after plans by 
,antonio ,rodriguez1 in #agcd1 was not  
completed till #agif4 ,the palace       
adjoins the beautiful gardens of the    
,delicias4 ,the faade is exceedingly    
ornate1 the decoration being in  the    
,plateresco style4 ,the general effect  
is pleasing1 but critics have  been     
unsparing in their denunciations of the 
structure4 ,it certainly  reflects the  
debasing influence of the architect     
,jose ,churriguera  7#affe-agbe71 who   
has given his name 7,churrigueresque7 to
 one of the  most tawdry and tasteless  
styles of architecture4    ,the         
,archiepiscopal ,palace1 adjacent to the
 ,cathedral1 is also in the  bad style  
of the later seventeenth century4 ,the  
interior1 however1 is  worth visiting   

for the sake of the noble marble        
staircase1 one of the  finest in the    
city4 ,here are three paintings by      
,alejo ,fernandez1 an  early            
seventeenth-century artist1 whom ,lord  
,leighton considered 8the  most         
conspicuous among the ,gothic painters40
    ,the ,fabrica de ,tabacos is a vast 
building completed in #ageg4 ,apart     
from its size1 it possesses no          
architectural interest1 and though a    
favourite showplace for tourists1 does  
not come within the scope of a  work of 
this character4          ,,the          
,,painters ,,of ,,seville    ,,by       
,,albert ,f4 ,,calvert ,,and ,c4        
,,gasquoine ,,hartley      ,in ,seville1
 perhaps to a greater extent than in any
 city1 even in  ,spain1 the country of  
passionate individualism1 art is the    
reflection  of the life and temper of   
the people2 and to understand ,seville  
we  must know her painters4 ,as we look 
at the pictures of the ,spanish         
primitives1 at the emphatic canvases of 

,juan de las ,roelas and  ,herrera1 for 
instance2 at the realism of ,zubarn1 or1
 still more1 at  the ecstatic visions of
 ,murillo--as we see them in the old    
,convento  de la ,merced1 now the ,museo
 ,provincial1 in the ,cathedral1 or in  
one  or another of the numerous churches
 in the city1 we find the special       
spirit of ,andalusia4    ,there is one  
quality that1 at a first glance1        
impresses us in these  pictures1 so     
different1 and yet all having one aim4  
,it is their  profound seriousness4     
,rarely1 indeed1 shall we find a picture
 in which  the idea of beauty1 whether  
it is the beauty of colour or the beauty
  of form1 has stood first in the       
painter's mind2 almost in vain shall  we
 search for any love of landscape1 for  
any passage introduced just  for its own
 sake4 ,for1 let it be remembered1 in   
,andalusia art was  devotional always4  
8,the chief end of art10 says ,pacheco1 
the master of  ,velazquez1 in his ,arte 
de la ,pintura1 8is to persuade men to  

piety  and to incline them to ,god40    
,pictures had other purposes to serve   
than that of beauty4 ,they were painted 
for the ,church to enforce its  lessons1
 they were used as warnings1 and as a   
means of recording the  lives of the    
,saints4 ,in other countries1 it is     
true1 painters have  spent their        
strength in religious art1 but almost   
always we can find as  well as the      
sacred1 some outside motive1 some human 
love of the subject  for itself--for its
 opportunities of beauty4 ,the intense  
realism of  these ,spanish pictures is a
 thing apart2 these ,assumptions1       
,martyrdoms1  and ,saintly ,legends were
 painted with a vivid sense of the      
reality of  these things by men who felt
 upon them the hand of ,god4 ,we know   
that  ,luis de ,vargas daily humbled    
himself by scourging and by wearing a   
hair  shirt1 and ,juan ,juanes prepared 
himself for a new picture by communion  
and confession4 ,these are two examples 
chosen out of many4 ,a legend  we read  

of ,don ,miguel de ,maara1 the founder  
of the ,hospital of ,la  ,caridad1      
illustrates this dramatic religious     
sense of ,spain4 ,one day  in church    
,don ,miguel saw a beautiful nun1 and1  
forgetful of her habit1  made amorous   
proposals4 ,she did not speak2 instead1 
she turned to look  at him2 whereupon he
 saw the side of her face which had been
 hidden  from his eyes3 it was eaten    
away1 corrupted by a hideous disease1   
so that it seemed more horrible than the
 face of death4 ,it was such  scenes as 
this that the ,spanish artists chose to 
paint4 ,but1 indeed1 it  would be       
tedious to enumerate the examples which 
,spain offers of this  curious1 often1  
it would seem to us1 corrupted sense of 
the gloom of  life1 carrying with it as 
one result the passionate responsibility
 of  art4 ,always1 we feel certain that 
the ,spanish painters felt all that     
they express4    ,and this overpowering1
 if mistaken1 understanding of the      
presence of  the divine life gave a     

profound seriousness to human life4 ,the
 shadow  of earth was felt1 not its     
light2 and emotion expressed itself in  
an intense seriousness1 that is         
over-emphatic too often--always1 in     
fact1 when the painter's idea is not    
centred in reality4 ,this is the  reason
 why a ,spanish painter had to treat a  
vision as a real scene4  ,we have       
pictures horrible with the sense of     
human corruption--such1  for instance1  
are the two gruesome canvases of ,valds 
,leal1 in ,la  ,caridad4 ,again and     
again is enforced the ,catholic lesson  
of humility1  expressing itself in acts 
of charity to the poor1 so essential an 
idea  when this life is held as but a   
threshold to a divine life4 ,we find a  
sort of wild delight in martyrdom2 a joy
 that is perfectly sincere in  the      
scourging of the body4 ,all the ,spanish
 pictures tell stories4 ,was  not their 
aim to translate life8--the life of     
earth and the1 to them1  truer life of  
heaven--and life itself is a story8     

,their successes in  art are due to     
this1 their failures to the sacrifice of
 all endeavours  to this aim2 a danger  
from which1 perhaps1 no painter except  
,velazquez  quite escaped4 ,he1         
faultless in balance1 in his exquisite  
statement of  life1 expresses perfectly 
the truth his predecessors had tried    
for1  but missed1 except indeed now and 
again1 in some unusual triumph over     
themselves4 ,we find hardly a painter   
able to free himself from the           
traditions of his subject4 ,only        
,velazquez1 controlled by the northern  
strain that mingles with the passion of 
his ,andalusian temper1 was  saved quite
 from this danger of over-statement4    
,and ,velazquez does not  belong to     
,seville1 though he was born in the     
southern city on ,june #e1  #aeii1 in   
the house1 ,no4 #h1 ,calle de ,gorgoja2 
though the first years  of his life were
 spent there1 the time of childhood1 the
 few months  of work with the violent   
,herrera1 the five years in the studio  

of  ,pacheco1 his master2 though--a fact
 of greater import--his temper was      
,andalusian2 and though his early       
pictures--the bodgones1 so familiar  to 
us in ,england1 whither so many have    
travelled through the fortune  of       
wars--are entirely ,spanish in their    
direct realism4 ,velazquez  worked      
contemporaneously with the ,realistic   
movement that quickened  the arts in    
,seville in the sixteenth and           
seventeenth centuries1 but he  worked   
outside it4 ,this explains the silence  
of his art in ,seville4 ,of  the        
pictures of his youth1 painted while he 
was there1 none remain1  except one in  
the ,archiepiscopal ,palace1 8,the      
,virgin delivering the  ,chasuble to    
,san ,ildefonso02 and the authenticity  
of this picture has  been denied until  
very recently1 a fact explained by the  
bad condition  of the canvas4 ,to see   
the wonderful art of ,velazquez you must
 leave  ,seville and visit the ,museo   
del ,prado at ,madrid4 ,seville is the  

home  of religious art4 ,the habit of   
her painters was serious2 in their      
profound religious sense1 in their      
adherence1 almost brutal at times1  to  
facts1 as well as in those interludes of
 sensuous sweetness that  now and again1
 as1 for instance in the art of         
,murillo1 burst out so  strangely like  
an exotic bloom1 they reflect the temper
 of ,spain4 ,it  is contended sometimes 
that these pictures in ,seville are     
wanting in  dignity1 wanting in beauty4 
,but are we not too apt to confine      
beauty to  certain forms of accepted    
expression8 ,surely any art that has    
life2 has  dignity1 has beauty2 and no  
one can deny that life was the          
inspiration  of the ,andalusian         
painters4    ,we must remember these    
things if we would understand the       
pictures in  ,seville4    ,but first we 
find ourselves carried away from the    
reality and darkness  of life back to a 
happy childhood of art1 as we look at   
the three  fourteenth-century frescoes  

of the ,virgin--the 8,antigua10 in the  
chapel  named after it in the           
,cathedral1 8,nuestra ,seora del        
,corral0 in ,san  ,ildefonso1 and       
8,seora ,maria de ,rocamador0 in ,san   
,lorenzo--an art  when the painter1 less
 conscious of life and of himself1 was  
content  to paint beautiful patterns4   
,in these three pictures--all that are  
left to us--we see the last of          
,byzantine art in ,spain4 ,the figures1 
with long oval faces all of one type1   
are placed stiffly against a  background
 of ,gothic gold4 ,look at 8,seora      
,maria de ,rocamador10 as she  sits     
holding the ,child upon her knees2 while
 two little angels kneel1  one upon the 
left1 one on the right4 ,she wears a    
blue robe1 partly  covered with a mantle
 of deep purple1 very beautiful with    
ornaments  of gold and bordered with    
gold braid4 ,a bent coronet around her  
head  stands out against the glowing    
halo2 the background is all of gold     
woven into a delicate pattern4 ,it is a 

picture of pure convention in  which is 
no effort to carry the mind beyond what 
is actually seen2  it makes its appeal  
just as so much decoration4 ,this       
fresco1 as well  as the 8,antigua0 and  
8,nuestra ,seora del ,corral10 have been
 much  repainted--the ill-fortune of so 
many early ,spanish works4    ,but1 in  
the fifteenth century1 a new spirit came
 into art2 and with  the work of ,juan  
,snchez de ,castro the school of        
,seville may be said  to begin4 ,no     
knowledge has come down to us of his    
life2 we know only  that he was painting
 in ,seville between #aded and #aeaf4   
,in his great  fresco of 8,san          
,cristbal10 that covers the wall near to
 the main door  in the old ,church of   
,san ,julian--alas6 now spoiled by      
re-painting and  by the subsequent      
rotting away of the plaster--we find a  
different1  human1 almost playful       
treatment of a sacred story4 ,and for   
the first  time in ,seville1 we see the 
special ,spanish quality1 characteristic

  of the whole school from this time to 
the time of ,goya1 of rendering a  scene
 just as the painter supposed it might  
have happened4 8,a child's  dream of a  
picture10 ,mr ,arthur ,symons has called
 it4 ,san ,cristbal1  many times the    
size of life1 stretching from floor to  
ceiling1 fills  the whole picture2 he   
leans upon a pine-staff as he supports  
the ,child  ,christ upon his shoulders1 
who holds in his hands a globe of the   
world  upon which the shadow of a cross 
has fallen4 ,the other figures1 the     
hermit and two pilgrims with staves and 
cloaks1 are quite small2 they  reach    
just to the ,saint's knees4 ,and this   
immense grotesque figure is  painted in 
all seriousness1 as a child might       
picture such a scene4 ,to  understand   
the sincerity of the ,spanish painter1  
we must compare his  work with that     
other fresco of 8,san ,cristbal10       
painted1 much later1  by ,perez de      
,alesio1 which is in the ,cathedral4    
,the ,italian picture is  an attempt to 

illustrate a popular miracle1 perfectly 
unconvincing2  ,de ,castro's ,saint     
compels us to accept and realise what   
the painter  himself believed in4 ,this 
is the difference between them4    ,in  
the smaller pictures of ,snchez de      
,castro that remain to us1 such1  for   
instance1 as the panel of the 8,madonna 
with ,st ,peter and ,st  ,jerome10 once 
in ,san ,julian1 but now in the         
,cathedral1 we find him  more bound by  
convention1 less himself4 ,we see the   
immense debt ,spanish  painting owed to 
,flemish art4 ,and this influence1      
always so beneficial1  the ,northern art
 being1 for reasons of race not possible
 to state here1  the true affinity of   
,spain in art1 remains1 with different  
and more  certain knowledge1 in the     
8,piet0 of ,juan ,nuez1 which still     
hangs  in the ,cathedral where it was   
painted4 ,it meets us again in the fine 
and interesting 8,entombment0 by ,pedro 
,snchez1 a painter of whom we  know     
nothing1 except that his name is given  

by ,cean ,bermudez among the            
illustrious artists of ,spain4 ,the     
picture may be seen in the collection   
of ,don ,jos ,lpez ,cepero1 at ,no4 #g  
,plaza de ,alfaro1 the house in which   
,murillo is said to have lived4 ,in all 
three pictures1 and in other  work of   
the same period not possible to mention 
here1 we are face to  face with that    
special ,spanish trait1 the             
pre-occupation with grief1  that is     
quite absent from the early             
fourteenth-century ,madonnas1 as  from  
the simple child-art of ,de ,castro's   
8,san ,cristbal40 ,the shadow  of the   
,inquisition had fallen2 art1 the       
handmaid of the ,church1 could  express 
itself no longer in quaint and beautiful
 symbols4 ,instead1 it  had to force    
itself to be taken seriously1 being     
occupied wholly with  emphatic          
statements1 its aim an insistence on the
 relation of human  life to the divine  
life4    ,but the joy of life did not   
die easily4    ,juan ,nuez1 once1 at    

least1 in those pictures in the         
,cathedral in which  he has painted the 
archangels ,michael and ,gabriel quite  
gaily1 their  wings bright with         
peacock's feathers1 returns to the      
child-humour of  ,de ,castro4 ,and ,nuez
 carries us forward to ,alejo           
,fernandez1 the most  important painter 
of this early period1 much of whose work
 remains for  us in the ,cathedral and  
in the old churches of ,seville4    ,go 
to the suburb of ,triana1 and in the    
,church of ,santa ,ana there is the     
sweetest ,madonna and ,child1 in which  
we find a new suggestion in the  joy of 
the ,mother in her ,babe1 a human       
attitude1 making the picture  something 
more than mere illustration4 ,and we    
notice a delicate care  for beauty found
 very rarely in ,seville1 perhaps never 
as perfectly as  in the work of this    
painter4 ,the 8,virgen de la ,rosa0 is  
the name given  to the picture4 ,the    
,mother sits enthroned under a canopy of
 gold1 in  a beautiful robe of elaborate

 pattern1 pale gold on brown4 ,she holds
  a white rose out to her ,child4       
,typical of ,fernandez is this fortunate
  use of the flower2 typical1 too1 of   
his new mood of invention is the  small 
landscape of rocky and wooded country   
that fills the distance4  ,the gracious 
pose of the ,virgin1 the beauty in the  
,child1 show an  advance in ease upon   
earlier pictures4 ,but the other        
figures1 four  angels who guard the     
,mother1 all posed a little awkwardly1  
suggest  a scheme on whose design the   
early ,byzantine models may have had a  
forming influence1 though the result is 
different enough4 ,for ,fernandez       
understood the very spirit of the       
,renaissance2 he saw life beautifully   
and strongly4 ,the attraction of the    
picture is in its effect of joy1 in  the
 charming way in which it forms a       
pattern of beautiful colour1 and  in its
 new sense of humanity that carries us  
beyond the scene itself4    ,and there  
are other pictures of ,fernandez in     

,seville3 the great  altar-piece in     
eight sections--one is a copy--that     
tells the story of  ,joseph1 ,mary1 and 
the ,child1 in the old ,church of ,san  
,julian2 and there  is a large          
8,adoration of the ,magi10 the 8,birth  
and ,purification of the  ,virgin10 and 
the 8,reconciliation of ,st ,joachim and
 ,st ,anne10 all in the  ,cathedral--the
 first in the ,sacrista de los ,clices1 
and three others  in unfortunate        
darkness1 over the ,sacrista altar4 ,and
 if these larger  pictures have not     
quite the fresh charm of the 8,madonna  
of ,santa ,ana10  in each one we find a 
real understanding of beauty1 and with  
it the  ,spanish gift of presenting the 
sacred stories as drama1 just as the    
painter felt it all must have happened4 
,each figure in these scenes  has life1 
has character4 ,no lover of ,spanish    
painting can afford to  neglect any     
picture of ,fernandez1 and no estimate  
of the early art of  the country can be 
true that does not include his work4 ,of

 his life we  know nothing1 merely that 
he came with his brother ,juan from     
,cordova  in #aejh1 called by the       
,chapter to work in ,seville ,cathedral4
 ,but it  matters little that his life  
is unrecorded1 for the work that he has 
left is his best history4    ,in these  
first years of the ,sevillian school1   
when art was sincere and  young1 many   
pictures were painted1 all strong work1 
all interesting1  in lesser or greater  
measure1 to the student1 even if not to 
the art  lover1 as showing the growth of
 a national style4 ,in many cases the   
names of the artists are unknown2 no    
painter has left much record of         
himself4 ,these pictures1 which may be  
recognised very readily1 are  found in  
the ,museo de la ,merced1 in the        
,cathedral1 and still more in  the      
churches1 the true museums of ,seville4 
,but fashion in art changes1 and the    
sixteenth century witnessed the         
manifestation of a new mood in painting1
 the advent to ,spain of the  ,italian  

influences of the ,renaissance4 ,this is
 not the place to speak  of the blight  
which fell upon art4 ,the distinctively 
,italian schools  were only an influence
 of evil in ,spain1 and the inauguration
 of  the new manner was the birth of a  
period of great artistic poverty4  ,the 
main desire of the sixteenth-century    
painters was1 as it were1  to wipe the  
artistic slate4 ,all pictures painted in
 the old style  were repudiated as      
barbarous1 cast aside as an out-of-date 
garment4  ,the country became overrun by
 third-rate imitators of the ,italian   
grand style1 of ,michael ,angelo1 of    
,raphael and his followers4 ,the        
decorations1 as you can still see them1 
of the ,escorial1 may be taken  as      
typical of ,italian art as it was       
transplanted into ,spain4 ,all  national
 art that was not ,italian in its       
inspiration was looked upon as          
worthless4    ,yet1 be it remembered1   
that the ,spanish painters1 more perhaps
 than  the painters of any other school1

 could imitate and absorb the art  of   
others without degenerating wholly into 
copyists4 ,the temper of  the nation was
 strong4 ,even now it was not so much a 
copying of  ,italian art1 rather it was 
an unfortunate blending of style which  
took away for a time the dignity and    
strength which is the beauty  of        
,spanish painting4 ,thus1 ,peter van    
,kempeneer1 a ,flemish painter1  known  
better in ,spain as ,pedro ,campaa1 who1
 strangely enough1 was  the first to    
bring the ,italian influence to         
,seville1 was inspired  alternately by  
the ,northern and ,italian styles2 and  
in such a picture  as his famous        
8,descent from the ,cross10 still in the
 ,sacrista ,mayor  of the ,cathedral1   
with its crude colour and extravagant   
action1 we  find him--in an effort1 it  
is said1 to imitate ,michael            
,angelo--being  more ,spanish than the  
,spaniards4 ,indeed1 this picture1 which
 made  such strong appeal to ,murillo   
that he chose to rest beneath it in     

death1 gives us a very curious1         
left-handed fore-vision1 as it were1  of
 the marvellous work of ,ribera4 ,in the
 large altar-piece1 of many             
compartments1 of the ,capilla del       
,mariscal in the ,cathedral1 the  first 
picture painted by ,campaa1 when1 in    
#aedh1 he came to ,seville1  we see him 
a realist in the portraits of the       
donors1 painted with  admirable truth2  
but in the 8,purification of the        
,virgin10 the scene  that fills the     
lower compartment of the altar1 he is   
,italian and  demonstrative--spectacular
 movement1 meaningless gestures1 all    
done for  effect4    ,the ,italian      
influence1 the buena manera it was      
called in ,seville1  is more insistent  
in ,luis de ,vargas1 whose painting was 
contemporary  with that of ,campaa4 ,he 
was the first painter of ,seville to    
submit  himself wholly to ,italy1 and   
most often he was inspired by ,raphael4 
,much of his work has perished2 of the  
once famous frescoes1 8his  greatest    

gift to ,seville10 nothing remains      
except a few colour traces  upon the    
,giralda ,tower4 ,de ,vargas1 the pupil 
probably of ,perino del  ,vagas1 brought
 back as the reward of twenty-eight     
years of painting in  ,italy much craft 
skill2 and his work1 as we see it in the
 8,piet10 in  ,santa ,maria la ,blanca1 
in the earlier 8,nativity10 and1 even   
more1 in  his masterpiece1 the popular  
8,la ,gamba10 both in the ,cathedral1   
gives  us a borrowed art1 academic and  
emotional4 ,only in portraiture does  he
 say what he has to say for himself4    
,the portrait of ,fernando de           
,contreras1 in the ,sacrista de los     
,calices1 is a portrait of sincerity    
and character1 in which is the ,spanish 
insistence on detail1 unpleasant  detail
 even1 as in the ill-shaven cheeks      
rendered with such exact care4          
,contrast this portrait with his other  
pictures1 so extravagant1 with  such    
futile gesticulation1 to understand how 
a really capable painter  lost his      

sincerity1 as just then it was lost in  
all ,spanish painting4  ,in this effort 
to be ,italian1 ,de ,vargas' natural    
gift of reality1 as we  see it1 for     
instance1 in the 8,christ0 of ,santa    
,maria la ,blanca1 or in  the peasant   
boy of the ,cathedral 8,nativity10 was  
overclouded1 mingled  curiously enough  
with a ,raphaelesque sweetness4 ,it was 
not that this  painter did not realise  
the scenes that he depicts--yes1 and    
depicts  with passion--do we not know   
the sincere piety of his life8--but  he 
used to express them an art that was not
 his own1 an art he was  temperamentally
 unfitted to understand4                
,contemporary with ,campaa and ,de      
,vargas1 the leaders of the ,andalusian 
,mannerists1 worked a band of painters  
of second1 or even third-rate1  talent4 
,francisco ,frutet1 like ,campaa a      
,flemish painter who had learnt  his art
 in ,italy1 and who came to ,seville    
about #aedh1 is typical of  these       
8improvers10 as ,pacheco calls them so  

mistakenly1 of the native  art4 ,his    
best work is his ,triptych in the       
,museo1 in which again we see  the same 
curious mingling of ,flemish and        
,italian types2 the ,christ1  for       
instance1 recalling the models of       
,italy1 while ,simon of ,cyrene1  who   
bends beneath the ,cross1 is nearer to  
the ,gothic figures4 ,pedro  ,villegas  
,marmolejo has more interest4 ,his quiet
 pleasing pictures--one  is in the      
,cathedral1 one in ,san                 
,pedro--interpret ,italian art with more
  charm1 but still without originality4 
,and ,marmolejo leads us quite naturally
 to ,juan de las ,roelas1 and  in       
,roelas we have at last a ,spanish      
painter who learnt from ,italy          
something more than mere technical      
imitation4 ,and in spite of a  want of  
concentration--the accustomed           
insincerity1 the result1 it  would seem1
 of a too persistent effort to express  
his art in the art  of ,venice1 in which
 city he is thought to have painted1    

perhaps in  the studio of some follower 
of ,titian1 he does realise his scenes  
with something of the old intensity4    
,roelas anticipates ,murillo1 not       
altogether unworthily1 giving us1 with  
less originality1 but with much         
sweetness1 an expression of that mood of
 religious sensuousness that is  one    
phase of ,spanish painting4 ,seville is 
the single home of ,roelas2,a  here we  
may see his pictures in the ,cathedral1 
in the ,museum1 and in  many of the     
churches4 ,his art is unequal in its    
merit4 ,in his large  compositions often
 there is confusion--8,santiago         
destroying the ,moors  at the ,battle of
 ,clavijo10 his picture in the          
,cathedral1 is one  instance--spaces are
 left uncared for1 the composition is a 
little  awkward1 the brush-work is      
careless1 a fault that is common to much
 of  his work4 ,the 8,martyrdom of ,st  
,andrew10 in the ,museum1 is perhaps his
  most original picture4 ,here ,roelas  
is a realist4 ,and how expressive of    

life--,spanish life1 are all the        
powerfully contrasted figures that so   
truly take their part in the scene      
depicted4 ,in some of his pictures      
,roelas gives us the brightest visions4 
,such is 8,el ,transito de ,san         
,isidore10 in the parish church of the  
saint1 a picture in which we see  in the
 treatment of ,christ and ,mary and the 
child-angels a manner that  seems1      
indeed1 to forestall ,murillo2 such1    
too1 are the 8,apotheosis of  ,san      
,hermenegildo10 and the 8,descent of the
 ,holy ,spirit10 both in the  church of 
the ,hospital of ,la ,sangre4 ,all three
 pictures are difficult  to see3 one is 
hidden behind the altar1 the other two  
hang at a great  height in the church   
where the light is dim4 ,there are good 
pictures  by ,roelas in the ,university1
 a 8,holy ,child10 the 8,adoration of   
the  ,kings10 and the 8,presentation of 
the ,child ,christ in the ,temple02 and 
in this last picture1 with its soft     
colour and human gaiety1 again we  are  

reminded of ,murillo4 ,but a work of    
perhaps more interest1 certainly  of    
more strength1 is 8,st ,peter freed from
 ,prison by the ,angel10 which  is      
hidden in a side-chapel in the ,church  
of ,san ,pedro4 ,then1 how quiet1  with 
a repose uncommon enough in ,spain1 is  
his 8,virgin and ,santa ,ana10  in the  
,museo de la ,merced4 ,the figures--the 
girl ,virgin1 her mother1  and the      
angels who crowd the space above        
them--all have the fairness  ,roelas    
gives to women2 the soft glow of their  
flesh is beautiful4 ,look  at the cat   
and dog that play so naturally in the   
foreground1 beside a  work-basket1 and  
what a happy 8note0 is given by the open
 drawer1 which  shows the linen and lace
 within4 ,certainly this picture is more
 ,italian  than ,spanish4    ,as the    
years passed1 and art in ,seville grew  
older1 many painters  trod in the steps 
worn by these others4 ,it is not        
possible1 nor is it  necessary1 to wait 
to look at their pictures2 too often    

they exaggerate  the faults of the      
masters they copied1 and by a slavish   
repetition of  accepted ideas--the      
inevitable fault of the age--they       
weakened still  further native art4     
,and1 when we come to the next century1 
which  gives us ,alonso ,cano1 sculptor1
 architect1 and painter1 described      
admirably by ,lord ,leighton as 8an     
eclectic with a ,spanish accent10  many 
of whose facile1 meaningless pictures   
may be seen in ,seville1 to  the much   
inferior work of the younger ,herrera1  
and to the exaggerated  over-statements 
of ,juan de ,valds ,leal1 in whose art  
,sevillian painting  may be said to die1
 we realise into what degradation       
pseudo-,italianism  had dragged         
painting4    ,but there is a reverse    
side to the picture4 ,the spirit of     
,spain was too  strong to sleep in an   
art that was borrowed4 ,already ,luis de
 ,morales1  a native of ,estremadura1   
known as 8the divine10 on account of the
  exclusively religious character of the

 subjects he painted1 and of  the       
strange intensity with which he         
impregnated them1 had evolved for       
himself a sincere expression of ,spanish
 art2 already ,navarrete1 the  mute     
painter of ,navarre1 had broken from    
conventions1 and taken for  himself     
inspiration from the marvellous pictures
 of ,titian which he  had seen at the   
,escorial2 already1 ,theotcopuli1 known 
better as ,el  ,greco1 was painting with
 wonderful genius in ,toledo1 pictures1 
so new1  so personal1 that to-day they  
command the attention of the world4 ,but
  ,seville does not represent these     
painters4,b    ,it has been the fashion1
 since the tradition was started by     
,cean  ,bermudez1 to call ,herrera el   
viejo 7#aegf-afef7 8the anticipator of  
the true ,spanish school40 ,herrera had 
a studio in ,seville1 in which  worked  
many painters1 and among them           
,velazquez1 ,antonio ,castillo y        
,saavedra1 and perhaps ,alonso ,cano2   
and it seems certain that he owes  his  

position to-day in large measure to this
 fact2 had he not been for  a few months
 the master of ,velazquez his impossible
 art would remain  unknown outside      
,seville4 ,for the truth is ,herrera    
said nothing that  ,roelas had not      
already said better4    ,his temper was 
,spanish enough1 but his work is without
 originality1  if emphatic and personal 
in a too vehemently ,spanish way4 ,yet  
it is  worth while to see1 yes1 and to  
study1 each one of his half-dozen       
pictures4 ,even in ,seville1 ,herrera's 
work is rare2 the 8,apotheosis  of ,san 
,hermenegildo10 and the later1 more     
violent 8,san ,basil10 are  in the      
,museum1 where1 too1 are the less known1
 but much better1  portrait-pictures of 
apostles and saints2 while the 8,final  
,judgment10  his most personal work1 is 
still where it was painted in the       
darkness  of the ,parroquina of ,san    
,bernado4 ,one quality we may grant to  
,herrera2 he did resist the popular     
,italian influence4 ,these pictures1    

sensational as they are1 with their hot 
disagreeable colour--8macaroni  in      
tomato sauce0 ,mr ,ricketts aptly terms 
it--their mannerism1  extravagant       
contortions and splash brush-work1 have 
little apart from  this to recommend    
them4 ,but you will understand better   
the esteem  ,herrera has gained if you  
will compare his work with the paintings
 of  his contemporaries2 the            
conscientious1 academic ,pacheco1 for   
instance1  the last1 and1 in himself1   
the most interesting of the ,mannerists1
  or with ,murillo's master1 ,juan del  
,castillo1 the worst painter of         
,seville1 whose pictures fill with      
formal tedium so many buildings in  the 
city4 ,this is why ,herrera's pictures  
claim notice from the student  of       
,andalusian art to-day3 they form a link
 in the unbroken chain of the  national 
pictures4    ,now turn to ,zurbarn4     
,you pass at once into a world of       
realism1 a world in which facts1        
obvious facts1 are set forth with a     

downright passion of statement that  for
 a moment tricks us2 we think we have   
found life1 and1 instead1  we have the  
outward form1 too monotonously literal1 
and without  suggestion4 ,upon ,zurbarn 
lies the weight of the sadness of       
,spain4 ,it  is something of this that  
we realise as we see the thirty or forty
 of  his pictures that are in ,seville1 
gathered together for the most part  in 
the ,museo de la ,merced1 where the     
light is so much better than it  is in  
the ,cathedral and in the churches1     
though there certainly his  pictures    
seem to be more fittingly at home4 ,each
 picture is so true to  life1 and yet   
without life4 ,look at his ,saints1 all 
are portraits1  faces caught in a mirror
 that seems to sum up the old world of  
,spain4  ,contrast these ,saints with   
the ,saints of ,murillo4 ,what honesty  
is  here2 what singular striving to     
record the truth4 ,note the gravity and 
simplicity of the ,scriptural scenes2   
his conception of the ,christ2 the      

intensity of the three renderings of the
 ,crucifixion1 in which for once        
,zurbarn finds a subject suited exactly 
to his art2 then mark how the           
peasants,c he depicts are almost        
startling in their outward nearness  to 
life4    ,look especially at the        
,carthusian pictures in the ,museum1    
8,san ,hugo  visiting the ,monks in     
their ,refectory10 the 8,virgen de las  
,cuevas10  and 8,st ,bruno conversing   
with ,pope ,urban ,,ii40 ,they are      
typical of  ,zurbarn's special gift4 ,in
 the first of these three pictures1     
which  is the best1 the monks clad in   
the soft white robes of their order are 
seated around a table at their mid-day  
meal4 ,the aged ,hugo stands in  the    
foreground1 attended by a boy-page2 he  
has come to reprove them  for dining    
upon flesh-meat4 ,his purple vestments  
give a note of colour  in contrast with 
the white frocks of the brothers4 ,but1 
as is customary  with ,zurbarn1 colour  
counts for very little1 and atmosphere  

for less1  in this picture in which all 
care is given to formal outline and     
exact  expression4 ,once only in the    
8,apotheosis of ,st ,thomas ,aquinas10  
also  in the ,museo1 does he give us    
some of that warm colour he should have 
learnt from ,roelas1 whose pupil he is  
said to have been4 ,this is one  reason 
why his figures1 so true to the facts of
 life1 do not live4 ,but  no one has    
painted ecclesiastics and monks quite as
 ,zurbarn has done4  ,his sincerity is  
annoying almost2 for he tells us nothing
 that we could  not have seen for       
ourselves2 we are no nearer than a      
photograph would  bring us to the       
character of these men4 ,zurbarn was    
hardly consciously  an artist2 and with 
all his sincerity1 his vision was       
ordinary4 ,he was  a recorder and not an
 interpreter of life1 and in gaining    
reality he  has just missed truth4      
,on coming to the work of ,murillo it is
 quite another phase of the  religious  
sentiment of ,spain that we see         

developed3 we gain an  over-statement of
 sweetness1 not an over-statement of    
facts4 ,the spirit  in which he painted 
was happier1 more trustful1 more        
personal than was  that of ,zurbarn2 he 
is more ,andalusian and less ,spanish1  
and certainly  better equipped as a     
painter4    ,murillo forms part of your 
life while you are in ,seville1 he is   
more  or less around you everywhere2 and
 though to some of us1 perhaps  not     
unjustly1 he is a painter we have tried 
in vain to love1 he  does express in a  
special way the very aspect of the      
southern city  he himself loved with    
such single devotion4 ,this is why we   
like him  so much better in ,seville    
than we are able to do anywhere else4   
,his  pictures repeat the full life of  
,andalusia--its religious emotion1 its  
splendour1 its poverty1 its stark       
contrasts1 its rich sense of life2  and 
his colours are the same colours that we
 see in the landscape1 warm  and deep1  
the soft1 hot light of southern ,spain4 

,you don't visit the  ,museum1 ,la      
,caridad1 the ,cathedral1 and the       
churches to see his pictures  as a      
change of amusement from the streets2   
you go because they renew  the same     
atmosphere1 and offer a reproduction of 
so much that surrounds  you4    ,no one 
has ever painted ecstasy with quite the 
facility of ,murillo4 ,and  in the      
,museum1 where the ,capuchin ,series and
 other famous pictures are  gathered1   
you can learn all that is essential to  
his art2 his happy  ,saints swim before 
you in mists of luscious colour2 cherubs
 flutter  around as they minister to    
beggars clad in rags carefully draped2  
,virgins1 garbed in the conventional    
blue and white1 their feet resting  upon
 the crescent moon1 vanish into luminous
 vapour1 their robes rustle  in the air1
 and their sun-lighted faces repeat the 
very complexion of  ,seville4 ,murillo  
had neither the power nor the desire to 
idealise his  models4 ,his ,saints--,st 
,francis of ,assisi1 ,st ,felix of      

,cantalicio1 ,st  ,anthony1 ,st ,thomas 
of ,villanueva--and how many more8 are  
men such as  may be seen to-day in the  
streets of ,seville2 all are alike1 the 
name  alone differs4 ,his ,madonnas are 
peasants whose emotions are purely      
human4 ,more perhaps than any painter   
,murillo's work is personal--he         
translated the divine life and made it  
his own common human life--the  fault is
 that his personality is not            
interesting4 ,and seeing these          
pictures1 and1 even more1 his other     
work--pictures hanging still in the     
churches for which they were painted1   
where they seem to share in the         
pervading religious emotion and to take 
their part in the life of the           
building--the 8,vision of ,st ,anthony  
of ,padua0 in the ,baptistery of the    
,cathedral1 for instance1 or the great  
pictures of ,la ,caridad2 you will      
understand how ,murillo came to be      
idolised in ,spain2 how his pictures    
held1 for a time1 the admiration of     

,europe2 and how to-day he has  ceased  
to interest a world that has grown older
 and seeks1 above all1  the truth4      
,murillo was impelled by a desire for   
realism4 ,there is much of the  spirit  
and manner of ,zurbarn in his early     
pictures3 8,san ,leandro  and ,san      
,buenaventura10 two early 8,virgins and 
the ,child10 and the  8,adoration of the
 ,shepherds10 all in the ,museum1 are   
examples4 ,the same  careful            
characterisation meets us in the much   
later 8,last ,supper0 of  ,santa ,maria 
la ,blanca1 his most truthful           
,scriptural scene4 ,then his  portraits1
 such as those of ,,ss4 ,leandro and    
,isidore in the ,sacristia  ,mayor of   
the ,cathedral1 or that of ,st ,dorothy 
in the ,sacristia de  los ,clices1 are  
serious studies after nature4 ,once or  
twice in his  landscapes we find a      
sincerity that surprises us4 ,but a     
painter must  be judged by the main     
output of his art4 ,and the truth is    
that1 with  a natural gift that         

certainly was great1 added to unusual   
facility1  ,murillo's personality was   
commonplace4 ,his self-assurance amazes 
us4 ,his emotion1 neither profound nor  
simple1 but always perfectly  satisfied1
 perfectly happy1 exactly fitted him to 
give voice to the  common sentiments of 
his age4 ,he did create a sort of life1 
but his  compositions are the work of   
his hand rather than of his soul4 ,all  
his ,saints1 his ,madonnas--pose        
unthinkingly in the subtly interwoven   
light he knew so well how to paint1     
living only in the moment which  their  
conventionalised attitudes perpetuate4  
,you do not realise them as             
personalities greeting you from the     
canvas like the intense1 painful  faces 
of ,el ,greco1 or the wonderful         
creations of ,velazquez2 if you         
remember them at all it is part of a    
pleasing picture4 ,this is the  reason  
why these religious idylls have lost so 
much of their meaning2  their           
over-statement of sweetness cloys4      

,murillo gives us one aspect  of        
,andalusia2 it was left for ,el ,greco1 
,ribera1 ,velazquez1 and ,goya to       
interpret ,spain to the world4          
,,the ,,old ,,roman ,,city4      ,moor  
and ,spaniard have1 between them1       
effaced almost all traces of the        
ancient ,hispalis or ,romula1 the little
 ,rome2 but the sister-city of          
,italica1 early deserted by man1 has    
been dealt not too harshly with by      
time4 ,its remains--a ,spanish league to
 the north-west of ,seville--still      
attract the artist and the archologist4 
,there1 where the wretched  hamlet of   
,santi ,ponce now stands1 was in the dim
 past the ,iberian  village of ,sancios4
 ,scipio the ,elder1 after his long and 
victorious  campaign1 passed this way1  
and selected the spot as a place of rest
 and  refreshment for his war-worn      
veterans4 8,relicto utpote pacata       
regione  valido prsidio1 ,scipio milites
 omnes vulneribus debiles in unam urbem 
compulit1 quam ab ,italia ,italicam     

nominavit10 says ,appian4 ,seor de      
,madrazo remarks that this must have    
been the first ,latin-speaking town     
founded outside ,italy4 ,it was not at  
first a municipium1 but a place  for    
meeting and council of the ,roman       
citizens4 ,the municipal status it  owed
 to ,augustus4 ,subsequently1 its       
citizens petitioned to be classed  as a 
colony of ,rome4    ,the colony proved  
not unworthy of the great capital4      
,hence sprang the  illustrious line of  
the lii1 and most of the eminent ,roman 
,spaniards  who conferred such lustre on
 the early ,empire are believed to have 
been natives of the place4 ,it is not1  
therefore1 to be wondered at  that the  
citizens should have preferred a nominal
 dependence on the  ,mother ,city to the
 quasi-independence of a provincial     
municipality4  ,but ,italica never seems
 to have been a city in the modern sense
 of  the word4 ,excavations have        
revealed extremely few remains of       
private  habitations or bazaars4 ,the   

only vestiges are those of great public 
monuments--temples1 palaces1            
amphitheatres1 baths4 ,the ,emperors    
seem to  have delighted to embellish    
this small town with ornaments quite out
 of  proportion to its size and         
population1 and it is clear that it     
never  was a serious rival to its older 
neighbour1 ,hispalis4    ,its downfall1 
like its history1 is mysterious4        
,leovigild occupied it  while besieging 
,seville1 which was held by his son1    
,hermenigild4 ,later  on1 the ,arabs are
 said to have demolished it almost      
completely1 and  to have carried off    
numerous statues1 columns1 and blocks of
 masonry  to serve in the construction  
and adornment of the neighbouring city4 
,then ,italica disappeared from history4
 ,earthquakes finished the work  of     
ruin1 and the scattered stones went to  
the making of the miserable  village of 
,santi ,ponce--a name which some derive 
from that of ,san  ,geroncio1 a ,bishop 
of ,italica in early times4    ,the     

amphitheatre is now all that remains to 
attest the erstwhile  splendour of the  
darling colony of the lii4 ,it is a     
melancholy and  yet a pretty spot1      
approached through olive plantations4   
,some of the  walls are still standing1 
and enable us to determine the          
dimensions1  which are stated at #bia   
feet length and #bjd feet breadth4 ,you 
may still  see the ,podium or stone     
platform1 whereon the civic dignitaries 
sate1  and the upper tiers appropriated 
to the populace4 ,you may pass down  the
 vomitoria1 through which the spectators
 streamed1 glutted with  the sight of   
blood1 and penetrate to the dens and    
chambers1 wherein  gladiators and wild  
beasts were confined before the combat4 
,italica is  more a place to muse in    
than to explore4 ,the place has long    
since been  rifled of all its treasures4
 ,extensive ruins of what was believed  
to  have been the palace of ,trajan     
existed down till the great earthquake  
of #agee1 and all that was spared were  

three statues preserved in the  ,museo  
,provincial or ,picture ,gallery4       
,close to the ruins is the convent of   
,san ,isidoro del ,campo1 founded in    
#acja by ,don ,alonso ,perez de ,guzman1
 as a place of sepulture for him and    
his family4 ,the establishment was      
peopled first by the ,cistercians1      
later by the ,hermits of ,st ,jerome4   
,the edifice presents the appearance  of
 a fortified abbey of the ,middle ,ages1
 though not without traces of  ,mudejar 
influence4 ,the church is ,gothic1 and  
divided into two naves1  united by a    
transept1 and constituting each a       
distinct church4 ,one of  these         
structures was built by the hero of     
,tarifa1 ,guzman the ,good1 and         
contains his tomb and that of his wife1 
together with a fine retablo  by        
,montaes2 the other1 founded by the     
hero's son1 ,don ,juan ,alonso  ,perez  
de ,guzman1 contains his tomb1 marked by
 a fine recumbent figure1  and that of  
,doa ,urraca ,osorio1 burnt by order of 

,pedro the ,cruel4 ,in  the cloisters of
 the convent are some mural paintings of
 the fifteenth  century1 which though   
much damaged repay inspection4    ,with 
the excursion to ,italica the traveller 
should combine a visit  to the ,cartuja1
 more properly called ,santa ,maria de  
las ,cuevas4 ,it  lies close to the     
suburb of ,triana4 ,the monastery was   
founded in the  first decade of the     
fifteenth century1 at the instance of   
the great  ,archbishop ,gonzalo de      
,mena1 and became the burying-place of  
the ,ribera  family1 whose magnificent  
tombs are now to be seen in the         
,university  ,church4 ,of the original  
structure only a little antique chapel  
remains4  ,the refectory1 chapter-hall1 
and cloisters all date from a           
restoration  effected by the first      
,marqus de ,tarifa in the sixteenth     
century4 ,the  building became1 in      
#ahci1 the seat of the pottery          
manufacture of the  7then7 ,english firm
 of ,pickman  ,co4 ,the establishment   

has produced  some fine porcelain1 and  
is worth inspection by all those        
interested  in the ceramic art4 ,pottery
 has been associated from time          
immemorial  with this locality and the  
adjoining suburb of ,triana1 and it will
 be  remembered that the patron saints  
of ,seville1 ,justa and ,rufina1 were1  
according to tradition1 potters by      
trade4    ,illustration3 ,,plate #a4    
,general ,view of ,seville from the     
,giralda ,tower1 ,west ,side of the     
,city4    ,first ,view4                 
,illustration3 ,,plate #b4    ,general  
,view of ,seville from the ,giralda     
,tower1 ,west ,side of the ,city4       
,second ,view4    ,illustration3 ,,plate
 #c4    ,general ,view of ,seville from 
the ,giralda ,tower1 ,east ,side4       
,illustration3 ,,plate #d4    ,general  
,view of ,seville from the ,giralda     
,tower1 ,central ,part of the  ,city4   
,illustration3 ,,plate #e4    ,general  
,view of ,seville from the ,giralda     
,tower1 ,north ,side4    ,illustration3 

,,plate #f4    ,procession of the       
,conception of the ,virgin passing      
through the ,plaza de  ,san ,francisco4 
,illustration3 ,,plate #g4    ,view of  
,seville4    ,illustration3 ,,plate #h4 
,view of ,seville4    ,illustration3    
,,plate #i4    ,view of ,seville4       
,illustration3 ,,plate #aj4    ,view of 
,seville4    ,illustration3 ,,plate #aa4
    ,view of ,seville4    ,illustration3
 ,,plate #ab4    ,view of ,seville4     
,illustration3 ,,plate #ac4    ,view of 
,seville4    ,illustration3 ,,plate #ad4
    ,view of ,seville4    ,illustration3
 ,,plate #ae4    ,bridge over the       
,guadalquivir4    ,illustration3 ,,plate
 #af4    ,hercules ,avenue4             
,illustration3 ,,plate #ag4    ,the     
,plaza ,nueva4    ,illustration3 ,,plate
 #ah4    ,view of ,triana from the      
,tower of ,gold4    ,illustration3      
,,plate #ai4    ,general ,view from     
,triana4    ,illustration3 ,,plate #bj4 
,general ,view from ,triana4            
,illustration3 ,,plate #ba4    ,the     

,tower of ,gold from ,san ,telmo4       
,illustration3 ,,plate #bb4    ,a       
,street in ,seville4    ,illustration3  
,,plate #bc4    ,the ,tower of ,gold4   
,illustration3 ,,plate #bd4    ,church  
of ,san ,marcos1 from the ,palace of the
 ,dueas4    ,illustration3 ,,plate #be4 
,church of ,san ,marcos4                
,illustration3 ,,plate #bf4    ,court of
 the ,hotel de ,madrid4                 
,illustration3 ,,plate #bg4             
,hospital1 with the ,mosaics painted by 
,murillo4    ,illustration3 ,,plate #bh4
    ,portal of the ,convent of ,santa   
,paula4    ,illustration3 ,,plate #bi4  
,church of ,santa ,catalina4            
,illustration3 ,,plate #cj4    ,church  
of ,todos ,santos4    ,illustration3    
,,plate #ca4    ,the ,provincial        
,museum1 with ,murillo's ,statue4       
,illustration3 ,,plate #cb4    ,statue  
of ,murillo4    ,illustration3 ,,plate  
#cc4    ,general ,view of the ,town     
,hall4    ,illustration3 ,,plate #cd4   
,the ,town ,hall1 ,left ,side4          

,illustration3 ,,plate #ce4    ,the     
,town ,hall1 ,left ,side1 ,detail of the
 ,interior ,angle4    ,illustration3    
,,plate #cf4    ,door of the ,town      
,hall4    ,illustration3 ,,plate #cg4   
,the ,town ,hall1 ,detail of the        
,principal ,part4    ,illustration3     
,,plate #ch4    ,general ,view of the   
,town ,hall4    ,illustration3 ,,plate  
#ci4    ,the ,town ,hall1 ,detail of the
 ,faade4    ,illustration3 ,,plate #dj4 
,the ,town ,hall1 ,detail of the        
,principal ,door4    ,illustration3     
,,plate #da4    ,window in the ,town    
,hall4    ,illustration3 ,,plate #db4   
,principal ,faade of the ,tobacco       
,factory4    ,illustration3 ,,plate #dc4
    ,the ,tobacco ,factory4             
,illustration3 ,,plate #dd4    ,cigar   
,makers1 ,seville4    ,illustration3    
,,plate #de4    ,the 8,sevillanas0      
,dance4    ,illustration3 ,,plate #df4  
,sevillian ,costumes--,a ,courtyard4    
,illustration3 ,,plate #dg4    ,general 
,view of the ,exchange4                 

,illustration3 ,,plate #dh4    ,court in
 the ,exchange4    ,illustration3       
,,plate #di4    ,the ,aceite ,postern   
and ,ancient ,ramparts4                 
,illustration3 ,,plate #ej4    ,the     
,roman ,walls near the ,gate of the     
,macarena4    ,illustration3 ,,plate    
#ea4    ,the ,roman ,amphitheatre of    
,italica4    ,illustration3 ,,plate #eb4
    ,general ,view of the ,palace of    
,san ,telmo from the ,river4            
,illustration3 ,,plate #ec4             
,principal ,portal of the ,san ,telmo   
,palace4    ,illustration3 ,,plate #ed4 
,interior of the ,hall of ,columns in   
the ,san ,telmo ,palace4                
,illustration3 ,,plate #ee4    ,interior
 ,view of the ,duke of ,montpensier's   
,study ,in ,san ,telmo4                 
,illustration3 ,,plate #ef4    ,various 
,objects found in the ,sepulchres at    
,san ,telmo4    7,in the ,palace of ,san
 ,telmo47    ,illustration3 ,,plate #eg4
    ,palms in the ,gardens of ,san      
,telmo4    ,illustration3 ,,plate #eh4  

,the ,sepulchres of the ,victims of ,don
 ,juan ,tenorio in the ,gardens of ,san 
,telmo4    ,illustration3 ,,plate #ei4  
,the ,roman ,sepulchres in the ,gardens 
of ,san ,telmo4    ,illustration3       
,,plate #fj4    ,view in the ,gardens of
 ,san ,telmo4    ,illustration3 ,,plate 
#fa4    ,the ,aviary in the ,gardens of 
,san ,telmo4    ,illustration3 ,,plate  
#fb4    ,the ,river in the ,gardens of  
,san ,telmo4    ,illustration3 ,,plate  
#fc4    ,the ,cocoa ,tree and ,east     
,side of ,san ,telmo4    ,illustration3 
,,plate #fd4    ,the ,zapote1 a ,tree in
 the ,gardens of ,san ,telmo4           
,illustration3 ,,plate #fe4    ,the     
,island and ,river in the ,gardens of   
,san ,telmo4    ,illustration3 ,,plate  
#ff4    ,the ,yucca1 a rare ,tree in the
 ,gardens of ,san ,telmo4               
,illustration3 ,,plate #fg4    ,general 
,view of the ,hospital de la ,sangre4   
,illustration3 ,,plate #fh4    ,church  
of the ,sagrario1 ,north ,side4         
,illustration3 ,,plate #fi4             

,principal ,faade of the ,hospital de la
 ,sangre4    ,illustration3 ,,plate #gj4
    ,porch of the ,church of the        
,hospital de la ,sangre4                
,illustration3 ,,plate #ga4             
,bas-relief4 ,hospital de la ,sangre1   
the ,work of ,torregiano4               
,illustration3 ,,plate #gb4    ,general 
,view of the ,exterior of the           
,cathedral4    ,illustration3 ,,plate   
#gc4    ,the ,giralda1 from the ,patio  
de los ,naranjos4    ,illustration3     
,,plate #gd4    ,the ,top of the        
,giralda4    ,illustration3 ,,plate #ge4
    ,the ,dancing ,choir ,boys1 ,seville
 ,cathedral4    ,illustration3 ,,plate  
#gf4    ,dancing ,boys1 ,seville        
,cathedral4    ,illustration3 ,,plate   
#gg4    ,the ,gate of the ,archbishop4  
,illustration3 ,,plate #gh4    ,plaza de
 ,san ,francisco1 with the ,giralda and 
,cathedral4    ,illustration3 ,,plate   
#gi4    ,plaza del ,triunfo1 the        
,cathedral1 and the ,exchange1 from the 
,gate of  the ,lion4    ,illustration3  

,,plate #hj4    ,the ,fte4              
,illustration3 ,,plate #ha    ,gate of  
,san ,miguel in the ,cathedral4         
,illustration3 ,,plate #hb4    ,gate of 
the ,cathedral called de las            
,campanillas4    ,illustration3 ,,plate 
#hc4    ,gate of the ,baptist in the    
,cathedral4    ,illustration3 ,,plate   
#hd4    ,the ,gate of the ,lizard in the
 ,cathedral4    ,illustration3 ,,plate  
#he4    ,general ,view of the ,cathedral
 ,from the ,tribune of the ,principal   
,door4    ,illustration3 ,,plate #hf4   
,principal ,sacristy in the ,cathedral4 
,illustration3 ,,plate #hg4             
,principal ,entrance to the ,cathedral4 
,illustration3 ,,plate #hh4    ,interior
 ,view of the ,principal ,sacristy in   
the ,cathedral4    ,illustration3       
,,plate #hi4    ,the ,gamba ,chapel4    
,illustration3 ,,plate #ij4    ,the     
,cathedral4    ,the ,gamba ,chapel and  
,entrance to that of the ,antigua4      
,illustration3 ,,plate #ia4    ,chapels 
of the ,conception and the ,annunciation

 in the ,cathedral4    ,illustration3   
,,plate #ib4    ,the ,cathedral4    ,the
 ,chapel of the ,conception4            
,illustration3 ,,plate #ic4    ,the     
,cathedral4    ,detail of the ,high     
,altar4    ,illustration3 ,,plate #id4  
,the ,cathedral4    ,retablo1 or        
,altar-piece of the ,high ,altar4       
,illustration3 ,,plate #ie4    ,iron    
,railings of the ,lateral ,part of the  
,high ,altar4    ,illustration3 ,,plate 
#if4    ,the ,cathedral4    ,wrought    
,iron ,screen in the ,choir4            
,illustration3 ,,plate #ig4    ,the     
,cathedral4    ,wrought ,iron ,screen of
 the ,high ,altar4    ,illustration3    
,,plate #ih4    ,st ,christopher        
carrying the ,child ,jesus1 by ,mateo   
,perez ,alesio1 in the  ,cathedral44    
,illustration3 ,,plate #ii4    ,san     
,fernando ,square4    ,illustration3    
,,plate #ajj4    ,gardens of the        
,alcazar4    ,illustration3 ,,plate     
#aja4    ,general ,view of the ,gardens 
of the ,alcazar4    ,illustration3      

,,plate #ajb4    ,view of the ,gardens  
of the ,alcazar4    ,illustration3      
,,plate #ajc4    ,general ,view of the  
,gardens of the ,alcazar4               
,illustration3 ,,plate #ajd4    ,the    
,gardens of the ,alcazar4 ,lake and     
,gallery of ,don ,pedro ,i4 the  ,cruel4
    ,illustration3 ,,plate #aje4    ,the
 ,gardens of the ,alcazar4 ,view of the 
,gallery of ,don ,pedro ,i41 the        
,cruel4    ,illustration3 ,,plate #ajf4 
,the ,hothouses in the ,gardens of the  
,alcazar4    ,illustration3 ,,plate     
#ajg4    ,calle de las ,vedras in the   
,gardens of the ,alcazar4               
,illustration3 ,,plate #ajh4    ,the    
,gardens of the ,alcazar4    ,parterre  
of ,doa ,maria de ,padilla4             
,illustration3 ,,plate #aji4    ,the    
,alcazar4 ,baths of ,doa ,maria de      
,padilla4    ,illustration3 ,,plate     
#aaj4    ,magnificent ,altar in ,faience
 painted in the #aeth ,century4    ,in  
the ,oratory of the ,catholic           
,sovereigns in the ,alcazar4            

,illustration3 ,,plate #aaa4    ,town   
,hall of ,seville4    ,details of ,doors
 and ,balconies4    ,illustration3      
,,plate #aab4    ,town ,hall of         
,seville4 ,details4    ,illustration3   
,,plate #aac4    ,parish ,church of ,san
 ,marcos4    ,illustration3 ,,plate     
#aad4    ,various ,towers of ,seville4  
,illustration3 ,,plate #aae4    ,details
 of the ,mosaic commonly called ,el     
,grande4    ,illustration3 ,,plate #aaf4
    ,sculpture and ,details of ,ancient 
,churches4    ,illustration3 ,,plate    
#aag4    ,architectural ,parts1         
,bas-reliefs1 and ,ceramic ,objects4    
,illustration3 ,,plate #aah4    ,faade  
of the ,consistorial ,houses4           
,illustration3 ,,plate #aai4            
,entrance to the ,alcazar1 ,seville4    
,illustration3 ,,plate #abj4            
,principal ,faade of the ,alcazar4      
,illustration3 ,,plate #aba4    ,gate of
 the ,principal ,entrance1 ,alcazar4    
,illustration3 ,,plate #abb4            
,interior of the ,hall of ,ambassadors1 

,alcazar4    ,illustration3 ,,plate     
#abc4    ,hall of ,ambassadors1         
,alcazar4    ,illustration3 ,,plate     
#abd4    ,interior of the ,hall of      
,ambassadors1 ,alcazar4                 
,illustration3 ,,plate #abe4            
,interior of the ,hall of ,ambassadors1 
,alcazar4    ,illustration3 ,,plate     
#abf4    ,hall of ,ambassadors1         
,alcazar4    ,illustration3 ,,plate     
#abg4    ,hall of ,ambassadors1         
,alcazar4    ,illustration3 ,,plate     
#abh4    ,hall of ,ambassadors1         
,alcazar4    ,illustration3 ,,plate     
#abi4    ,upper ,part of the ,court of  
the ,dolls1 ,alcazar4    ,illustration3 
,,plate #acj4    ,court of the ,dolls   
from the ,room of the ,prince1 ,alcazar4
    ,illustration3 ,,plate #aca4        
,court of the ,dolls1 ,alcazar4         
,illustration3 ,,plate #acb4    ,angle  
in the ,court of the ,dolls1 ,alcazar4  
,illustration3 ,,plate #acc4    ,court  
of the ,dolls1 ,alcazar4                
,illustration3 ,,plate #acd4    ,court  

of the ,dolls1 ,alcazar4                
,illustration3 ,,plate #ace4    ,court  
of the ,dolls1 ,alcazar4                
,illustration3 ,,plate #acf4    ,court  
of the ,dolls1 ,alcazar4                
,illustration3 ,,plate #acg4    ,court  
of the ,dolls1 ,alcazar4                
,illustration3 ,,plate #ach4    ,court  
of the ,dolls1 ,alcazar4                
,illustration3 ,,plate #aci4    ,gallery
 on the ,second ,storey of the ,court of
 the ,dolls1 ,alcazar4    ,illustration3
 ,,plate #adj4    ,upper ,part of the   
,court of the ,dolls1 ,alcazar4         
,illustration3 ,,plate #ada4    ,upper  
,part of the ,court of the ,dolls1      
,alcazar4    ,illustration3 ,,plate     
#adb4    ,entrance to the ,dormitory of 
the ,moorish ,kings1 ,alcazar4          
,illustration3 ,,plate #adc4            
,dormitory of the ,moorish ,kings1      
,alcazar4    ,illustration3 ,,plate     
#add4    ,front of the ,sleeping ,saloon
 of the ,moorish ,kings1 ,alcazar4      
,illustration3 ,,plate #ade4            

,sleeping ,saloon of the ,moorish       
,kings1 ,alcazar4    ,illustration3     
,,plate #adf4    ,intercolumniation1    
where ,don ,fadrique was ,assassinated1 
,alcazar4    ,sultana's ,quarters1      
,alcazar4    ,illustration3 ,,plate     
#adg4    ,room in which ,king ,st       
,ferdinand ,died1 ,alcazar4             
,illustration3 ,,plate #adh4            
,interior of the ,hall of ,st           
,ferdinand1 ,alcazar4    ,illustration3 
,,plate #adi4    ,front of the ,hall of 
,st ,ferdinand1 ,alcazar4               
,illustration3 ,,plate #aej4    ,gate of
 the ,hall of ,st ,ferdinand1 ,alcazar4 
,illustration3 ,,plate #aea4    ,gallery
 of the ,hall of ,st ,ferdinand1        
,alcazar4    ,illustration3 ,,plate     
#aeb4    ,throne of ,justice1 ,alcazar4 
,illustration3 ,,plate #aec4    ,court  
of the ,hundred ,virgins1 ,alcazar4     
,illustration3 ,,plate #aed4    ,court  
of the ,virgins1 ,alcazar4              
,illustration3 ,,plate #aee4    ,general
 ,view of the ,court of the ,hundred    

,virgins1 ,alcazar4    ,illustration3   
,,plate #aef4    ,court of the ,virgins1
 ,alcazar4    ,illustration3 ,,plate    
#aeg4    ,front of the ,dormitory of the
 ,moorish ,kings and the ,court of the  
,virgins1 ,alcazar4    ,illustration3   
,,plate #aeh4    ,gallery in the ,court 
of the ,virgins1 ,alcazar4              
,illustration3 ,plate #aei4    ,the     
,court of the ,virgins4 ,capital of the 
,door of the ,hall of  ,ambassadors1    
,alcazar4    ,illustration3 ,,plate     
#afj4    ,the ,alcazar4    ,court of the
 ,virgins4 ,capital of the ,gate of the 
,hall of ,charles ,v4    ,illustration3 
,,plate #afa4    ,palace of the ,dueas4 
,door of the ,chapel4    ,illustration3 
,,plate #afb4    ,palace of the ,dukes  
of ,alcala1 ,commonly called ,casa de   
,pilatos4    ,illustration3 ,,plate     
#afc4    ,the ,court in the ,house of   
,pilate4    ,illustration3 ,,plate #afd4
    ,court of the ,house of ,pilate4    
,illustration3 ,,plate #afe4    ,gallery
 in the ,court of the ,house of ,pilate4

    ,illustration3 ,,plate #aff4        
,house of ,pilate4    ,illustration3    
,,plate #afg4    ,gallery in the ,court 
of the ,house of ,pilate4               
,illustration3 ,,plate #afh4    ,angle  
and ,statue in the ,house of ,pilate4   
,illustration3 ,,plate #afi4    ,house  
of ,pilate4    ,entrance to the         
,ante-room of the ,chapel4              
,illustration3 ,,plate #agj4    ,the    
,staircase in the ,house of ,pilate1 by 
,barrera4    ,illustration3 ,,plate     
#aga4    ,house of ,pilate4    ,entrance
 ,door of the ,oratory4                 
,illustration3 ,,plate #agb4    ,house  
of ,pilate4    ,way out to the ,flat    
,roofs in the ,high ,gallery4           
,illustration3 ,,plate #agc4            
,staircase in the ,house of ,pilate4    
,illustration3 ,,plate #agd4    ,house  
of ,pilate4 ,doors of the ,offices in   
the ,high ,gallery4    ,illustration3   
,,plate #age4    ,house of ,pilate4     
,window of the ,prtor's ,hall leading to
 the ,garden4    ,illustration3 ,,plate 

#agf4    ,house of ,pilate4    ,barred  
,window in the ,prtor's ,garden4        
,illustration3 ,,plate #agg4    ,house  
of ,pilate4 ,bolt on the ,prtor's ,gate4
    ,illustration3 ,,plate #agh4        
,house of ,pilate4    ,window in the    
,ante-room of the ,chapel4              
,illustration3 ,,plate #agi4    ,house  
of ,pilate4    ,section of the ,ceiling 
in the ,prtor's ,hall4    ,illustration3
 ,,plate #ahj4    ,palace of the ,dueas 
in ,seville4    ,illustration3 ,,plate  
#aha4    ,house of ,pilate4    ,mosaics 
in the ,hall of the ,fountain4          
,illustration3 ,,plate #ahb4    ,palace 
of the ,dueas in ,seville4    ,glazed   
,tiles in the ,socles of the ,chapel and
 ,arches4    ,illustration3 ,,plate     
#ahc4    ,mosaic of the ,peristyle in   
the ,palace4    ,illustration3 ,,plate  
#ahd4    ,house of ,pilate4    ,mosaic  
in the ,hall of the ,fountain4          
,illustration3 ,,plate #ahe4    ,mosaic 
in the ,court of the ,house of ,pilate4 
,illustration3 ,,plate #ahf4    ,mosaic 

in the ,court of the ,house of ,pilate4 
,illustration3 ,,plate #ahg4    ,mosaic 
in the ,court of the ,house of ,pilate4 
,illustration3 ,,plate #ahh4    ,house  
of ,pilate4    ,mosaic in the ,chapel4  
,illustration3 ,,plate #ahi4            
,bartolom ,esteban ,murillo4    ,,born  
,,in ,,seville1 #afag4    ,illustration3
 ,,plate #aij4    ,altar-screen of the  
,la ,gamba1 by ,luis de ,vargas4        
,,seville ,,cathedral4    ,illustration3
 ,,plate #aia4    ,descent from the     
,cross1 by ,pedro ,campaa4    ,,seville 
,,cathedral4    ,illustration3 ,,plate  
#aib4    ,st ,anthony of ,padua visited 
by the ,infant ,saviour while kneeling  
at his  ,prayers1 by ,murillo4          
,,seville ,,cathedral4    ,illustration3
 ,,plate #aic4    ,our ,lord ,baptized  
by ,st ,john ,baptist1 by ,murillo4     
,,seville ,,cathedral4    ,illustration3
 ,,plate #aid4    ,the ,guardian ,angel1
 by ,murillo4    ,,seville ,,cathedral4 
,illustration3 ,,plate #aie4    ,st     
,leander1 by ,murillo4    ,,seville     

,,cathedral4    ,illustration3 ,,plate  
#aif4    ,st ,isidore1 by ,murillo4     
,,seville ,,cathedral4    ,illustration3
 ,,plate #aig4    ,st ,ferdinand1       
,crowned and ,robed1 by ,murillo4       
,,seville ,,cathedral4    ,illustration3
 ,,plate #aih4    ,madre ,francisca     
,dorotea ,villalda1 by ,murillo4        
,,seville ,,cathedral4    ,illustration3
 ,,plate #aii4    ,st ,anthony with the 
,infant ,saviour1 by ,murillo4          
,,seville ,,museum4    ,illustration3   
,,plate #bjj4    ,our ,lady of the      
,immaculate ,conception1 by ,murillo4   
,,seville ,,museum4    ,illustration3   
,,plate #bja4    ,our ,lady of the      
,immaculate ,conception1 by ,murillo4   
,,seville ,,museum4    ,illustration3   
,,plate #bjb4    ,our ,lady of the      
,immaculate ,conception1 by ,murillo4   
,,seville ,,museum4    ,illustration3   
,,plate #bjc4    ,our ,lady of the      
,immaculate ,conception1 by ,murillo4   
,,seville ,,museum4    ,illustration3   
,,plate #bjd4    ,st ,justa and ,st     

,rufina1 ,patron ,saints of ,seville1   
holding between them  the ,giralda      
,tower1 by ,murillo4    ,,seville       
,,museum4    ,illustration3 ,,plate     
#bje4    ,st ,bonaventure and ,st       
,leander1 by ,murillo4    ,,seville     
,,museum4    ,illustration3 ,,plate     
#bjf4    ,st ,thomas of ,villanueva     
giving ,alms at the ,door of his        
,cathedral1 by  ,murillo4    ,,seville  
,,museum4    ,illustration3 ,,plate     
#bjg4    ,the ,annunciation of our      
,lady1 by ,murillo4    ,,seville        
,,museum4    ,illustration3 ,,plate     
#bjh4    ,st ,felix of ,cantalisi       
restoring to ,our ,lady the ,infant     
,saviour1 whom  she had placed in his   
,arms1 by ,murillo4    ,,seville        
,,museum4    ,illustration3 ,,plate     
#bji4    ,adoration of the ,shepherds of
 ,bethlehem1 by ,murillo4    ,,seville  
,,museum4    ,illustration3 ,,plate     
#baj4    ,st ,peter ,nolasco kneeling   
before ,our ,lady of ,mercy1 by         
,murillo4    ,,seville ,,museum4        

,illustration3 ,,plate #baa4    ,the    
,deposition--,st ,francis of ,assisi    
supporting the ,body of ,our ,lord      
nailed by the ,left ,hand to the ,cross1
 by ,murillo4    ,,seville ,,museum4    
,illustration3 ,,plate #bab4    ,st     
,joseph and the ,infant ,saviour1 by    
,murillo4    ,,seville ,,museum4        
,illustration3 ,,plate #bac4    ,st     
,john the ,baptist in the ,desert       
leaning against a ,rock1 by ,murillo4   
,,seville ,,museum4    ,illustration3   
,,plate #bad4    ,st ,augustine and the 
,flaming ,heart1 by ,murillo4           
,,seville ,,museum4    ,illustration3   
,,plate #bae4    ,st ,felix of          
,cantalisi and the ,infant ,jesus1 known
 as1 8,san ,felix de ,las  ,arrugas10 by
 ,murillo4    ,,seville ,,museum4       
,illustration3 ,,plate #baf4    ,st     
,anthony with the ,infant ,saviour1 by  
,murillo4    ,,seville ,,museum4        
,illustration3 ,,plate #bag4            
,deposition from the ,cross1 by         
,murillo4    ,,seville ,,museum44       

,illustration3 ,,plate #bah4    ,our    
,lady with the ,infant ,saviour in her  
,arms1 by ,murillo4    7,,an ,,early    
,,picture47    ,,seville ,,museum4      
,illustration3 ,,plate #bai4    ,our    
,lady and the ,infant ,saviour1 known as
 8,la ,virgen de la ,servilleta10  by   
,murillo4    ,,seville ,,museum4        
,illustration3 ,,plate #bbj4    ,our    
,lady seated1 with the ,infant ,saviour 
in her ,lap1 by ,murillo4    7,,an      
,,early ,,picture47    ,,seville        
,,museum4    ,illustration3 ,,plate     
#bba4    ,st ,thomas of ,aquin1 by1     
,zurbarn4    ,,seville ,,museum4        
,illustration3 ,,plate #bbb4    ,the    
,virgin of the ,grotto1 by ,zurbarn4    
,,seville ,,museum4    ,illustration3   
,,plate #bbc4    ,st ,bruno talking to  
the ,pope1 by ,zurbarn4    ,,seville    
,,museum4    ,illustration3 ,,plate     
#bbd4    ,the ,day of ,judgment1 by     
,martin de ,vos4    ,,seville ,,museum4 
,illustration3 ,,plate #bbe4    ,our    
,lady of the ,immaculate ,conception1 by

 ,j4 ,valdes ,leal4    ,,seville        
,,museum4    ,illustration3 ,,plate     
#bbf4    ,jesus crowning ,st ,joseph1 by
 ,zurbarn4    ,,seville ,,museum4       
,illustration3 ,,plate #bbg4    ,the    
,devout ,punyon1 by ,zurbarn4           
,,seville ,,museum4    ,illustration3   
,,plate #bbh4    ,our ,lady of the      
,immaculate ,conception4 ,the ,virgin   
surrounded by  ,cherubim4 ,by ,fr4      
,pacheco4    ,,seville ,,museum4        
,illustration3 ,,plate #bbi4    ,our    
,lord's ,miracle of the ,loaves and     
,fishes1 by ,murillo4    ,,seville      
,,hospital4    ,illustration3 ,,plate   
#bcj4    ,moses striking the ,rock in   
,horeb1 by ,murillo4    ,,la ,,caridad1 
,,seville4    ,illustration3 ,,plate    
#bca4    ,st ,john of ,god1 sinking     
under the ,weight of a ,sick ,man1      
assisted by an  ,angel1 by ,murillo4    
,,la ,,caridad1 ,,seville4              
,illustration3 ,,plate #bcb4    ,the    
,death of ,st ,hermenigild1 by ,j4 de   
las ,roelas4    ,,hospital ,,de ,,la    

,,sangre1 ,,seville4    ,illustration3  
,,plate #bcc4    ,the ,apostleship1 by  
,juan de las ,roelas4    ,,hospital ,,de
 ,,la ,,sangre1 ,,seville4              
,illustration3 ,,plate #bcd4    ,the    
,end of this ,world's ,glories1 by      
,valdes ,leal4    ,,la ,,caridad1       
,,seville4    ,illustration3 ,,plate    
#bce4    ,the ,piet1 or the ,virgin     
supporting the ,dead ,body of her       
,divine ,son1  ,altar-screen1 by ,luis  
de ,vargas4    ,,santa ,,maria ,,de ,,la
 ,,blanca1 ,,seville4    ,illustration3 
,,plate #bcf4    ,st ,joseph holding the
 ,infant ,saviour in ,his ,arms1 by     
,murillo4    ,,san ,,telmo1 ,,seville4  
,illustration3 ,,plate #bcg4    ,our    
,lady of the ,girdle1 by ,murillo4      
,,san ,,telmo1 ,,seville4               
,illustration3 ,,plate #bch4            
,portrait of ,ferdinand ,,vii41 by      
,goya4    ,,san ,,telmo1 ,,seville4     
,illustration3 ,,plate #bci4            
,portrait of ,charles ,,iv41 by ,goya4  
,,san ,,telmo1 ,,seville4               

,illustration3 ,,plate #bdj4    ,the    
,annunciation1 by ,f4 ,zurbarn4    ,,san
 ,,telmo1 ,,seville4    ,illustration3  
,,plate #bda4    ,the ,death of ,laocon 
and his ,sons at the ,siege of ,troy1 by
 ,el ,greco4    ,,san ,,telmo1          
,,seville4    ,illustration3 ,,plate    
#bdb4    ,caton of ,utique tearing open 
his wounds1 by ,josef ,ribera4    ,,san 
,,telmo1 ,,seville4    ,illustration3   
,,plate #bdc4    ,piet4 ,the ,virgin    
holding the ,dead ,saviour in her ,arms1
 by ,morales4    ,,san ,,telmo1         
,,seville4    ,illustration3 ,,plate    
#bdd4    ,portrait of ,el ,greco1 by    
,himself4    ,,gallery ,,of ,,san       
,,telmo1 ,,seville4    ,illustration3   
,,plate #bde4    ,the ,miracle of ,st   
,vu4 ,st ,hugo in the ,refectory with   
several ,chartreux1  by ,zurbarn4       
,,seville ,,museum4    ,illustration3   
,,plate #bdf4    ,the ,martyrdom of ,st 
,andrew1 by ,j4 de las ,roelas4         
,,seville ,,museum4    ,illustration3   
,,plate #bdg4    ,the ,last ,supper1 by 

,p4 de ,cespedes4    ,,seville ,,museum4
    ,illustration3 ,,plate #bdh4        
,christ on the ,cross1 by ,zurbarn4     
,,seville ,,museum4    ,illustration3   
,,plate #bdi4    ,portrait of the       
,figure in ,pacheco's ,picture at       
,seville1 supposed to  represent        
,cervantes4    ,illustration3 ,,plate   
#bej4    ,the ,virgin and the ,child    
,jesus1 by ,alonso ,cano4    ,,seville  
,,cathedral4    ,illustration3 ,,plate  
#bea4    ,the ,descent from the ,cross1 
by ,alejo ,fernandez4    ,,seville      
,,cathedral4    ,illustration3 ,,plate  
#beb4    ,the ,cathedral4               
,illustration3 ,,plate #bec4    ,the    
,giralda4    ,illustration3 ,,plate     
#bed4    ,the ,giralda4                 
,illustration3 ,,plate #bee4            
,cathedral4 ,the ,gate of ,pardon4      
,illustration3 ,,plate #bef4            
,cathedral4 ,puerta de los ,palos4      
,illustration3 ,,plate #beg4            
,,seville ,,cathedral    ,specially     
drawn for ,the ,spanish ,series         

,illustration3 ,,plate #beh4            
,cathedral4 ,view of an ,organ4         
,illustration3 ,,plate #bei4            
,cathedral4 ,monument to ,columbus4     
,illustration3 ,,plate #bfj4            
,cathedral4 ,silver ,tabernacle         
7weighing #de arrobas74                 
,illustration3 ,,plate #bfa4    ,alcazar
 ,gardens4    ,illustration3 ,,plate    
#bfb4    ,alcazar ,gardens4             
,illustration3 ,,plate #bfc4    ,alcazar
 ,gardens4    ,illustration3 ,,plate    
#bfd4    ,house of ,pilate4 ,the        
,goddess ,ceres4    ,illustration3      
,,plate #bfe4    ,house of ,pilate4 ,the
 ,goddess ,pallas ,pacifer4             
,illustration3 ,,plate #bff4            
,italica4    ,illustration3 ,,plate     
#bfg4    ,roman ,walls4                 
,illustration3 ,,plate #bfh4    ,patio  
de ,banderas and the ,giralda4          
,illustration3 ,,plate #bfi4    ,plaza  
de ,san ,francisco4    ,illustration3   
,,plate #bgj4    ,st ,mark's ,church4   
,illustration3 ,,plate #bga4    ,plaza  

de ,san ,fernando4    ,illustration3    
,,plate #bgb4    ,the ,town ,hall4      
,details of the ,old ,part4             
,illustration3 ,,plate #bgc4    ,faade  
of the ,palace of ,san ,telmo4          
,illustration3 ,,plate #bgd4    ,statue 
of ,velaquez4    ,illustration3 ,,plate 
#bge4    ,plaza de la ,constitucin4     
,illustration3 ,,plate #bgf4    ,plaza  
de la ,constitucin4    ,illustration3   
,,plate #bgg4    ,calle de ,sierpes4    
,illustration3 ,,plate #bgh4    ,calle  
de ,sierpes4    ,illustration3 ,,plate  
#bgi4    ,a ,street in ,seville4        
,illustration3 ,,plate #bhj4            
,hercules ,avenue4    ,illustration3    
,,plate #bha4    ,the ,pasadera4        
,illustration3 ,,plate #bhb4            
,courtyard of ,la ,caridad4             
,illustration3 ,,plate #bhc4    ,plaza  
de ,san ,fernando4    ,illustration3    
,,plate #bhd4    ,plaza de ,gavidia4    
,illustration3 ,,plate #bhe4    ,view   
from the ,pasadera4    ,illustration3   
,,plate #bhf4    ,the ,drive4           

,illustration3 ,,plate #bhg4    ,paseo  
de las ,delicias4    ,illustration3     
,,plate #bhh4    ,the ,quay4            
,illustration3 ,,plate #bhi4    ,partial
 ,view of ,seville4    ,illustration3   
,,plate #bij4    ,plaza de ,toros4      
,illustration3 ,,plate #bia4    ,fields 
of ,san ,sebastian4    ,illustration3   
,,plate #bib4    ,park of ,maria ,luisa4
    ,illustration3 ,,plate #bic4        
,railway ,station of ,m4,z4,a4          
,principal ,faade4    ,illustration3    
,,plate #bid4    ,railway ,station of   
,m4,z4,a4 ,general ,view4               
,illustration3 ,,plate #bie4    ,triana 
,bridge4    ,illustration3 ,,plate #bif4
    ,view from ,triana ,bridge4         
,illustration3 ,,plate #big4    ,view   
from ,triana4    ,illustration3 ,,plate 
#bih4    ,san ,telmo from ,triana4      
,illustration3 ,,plate #bii4    ,the    
,cathedral4 ,our ,lord ,crucified4      
,sculpture in the ,sacristy4            
,illustration3 ,,plate #cjj4            
,,seville    ,specially drawn for ,the  

,spanish ,series      ,,footnotes3    ,a
 ,there is one picture only by ,roelas  
in the ,prado4 ,his work is  hardly     
known outside ,seville4 ,in ,england we 
have at least one of his  pictures1 a   
fine example1 in a private collection4  
,b ,there is a picture by ,el ,greco1   
the wonderful portrait of himself1  in  
the ,museum4 ,it came quite recently    
from the ,palace of ,san ,telmo1  where 
also was once the really grand picture1 
8,the ,death of ,laocon  and his ,sons  
at the ,siege of ,troy40 ,the remarkable
 and interesting  8,trinity0 in the     
,cathedral1 attributed to ,el ,greco1 is
 the work of  his pupil ,luis ,tristan1 
a painter neglected too long4 ,seville  
has  no picture by ,navarrete2 the one  
work of ,morales1 the triptych in  the  
,sacristi de los ,calices of the        
,cathedral1 is not typical of his       
strange power4    ,c ,the most important
 is the 8,adoration of the ,shepherds10 
until  recently in the ,palace of ,san  
,telmo2 but this work has been removed  

with other pictures in the collection of
 the ,infanta ,maria ,luisa  ,fernanda  
de ,bourbon4 ,the really fine picture on
 the same subject in our  ,national     
,gallery is now attributed to ,zurbarn2 
probably to him1 too1  belongs the      
8,dead ,warrior10 now assigned to       
,velazquez4