PLATE 493.23. MARIANO CEBALLOS IN THE ARENA.
PLATE 493.
23. MARIANO CEBALLOS IN THE ARENA.
PLATE 494.24. CEBALLOS MOUNTED ON A BULL.
PLATE 494.
24. CEBALLOS MOUNTED ON A BULL.
PLATE 495.25. BULL-BAITING.
PLATE 495.
25. BULL-BAITING.
PLATE 496.26. PICADOR OVERTHROWN BY THE BULL.
PLATE 496.
26. PICADOR OVERTHROWN BY THE BULL.
PLATE 497.27. FERNANDO DEL TORO IN THE ARENA.
PLATE 497.
27. FERNANDO DEL TORO IN THE ARENA.
PLATE 498.28. READON IN THE ARENA AT MADRID.
PLATE 498.
28. READON IN THE ARENA AT MADRID.
PLATE 499.29. PEPE-ILLO FACES THE BULL.
PLATE 499.
29. PEPE-ILLO FACES THE BULL.
PLATE 500.30. PEDRO ROMERO IN THE ARENA.
PLATE 500.
30. PEDRO ROMERO IN THE ARENA.
PLATE 501.31. FLAMING BANDERILLAS.
PLATE 501.
31. FLAMING BANDERILLAS.
PLATE 502.32. BULL OVERTHROWING PICADORS.
PLATE 502.
32. BULL OVERTHROWING PICADORS.
PLATE 503.33. DEATH OF PEPE-ILLO IN THE ARENA.
PLATE 503.
33. DEATH OF PEPE-ILLO IN THE ARENA.
PLATE 504.PICADORS MOUNTED ON MULES HARNESSED TO A CARRIAGE.
PLATE 504.
PICADORS MOUNTED ON MULES HARNESSED TO A CARRIAGE.
PLATE 505.BULL CARRYING A WOUNDED TOREADOR ON HIS HORNS.
PLATE 505.
BULL CARRYING A WOUNDED TOREADOR ON HIS HORNS.
PLATE 506.BULL CARRYING A DEAD TOREADOR ON HIS HORNS.
PLATE 506.
BULL CARRYING A DEAD TOREADOR ON HIS HORNS.
PLATE 507.VARIATION OF NO. 25.
PLATE 507.
VARIATION OF NO. 25.
PLATE 508.A SPANISH GENTLEMAN IN THE RING.
PLATE 508.
A SPANISH GENTLEMAN IN THE RING.
PLATE 509.BRAVO TORO!
PLATE 509.
BRAVO TORO!
PLATE 510.NEARING THE END.
PLATE 510.
NEARING THE END.
PROVERBS
PLATE 511.1. WOMEN TOSSING A DEAD DONKEY AND MANNIKINS IN A BLANKET.
PLATE 511.
1. WOMEN TOSSING A DEAD DONKEY AND MANNIKINS IN A BLANKET.
PLATE 512.2. SOLDIERS FLYING FROM A TREE DRAPED TO REPRESENT A GHOST.
PLATE 512.
2. SOLDIERS FLYING FROM A TREE DRAPED TO REPRESENT A GHOST.
PLATE 513.3. PERSONS LISTENING TO AN ORATOR.
PLATE 513.
3. PERSONS LISTENING TO AN ORATOR.
PLATE 514.4. PEASANT DANCING BEFORE A MAN AND WOMAN.
PLATE 514.
4. PEASANT DANCING BEFORE A MAN AND WOMAN.
PLATE 515.5. MAN CARRYING OFF A WOMAN ON A WINGED MONSTER.
PLATE 515.
5. MAN CARRYING OFF A WOMAN ON A WINGED MONSTER.
PLATE 516.6. THE INFURIATED MAN.
PLATE 516.
6. THE INFURIATED MAN.
PLATE 517.7. MAN AND WOMAN JOINED TOGETHER AT THE SHOULDERS.
PLATE 517.
7. MAN AND WOMAN JOINED TOGETHER AT THE SHOULDERS.
PLATE 518.8. PERSONS DRESSED IN SACKS.
PLATE 518.
8. PERSONS DRESSED IN SACKS.
PLATE 519.9. FANTASTIC PERSONAGE OFFERING KITTENS TO TWO WOMEN.
PLATE 519.
9. FANTASTIC PERSONAGE OFFERING KITTENS TO TWO WOMEN.
PLATE 520.10. HUMAN BEINGS MALTREATED BY HORSES.
PLATE 520.
10. HUMAN BEINGS MALTREATED BY HORSES.
PLATE 521.11. A TWO-HEADED WOMAN PURSUED BY TWO MEN.
PLATE 521.
11. A TWO-HEADED WOMAN PURSUED BY TWO MEN.
PLATE 522.12. MAJOS AND MAJAS DANCING.
PLATE 522.
12. MAJOS AND MAJAS DANCING.
PLATE 523.13. MEN ATTEMPTING TO FLY.
PLATE 523.
13. MEN ATTEMPTING TO FLY.
PLATE 524.14. FANTASTIC SALUTATIONS.
PLATE 524.
14. FANTASTIC SALUTATIONS.
PLATE 525.15. A MONK PREACHES; SOLDIER THROWS HIMSELF DOWN AN ABYSS.
PLATE 525.
15. A MONK PREACHES; SOLDIER THROWS HIMSELF DOWN AN ABYSS.
PLATE 526.16. MAN AND WOMAN QUARRELLING.
PLATE 526.
16. MAN AND WOMAN QUARRELLING.
PLATE 527.17. PERSONS DERIDING A BLIND MAN.
PLATE 527.
17. PERSONS DERIDING A BLIND MAN.
PLATE 528.18. THE OLD MAN AND THE CORPSE.
PLATE 528.
18. THE OLD MAN AND THE CORPSE.
PLATE 529.THE PROMENADE.
PLATE 529.
THE PROMENADE.
PLATE 530.A PAUPER.(Don A. de Beruete.)
PLATE 530.
A PAUPER.
(Don A. de Beruete.)
PLATE 531.THE MADMAN.
PLATE 531.
THE MADMAN.
PLATE 532.THE MISER.(Don A. de Beruete.)
PLATE 532.
THE MISER.
(Don A. de Beruete.)
PLATE 533.A WOMAN FLYING.
PLATE 533.
A WOMAN FLYING.
PLATE 534.MADMEN.(Don A. de Beruete.)
PLATE 534.
MADMEN.
(Don A. de Beruete.)
PLATE 535.THE MAJA AND THE CLOAKED MAN.
PLATE 535.
THE MAJA AND THE CLOAKED MAN.
PLATE 536.A MONK SUSPENDED IN THE AIR.(Don A. de Beruete.)
PLATE 536.
A MONK SUSPENDED IN THE AIR.
(Don A. de Beruete.)
PLATE 537.THE LIVING SKELETON.
PLATE 537.
THE LIVING SKELETON.
PLATE 538.FRENCH CHASTISEMENT.(Don A. de Beruete.)
PLATE 538.
FRENCH CHASTISEMENT.
(Don A. de Beruete.)
PLATE 539.AQUI ALGO HA DE HABER.
PLATE 539.
AQUI ALGO HA DE HABER.
PLATE 540.THE SNAKE CHARMER.(Don A. de Beruete.)
PLATE 540.
THE SNAKE CHARMER.
(Don A. de Beruete.)
PLATE 541.CHARITY.
PLATE 541.
CHARITY.
PLATE 542.WHO WILL WIN?(Don A. de Beruete.)
PLATE 542.
WHO WILL WIN?
(Don A. de Beruete.)
PLATE 543.THE MADMAN.
PLATE 543.
THE MADMAN.
PLATE 544.THE LADY WITH THE PUPPIES.(Don A. de Beruete.)
PLATE 544.
THE LADY WITH THE PUPPIES.
(Don A. de Beruete.)
PLATE 545.PAUPERS.
PLATE 545.
PAUPERS.
PLATE 546.PROCESSION ENTERING THE TEMPLE.(Don A. de Beruete.)
PLATE 546.
PROCESSION ENTERING THE TEMPLE.
(Don A. de Beruete.)
PLATE 547.WOMEN PRAYING.
PLATE 547.
WOMEN PRAYING.
PLATE 548.POR MITAD DE CUARESMA.(Don A. de Beruete.)
PLATE 548.
POR MITAD DE CUARESMA.
(Don A. de Beruete.)
PLATE 549.BRIDES OF THE CHURCH.
PLATE 549.
BRIDES OF THE CHURCH.
PLATE 550.MELODIOUS MEDIATORS.(Don A. de Beruete.)
PLATE 550.
MELODIOUS MEDIATORS.
(Don A. de Beruete.)
PLATE 551.A SLEEPING MAJA.
PLATE 551.
A SLEEPING MAJA.
PLATE 552.THE SKATERS.(Don A. de Beruete.)
PLATE 552.
THE SKATERS.
(Don A. de Beruete.)
PLATE 553.STUDY FOR THE YOUNG INFANTE IN ‘THE FAMILY OF KING CHARLES IV.’
PLATE 553.
STUDY FOR THE YOUNG INFANTE IN ‘THE FAMILY OF KING CHARLES IV.’
PLATE 554.STUDY FOR THE PORTRAIT OF THE QUEEN IN ‘THE FAMILY OF KING CHARLES IV.’(Don A. de Beruete.)
PLATE 554.
STUDY FOR THE PORTRAIT OF THE QUEEN IN ‘THE FAMILY OF KING CHARLES IV.’
(Don A. de Beruete.)
PLATE 555.SLEEPING GIANT.
PLATE 555.
SLEEPING GIANT.
PLATE 556.A GENTLE EPISODE.(Don A. de Beruete.)
PLATE 556.
A GENTLE EPISODE.
(Don A. de Beruete.)
PLATE 557.A PRISONER.
PLATE 557.
A PRISONER.
PLATE 558.THE HAPPY MAN.(Don A. de Beruete.)
PLATE 558.
THE HAPPY MAN.
(Don A. de Beruete.)
PLATE 559.UNDER A HOOD.
PLATE 559.
UNDER A HOOD.
PLATE 560.FAIRY TALES.(Don A. de Beruete.)
PLATE 560.
FAIRY TALES.
(Don A. de Beruete.)
PLATE 561.SPANISH BEAUTY.
PLATE 561.
SPANISH BEAUTY.
PLATE 562.HAUT-TON.(Don A. de Beruete.)
PLATE 562.
HAUT-TON.
(Don A. de Beruete.)
PLATE 563.THE MAN WITH THE CROCODILE.
PLATE 563.
THE MAN WITH THE CROCODILE.
PLATE 564.AT LAST IT BREAKS.(Don A. de Beruete.)
PLATE 564.
AT LAST IT BREAKS.
(Don A. de Beruete.)
PLATE 565.THE BROKEN PITCHER.
PLATE 565.
THE BROKEN PITCHER.
PLATE 566.WOMAN WITH A CHILD IN ARMS.(Don A. de Beruete.)
PLATE 566.
WOMAN WITH A CHILD IN ARMS.
(Don A. de Beruete.)
PLATE 567.RURAL EVENTS.
PLATE 567.
RURAL EVENTS.
PLATE 568.CHASTISEMENT.(Don A. de Beruete.)
PLATE 568.
CHASTISEMENT.
(Don A. de Beruete.)
PLATE 569.A MONK DOING PENANCE.
PLATE 569.
A MONK DOING PENANCE.
PLATE 570.THE INVALID.(Don A. de Beruete.)
PLATE 570.
THE INVALID.
(Don A. de Beruete.)
PLATE 571.MIRAR LO QUE NO VEN.
PLATE 571.
MIRAR LO QUE NO VEN.
PLATE 572.AN IDIOT.(Don A. de Beruete.)
PLATE 572.
AN IDIOT.
(Don A. de Beruete.)
PLATE 573.INVOCATION.
PLATE 573.
INVOCATION.
PLATE 574.PRAYER.(Don A. de Beruete.)
PLATE 574.
PRAYER.
(Don A. de Beruete.)
PLATE 575.A MAD NEWSWOMAN.
PLATE 575.
A MAD NEWSWOMAN.
PLATE 576.A MONK.(Don A. de Beruete.)
PLATE 576.
A MONK.
(Don A. de Beruete.)
PLATE 577.THE BRIDE.
PLATE 577.
THE BRIDE.
PLATE 578.THE BELLE OF THE ASSEMBLY.
PLATE 578.
THE BELLE OF THE ASSEMBLY.
PLATE 579.ONE MORE UNFORTUNATE.
PLATE 579.
ONE MORE UNFORTUNATE.
PLATE 580.A PORTRAIT.(Don A. de Beruete.)
PLATE 580.
A PORTRAIT.
(Don A. de Beruete.)
PLATE 581.INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.
PLATE 581.
INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.
PLATE 582.SAN ANTONIO DE LA FLORIDA.PAINTING IN THE PRINCIPAL CHAPEL.
PLATE 582.
SAN ANTONIO DE LA FLORIDA.
PAINTING IN THE PRINCIPAL CHAPEL.
PLATE 583.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE CENTRES OF THE INTRADOS OF THE CHOIR AND PRINCIPAL CHAPEL ARCHES.
PLATE 583.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE CENTRES OF THE INTRADOS OF THE CHOIR AND PRINCIPAL CHAPEL ARCHES.
PLATE 584.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES.
PLATE 584.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES.
PLATE 585.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES.
PLATE 585.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES.
PLATE 586.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES.
PLATE 586.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES.
PLATE 587.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES.
PLATE 587.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES.
PLATE 588.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE INTRADOS OF THE LEFT SIDE CHAPEL ARCH.
PLATE 588.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE INTRADOS OF THE LEFT SIDE CHAPEL ARCH.
PLATE 589.SAN ANTONIO DE LA FLORIDA.PAINTINGS ON THE INTRADOS OF THE RIGHT SIDE CHAPEL ARCH.
PLATE 589.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE INTRADOS OF THE RIGHT SIDE CHAPEL ARCH.
PLATE 590.SAN ANTONIO DE LA FLORIDA.TRIANGLES FORMED BY THE DOME ADJOINING THE PRINCIPAL CHAPEL.
PLATE 590.
SAN ANTONIO DE LA FLORIDA.
TRIANGLES FORMED BY THE DOME ADJOINING THE PRINCIPAL CHAPEL.
PLATE 591.SAN ANTONIO DE LA FLORIDA.TRIANGLES FORMED BY THE DOME ADJOINING THE CHOIR.
PLATE 591.
SAN ANTONIO DE LA FLORIDA.
TRIANGLES FORMED BY THE DOME ADJOINING THE CHOIR.
PLATE 592.SAN ANTONIO DE LA FLORIDA.PAINTINGS AT THE SIDES OF THE WINDOW ON THE LEFT.
PLATE 592.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS AT THE SIDES OF THE WINDOW ON THE LEFT.
PLATE 593.SAN ANTONIO DE LA FLORIDA.PAINTINGS AT THE SIDES OF THE WINDOW ON THE LEFT.
PLATE 593.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS AT THE SIDES OF THE WINDOW ON THE LEFT.
PLATE 594.SAN ANTONIO DE LA FLORIDA.PAINTINGS AT THE SIDES OF THE WINDOW ON THE RIGHT.
PLATE 594.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS AT THE SIDES OF THE WINDOW ON THE RIGHT.
PLATE 595.SAN ANTONIO DE LA FLORIDA.PAINTINGS AT THE SIDES OF THE WINDOW ON THE RIGHT.
PLATE 595.
SAN ANTONIO DE LA FLORIDA.
PAINTINGS AT THE SIDES OF THE WINDOW ON THE RIGHT.
PLATE 596.SAN ANTONIO DE LA FLORIDA.FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.
PLATE 596.
SAN ANTONIO DE LA FLORIDA.
FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.
PLATE 597.SAN ANTONIO DE LA FLORIDA.SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.
PLATE 597.
SAN ANTONIO DE LA FLORIDA.
SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.
PLATE 598.SAN ANTONIO DE LA FLORIDA.CENTRE OF THE COMPOSITION ON THE CUPOLA FACING THE ENTRANCE.
PLATE 598.
SAN ANTONIO DE LA FLORIDA.
CENTRE OF THE COMPOSITION ON THE CUPOLA FACING THE ENTRANCE.
PLATE 599.SAN ANTONIO DE LA FLORIDA.FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.
PLATE 599.
SAN ANTONIO DE LA FLORIDA.
FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.
PLATE 600.SAN ANTONIO DE LA FLORIDA.SECOND GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.
PLATE 600.
SAN ANTONIO DE LA FLORIDA.
SECOND GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.
PLATE 601.DUKE OF WELLINGTON, 1812.(From the Original Drawing in the Print Room of the British Museum.)
PLATE 601.
DUKE OF WELLINGTON, 1812.
(From the Original Drawing in the Print Room of the British Museum.)
PLATE 602.LADY AND GENTLEMAN ON HORSEBACK.(From the Original Coloured Sketch in the Print Room of the British Museum.)
PLATE 602.
LADY AND GENTLEMAN ON HORSEBACK.
(From the Original Coloured Sketch in the Print Room of the British Museum.)
PLATE 603.HEAD OF THE DYING FRAY JUAN FERNANEZ.(From the Original Drawing in the Print Room of the British Museum.)
PLATE 603.
HEAD OF THE DYING FRAY JUAN FERNANEZ.
(From the Original Drawing in the Print Room of the British Museum.)
PLATE 604.A CRIMINAL UNDERGOING THE INFLICTION OF THE GAROTTE.(From the Original Drawing in the Print Room of the British Museum.)
PLATE 604.
A CRIMINAL UNDERGOING THE INFLICTION OF THE GAROTTE.
(From the Original Drawing in the Print Room of the British Museum.)
PLATE 605.A LOST SOUL.(From the Original Drawing in the Print Room of the British Museum.)
PLATE 605.
A LOST SOUL.
(From the Original Drawing in the Print Room of the British Museum.)
PLATE 606.CONDEMNED CRIMINALS CONDUCTED TO EXECUTION.(From the Original Drawing in the Print Room of the British Museum.)
PLATE 606.
CONDEMNED CRIMINALS CONDUCTED TO EXECUTION.
(From the Original Drawing in the Print Room of the British Museum.)
PLATE 607.SPANISH PROVERB ILLUSTRATED.(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 607.
SPANISH PROVERB ILLUSTRATED.
(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 608.SPANISH PROVERB ILLUSTRATED.(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 608.
SPANISH PROVERB ILLUSTRATED.
(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 609.SPANISH PROVERB ILLUSTRATED.(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 609.
SPANISH PROVERB ILLUSTRATED.
(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 610.TAUROMACHIA: THE BULLS. A STUDY OF THE ANIMALS IN VARIOUS POSITIONS.(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 610.
TAUROMACHIA: THE BULLS. A STUDY OF THE ANIMALS IN VARIOUS POSITIONS.
(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 611.TAUROMACHIA: BULL-FIGHTER FETTERED IN THE ARENA.(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 611.
TAUROMACHIA: BULL-FIGHTER FETTERED IN THE ARENA.
(From an Etching, hitherto unpublished, in the Print Room of the British Museum.)
PLATE 612.TAUROMACHIA: A BLIND GUITAR-PLAYER TOSSED BY A BULL.(From an Etching in the Print Room of the British Museum.)
PLATE 612.
TAUROMACHIA: A BLIND GUITAR-PLAYER TOSSED BY A BULL.
(From an Etching in the Print Room of the British Museum.)
THESPANISH SERIES
Edited by ALBERT F. CALVERT
A new and important series of volumes, dealing with Spain in its various aspects, its history, its cities and monuments. Each volume will be complete in itself in a uniform binding, and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued, some volumes having over 300 pages of reproductions of pictures, etc.
Crown 8vo Price 3/6 net
UNIFORM WITH THIS VOLUME
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
While the names of Murillo and Velazquez are inseparably linked in the history of Art as Spain’s immortal contribution to the small band of world-painters, the great Court-Painter to Philip IV. has ever received the lion’s share of public attention. Many learned and critical works have been written about Murillo, but whereas Velazquez has been familiarised to the general reader by the aid of small, popular biographies, the niche is still empty which it is hoped that this book will fill.In this volume the attempt has been made to show the painter’s art in its relation to the religious feeling of the age in which he lived, and his own feeling towards his art. Murillo was the product of his religious era, and of his native province, Andalusia. To Europe in his lifetime he signified little or nothing. He painted to the order of the religious houses in his immediate vicinity; his works were immured in local monasteries and cathedrals, and, passing immediately out of circulation, were forgotten or never known.
While the names of Murillo and Velazquez are inseparably linked in the history of Art as Spain’s immortal contribution to the small band of world-painters, the great Court-Painter to Philip IV. has ever received the lion’s share of public attention. Many learned and critical works have been written about Murillo, but whereas Velazquez has been familiarised to the general reader by the aid of small, popular biographies, the niche is still empty which it is hoped that this book will fill.
In this volume the attempt has been made to show the painter’s art in its relation to the religious feeling of the age in which he lived, and his own feeling towards his art. Murillo was the product of his religious era, and of his native province, Andalusia. To Europe in his lifetime he signified little or nothing. He painted to the order of the religious houses in his immediate vicinity; his works were immured in local monasteries and cathedrals, and, passing immediately out of circulation, were forgotten or never known.
UNIFORM WITH THIS VOLUME
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS. DEDICATED BY SPECIAL PERMISSION TO H.M. QUEEN MARIA CRISTINA OF SPAIN
Although several valuable and voluminous catalogues of the Spanish Royal Armoury have, from time to time, been compiled, this “finest collection of armour in the world” has been subjected so often to the disturbing influences of fire, removal, and re-arrangement, that no hand catalogue of the Museum is available, and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures.The various exhibits with which the writer illustrates his narrative are reproduced to the number of nearly 400 on art paper, and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader, but to present a useful text book for the guidance of artists, sculptors, antiquaries, costumiers, and all who are engaged in the reproduction or representation of European armoury.
Although several valuable and voluminous catalogues of the Spanish Royal Armoury have, from time to time, been compiled, this “finest collection of armour in the world” has been subjected so often to the disturbing influences of fire, removal, and re-arrangement, that no hand catalogue of the Museum is available, and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures.
The various exhibits with which the writer illustrates his narrative are reproduced to the number of nearly 400 on art paper, and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader, but to present a useful text book for the guidance of artists, sculptors, antiquaries, costumiers, and all who are engaged in the reproduction or representation of European armoury.
UNIFORM WITH THIS VOLUME
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS FROM PICTURES AND PHOTOGRAPHS
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest but most imposing districts in the whole of Spain, was erected to commemorate a victory over the French in 1557. It was occupied and pillaged by the French two and a-half centuries later, and twice it has been greatly diminished by fire; but it remains to-day, not only the incarnate expression of the fanatic religious character and political genius of Philip II., but the greatest mass of wrought granite which exists on earth, the leviathan of architecture, the eighth wonder of the world.In the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the Escorial, and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable. Both as a review and a pictorial record it is hoped that the work will make a wide appeal among all who are interested in the history, the architecture, and the art of Spain.
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest but most imposing districts in the whole of Spain, was erected to commemorate a victory over the French in 1557. It was occupied and pillaged by the French two and a-half centuries later, and twice it has been greatly diminished by fire; but it remains to-day, not only the incarnate expression of the fanatic religious character and political genius of Philip II., but the greatest mass of wrought granite which exists on earth, the leviathan of architecture, the eighth wonder of the world.
In the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the Escorial, and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable. Both as a review and a pictorial record it is hoped that the work will make a wide appeal among all who are interested in the history, the architecture, and the art of Spain.
UNIFORM WITH THIS VOLUME
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH 510 ILLUSTRATIONS
The origin of Imperial Toledo, “the crown of Spain, the light of the world, free from the time of the mighty Goths,” is lost in the impenetrable mists of antiquity. Mighty, unchangeable, invincible, the city has been described by Wörmann as “a gigantic open-air museum of the architectural history of early Spain, arranged upon a lofty and conspicuous table of rock.”But while some writers have declared that Toledo is a theatre with the actors gone and only the scenery left, the author does not share the opinion. He believes that the power and virility upon which Spain built up her greatness is reasserting itself. The machinery of the theatre of Toledo is rusty, the pulleys are jammed from long disuse, but the curtain is rising steadily if slowly, and already can be heard the tuning-up of fiddles in its ancient orchestra.In this belief the author of this volume has not only set forth the story of Toledo’s former greatness, but has endeavoured to place before his readers a panorama of the city as it appears to-day, and to show cause for his faith in the greatness of the Toledo of the future.
The origin of Imperial Toledo, “the crown of Spain, the light of the world, free from the time of the mighty Goths,” is lost in the impenetrable mists of antiquity. Mighty, unchangeable, invincible, the city has been described by Wörmann as “a gigantic open-air museum of the architectural history of early Spain, arranged upon a lofty and conspicuous table of rock.”
But while some writers have declared that Toledo is a theatre with the actors gone and only the scenery left, the author does not share the opinion. He believes that the power and virility upon which Spain built up her greatness is reasserting itself. The machinery of the theatre of Toledo is rusty, the pulleys are jammed from long disuse, but the curtain is rising steadily if slowly, and already can be heard the tuning-up of fiddles in its ancient orchestra.
In this belief the author of this volume has not only set forth the story of Toledo’s former greatness, but has endeavoured to place before his readers a panorama of the city as it appears to-day, and to show cause for his faith in the greatness of the Toledo of the future.
UNIFORM WITH THIS VOLUME
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
Seville, which has its place in mythology as the creation of Hercules, and was more probably founded by the Phœnicians, which became magnificent under the Roman rule, was made the capital of the Goths, became the centre of Moslem power and splendour, and fell before the military prowess of St. Ferdinand, is still the Queen of Andalusia, the foster-mother of Velazquez and Murillo, the city of poets and pageantry and love.
Seville is always gay, and responsive and fascinating to the receptive visitor, and all sorts of people go there with all sorts of motives. The artist repairs to the Andalusian city to fill his portfolio; the lover of art makes the pilgrimage to study Murillo in all his glory. The seasons of the Church attract thousands from reasons of devotion or curiosity. And of all these myriad visitors, who go with their minds full of preconceived notions, not one has yet confessed to being disappointed in Seville.
The author has here attempted to convey in the illustrations an impression of this laughing city where all is gaiety and mirth and ever-blossoming roses, where the people pursue pleasure as the serious business of life in an atmosphere of exhilarating enjoyment.
UNIFORM WITH THIS VOLUME
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS. DEDICATED BY SPECIAL PERMISSION TO H.R.H. PRINCESS HENRY OF BATTENBERG