PLATE 444PLATE 444.The Picador.
PLATE 444
PLATE 444.The Picador.
PLATE 444.
The Picador.
At Close Quarters.
At Close Quarters.
At Close Quarters.
PLATE 445PLATE 445.A Turn with his Back to the Bull.
PLATE 445
PLATE 445.A Turn with his Back to the Bull.
PLATE 445.
A Turn with his Back to the Bull.
Fixing the Banderillas.
Fixing the Banderillas.
Fixing the Banderillas.
PLATE 446PLATE 446.The Matador.
PLATE 446
PLATE 446.The Matador.
PLATE 446.
The Matador.
The Final Stroke.
The Final Stroke.
The Final Stroke.
PLATE 447PLATE 447.Bull-fight. Leap over the Bull’s Neck.
PLATE 447
PLATE 447.Bull-fight. Leap over the Bull’s Neck.
PLATE 447.
Bull-fight. Leap over the Bull’s Neck.
PLATE 448PLATE 448.Bull-fight. Leap with the Pole.
PLATE 448
PLATE 448.Bull-fight. Leap with the Pole.
PLATE 448.
Bull-fight. Leap with the Pole.
PLATE 449PLATE 449.Bull-fight. Banderillas.
PLATE 449
PLATE 449.Bull-fight. Banderillas.
PLATE 449.
Bull-fight. Banderillas.
PLATE 450PLATE 450.Toreador wounded during a Bull-fight, by Lizcano.
PLATE 450
PLATE 450.Toreador wounded during a Bull-fight, by Lizcano.
PLATE 450.
Toreador wounded during a Bull-fight, by Lizcano.
PLATE 451PLATE 451.Guerrita. Banderillero.Antonio Fuentes.
PLATE 451
PLATE 451.Guerrita. Banderillero.Antonio Fuentes.
PLATE 451.
Guerrita. Banderillero.
Antonio Fuentes.
PLATE 452PLATE 452.Luis Mazzantini and Cuadrilla.
PLATE 452
PLATE 452.Luis Mazzantini and Cuadrilla.
PLATE 452.
Luis Mazzantini and Cuadrilla.
PLATE 453PLATE 453.Bull-fight.Last Moments of a Toreador after being attacked in the Arena, by R. Novas.
PLATE 453
PLATE 453.Bull-fight.Last Moments of a Toreador after being attacked in the Arena, by R. Novas.
PLATE 453.
Bull-fight.
Last Moments of a Toreador after being attacked in the Arena, by R. Novas.
THESPANISH SERIES
Crown 8vo. Gilt Top. Price 3/6 net.
“Mr.A. Calvert’sSpanish Series will be heartily welcomed by all students of Spanish art, for it is not too much to say that never before has an attempt been made to present to the public so vast a number of reproductions from quite acceptable photographs of Spanish works of art at so low a price.”—The World.
“ ...Calculated to give English readers a most comprehensive survey of this fascinating land, and to convey a clear idea of its historic greatness. The get-up of the books is in every way worthy of a series of this magnitude.”—Sketch.
“Every volume in the Spanish Series has taught us to expect a high standard of excellence.”—Daily News.
UNIFORM WITH THIS VOLUME
EL GRECO
A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
In a Series such as this, which aims at presenting every aspect of Spain’s eminence in art and in her artists, the work of Domenico Theotocópuli must be alloted a volume to itself. “El Greco,” as he is called, who reflects the impulse, and has been said to constitute the supreme glory of the Venetian era, was a Greek by repute, a Venetian by training, and a Toledan by adoption. His pictures in the Prado are still catalogued among those of the Italian School, but foreigner as he was, in his heart he was more Spanish than the Spaniards.
El Greco is typically, passionately, extravagantly Spanish, and with his advent, Spanish painting laid aside every trace of Provincialism, and stepped forth to compel the interest of the world. Neglected for many centuries, and still often misjudged, his place in art is an assured one. It is impossible to present him as a colourist in a work of this nature, but the author has got together reproductions of no fewer than 140 of his pictures—a greater number than has ever before been published of El Greco’s works.
VELAZQUEZ
A BIOGRAPHY & APPRECIATION. WITH 136 PLATES
DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ—“our Velazquez,” as Palomino proudly styles him—has been made the subject of innumerable books in every European language, yet the Editor of this Spanish series feels that it would not be complete without the inclusion of yet another contribution to the broad gallery of Velazquez literature.
The great Velazquez, the eagle in art—subtle, simple, incomparable—the supreme painter, is still a guiding influence of the art of to-day. The greatest of Spanish artists, a master not only in portrait painting, but in character and animal studies, in landscapes and historical subjects, impressed the grandeur of his superb personality upon all his work. Spain, it has been said, the country whose art was largely borrowed, produced Velazquez, and through him Spanish art became the light of a new artistic life.
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. WITH 220 PLATES
This volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a picture gallery which is considered the finest in the world. It has been said that the day one enters the Prado for the first time is an important event like marriage, the birth of a child, or the coming into an inheritance; an experience of which one feels the effects to the day of one’s death.
The excellence of the Madrid gallery is the excellence of exclusion; it is a collection of magnificent gems. Here one becomes conscious of a fresh power in Murillo, and is amazed anew by the astonishing apparition of Velazquez; here is, in truth, a rivalry of the miracles of art.
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VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 413 PLATES
The glory of Valladolid has departed, but the skeleton remains, and attached to its ancient stones are the memories that Philip II. was born here, that here Cervantes lived, and Christopher Columbus died. In this one-time capital of Spain, in the Plaza Mayor, the fires of the Inquisition were first lighted, and here Charles V. laid the foundation of the Royal Armoury, which was afterwards transferred to Madrid.
More than seven hundred years have passed since Oviedo was the proud capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia, though no longer great, has still all the appurtenances of greatness, and and with her granite massiveness and austerity, she remains an aristocrat even among the aristocracy of Spanish cities. Zamora, which has a history dating from time almost without date, was the key of Leon and the centre of the endless wars between the Moors and the Christians, which raged round it from the eighth to the eleventh centuries.
In this volume the author has striven to re-create the ancient greatness of these six cities, and has preserved their memories in a wealth of excellent and interesting illustrations.
VALENCIAAND MURCIA
A GLANCE AT AFRICAN SPAIN, WITH 300 ILLUSTRATIONS
Every traveller to the fertile Provinces which form the subject of this volume has been forcibly impressed by their outward resemblance to the more favoured parts of Northern Africa. And here, only to a degree less than in Andalusia, the Moors made themselves very much at home, and have left behind them ineffaceable impressions.
In this delightful region the dusky invaders established themselves at Valencia, which they dubbed the City of Mirth. The history of the land is alike a fevered dream of mediævalism. Across its pages flit the shadowy forms of Theodomir, and the Cid and Jaime lo Conqueridor, standing out against a back-ground of serried hosts and flaming cities. The people to-day are true children of the sun, passionate, vivacious, physically well proportioned. The country is a terrestrial paradise, where the flowers ever blossom and the sun ever shines. To-day the Valencian supplements the bounty of Nature by enterprise and industry. His ports pulsate with traffic, and side by side with memorials of the life of a thousand years ago, modern social Spain may be studied at Alicante and El Cabanal, the Brighton and Trouville of the Peninsula.
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THE ROYAL TAPESTRIES
AT MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE COLLECTION OF BEAUTIFUL TAPESTRIES IN THE ROYAL PALACE AT MADRID. WITH OVER 200 PLATES
The Royal Palace at Madrid contains the most valuable and interesting collection of Tapestries in Europe. These were for the most part woven in Flanders, some in the early fifteenth century, at a time when the industry in that country had reached its zenith. At a later period the work of the Flemish artists was imitated in Spain itself with no little success. Among the designers of these superb works of art were Quentin Matsys, Pieter Breughel, and the Divine Raphael himself. Not artistically only but historically the collection is of rare interest.
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID. WITH 386 PLATES
Although several valuable and voluminous catalogues of the Spanish Royal Armoury have, from time to time, been compiled, this “finest collection of armour in the world” has been subjected so often to the disturbing influences of fire, removal and rearrangement, that no hand catalogue of the Museum is available, and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures.
GRANADA AND THE ALHAMBRA
WITH AN ACCOUNT OF THE MOSLEM RULE IN SPAIN AND OF THE ARCHITECTURE, AND THE DECORATION OF THE MOORISH PALACE, AND 460 PLATES
This volume is the third and abridged edition of a work which the author was inspired to undertake by the surpassing loveliness of the Alhambra, and by his disappointment in the discovery that no such thing as an even moderately adequate illustrated souvenir of “this glorious sanctuary of Spain” was obtainable. Keenly conscious of the want himself, he essayed to supply it, and the result is a volume that has been acclaimed with enthusiasm alike by critics, artists, architects, and archæologists.
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LEON, BURGOS AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 462 PLATES
In Leon, once the capital of the second kingdom in Spain; in Burgos which boasts one of the most magnificent cathedrals in Spain, and the custodianship of the bones of the Cid; and in Salamanca, with its university, which is one of the oldest in Europe the author has selected three of the most interesting relics of ancient grandeur in this country of departed greatness. Leon to-day is nothing but a large agricultural village, torpid, silent, dilapidated; Burgos, which still retains traces of the Gotho-Castilian character, is a gloomy and depleting capital; and Salamanca is a city of magnificent buildings, a broken hulk, spent by the storms that from time to time have devastated her.
CATALONIA AND THE BALEARIC ISLANDS
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 250 PLATES
Catalonia is the Spain of to-day and of the future. There are those who believe that Catalonia contains all the elements essential to the complete regeneration of Spain, and that she will raise the whole country to her industrial level. But the old county of Barcelona has a glorious and stirring past, as well as a promising future. Her history goes back to the days of Charlemagne, and has to tell of merchant princes and of hazardous commercial enterprise reminding one of the Italian maritime republics. The Balearic Islands, one of which (Minorca) was long an English possession, constitute one of the most flourishing provinces of the Kingdom. Delightful as a place of sojourn or residence, Majorca and her sister isles reveal many and conspicuous traces of that prehistoric race which once offered bloody sacrifices to the Sun on all the shores of the Inland Sea.
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE, MONASTERY AND MAUSOLEUM. WITH PLANS AND 278 PLATES
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears its gaunt, grey walls in one of the bleakest and most impossible districts in the whole of Spain, was erected to commemorate a victory over the French in 1557. It was occupied and pillaged by the French two-and-a-half centuries later, and twice it has been greatly diminished by fire; but it remains to-day, not only the incarnate expression of the fanatic religious character and political genius of Philip II., but the greatest mass of wrought granite which exists on earth, the leviathan of architecture, the eighth wonder of the world.
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GALICIA
THE LAND AND THE PEOPLE. A HISTORICAL AND DESCRIPTIVE ACCOUNT. ILLUSTRATED
The old kingdom of Galicia may not inaptly be termed the Wales of Spain. Its people approximate closely to the old Celtic type, with a large admixture of the Teutonic blood of that strange forgotten tribe, the Suevi, who held sway here for two centuries. Though every traveller in Spain has met the sturdy patient Gallegos in the capacity of porters, servants, and workers, few trouble to visit their country, a pleasant land of green hills, deep valleys smiling lakes, brawling streams and long fjords like gulfs.
ROYAL PALACES OF SPAIN
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF THE SPANISH KINGS. WITH 164 PLATES.
Spain is beyond question the richest country in the world in the number of its Royal Residences, and while few are without artistic importance, all are rich in historical memories. Thus from the Alcazar at Seville which is principally associated with Pedro the Cruel, to the Retiro, built to divert the attention of Philip IV. from his country’s decay; from the Escorial, in which the gloomy mind of Philip II. is perpetuated in stone, to La Granja, which speaks of the anguish and humiliation of Christina before Sergeant Garcia and his rude soldiery; from Aranjuez to Rio Frio, and from El Prado, darkened by the agony of a good king, to Miramar, to which a widowed Queen retired to mourn: all the history of Spain, from the splendid days of Charles V. to the present time, is crystallised in the Palaces that constitute the patrimony of the crown.
VIZCAYA AND SANTANDER
SOME ACCOUNT OF THE CANTABRIAN LAND AND OF SPANISH NAVARRE. BY ALBERT F. CALVERT
Whether or not the Basques be the aboriginal inhabitants of the Peninsula, they are at least the oldest of its peoples, and among the most interesting. Their language, their customs theirfuerosof local code, above all their mysterious origin, have been the themes of discussion and speculation among the learned for centuries—and are likely to continue so. Meanwhile they flourish exceedingly, and their towns, or at least their sea-ports hum with life and energy.