Picturesque Spain: Architecture, landscape, life of the people.

The Project Gutenberg eBook of Picturesque Spain, by Kurt Hielscher This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Picturesque Spain Architecture, landscape, life of the people. Author: Kurt Hielscher Release Date: Mar 30, 2021 [eBook #64959] Language: English Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK PICTURESQUE SPAIN *** PICTURESQUE SPAIN PICTURESQUE SPAIN ARCHITECTURE * LANDSCAPE LIFE OF THE PEOPLE BY K. HIELSCHER T. FISHER UNWIN LTD LONDON : : ADELPHI TERRACE MOST HUMBLY DEDICATED TO HIS MAJESTY KING ALFONSO XIII. OF SPAIN Spain is one great open-air museum containing the cultural wealth of the most varied epochs and peoples. On the walls of the Altamira cave is blazoned that much admired steer painted thousands of years ago by men of the Ice Age. In Barcelona stand the fantastic buildings of neo-Castilian present-day art. Celts, Iberians, Romans, Carthaginians, Moors and Goths have fought and struggled for supremacy in Spain. Of all this the stones tell us to-day. They are the chronicles. They relate of bitter strife; of the culture and art aspirations belonging to times gone by. Much has vanished into dust and ruin. That which has survived time’s fretting tooth serves as a giant bridge to lead us back to the past. Fate was kind enough to let me spend five years in Spain. Caught there by the war while engaged in studies, I was cut off from home. I made use of my involuntary stay to become acquainted with the country in its furthermost corners. I roved to and fro from the pinnacles of the Pyrenees to the shores of Tarifa, from the palm forest of Elché to the forgotten Hurdes inhabitants of Estremadura. On all my lonely wanderings I was accompanied by my faithful camera: we covered over 45000 kilometres together in Spain. We kept our eyes open diligently. I say we, for in addition to mine was a precious glass eye in the shape of the Zeiss lens. Whereas my eyes only made me the intellectual recipient of what we saw, that of my travelling companion made it a pictorial permanency. I took over 2000 photographs during our peregrinations. This volume only presents a small selection. It was not easy to make the final choice. Many a picture had to be omitted to which I was attached, either for its peculiarity or its character. I went at no one’s instigation through Spain but that of my own in search of the beautiful. I was not guided by any constraining professional principles. Beautiful art treasures, geographical peculiarities, enchanting landscapes, interesting customs that attracted my attention were retained by my camera. I followed the same lines in making my selections for publication. I entitle this volume “Picturesque Spain". Much will be unknown to many. I begin however with a spot famous throughout the world.--And yet I was bound to. Like the pilgrim who is drawn to the fabled Fontana Trevi once he has drunk of its waters, so too was I drawn again and again to Granada in my wanderings. I believe too that I have succeeded in presenting the Alhambra from one or two different points of view. Who indeed could exhaust this well of beauty? Nor could I pass heedlessly by Cordoba, Seville and Toledo, for these towns are starting points.--Finger-posts to unknown Spain. Without these monuments of ancient times, those parts of Spain situate far from the high-roads remain an almost insolvable riddle. My pictures must speak for me. Those who know how to ask them will find that they tell much. For this reason I shall limit myself to but a few initiatory words. They serve to connect the known with the unknown; to throw light on the paths along which I journeyed in Spain. =Granada!= Thy name is music; a joyous chord of beauty! To pass the spring within thy gateways is to walk the heights of life. Spring has cast a shower of blossoms over the town and woven a delicate green carpet around the Alhambra. How many many centuries has it not worshipped thus yearly at the feet of the castle? Long ago passionate Moorish women decorated their raven hair there with rosy almond blossoms.--It is long since that the glory of those days has departed. Perhaps this is why the castle walls look down so sadly at the beauty of this blissful vernal soil. Bidding defiance in the grandeur of their strength the towers of the Alhambra arise. Their fiery red lights skywards like the flames on giant altars.[A] Is it possible that these massive cyclopean walls should hide a fairy-land? Impatiently we climb the castle mount. Reaching an old stone gateway ornamented with pomegranates, the noise of the streets is left behind as we enter a yew grove whose ancient giant stems are ivy-grown; blue myrtle covers the ground, the lights gleam golden through the foliage, the wind murmurs among the branches, nightingales sing in the boscage, swallows dart twittering over the tree tops, water hurries babbling down the hilly slope. All this seems like a miracle in Spain so poor in forests. It is as though another world had opened its gates. The great Gate of Judgment is passed, and an inconspicuous door leads to the Court of the Myrtles. Here one feels surrounded by the spirit of the Orient. Delicate jasper and alabaster columns support the airy arches which are swung like lace veils from arcade to arcade. The emerald-green waters of the fountain gaze dreamily skywards and at all the bright beauty of the scene. Then there is the Court of the Lions, subject of so many songs, with the filigreed architecture of its covered walks. Enchanting in its delicate tracery and beauty, it is a fairy-tale, a poem in stone, infinitely rhythmic with music. And indeed, music is the only language that can render such beauty. The magnificent halls are full of a wealth of ornamentation. The walls are rainbow-like with the colours of Persian carpets and Cashmere shawls. Arabic inscriptions are scrolled along these labyrynths of colour, praising in exalted words the mystic beauty of the halls. One runs joyously: “God has filled me with such a plentitude of beauty that even the stars stay in their course enchanted to gaze on me." Once beautiful sultanas looked out from the “Seat of Admiration" (as the Arabs called that jewel of the Alhambra, the Mirador de Daraca,) into the pretty garden filled with the heavy scent of roses, jasmines and oleanders. A swaying mass of tangled climbing plants are festooned from laurel to cypress, and from cypress to orange-tree. In the middle there is a marvellously delicate fountain basin from the edges of which the water slides and drips with tuneful sound as if it fain would tell of long forgotten beauteous days. We leave the glittering fairy-palace full of memories of the Arabian Nights, and our lips whisper the wish of the Arabic poem writ over a little niche: “May Heaven’s blessings rest upon these castle halls As long as pilgrims wend their way to Mecca’s walls!" Nay, as long as clouds sail the skies, and seekers after beauty rove on earth! This is the mood one is in when climbing further up the mountain to the Moorish summer palace, the Generalife. We are met, as it were, and shown the way by a double row of slim black-green cypress--dark trees of silence. The Generalife is enthroned far up on the heights, and embedded in terrace-shaped gardens. The gardens! In them nature has enfolded all her abounding wealth of colour. Crimson-ramblers, wistarias, vines and ivy smother the walls. Mangolias, oleanders, almond trees, laurels, cypresses, araucarias, olive trees, agaves, palms and mimosa vie with one another for precedence. Flaming pomegranate blossoms, blood-red roses, violet mallows, blue fleurs-de-lis, white jasmine, yellow narcissi, and golden oranges in dark green foliage are a riot of colour. Ball shaped myrtles surround the little fountain, listening to the babbling of its silver waters, and in the twigs the song of birds greeting nature in her holiday garments. Wondrous peace broods o’er this land. Through trees and halls and wall arches there is a magnificent view of the Alhambra and the multi-coloured houses of the town at its feet, and further on to the picturesque Albaicin, and over cactus-grown Sacromonte with its gypsy cave-dwellings, and still further to the snow-capped Sierra Nevada. Another glance shows the fertile plains of the Vega through which the clear waters of the Genil flow. However full of radiant happiness the day may have been, it is outshone by the sinking sun casting a golden halo over the country-side. The walls of the Alhambra, once so fiercely fought for, stand forth as though dipped in blood. The distant mountains glitter golden-bronze, and the snowy sides of the Sierra Nevada scintillate in flames. Slowly the fair fires die down, and a chill spectral white falls upon the snow summits. The eventide is there and with it the stars. The Spaniards have coined a proud sentence: “Quien no ha visto Granada, no ha visto nada!" He who has not seen Granada has seen nought! And I should like to add: He who has seen Granada and the Alhambra on sunny spring days, bears with him a talisman to ward off sorrows in dull days, and can never be completely unhappy again in life. * * * * * The =Mosque, Cordova=. A nation set forth to convert the world to its faith. Its battle-cry in this holy war was Allah! Victory after victory was gained, till finally the triumphal march of fanaticism was stopped by the opposing faith of its religious adversaries. The waves receded, and the Cross triumphed over the Crescent. This struggle of two faiths and two continents left indelible marks on the fields of battle. These wars had been carried on in the name of God. Sacred edifices were erected to the victor. On the ruins of the mosque arose the most beautiful cathedral in the world as token of victory. Spain never would have received the impress she bears to-day without those bitter religious wars. Cordova was the jewel among Moorish occidental towns, destined to outshine the sister cities Damascus and Bagdad in the far Orient. It was here that all the wealth and pomp of Moorish domination was displayed. Cordova’s population exceeded a million souls. It was the seat of Arabic art and profound learning; the centre of religious life. The muezzin called the faithful to prayers from 3000 minarets. Cordova became a new Mecca which drew crowds of pilgrims from the East to the West. What has now become of this metropolis? A shadow! Wandering through narrow streets of the town one seems to be in Cordova of a thousand years ago. The old cobbled pavements are probably the same, the houses too, behind whose trellised windows the harem was hidden. The old crooked, narrow and confused mass of streets are still there. Once in a while a palm is seen leaning over white walls across the street; open doors offer views into pleasant court-yards. The Mezquita, the Mosque, stands like a dark rock surrounded by the white trembling light of the sea of houses. A wonderful gateway leads to the Orange Court. The fruit and flowers of these trees perfume the air with incense. High up, backed by the blue sky, the palm trees are waving in the wind. Fountains are plashing. Once they served to refresh burnoosed dusty and foot-sore pilgrims come from afar to serve their God here. The faithful bathed in these fountains before purifying their souls in Allah’s house.--Now the fountains are perpetually surrounded by the town maidens who come to fetch a cooling draught in their finely curved earthenware jugs. The impression on entering the forest of columns that support the mosque is both unexpected and overpowering. Is this not a petrified palm wood? And does not this stony grove incorporate the conception of infinity? There is a mystic dusk among these columns that lends to them an endless space of silence and eternity: the symbol of belief. It is to the credit of the victorious Christians that they did not cool their religious ardour by destroying this Islamitic place of worship. It is extremely regrettable that their descendants have treated this monument of Mohammedan culture with such carelessness. The mosque became a Christian church. Where once the cry of “Allah illah Allah!" echoed thousandfold, “Praise be the Lord!" is now sung. The first deed was to erect altars in the door-niches. Then seventy pillars were laid low, and a choir with the High-Altar erected in their stead: a church within a church. Charles V. was reluctant to give his permission for these alterations. When he came to Cordova and saw what had been done, he exclaimed in perturbation: “What you are building can be seen anywhere. You have destroyed what was unique in the world."[B] Untouched in its pristine beauty, hidden in semi-darkness, not far from the Holy of Holies of the Christian church, stands the Holy of Holies of the mosque, the Mihrab or prayer-niche in which the Koran was kept. It is a jewel of Moorish art. Whereas the rest of the mosque columns are connected by double horse-shoe arches, banded in red and white, here the beautifully chased dentated arches rise straight to the lovely curved dome. The niche socle is white marble of lace-like texture above which a profusion of colours glow: blood-red, rust brown, dark blue violet interwoven with a sublime sheen of gold. Perhaps the mosaic walls and lettered scrolls upon them have in some mystical manner caught the light of the thousand swinging lamps that once had cast their soft rays through the dim shades of space. For six long centuries all these glowing colours were hidden. Before Cordova was surrendered to the Christians the sanctuary was walled up. It was only discovered in 1815. We pass entranced along the colonnaded aisles, enthraled by the wondrous beauty of this miracle in stone. It is like awakening from a fantastic dream to set foot again in the blinding sun of the silent town that has become the shrine of one of the most precious jewels in the world (50-60). * * * * * =Moorish scenes far from the beaten track=: A burning hot day in August.--The air trembles in the heat over the olive trees. The day hangs heavy in the blue vault of heaven. I had been wandering for long long hours, when all of a sudden my eyes were caught by a fata morgana: wafted perhaps from the coast of Morocco? No, it was no mirage. Impossible! Yet it did not disappear as I approached. Strange indeed was the scene: houses scattered like dice over a mountain (91). A timid lad of whom I asked the name of the spot, slunk shyly past me. My map was of no assistance to me. At last I was informed that I had arrived at “la muy noble y bel ciudad Mochagar, llave y amparo del reino de Granada". “What," I asked “this hamlet still calls itself the key and guardian of the kingdom of Granada? But that kingdom was destroyed half a thousand years ago when the Moors were driven from Granada." A miracle must have happened here that time should have remained stationary. Here was the pure Moorish impress. Most of the houses are windowless. The flat roofs are sometimes the road to the higher houses, and always their foot-stool. And although the water of baptism has wetted the women’s hair, they pass veiled in the Moorish fashion along the streets. With tucked up skirts and naked legs they step lightly along the steep alleys, returning from the fountains with water amphorae. They eye the foreign trespasser suspiciously and curiously. And when I requested the veiled women to let me take their photographs they stared at me, for they had never even seen a camera. I showed them a picture, and explained that I wanted to have theirs too. They refused. Finally one girl agreed. But an old scold hurried up and beat her for her frowardness: throwing herself away like that! In this Christian country I found shamefacedness and adherence to the laws of Mohammed. Let no mortal body serve as an image! An old man with whom I spoke about this incident told me that if a girl no longer veiled her face, but hid her legs, there was not much left to spoil about her. But I was determined that I would not leave without a picture of one of the veiled beauties. At last I succeeded, with the consent of the mother of one of the girls. The eye of my camera winked slyly when I took my snap-shot. In thanking the girl, I held out my hand, but she seemed quite taken aback, and hid her hands behind her. I pressed her to shake hands. I should not do her any harm. But her mother apologized for her saying: “No, she doesn’t mean to be rude, but it is not the custom in our country for a girl to let a man touch her hand before marriage." Perhaps this little incident explains the once much-used expression employed by wooers “will you give me your daughter’s hand?" (90) * * * * * =The Palm Forest of Elché= (100-103). The only palm forest in Europe. It numbers more than 115000 trees, and is also a Moorish heritage. They caused the water to flow to this spot from a distance of 5 kilometres in order to create an oasis here in the desert--for the district is to-day little else. Palms must grow with their roots in the water and their crowns in the glaring sun. For years no rain has fallen on this spot. The view is strange from the church-tower down on white houses over which the palm tops are spread like a canopy. Beyond the palm forest the grey-yellow desert plain surrounds this isle of peace. In the far distance the blue ocean sleeps in proud majesty. Death and life are here in close juxtaposition. * * * * * =Easter in Seville.= The train is rushing southwards over the arid Castillian high plateaux, which in summer are as empty as a beggar’s palm. The bare treeless Mancha has put on its modest spring garment which now shows in the distance like delicate green velvet. A short-lived joy! In but a few weeks the scorched ground will again be covered with a yellowish-gray pall. At present the fresh breeze comes down from the mountains of the Sierra de Guadarrama. Scarcely, however, has the train wound its way through the wild cañons of the Sierra Modena, when spring opens wide her gate. A warm damp hot-house atmosphere is wafted into the carriage windows. We are soon surrounded by meadows that are like a great flower-garden in which the blood-red poppy and golden-yellow primrose struggle for supremacy. Once in a while a village is seen dreaming like Sleeping Beauty among the flower groves. For a long stretch agaves and cacti fringe the track. Finally Seville sends forth her messengers in the shape of blossoming rose-gardens and orange groves laden with their ripe golden fruit. An ancient mangolia stretches a rosy blossom branch towards us, lingering on in its old age in this scene so full of yearning life. Tall slim palms nod to us, and yet new children of Flora crowd upon us to bring us Seville and spring’s friendly welcome. Heedlessly the train clatters past all this beauty towards the white maze of Seville’s houses, above which towers that beautiful emblem of the town, the Giralda. At last the engine snorts noisily into the station. But how different is everything to-day in front of the station. No yelling hotel porters, no carriages awaiting the passengers, no electric-car with clanging bell, no hooting of motor-cars.--The square is lifeless at this early afternoon hour. It is the “Semana santa", Passion-week, that has cast this almost oppressive spell of silence over the great city. Even the brazen voices of the church-bells are muffled, as though that had gone into sacred mourning. The wooden banging of the Matraca calls hoarsely to prayers with dry and unmelodious voice. The further you penetrate into the town, the more the sacred holiday stillness is ousted. All Seville is crowding, chattering and laughing to the Cathedral to see the procession. At last you have to stop. There is no getting through the impenetrable human wall. It is a strange procession that is passing by, as though conjured up from the Middle Ages. Huddled figures stalk past slowly and stiffly. They appear like spectres. Old pictures of witches and inquisitionary trials are recalled to my mind, for nowhere else have I ever seen such terrifying apparitions; never in life. Black cowls are wrapped around their bodies, and on their head are huge black conical hats a yard high. Long sable cloths, in which only two eyelets are pierced, are suspended over their faces down to their waists. A corded rope is wound round the penitential garments. The hands of the apparitions clasp rough wooden crosses, or metal staves, as tall as themselves. These figures march in front of a portable dais on which a life-like statue of the Virgin Mary is enthroned clad in magnificent garments thickly encrusted with gold.--The procession stops. The dais is lowered. A young woman steps from the crowd, turns her eyes to the Queen of Heaven and sings her praise. When the twenty or thirty bearers who carry the heavy dais on their shoulders, and who are hidden by drapery suspended round the frame, have rested enough, the signal to start is given by knocking on the front of the dais. A jerk, and the procession moves on a few paces. One religious body of brethren follows on the heels of the other. Each of them wear their own distinctive multi-coloured badges. Some have a blue pointed hat, others white, brown, violet or other coloured garments. Next to a father his ten-year old son in the same vestments is often seen, as well as the miniature penitent of fifteen in the procession. The various brotherhoods are filled with an ardent ambition to outdo the others in the magnificence of their Pasos as the daises are called. The whole story of the Passion from Gethsemane to the burial of our Lord, is shown on them as they pass before our eyes.--Of course the clergy in full canonicals, as well as the town and state officials are also represented in the procession. At intervals, groups of Roman legionaries of Christ’s day appear, then angels, and St. Veronica carrying the kerchief. Interspersed bands bray and flourish the same march without cess. Each brotherhood in the procession is cerimoniously received by the chief authority of the town in Constitution Square which looks like a huge theatre auditorium. It is filled with rows of chairs of which not a single one is empty. The surrounding balconies are a sea of heads. Hour by hour passes. Night falls. And now hundreds of wax-candles blaze forth on the daises, and each penitent carries a gigantic taper in his hand. Thus this endless and mysterious procession of lights moves on to the cathedral, passes through its magnificent nave, and out again through the other doors into the streets. The cathedral has opened its treasure-house for the “Semana santa" and displayed all its pomp. The candles of the gigantic bronze candelabrum (the renowned Tenebrario) as well as on the altar the sacred wax-candle weighing several hundredweight. A huge sepulchre has been erected to the glory of Christ, in which the Holy of Holies is kept during Passion week. Hundreds of lamps and candles illuminate the golden-white four-storey edifice, which is over 30 metres high, and flooded with a wondrous glowing halo. The celebrated miserere of Eslava is performed in the cathedral on the night of Good Friday. But, alas! it is impossible to enjoy the sacred tunes owing to the general noisy inattention around. Weary forms are sitting on the steps of the chapels and around the grave of Columbus. Here a mother is suckling her infant, there an animate heap of rags is wrapt in sleep, and all the while there is a continual pushing and elbowing to get to the front. However we must not judge of all this in the light of serious northern church festivals. This would only lead us to drawing both severe and wrong conclusions. Perhaps this manner may be an historical development. Has not our Teutonic Christianity also wedded itself to much that is ancient heathenism? For instance Christmas and the winter solstice festival. Much that is Moorish obtains in Spain to this day. Perhaps even--unconsciously--the conception of the purpose of a place of worship. Was not the mosque often enough a secular place of meeting for the Moslems, and at the same time a university? However, enough of conjectures. It is a fact that the worship of the Lord and the Virgin Mary is for the Spaniard a service of love. Whether the occasion be Trinity or Passion week, it is one of joyful praise of Heaven. I shall always remember one quiet hour permeated with the holy spirit of Easter among these joyful and yet pious Easter days.--I had mounted the Giralda, that jewel of erstwhile Moorish minaret architecture, the cathedral tower. At my feet lay the white sea of houses. The town was bathed in sunshine. The beautiful blue dome of heaven spread its mighty arch over the holiday-making land as though protecting and blessing it. The faint music of the mass far below was wafted up to me, when suddenly a booming vibration filled the air, and all the tower bells, which had been silent so long, peeled out across the sunlit country: Christ is arisen! The sister bells of all the other towers echoed the message across the spring clad country. * * * * * =The Patio= (40, 42-49). It is a favourite expression to call Seville the town of bright court-yards. Those court-yards which light and fill the house with sunshine. The Sevillian house, or rather the Andalusian house, is not a building such as our houses, fronting on the street, but one that fronts to an inner court, turning its back on the street. The outsides of the houses are bare of ornament, almost windowless; a secret to the passer-by. All their beauty is displayed yardwards. There wealth obtains in all its pomp, and poverty unfolds its modest ornaments. The narrow passage--the Zaguan--leading from the street to the court is closed by a railed gate. The gallery--to which access is gained by steps leading from the court--is supported by columns. The rooms of the upper stories lead to the gallery. To cool the air there is a fountain in the middle of the court surrounded by palms, araucarias, laurels, orange-trees, oleanders and flowers in pots. The walls are covered with multi-coloured tiles. Against them brightly up-holstered furniture, chairs, and sometimes even a piano; the inevitable guitar is in a corner. Climbing plants festoon the court. Practically this is the centre of the whole family life. Friends are received here, hours passed in argument, singing, music and dancing--whether in company or alone, dreaming away the hours, listening to the plashing of the fountain, it is in the court--the soul of the house--that most time is spent. * * * * * There is nothing commonplace about Spanish houses. They still retain their peculiarity impressed on them by the patina of age. Many have tumbled down under the burden of years. Many are dead; but they “died in beauty". The period of their prosperity still lingers on in the churches and ornate façades of deserted squares. Toledo is the most Spanish of towns. It was once the heart of the country, pulsating with the great rhythm of epic history. But its heart no longer beats. Resting on steep granite hills above the deep Tajo valley stands the yellow-grey heap of houses as though rooted in the rocks. Two gigantic bridges span the river. Narrow alleys lead up hill and down dale; many-cornered and dark. The whole town seems in a fighting mood. Huge gateways and towers, the houses fort-like, the doors studded with heavy nails. Indeed, there is hardly a town that has seen so many battles rounds its walls. Spain’s history has passed over it with heavy steps. And to-day? Rent walls, ruin and silence: the town the accumulated wreckage of a thousand years (139-148). Segovia, Toledo’s sister city is situated similarly on rocks arising abruptly from the plain. It is dominated by a great cathedral tower, and guarded by the well-proportioned Alcazar which stands forth like a fairy castle. A miraculous building, erected one would say to brave eternity in the days when Christ was born. But otherwise Segovia is different to Toledo. It is the Nuremberg of Spain, gay in its leafy setting (157-164). There are other brave old companions-in-arms of these two veterans, dating from ancient war days: circumvallated Avila (165-169), Cuenca and Albarracin with their swallow-nest houses clinging to lofty crags (120, 121, 192-194), Daroca protected by two mountains over which the whole of the battlemented walls have climbed (195-197), Alquezar in the Pyrenees, the northern outpost of the Moors in Spain (210-212), Sigüenza, Jerica, Trujillo, Caceres, Niebla, Carmona, Martos, Antequera, and many bold castillos. Ronda is the most boldly situated town lying on a high plateau encircled by a wide mountain arena (62, 63). Running through the rocky plateau is a huge crevice which looks as though it had been split in rage by the mighty fists of giants. The streams thunder down in all their wild force over the boulders, hammer threateningly against the rocky walls, break into scintillating spray, rush round in whirlpools, and hurry on their course. And in close proximity to all this turmoil, the rocky walls stand unshaken in their immobility against the sky-line, an emblem of eternity cast in stone by the hand of God. The rainbow in the spray has been copied by man in the shape of a bridge high over the abyss joining the rocky heights upon which the town stands. Let us pass from these stubborn old battle towns to a more smiling scene: San Sebastian (286-290) known throughout the world for its incomparably beautiful situation on the sea. The view from Monte Ulia, a mountain guarding the entrance to this paradise, is wonderful beyond words. Here nature has modelled and painted a masterpiece. The sea hugs the land in two gracefully curved bays and catches the beauties of the town in the reflection of its waters. * * * * * =Cave-dwellings and the simple life.=--This time I decided to leave the destination of my wanderings to chance. I could have chosen no better guide. I set out long before the dew was dry, or the sun had risen. The palm trees were just beginning to shake themselves in the early breeze when I approached a strange rocky landscape. Dark holes in the rock stared at me like dead eyes. But nevertheless life was hidden there. Human forms stepped out of the holes to greet the morn. What I saw was a towering rock wall with hundreds of cave-dwellings next to each other and over each other. Some of them were even five storeys high and approached from the outside (92). Where the rocks were too steep, the approaches had been dug from the inside, and upper storeys created with outlook holes and loggias high up in the rocks. Tunnels had been cut in the soft stone to get from one rock valley to the other. The children were running about in the costume God had given them. But it is not to be supposed that they were troglodytes, and as unaware of culture as those who lived in the ice period. High on the rocks you can read in large black letters on a white background “El Retiro". Every Spaniard knows, at least by name, Madrid’s beautiful park the Retiro. For this reason it seems somewhat of a joke to suddenly come across the name in such a spot far up on the rocks. El Retiro, like Sanssouci, means solitude, retreat, place of rest. An enterprising hotel-keeper has levelled his portion of rocks into roof-terraces where the favourite gossip hour (tertulla) is spent, skittles played, and merry dances performed. Hence the alluring words on the wall for the benefit of passers-by. On another rock is graven the brief significant inscription: “Dios, Pan y Cultura" (God, Bread, and Culture. 92-95). During the course of another stroll I was again equally surprised. I saw smoke arising in the distance from ground that looked like fantastic mountain erosions. Surely this was not the site of volcanic activity? Indeed this was out of the question. And on drawing nigh I discerned human figures moving among the columns of smoke. I then saw to my astonishment that little smoking towers--not unlike champagne corks in shape--were chimneys projecting out of the ground. I had again strayed among cave-dwellers. What Homeric primitiveness was there! The valleys are the streets, the mountain sides the fronts of the houses, the pinnacles villas. Front gardens are once and a while supplied by giant cacti and spiky agaves. My wanderings in this interesting world-forgotten primitive spot lasted for hours as I passed up and down the so-called streets (96-99). My greetings were met with a cheerful response, and I was invited to enter a cool cave, provided with a drink of fresh water, and shown the treasures of the modest household: the bed on the ground, the hearth with a copper kettle, the earthenware pitcher, the stool, the oil-lamp and the image of the patron saint. “Now as to work?" I asked. “Well we don’t do too much in that way. We cultivate what we need over there where the river runs. We make bricks for the towns where the people live in houses."--Truly a picture of an enviable state of modest requirements. There are still those who are satisfied with the tub of Diogenes. Indeed you may find many such all over Spain. I remember when at a little railway station finding only a lad deep in his after-dinner nap. For the rest, there was no one else to take my luggage, so I woke him up and asked him to help me. He stretched himself in all the bliss of laziness, took a couple of coppers out of his pocket, and showing them to me said: “I’ve earned 25 centimos to-day already; that’s all I need," turned over, and went to sleep again. I continued on my way recalling the words of the Indian philosopher: “He who is without wants is nearest to God." There is no cause to shrug one’s shoulders. Diligence and happiness are but relative conceptions. And just the poorest in Spain understand the art of doing nothing combined with extracting joy from next to nothing. They need a little shade in summer, and the sunshine in winter; a piece of bread, a tomato, a drop of wine. The whole earth with the sky for a roof is their bed-room; the highroad their field of labour. There is no master they would exchange positions with; they are their own masters; masters of their own time--verily a great possession this. Why then should they not spend it generously? “He whom God helps will go further than he who rises betimes" runs a Spanish proverb. And the Bible tells us: “Behold the fowls of the air: for they sow not, neither do they reap, nor gather into barns; yet your heavenly Father feedeth them." * * * * * =Feria in Sepúlveda.=--A bull-fight. There is high holiday in Sepúlveda, (172, 173) an ancient little town far from the turmoil of the great world, and far even from the railroad, which indeed is nearly 100 kilometres away. The feria is the greatest day of the whole year. Men and women crowd into the place on horses and donkeys. Old friends meet again. Once more they see ‘life’. Above all it is the bull-fight that is the greatest attraction. It has been for weeks already the only topic worth speaking about. As however our little town has no arena, the market-place is used instead. All day the lively rat-tat of hammers is heard there. The windows of the picturesque dignified old town-hall gaze smilingly down on the lively scene. At last there is really something worth looking at again. Another long tedious sleepy year has gone by. There is hardly any one who does not go the hour’s walk outside the town to admire the bulls which have come from a long way off, and for the present are being kept at pasture. When the great day has come, every one is up with the sun. The arrival of the savage animals is feverishly expected. The bravest show their courage by going forth to meet the procession. A cloud of dust on the highway announces its approach. And finally forms emerge from it. At the head a picador on horseback with a lance, behind him the black bodies of the bulls surrounded by tame steers, and followed by a second picador. As they rush through the narrow streets to the market-square a mighty cry goes up: “Los toros! Los toros!" Shouting, whistling, howling, yelling, and a general pandemonium rends the welkin. Finally the bulls are secured, and it is only in the afternoon that the longed-for hour arrives. The forenoon has its own pleasures. Young men demonstrate their daring by teasing a young bull specially selected for the purpose, and earn acclamation or mocking laughter as the case may be. These young heroes try to put into practice what they have seen at the Torero; only it is less dangerous. No blood is shed, only torn trousers and bruises are the honorific mementoes of the great day (174, 175). My thoughts naturally harked back to the first bull-fight I had seen--in Madrid. The impression was stupendous: fifteen thousand gay spectators in the great sweep of the arena all impatient for the nerve-racking fight to begin. The arena was filled with the babble of voices. It was a chaos of colours, cloudy lace mantillas, flower-embroidered shawls, fans swaying nervously, jet-black glowing eyes.--Shouts of applause greeted the bull-fighters. Yells saluted the great bull as he rushed in. The game was a risky one for life or death. Deeds of audacity were met with idolatrous cheers, the timid with desolating laughter. All of a sudden a coloured form is tossed into the air. A single scream from a thousand throats.--“Is he dead?" “No!" A sigh of relief.--“Go on!"--The condemned bull is mad with rage, his opponent cold as steel. He wields the mortal instrument, the sword flashes, and a hurricane of applause bursts forth for the victor and his tottering victim. White handkerchiefs flutter from every seat like pigeons. Hats are waved, a shower of flowers descends, and the fêted hero returns thanks, nonchalant and proud.--The trumpets blare and a new fight begins (125, 126). * * * * * =Crossing the Picos de Europa.=--Masses of high mountains with peaks about 2700 metres high rise among the Asturian Cantabrian coast range. They bear the proud name of Picos de Europa (The Peaks of Europe). They are the Dolomites of Spain. But they exceed these considerably in inaccessibility. Tourist facilities in Spain are of a very primitive nature. For this reason there are no shelter huts for mountaineers in the Picos de Europa, and there are likewise no trained guides. There are it is true some game-keepers. Shepherds and miners acquainted with individual parts of the mountains act once in a while as guides. I had been at the gateway of the Picos de Europa when at Covadongo the celebrated place of pilgrimage. Since then the desire had never left me to become acquainted with this demure mountain beauty so alluring and yet so stand-offish in her loneliness. Thus I started for the mountains. My path led me from Unquera through the Deva valley to Potes at the foot of the Picos. I very soon noticed that my task would be no easy one, for shortly after leaving Panes the track winds through a mighty and deep valley known as the Desfiladero de la Hermida. My reception was not a friendly one. The rocky guardian of the valley looked down and frowned at me, and the sky treated me at intervals to a cold shower-bath. In Potes the clouds were low down on the mountain sides on which I was going to test my prowess the next day. But I was so enchanted with the spot, that I willingly renounced the view for that day. The little town is a very ancient spot. It must once have been the seat of many a knightly family. This is attested to by the various Spanish coats of arms on the houses. But those times are now no more. Where once Spanish grandees strutted by with buckled shoes and sword, clodhopping peasants plod along. And the present generation is hardly aware of the plentitude of beauty surrounding it. Bold bridges span the glen. Narrow colonades with overhanging balconies cling to the steep river bank. A multitude of archways offer innumerable enchanting glimpses. A high watch-tower guards the houses clustering at its base. Before the sun had risen on the morrow I had set out. Dark and dismal-looking clouds hung low over the landscape. But the Picos pinnacles had rent them asunder, and suddenly they stood forth in the glory of the rising sun. Dark night lay behind me as I marched towards the sunlight. My guide met me by arrangement at Espinama. He was a grey-headed man with weather-beaten face and smiling eyes. His feet were clad in leather sandals, and under his arm was an ancient umbrella. We soon discussed the itinerary, filled our _rucksacks_ and started for the Puerto de Aliva. The old song came back to me:-- The sun on my way In his golden array Is my fellow and guide. He casts my shadow O’er flowery meadow. I wander world-wide. As we passed on our way, the houses of the village became smaller and smaller. We soon left the last tree behind, and our path led over sweet green slopes, till they too were lost under the stony debris of rocky giants. There was a hunting-lodge close to the foot of the Peña vieja cliff which the king of Spain visits nearly every year when chamois hunting. The day drew slowly to its end. Great streamers curled round the Peña vieja, pale shadows floated by like silver grey cobwebs, and the mist rose and fell with every breath of wind. The billowing fog had already wrapped us in its mighty veil when we reached the miners’ inn at Lloroza. An overseer invited us to spend the night there. And we were right glad to find shelter, in spite of the fact that both the hut and its furniture looked like the first attempts of primitive man to scale the ladder of civilization. The night we spent on the hard ground was not a very restful one, and we were glad when the approach of day called us from our layer. When we left the hut a surprising spectacle met our eyes. The fog which had deprived us of any possibility of obtaining a view the evening before now lay at our feet in the valley. The summits of the mountain rose like islands in the sea of mist. The moment had arrived when day struggled with night for predominance. The full-moon’s silver disc hung in the deep blue of the western sky, and the morning star held its own for a while against the rising light in the east. At last both moon and star turned to pale glass when the sun sent forth his herald rays. The horizon was tinged with pink; long red streamers fluttered from the windows of heaven to greet us, and then the sun rose above the misty expanse, gilded the crests, flooded the eastern pinnacles with the glory of his light, and glowed on the rocky wall to which our hut clung. O wonderful silence of that hour! “A new day beckons us to other shores." For yet a short distance the beaten path used by the king when stalking showed us the way. Then we bent our steps over pathless boulders, sharp edged rocks, mounds of debris, snow-fields strewn among the stony desert with its jagged rock walls and towers. Whole herds of chamois stared in astonishment at the strange intruders in their paradise. For the rest, they showed little inclination to run away. The mountain fastness became progressively more barren and wild in its aspect. An infinitely dismal mood seemed to brood o’er the scene. Yet the magnificence of these mountains augmented from minute to minute. Grotesque stone giants--cast in burning ore by the furnace of high heaven--stood guarding this great grave of nature. Woe to the wanderer whose ignorant footsteps err here! Death lies in ambush in the deep crevices and chasms. At last we halted in front of the monarch of the magnificent mountain empire. His throne stands high in everlasting snow; a golden crown is on his head. His picture is known to all from the most distant mountain valley to the shores of the restless ocean. All admire his beauty, all know his name: Naranjo de Balnes. This huge rock colossus rises 600 metres over its surroundings. Its perpendicular walls show hardly a crevice. And it seems incredible that nevertheless that bold mountaineer the Marqués de Villaviciosa de Asturia climbed to its summit. On our wanderings round this mighty and stubborn rock tower we seemed to be lightened of all earthly burdens high up there in the solitude above the depths of humanity. We climbed up to the Ceredo tower. The rocks were as sharp as knives. Again the ghostly mist rose from the valleys and whirled spectrally around us. It was 5 o’clock and the Cares valley with Cain to where our steps were directed were not yet in sight.--I asked my companion: “How far yet?" “A few hours more" was the not very consoling reply.--The mist, that enemy of mountaineers was getting thicker. And ere long we could not see twenty paces ahead. The feeling of insecurity grew apace. And the sensation of climbing with mist-bound eyes was terrible. Again I questioned my guide. “Severo, is there no hut or shelter on the way?"--“I don’t think so." Once more long minutes of silent groping. At last we were, at any rate for a while, rid of the stony region. Here and there a rocky projection, but it was quite impossible to tell if we were not suspended on it hundreds of meters over a yawning abyss. It was impossible to see anything through that fog. And at a quarter past six it was pitch dark. Suddenly we came across a few low rough huts of unhewn stone huts sheltered by a rock-wall. There at last we could spend the night. But my guide wanted to go on. “Stop!" I cried. “Can we get to Cain to night?"--“I don’t know." “Well then we’ll stay here!" Suiting the action to the word, we crept into one of the huts, crouched down, and slept fitfully through ten endless hours of night. But even they passed. The morning meant a dangerous and nasty descent. We waded knee-deep in wet grass, clambered over ledges with fog all around us. Woe to us had we slipped! Then we got lost and had to stop and climb back with the greatest care. Then we slid down a stony gully in which nearly every step set rocks thundering to the depths below. At last the moist grey mist began to lift. A rift showed the bed of the valley far beneath us, and, as we thought, houses. But no, we were mistaken. They were huge boulders, the wreckage of some avalanche that filled the upper hollow. Down and down we scrambled till finally we broke through the foggy screen. Our goal was at our feet. Cain, strangely walled in by precipitous rocky cliffs rising sheer 1500 metres high. We were there! And we could rest. Some bread and butter was all we could find in the whole village to appease our hunger. We would gladly have rested there a day, but the place was too inhospitable. We had therefore to shoulder our _rucksacks_ again. The distance we had climbed down the day before, we had to climb up again on the opposite rocks of the Peña santa. Hours and hours of strenuous efforts passed till we reached the ridge. We re-descended valleywards in a drizzling rain. Lake Enol was the last spot of beauty to be hidden from our view. It was there we struck the main road, and then marched another 10 kilometres down to Covadonga which we reached as tired as dogs. Night had already cast her shadow over the valley, and the stars were beginning to shine forth. Welcoming lights were seen burning in Covadonga. But it seemed as though we should never reach them. However the prospect of a bed lent us strength, and at half past eight we stumbled painfully over the threshold of a clean hospitable house. I went to bed exhausted, and my restless dreams were haunted with the beautiful and terrible wanderings in the Picos de Europa (266-274). * * * * * =My pilgrimage to the Yuste Convent (153).=--I left soon after midnight, for marching is delightful in southern nights when the glittering stars shed their soft light from the great vault of heaven. In the south the cool night is succeeded by summer days that are the misery of the pedestrian.--The hours melted by but slowly in the furnace heat of the day. I was beset with all possible ills: infernal heat, thirst, and no water. Not a tree or a shrub was to be seen for miles; no shade; hours without passing a house; not a soul abroad; the melancholy mood that comes in the train of solitude. My path was obstructed by a river--at any rate, water--but nary a bridge! So I had to wade, and continue my journey. At last I spied a shepherd. What joy to feel that I was no longer alone! “Is this the right road to Yuste?" I enquired of him.--“Yes, but where doest thou come from, and what countryman art thou?" The good fellow addressed me with the fraternal _tutoyer_, as though we were brothers. When he heard that I was a German he was quite surprised. He willingly agreed to accompany me to the next village, and was quite curious to hear something about my country. The news of the war had penetrated to this remote part of the world. It was charming to listen to the questions of this child of nature. He knew nothing of the three Rs; had never seen a railway, had never left the neighbourhood of his village. We soon met another shepherd on the mountain-side who was just as pleased and interested as the other. And I must say, that wherever I was in Spain, all classes of the population were friendly towards Germans. It was not long before we encountered other wayfarers who joined us, for Sunday enticed them into the village. My entrance was therefore almost a triumphal procession. We entered the inn, ordered some wine, and sat down to a well-earned rest. When I wanted to pay the landlord, he refused, telling me that Pepa had settled the bill. However, this wouldn’t do. And at last he agreed to my paying on condition that the next time I returned I should be his guest. They all shook hands with me most-heartily and I continued joyfully on my way. At last I stood in front of the monastery gates. They were opened, and the white haired abbot rode out on a little donkey, holding a green parasol over his head. I saluted the venerable Father and enquired of him whether I could stay at the monastery for the night. “No", he replied, “impossible."--Discomfitted I exclaimed: “But where am I to go to-day? I have travelled fifty kilometres and have come from Navalmoral."--“What, on foot? Impossible!" “Yes, but I have. I am a German and want to see the spot which the emperor Charles V. exchanged for all the crowns in the world, and where he closed his eyes."--“You are a German? Of course you can’t continue your journey." I was most kindly and touchingly taken care of. I was shown the monastery which had once been destroyed by the French. Decay and mould have continued the work of destruction. But nature’s eternal youth triumphs victoriously amongst the ruins and beautifies the decay of age. And yet this is a place to think about the everlastingness of all things, of the end of all terrestrial happiness.--Once that great monarch who had fled from the turmoil of the world had paced these halls. At supper, I, the infidel sat at the monks’ board and was treated like a brother. The next morning I was awakened long hours before sunrise. A lay brother lit me with a lantern through the dark and ancient park. The monastery gate swung on its hinges, the latch fell heavily, and I was again out in the world all silvery with the moonlight. For a moment I stood entranced.--I heard the mass bell calling the monks to prayers. And the gates of Paradise were closed behind me. * * * * * =The last echoes.=--My wanderings through Spain filled me with the joy of life. She had become my second home. It was with a heavy heart that I left. “O follow me ye southern days ’Neath colder skies and paler stars. And fill my thoughts with golden rays!" The hour of departure had arrived.--It was a wonderful moonlight night in which the little Spanish steamer which was to bear me homewards sailed slowly out of Ferrol harbour. The moon cast a silver bridge over the water, and along it my thoughts fled back to other moonlight nights when she had often shown me the way in picturesque Spain. The lights along the coast shone like the eyes of anxious friends looking a last farewell before darkness closed their lids. And then the little ship ploughed homeward through the eternal waters with the eternal sky above us, and the old old song of the waves accompanied me back to my familiar home. * * * * * And now that days and weeks of cloudy skies hang heavily over my country where the sun is not so generous as in southern climes, my heart is filled with yearning for Spain, with nostalgia for the sun.--Then I look at my pictures, and we hold converse together, and re-live those unfettered days spent in wanderings in sun-kissed Spain. In this volume I send forth my sun harvest. May it cast its light in the hearts of many! May it tell of my love of Spain, and of my heartfelt thanks to her chivalrous people for all their kind hospitality! ALPHABETICAL LIST OF NAMES AND PLACES Albarracin 192-194 Albufera 116 Alcala de Guadaira 71 Aldeanueva de la Vera 154 Algatocin 76 Alhambra 1-16, 22 Almazan 227 Alquezar 210-212 Andújar 44, 115 Antequera 64-66 Aranjuez 136-138 Arcos de la Frontera 48, 49, 72 Arranda de Duero 240 Autol 224, 225 Avila 165-169 Barcelona 200 Batuecas 260, 261, 263 Bielsa 213 Bilbao 284 Burgo de Osma 226 Burgos 234-238 Butron 277 Brachimañasee 216 Caceres 83, 84 Candelario 252, 253 Cangas de Onis 274 Carmona 43, 70 Castellbó 208 Castellfullit 204 Cave Dwellings 92-99 Cenaruza 282 Cepeda 155 Chorro 73 Ciudad Rodrigo 250, 251 Coca 184-187 Cordoba 50-60 Cuenca 120, 121 Daroca 195-197 Debotes Valley 207 Durango 279, 283 Ecija 68, 69 Elché 101-103 Elorrio 285 Escorial 129-135 Fuenterabia 298 Gerona 202, 203 Granada 1-25 Guadalajara 178-181 Guadalest 118 Guadix 100 Güejar-Sierra 77 Hermida 266 Hurdes 259 Jativa 111-113 Javea 108 Jerez de la Frontera 67 Jerica 191 La Alberca 254, 256, 257 Lagartera 150, 151 Madrid 126-128 Maladeta 219 Mañaria 278 Manzanera 42 Martos 74, 75 Medinaceli 176, 177 Mochagar 91 Mogarraz 258 Mombeltran 183 Monte Agudo 119 Montserrat 201 Niebla 80, 81 Nuria 206 Ondarroa 276 Orihuela 104-107 Oviedo 264, 265 Pancorbo 231-233 Pasages 291-296, 304 Peñafiel 182 Peña Montañesa 214 Pic de Aneto 217, 218 Pic du midi 216 Picos de Europa 266-274 Pontevedra 301 Potes 270-273 Pyrenees 205-219 Ronda 62, 63 Sagunt 109, 110 Salamanca 246-249 San Esteban de Gormaz 229, 230 San Juan de Plan 209 San Sebastian 286-290 Santander 275 Santiago de Campostela 300 Sarragoza 220, 221 Segovia 157-164 Segretal 205 Sepulveda 172-175 Seville 28-41 Sierra Nevada 79 Sigüenza 188-190 Soria 228 Tarifa 45, 46 Tarazona 223 Tarragona 198, 199 Toledo 139-148 Toro 244 Trujillo 85-87 Turrégano 170, 171 Valencia 114, 117 Valladolid 241-243 Vigo 303 Yuste 153 Zafra 82 Zamora 245 Towns: 2, 4, 16, 21, 28, 62-64, 72, 74, 80, 91-99, 120, 128, 139, 157, 166, 172, 191, 192, 195, 202, 204, 210, 223, 226, 227, 232, 246, 276, 286, 287, 290, 293. Gateways, Towers, Fortified Walls: 5, 29, 75, 80, 81, 85-87, 143, 167-169, 186-188, 193, 196. Streets, Squares: 24, 25, 31, 60, 65, 66, 75-77, 83, 85, 86, 147, 148, 154, 155, 163, 170, 173, 174, 175, 176, 189, 190, 193, 197, 198, 203, 208, 209, 211-213, 231-233, 247, 251, 253, 270-273, 278, 295, 296. Churches, Convents, Chapels, Cemeteries, etc.: 23, 31, 41, 50-59, 66, 67, 86, 108, 146, 147, 152, 153, 158, 164, 165, 169, 177, 199, 220, 221, 228, 229, 234-241, 244-246, 260-262, 264, 265, 282-285, 300. Squares, Public Buildings, Typical Houses: 6-15, 17-21, 30, 32, 33, 36-40, 68, 69, 114, 116, 117, 126, 127, 129, 130, 132, 134-137, 144, 162, 178-181, 250, 279, 280, 298. Courts (Patios) and Gardens: 6-8, 12-15, 17, 34, 35, 37, 40, 42-49, 58, 69, 82, 90, 131, 138, 145, 179-181, 200, 238, 242, 243, 249, 298. Stairways, Lattice Windows: 39, 68, 115, 144, 200, 203, 248. Fountains: 9, 12-15, 20, 37, 49, 60, 197, 232. Bridges: 63, 140-143, 268, 270, 274, 276. Castles (Castillos): 1-5, 22, 70, 71, 110-112, 118, 119, 141, 161, 170, 171, 182-186, 277. Views of Landscapes: 2-4, 21, 62, 63, 72, 73, 79, 88, 92-99, 101-107, 113, 116, 194, 201, 204-207, 214-219, 224, 225, 230, 260, 263, 266-269, 274, 275, 286-289, 291, 292, 294, 299, 301-304. Costumes and Life of the People: 26, 27, 61, 78, 84, 90, 122-125, 149, 150, 151, 155, 156, 160, 174, 175, 222, 252, 254-259, 262, 281, 296, 297. [Illustration: Granada-Alhambra.] [Illustration: Granada Alhambra and the Vega Alhambra y la Vega Alhambra und die Vega Vue de l’Alhambra et la Vega L’Alambra e la Vega] [Illustration: Granada Alhambra--In the background the Sierra Nevada Alhambra-Puesta del sol: En el fondo la Sierra Nevada Alhambra-Abendstimmung: im Hintergrund die Sierra Nevada Le soir à Grenade: au fond la Sierra Nevada L’Alambra sul tramonto: In fondo la Sierra Nevada] [Illustration: Granada-Alhambra.] [Illustration: Granada The Alhambra Towers Torres de la Alhambra Alhambratürme Les tours de l’Alhambra I torrioni dell’Alambra] [Illustration: Granada-Alhambra The Myrtle Court Patio de los Arrayanes Myrtenhof La cour des myrtes La corte dei mirti] [Illustration: Granada-Alhambra The Myrtle Court Patio de los Arrayanes Myrtenhof La cour des myrtes La corte dei mirti] [Illustration: Granada-Alhambra The Court of the Lions Patio de los Leones Löwenhof La cour des Lions La corte dei leoni] [Illustration: Granada-Alhambra The Lion Fountain in the Court of the Lions La fuente en el patio de los Leones Der Löwenbrunnen im Löwenhof La Fontaine avec le bassin dans la cour des Lions La fontana del leoni nella Corte omonima] [Illustration: Granada-Alhambra Court of Justice Sala de la Justicia Gerichtshalle La salle de Justice La sala della Giustizia] [Illustration: Granada-Alhambra Bay Windows of the Daraxa Le pavillion de la Daraxa Erker der Daraxa Mirador de Daraxa Il padiglione di Daraxa] [Illustration: Granada-Alhambra The Daraxa Court Un coin du jardin de la Daraxa Gartenhof der Daraxa Patio de Daraxa Il giardino di Daraxa] [Illustration: Granada-Alhambra The Daraxa Court Un coin du jardin de la Daraxa Gartenhof der Daraxa Patio de Daraxa Il giardino di Daraxa] [Illustration: Granada-Alhambra In the Daraxa Garden Patio de Daraxa Im Garten der Daraxa Dans le jardin de la Daraxa Il giardino di Daraxa] [Illustration: Granada-Alhambra The Cypress Court Patio de los cipreses Zypressenhof La cour des cyprès Il cortile dei cipressi] [Illustration: Granada-Alhambra View of the Albaicin from the Queens Boudoir Vista desde el Peinador de la Reina sobre el Albaicin Blick aus dem Putzzimmer der Königin nach dem Albaicin Vue sur l’Albaicin, prise du boudoir de la reine Veduta di Albalcin presa dallo spogliatola della regina] [Illustration: Granada Palace of the Generalife Palacio del Generalife Generalifepalast Palais da Généralife Palazzo del Generalife] [Illustration: Granada Entrance-Hall of the Generalife Entrade del Generalife Eintrittshalle im Generalife Entrée du Généralife Ingresso nel Generalife] [Illustration: Granada Colonnade in the Generalife En el Generalife Säulenhalle im Generalife Colonade dans le Généralife Colonnato nel Generalife] [Illustration: Granada In the Garden of the Generalife En el jardin del Generalife Generalifegarten Un jardin du Généralife Giardino del Generalife] [Illustration: Granada View from one of the Generalife Gardens on the Albaicin Vista desde un jardincito del Generalife sobre el Albaicin Blick aus einem Generalifegärtchen nach dem Albaicin Vue sur l’Albaicin, prise d’un jardin du Généralife Veduta di Albaicin da un giardino del Generalife] [Illustration: Granada View of Alhambra from the Outlook Tower of the Generalife Vista desde el Mirador del Generalife sobre la Alhambra Blick aus dem Aussichtsturm des Generalife auf die Alhambra Vue sur l’Alhambra, prise du belvedère du Généralife Veduta dell’Alhambra della torre del Generalife] [Illustration: Granada The Cathedral--The Royal Chapel--in the Railing the Passion La Catedral-Capilla real--En la reja la Pasión de Jesucristo Kathedrale-Capilla real--im Gitter die Leidensgeschichte Christi A la Cathedrale--La Chapelle royale--Au haut de la grille sont representées les scènes de la Passion de Jésus-Christ Cattedrale--Capello Reale--Nel cancello è raffigurata la passione di Cristo] [Illustration: Granada Street on the Darro Calle del Darro Straße am Darro Rue longeant le Darro Calle del Darro] [Illustration: Granada In the Albaicin En el Albaicin Im Albaicin L’Albacin Nell’Albacina] [Illustration: Gypsy dancing Gitana ballando Tanzende Zigeunerin Danseuse Gitane Zingara danzante] [Illustration: Playing the Guitar Con la guitarra Mit der Laute Une joueuse de guitare Con la chitarra] [Illustration: Sevilla General View of the Town from the Giralda Tower of the Cathedral Vista general, tomada desde la Giralda Blick vom Turm der Kathedrale (der Giralda) über die Stadt Vue générale, prise de la Giralda (tour de la cathédrale) Veduta dalla citta dalla torre (la Giralda) della Cattedrale] [Illustration: Sevilla The Golden Tower and the Cathedral La torre de Oro y la Catedral Der Goldturm und die Kathedrale La tour d’or et la cathédrale La torre dell’ora e la Cattedrale] [Illustration: Sevilla Details of the City-Hall Façade Detalle de la fachada del Ayuntamiento Teilstück der Rathausfassade Détail de la façade de l’hôtel de ville Dettaglio della facciata del Municipio] [Illustration: Sevilla The Giralda (Cathedral Tower) La Giralda Die Giralda (Turm der Kathedrale) La Giralda (Tour de la cathédrale) La Giralda (la torre della Cattedrale)] [Illustration: Sevilla-Alcázar The Ambassadors’ Hall Sala de Embajadores Gesandtensaal Salle des ambassadeurs La Sala degli Ambasciatori] [Illustration: Sevilla-Alcázar The Dolls’ Court Patio de las Muñecas Puppenhof La cour des poupées La Corte delle bambole] [Illustration: Sevilla In the Alcázar Garden En el jardin del Alcázar Im Alcázargarten Au jardin de l’Alcázar Nel giardino dell’Alcázar] [Illustration: Sevilla In the Alcázar Garden En el jardin del Alcázar Im Alcázargarten Au jardin de l’Alcázar Nel giardino dell’Alcázar] [Illustration: Sevilla Pilate’s House Casa de Pilato Pilatushaus La maison de Pilate La Casa di Pilato] [Illustration: Sevilla Court in Pilate’s House Patio de la Casa de Pilato Hof im Pilatushaus Cour intérieure de la maison de Pilate La Casa di Pilato, Corte] [Illustration: Sevilla Court Gates, Pilate’s House Portada de la Casa de Pilato Tür zum Hof des Pilatushauses Entrée de la cour de la maison de Pilate Porta di accesso alla Corte della Casa di Pilato] [Illustration: Sevilla Pilate’s House--Grille Casa de Pilato--Reja Pilatushaus--Fenstergitter Fenêtre grillée de la maison de Pilate Casa di Pilato. Finestra con grata] [Illustration: Sevilla Court in Duke Alba’s Palace Patio en el palacio del duque de Alba Hof im Palast des Herzogs Alba Cour intérieure du palais du duc d’Albe La Corte nel Cortile del Duca d’Alba] [Illustration: Sevilla St. Paul’s Convent Convento de Sta. Paula Kloster Sta. Paula Couvent de Sainte Paule Il Convento di Santa Paola] [Illustration: In Manzanera A Manzanera In Manzanera Dans la Manzanera En Manzanera] [Illustration: Court in Carmona Patio en Carmona Hof in Carmona Une cour de maison à Carmona Il cortile in una casa di Carmona] [Illustration: Court in Andújar Patio en Andújar Hof in Andújar Une cour de maison à Andújar Il cortile in una casa di Andújar] [Illustration: Court in Tarifa Patio en Tarifa Hof in Tarifa Une cour de maison à Tarifa Il cortile in una casa di Tarifa] [Illustration: Court in Tarifa Patio en Tarifa Hof in Tarifa Une cour de maison à Tarifa Il cortile in una casa di Tarifa] [Illustration: Court in Vejer Patio en Vejer Hof in Vejer Une cour de maison à Vejer Il cortile in una casa di Vejer] [Illustration: Court in Arcos de la Frontera Patio en Arcos de la Frontera Hof In Arcos de la Frontera Une cour de maison à Arcos de la Frontera Il cortile in una casa di Arcos de la Frontera] [Illustration: Court in Arcos de la Frontera Patio en Arcos de la Frontera Hof in Arcos de la Frontera Une cour de maison à Arcos de la Frontera Il cortile di una casa a Arcos de la Frontera] [Illustration: Cordoba Facade of the Mosque Fachada de la Mezquita Fassade der Moschee Façade de la mosquée Facciata della Moschea] [Illustration: Cordoba Columns in the Mosque Columnas en la Mezquita Säulenwald der Moschee Le fouillis des colonnes à l’intérieur de la mosquée La selva delle colonne nell’interno della Moschea] [Illustration: Cordoba Mihrab Mosque (Holy of Holies) Mezquita--Mihrab Moschee--Mihrab (Allerheiligstes) La Mosquée: le Mihrab (sanctuaire) La Moschee: Mihrab (santuario)] [Illustration: Cordoba Interior of the Mosque En la Mezquita Moscheeinneres Intérieur de la mosquée L’interno della Moschee] [Illustration: Cordoba Mosque--View of the High Altar Mezquita--Vista del altar mayor Moschee--Blick zum Hochaltar La Mosquée: vue du maître-autel La Moschea: veduta dell’altar maggiore] [Illustration: Cordoba Mosque--View from the Choir Mezquita--Vista desde el Coro Moschee--Blick aus dem Choreinbau La Mosquée vue de choeur La Moschea: veduta del Coro] [Illustration: Cordoba Mosque--Capilla de St. Fernando Mezquita--Capilla de S. Fernando Moschee--Capilla S. Fernando La Mosquée: chapelle de Saint Ferdinand La Moschea: Cappella di S. Ferdinando] [Illustration: Cordoba Mosque--Capilla de St. Fernando Mezquita--Capilla de S. Fernando Moschee--Capilla S. Fernando La Mosquée: chapelle de Saint Ferdinand La Moschea: Cappella di S. Ferdinando] [Illustration: Cordoba Mosque--The Court of Oranges Mezquita--Patio de las Naranjas Moschee--Orangenhof La Mosquée: cour des orangers La Moschea: La corte degli aranci] [Illustration: Cordoba Hermitage Ermita Einsiedelei L’Ermitage Eremo] [Illustration: Cordoba Fountain Fuente Brunnen Une fontaine Fontana] [Illustration: Straw Cart Carro para cargar paja Karren für Stroh Une charrette pour le transport da la paille Una carretta per il trasporto della paglia] [Illustration: Ronda] [Illustration: Ronda] [Illustration: Antequera] [Illustration: Antequera.--Plaza S. Sebastian] [Illustration: Antequera Chapel of the Virgin of Succour Capilla de la Virgen del Socorro Kapelle der hilfespendenden Jungfrau Chapelle de Notre-Dame de Bon Secours Cappella della Madonna del Buon soccorso] [Illustration: Jerez de la Frontera Cartuja--Cypress Court Cartuja--Patio de los cipreses Cartuja--Zypressenhof Cartuja: la cour des cyprès Cartuja: Il cortile del cipressi] [Illustration: Ecija Staircase in the Marquis of Peñaflor’s Palace Escalera en el palacio del Marqués de Peñaflor Treppenaufgang im Palast des Marqués de Peñaflor Cage d’escalier au palais du marquis de Peñaflor Scala nel palazzo del Marchese de Peñaflor] [Illustration: Ecija Court In the Marquis of Peñaflor’s Palace Patio en el palacio del Marqués de Peñaflor Hof im Palast des Marqués de Peñaflor Cour Intérieure du palais du marquis de Peñaflor La Corte nell palazzo del Marchese de Peñaflor] [Illustration: Carmona--Castillo] [Illustration: Alcala de Guadaira--Castillo] [Illustration: Arcos de la Frontera] [Illustration: El Chorro] [Illustration: Martos] [Illustration: Martos] [Illustration: Algatocin] [Illustration: Güejar-Sierra (Sierra Nevada)] [Illustration: In a Wayside Inn (Sierra Nevada) En una posada (Sierra Nevada) In einer Wegschenke (Sierra Nevada) Intérieure d’une posada (auberge) da la Sierra Nevada In una trattoria. Sierra Nevada] [Illustration: In the Sierra Nevada (Holm Oak) En la Sierra Nevada In der Sierra Nevada (Steineichen) Chênes rouvres dans la Sierra Nevada Nella Sierra Nevada. Lecci] [Illustration: Niebla] [Illustration: Niebla] [Illustration: Zafra Court in St. Miguel’s Hospital Patio en el hospital de S. Miguel Hof im Hospital S. Miguel Cour de l’hopital Saint-Michel Ospedale di S. Michele. Il cortile] [Illustration: Cáceres.] [Illustration: Cáceres Water-Carriers Mujeres con jarros de agua Wasserträgerinnen Porteuses d’eau Portatrici d’acqua] [Illustration: Trujillo Chief Square Plaza mayor Hauptplatz La grande place La piazza principale] [Illustration: Trujillo Santiago Gate Puerta de Santiago Santiagotor La porte Saint-Jacques La porta di Santiago] [Illustration: Trujillo Old Town-Gate Puerta antigua Altes Stadttor Vieille porte d’entrée Un’antica porta della città] [Illustration: Village in South Estremadura Aldehuela en el sur de Estremadura Dorf in Süd-Estremadura Un village de l’Estremadura méridionale Villagio di capanne nell’ Estremadura meridionale] [Illustration: Inn (South Estremadura) Venta (en el sur de Estremadura) Schenke (Süd-Estremadura) Une buvette dans l’Estremadure méridionale Osteria (Estremadura meridionale)] [Illustration: Moorish women of Christian persuasion who still wear the veil in Mochagar-Vejer Mujer en Mochagar-Vejer llevando la cara tapada como las marroquínas Eine der noch heut maurisch verschleiert gehenden Christenfrauen in Mochagar-Vejer Une des femmes chrétiennes qui vont encore voilées aujourd’hui comme au temps des Maures d’Espagne Una donna cristiana che va ancor oggi velata all’uso marocchino] [Illustration: Mochagar] [Illustration: Cave Dwellings (Province of Almeria) None of the caves shown in this book are prehistoric. They are still excavated and inhabited Cuevas en las rocas (Prov. de Almería) Höhlenfels (Prov. Almeria) Alle in diesem Werk wiedergegebenen Höhlen sind nicht vorgeschichtlich; sie werden noch jetzt gegraben und bewohnt Cavernes dans le roc. (Province d’Almeria) Toutes ces cavernes ne sont pas des formations préhistoriques; on en creuse maintenant encore pour les habiter. Caverne nella roccia (Provincia d’Almeria) Tutte le caverne riprodotte in quest’opera non sono di formazione preistorica, ma si contina a scavarle anche al giorno d’oggi] [Illustration: Cave Dwellings (Province of Almeria) Cuevas en las rocas (Prov. de Almería) Höhlenfels (Prov. Almeria) Cavernes dans le roc (Province d’Almeria) Caverne nella roccia (Provincia d’Almeria)] [Illustration: Cave Dwellings (Province of Almeria) Cuevas en las rocas (Prov. de Almería) Höhlenfels (Prov. Almeria) Cavernes dans le roc (Province d’Almeria) Caverne nella roccia (Provincia d’Almeria)] [Illustration: Cave Dwellings (Province of Almeria) Cuevas en las rocas (Prov. de Almería) Höhlenfels (Prov. Almeria) Cavernes dans le roc (Province d’Almeria) Caverne nella roccia (Provincia d’Almeria)] [Illustration: Cave Town (Sierra de Guadix) The chimneys of the dwellings are seen projecting out of the rocks Población de cuevas (Sierra de Guadix) Se ven las chimeneas de las cuevas, saliendo de tierra Höhlenstadt (Sierra de Guadix) Aus der Erde ragen die Schornsteine der Wohnhäuser hervor Une ville souterraine (Sierra de Guadix) On ne voit surgir de terre que les cheminées des habitations Una città di caverne (Sierra de Guadix) Si vedono sorgere dal suolo i camini delle caverne] [Illustration: Cave Town (Sierra de Guadix) Población de Cuevas (Sierra de Guadix) Höhlenstadt (Sierra de Guadix) Habitations souterraines (Sierra de Guadix) (Sierra de Guadix) Città di caverne] [Illustration: Cave Town (Sierra de Guadix) Población de Cuevas (Sierra de Guadix) Höhlenstadt (Sierra de Guadix) Habitations souterraines (Sierra de Guadix) Città di caverne (Sierra de Guadix)] [Illustration: Cave Town (Sierra de Guadix) Población de Cuevas (Sierra de Guadix) Höhlenstadt (Sierra de Guadix) Habitations souterraines (Sierra de Guadix) Città di caverne (Sierra de Guadix)] [Illustration: Guadix] [Illustration: In the Palm Forest of Elche Las palmeras de Elche Im Palmenwald von Elche Elche: au milieu des palmiers Il palmizio di Elche] [Illustration: In the Palm Forest of Elche (A date-picker in the tree-top) Las palmeras de Elche Im Palmenwald von Elche (Im Baumwipfel ein Dattelpflücker) Elche: la récolte des dattes. (L’homme grimpé au sommet du palmier en détachera les régimes de fruits) Nel palmizio di Elche (Sulla palma un uomo che coglie datteri)] [Illustration: Elche Evening in the Palm Forest Caia la tarde Abend im Palmenhain Effet de soir Il tramonto nel palmizio] [Illustration: Orihuela] [Illustration: Orihuela] [Illustration: Orihuela Huerta Hut Barraca de la huerta Huertahütte Barraque de la Huerta Capanna] [Illustration: Near Orihuela Cercanias de Orihuela Bei Orihuela Environs d’Orihuela Presso Orihuela] [Illustration: Javea (Denia) Church of Calvary Iglesia del calvario Kalvarienbergkirchlein L’église du calvaire La chiesetta del Calvario] [Illustration: Gateway to the Mount of Calvary, Sagunt Puerta del calvario de Sagunto Tor zum Kalvarienberg bei Sagunt Environ de Sagoute: Accès et entrée du Calvaire La porta del Calvario presso Sagunto] [Illustration: Sagunto, Roman Castle Sagunto, Castillo romano Sagunt, Römische Burg La citadelle romaine Castello romano] [Illustration: Jativa Castle Castillo Burg Le Château-fort Castello] [Illustration: Jativa View of the Castle Vista del Castillo Blick zur Burg Vue sur le Château-fort Veduta del Castello] [Illustration: Jativa On Mount Calvary El Calvario Am Kalvarienberg Le Calvaire Il Calvario] [Illustration: Valencia Gateway of the Marquis de Dos Aguas Palace Portada del Palacio del Marqués de Dos Aguas Portal des Palastes des Marqés de Dos Aguas Portail du palais du marquis de Dos Aguas Portale del Palazzo del Marchese de Dos Aguas] [Illustration: Andújar Grille Reja Fenstergitter Fenêtre grillée Una finestra con grata] [Illustration: Huts on the banks of the Albufera near Valencia Barracas de La Albufera cerca de Valencia Albuferahütten bei Valencia Environs de Valence: Cabanes de l’Albufera Capanne di Albufera presso Valenza] [Illustration: Huerta Huts near Valencia Barracas de la Huerta de Valencia Huertahütten bei Valencia Maisons de paysans de la Huerta Capanne di Huerta presso Valenza] [Illustration: Guadalest Castle (Prov. of Alicante) Castillo Guadalest (Prov. de Alicante) Castillo Guadalest (Prov. Alicante) Château de Guadalest (Province d’Alicante) Castello di Guadalest (Provincia di Alicante)] [Illustration: Monte Agudo (Prov. de Murcia) Mount Agudo (Prov. of Murcia)] [Illustration: Cuenca] [Illustration: Cuenca] [Illustration: The Jerez mantilla Con la mantilla jerezana Im Schmuck der Mantilla von Jerez Sous la mantille (Femme de Jerez) Mantiglia jerezana] [Illustration: With the mantilla Con la mantilla Im Schmuck der Spitzenmantilla (als Hintergrund die Manton) En mantille de dentelle Mantiglia a merletti] [Illustration: La Argentinita, Spain’s most celebrated dancer wearing the Manton (shawl) La Argentinita Argentinita, Spaniens berühmteste Tänzerin im Schmuck der Manton (Schultertuch) La Argentinita, la plus célèbre danseuse de l’Espagne avec la mante espagnole sur les épaules Argentinita, la più celebre ballerina della Spagna, con sulle spalle il caratteristico Manton spagnole] [Illustration: Entrance of the bull-fighters into the Madrid Arena El despejo en la plaza de toros de Madrid Einzug der Stierkämfer in die Arena von Madrid Entrée du cortège dans l’arène avant la corrida (Madrid) Ingresso del toreadori nell’Arena di Madrid] [Illustration: Madrid The Throne-Room in the Royal Castle Sala del Trono en el Palacio Real Thronsaal des Königlichen Schlosses La salle du trône au Château royal La Sala del Trono nel Palazzo Reale] [Illustration: In the Royal Castle El Pardo near Madrid En el Pardo Im Königlichen Schloß El Pardo bei Madrid Une salle du château royal d’el Pardo près de Madrid Nel Palazzo Reale El Pardo, presso Madrid] [Illustration: Madrid] [Illustration: Escorial] [Illustration: Escorial] [Illustration: Escorial Court of the Evangelists Patio de los Evangelistas Evangelistenhof Cour des evangelistes La corte degli evangelisti] [Illustration: Escorial Throne-Room Sala del Trono Thronsaal La salle du trône La sala del Trono] [Illustration: Escorial The Library La biblioteca Die Bibliothek La Bibliothèque La Biblioteca] [Illustration: In the Escorial Palace: on the walls tapestries after Goya’s paintings Palacio del Escorial Im Palast des Escorial: an den Wänden Gobelins nach Goyaschen Gemälden Le Château de l’Escurial. Tapisseries des Gobelins d’après des peintures de Goya Nel Palazzo dell’Escorial. Alle pareti tappeti Gobelins con riproduzione delle pitture di Goya] [Illustration: Escorial Philip II. Study Despacho de Felipe II Arbeitszimmer Philips II Cabinet de travail de Philippe II Gabinetto da lavoro di Filippo II] [Illustration: Aranjuez--Casa de Labrador The Platinum Hall Sala de Platino Platinsaal Maison de Labrador. La salle de platine Casa de Labrador. Sala del platino] [Illustration: Aranjuez In the Casa de Labrador En la Casa de Labrador In der Casa de Labrador Intérieur de la maison de Labrador Nella Casa de Labrador] [Illustration: Aranjuez The Palace Garden Jardín del Palacio Schloßgarten Le jardin du palais Giardino del Palazzo] [Illustration: Toledo] [Illustration: Toledo Tajo Valley and St. Martin Bridge Valle del Tajo y puente de S. Martin Tajotal und San Martinbrücke La vallée du Tage et le pont St. Martin La valle del Tajo dal ponte di S. Martino] [Illustration: Toledo Alcantara Bridge and St. Servando Castle Puente Alcantara y Castillo S. Servando Alcantarabrücke und Castillo S. Servando Pont d’Alcantara, et château de St. Servando Il Ponte d’Alcantara e il Castello di S. Servando] [Illustration: Toledo Alcantara Bridge with the Alcazar in the background Puente Alcantara en el fondo el Alcazar Alcantarabrücke, überragt vom Alcazar Le Pont d’Alcantara, dominé par l’Alcazar Il Ponte Alcantara e in alto, in fondo, Alcazar] [Illustration: Toledo View through the gateway of the Alcantara Bridge Vista tomada desde la puerta del puente Alcantara Blick durch das Brückentor der Alcantarabrücke Vue de la porte d’entrée du pont d’Alcantara Veduta del Ponte d’Alcantare dal Portone del Ponte stesso] [Illustration: Toledo Staircase in St. Cruz Hospital Escalera del hospital de Sta. Cruz Treppe des Hospitals Sta. Cruz Escalier de l’hôpital Santa-Cruz Scala dell’ospedale di Santa Cruz] [Illustration: Toledo In the court of the Casa Greco En el patio de la Casa del Greco Im Hof des Grecohauses Cour de la maison du Grec Cortile della Casa del Greco] [Illustration: Toledo Cloister of St. Juan de los reyes Claustro de S. Juan de los reyes S. Juan de los reyes, Kreuzgang Cloître de St. Jean de los reyes Loggiato del Chiostro di S. Juan de los reyes] [Illustration: Toledo Cathedral Spire Torre de la Catedral Turm der Kathedrale Tour de la Cathédrale Il campanile della Cattedrale] [Illustration: Toledo] [Illustration: Ox-cart Carro de bueyes Ochsenkarren Chariot attelé de boeufs Carro tirato da buol] [Illustration: Lagartera Costume (Prov. of Toledo) Traje de Lagartera (Prov. de Toledo) Tracht von Lagartera (Prov. Toledo) Jeune femme de Lagartera (Province de Tolède) Costume di Lagartera (Prov. di Toledo)] [Illustration: Lagartera Wedding Dress (Prov. of Toledo) Traje de boda de Lagartera (Prov. de Toledo) Hochzeitstracht von Lagartera (Prov. Toledo) Une noce à Lagartera (Province de Tolède) Les maries Veste nuziale di Lagartera (Prov. di Toledo)] [Illustration: Forest Chapel Capilla en el bosque Waldkapelle Calvaire et chapelle champêtres Cappella silvestre] [Illustration: Ruins of the Cloister in Yuste Convent Ruinas del Claustro de Yuste Ruinen des Kreuzganges im Kloster Yuste Ruines du monastère de Yuste Rovine nel Chiostro di Yuste] [Illustration: Aldeanueva de la Vera] [Illustration: In the village-square of Cepeda before the bull-fight Antes de la novillada en la plaza de la aldea da Cepeda Vor dem Stierkampf auf dem Dorfplatz von Cepeda Avant le combat de taureaux sur la place de Cepeda Prima della Corrida di tori nella piazza del villaggio di Cepeda] [Illustration: Segovian shepherd Pastor segoviano Segovianischer Hirt Un berger ségovien Pastore segoviano] [Illustration: Segovia] [Illustration: Segovia The Cathedral La Catedral Kathedrale La Cathédrale La Cattedrale] [Illustration: Segovia The Roman Aqueduct El acueducto romano Römischer Aquädukt L’aqueduc romain Acquedotti romani] [Illustration: Segovianian peasant. In the background the Segovia Alcázar Aldeano segoviano, en el fondo el Alcázar de Segovia Segovianischer Bauer, im Hintergrund der Alcazar von Segovia Un paysan ségovien. A l’arrière-plan: l’Alcazar de Ségovia Contadino segoviano, e, in fondo, l’Alcazar di Segovia] [Illustration: Segovia--Alcázar] [Illustration: Segovia, Casa de los Picos] [Illustration: Segovia] [Illustration: Mount of Calvary near Segovia Calvario de Segovia Kalvarienberg bei Segovia La Calvaire de Ségovie Il Calvario di Segovia] [Illustration: “My God, how lonely, are the dead" (Becquer) “Dios mio, que solos se quedan los muertos" (Becquer) “Mein Gott, wie einsam bleiben doch die Toten" (Becquer) “Mon Dieu, combien est grande la solitude des morts"! (Becquer) “Dio mio, in che abbandono riposano i morti"! (Becquer)] [Illustration: Avila] [Illustration: Avila The Town Wall La muralla Stadtmauer Les murailles de la ville La mura della città] [Illustration: Avila St. Vincent Gate Puerta de S. Vicente Stadttor S. Vicente La Porte Saint-Vincent La porta di S. Vicente] [Illustration: Avila The Cathedral apse. The strongest fortified tower of the town with sheltered passages and machicolations Apside de la Catedral como torre mas fuerte de defensa con circunvalación Apsis der Kathedrale als stärkster Verteidigungsturm der Stadtmauer mit Wehrgang und Pechnasen Abside de la cathédrale servant de principale tour de défense, avec chemin de ronde et mâchicoulis L’Abside della Cattedrale serve di potente torre di difesa, munita di cammino di ronda] [Illustration: Turrégano, Castillo] [Illustration: Turrégano, Castillo] [Illustration: Sepúlveda] [Illustration: Sepúlveda] [Illustration: Bull-fight in the market-place of Sepúlveda Becerrada en la plaza mayor de Sepúlveda Stierkampfspiel auf dem Marktplatz von Sepúlveda Combat de taureaux sur la place du marché, à Sepúlveda Giuochi di corrida nella piazza del Mercato di Sepúlveda] [Illustration: Bull-fight in the market-place of Sepúlveda. (The matador is about to give the final thrust) Novillada en la plaza mayor de Sepúlveda. Stierkampf auf dem Marktplatz von Sepúlveda. (Der Stierkämpfer im Begriff, den Todesstoß zu tun) Combat de taureaux sur la place du marché, à Sepúlveda. (Le matador va porter le coup de mort à l’animal) Corrida nella Piazza del Mercato di Sepúlveda. (Il Toreador nell’atto di vibrare il colpo mortale)] [Illustration: Medinaceli The Market Plaza mayor Marktplatz La place du marché La Piazza del Mercato] [Illustration: Medinaceli, Capilla Humilladero] [Illustration: Guadalajara Palace of the Infantado Palacio del Infantado Palast del Infantado Palais de l’Infante Palazzo del Infantado] [Illustration: Guadalajara-Palacio del Infantado Entrance-Hall and view of the Court Entrada y vista del patio Eintrittshalle und Blick in den Hof Vestibule d’entrée et vue dans la cour Ingresso e veduta della corte] [Illustration: Guadalajara In the court of the Palace of the Infantado En el patio del palacio del Infantado Im Hof des Palastes del Infantado Cour du palais de l’Infante Nella corte del palazzo dell’ Infantado] [Illustration: Guadalajara In the court of the Palace of the Infantado En el patio del palacio del Infantado Im Hof des Palastes del Infantado Cour du palais de l’Infante Nella corte del palazzo dell’ Infantado] [Illustration: Castillo Peñafiel] [Illustration: Castillo Mombeltran] [Illustration: Castillo Coca] [Illustration: Castillo Coca] [Illustration: Castillo Coca Gate and Watch Tower Puerta y torre del homenaje Eingangstor und Wartturm Porte d’entrée et donjon Porta d’ingresso e torre] [Illustration: Coca Old Town Gate Puerta antigua de la ciudad Altes Stadttor Ancienne porte de la ville Vecchia porta della città] [Illustration: Sigüenza Castle Gate Puerta del castillo Burgtor Porte du vieux château-fort Porta del Castello] [Illustration: Sigüenza Great-Square Plaza mayor Hauptplatz La grande place Piazza principale] [Illustration: Sigüenza] [Illustration: Jérica] [Illustration: Albarracín] [Illustration: Albarracín] [Illustration: Albarracín] [Illustration: Daroca] [Illustration: City Gate Puerta de la ciudad Stadttor Porte de la ville Porta della città] [Illustration: Daroca] [Illustration: Tarragona St. Tecia Gate Puerta de Sta. Tecia Tor der Santa Tecia Porte de Sainte Tecia Porta di Santa Tecia] [Illustration: Tarragona Cathedral Cloisters Claustro de la Catedral Kreuzgang der Kathedrale Cloître de la cathédrale Navata della Cattedrale] [Illustration: Barcelona Stairway In the Court of the Damases House Escalera en el patio de la casa de Damases Treppe im Hof des Hauses Damases Escalier dans la cour de la maison Damases Scala nel cortile del Palazzo Damases] [Illustration: The Montserrat. Monistrol at the foot El Montserrat. En primer termino Monistrol Der Montserrat, im Vordergrund Monistrol Le Montserrat, avec Monistrol au premier plan Il Montserrat. Sul davanti Monistrol] [Illustration: Gerona] [Illustration: Gerona Steps of St. Domingo Escalera de Sto. Domingo Treppe von S. Domingo Escalier de Saint Domingue La scala di S. Domingo] [Illustration: Castellfullit (Cataluña) The town is built on basalt columns El pueblo se levanta sobre columnas de basalto Der Ort ist auf Säulenbasalt erbaut La petite ville est bâtie sur des roches de basalte Il Paese e stato costruito su colonne di basalto] [Illustration: Pyrenees, Segre Valley Pirineos, Valle del Segre Pyrenäen, im Segretal La vallée de la Sègre dans les Pyrenées Valle del Segre] [Illustration: Pyrenees, Road to Nuria Pirineos, Camino de Nuria Pyrenäen, Weg nach Nuria Les Pyrenées: Route de Nuria Pirenei, Via di Nuria] [Illustration: Pyrenees, de las Debotas Gorge (Rio Cinca) Pirineos, Paso de las Debotas (Rio Cinca) Pyrenäen, Engpaß de las Debotas (Rio Cinca) Les Pyrenées: Les gorges de las Debotas (Rio Cinca) Pirenei, Passo de las Debotas (Rio Cinca)] [Illustration: Pyrenees. Castellbó Pirineos. En Castellbó Pyrenäen, in Castellbó Les Pyrenées: Castellbo Pirenei. A Castellbó] [Illustration: Pyrenees St. Juan de Plan Pirineos. S. Juan de Plan Pyrenäen. S. Juan de Plan Les Pyrenées: Saint-Jean de Plan Pirenei. S. Juan de Plan] [Illustration: Pyrenees-Alquezar Pirineos-Alquezar Pyrenäen-Alquezar Les Pyrenées: Alquezar Pirenei-Alquezar] [Illustration: Alquezar] [Illustration: Alquezar] [Illustration: Pyrenees. In Bielsa Pirineos. En Bielsa Pyrenäen. In Bielsa Les Pyrenées: Bielsa Pirenei. In Bielsa] [Illustration: Pirineos. Peña Montañesa] [Illustration: Pyrenees. Pic du midi Pirineos. Pico del Mediodia Pyrenäen. Pic du midi Les Pyrenées: Le pic du midi Pirenei. Picco del Mezzogiorno] [Illustration: Pyrenees. Sea of Brachimaña, near Panticosa Lago da Brachimaña cerca de Panticosa Pyrenäen. Brachimañasee bei Panticosa Les Pyrenées: Le lac de Brachimaña, près de Panticosa Pirenei. Lago di Brachimaña presso Panticosa] [Illustration: El Aneto The highest summit of the Pyrenees (3404 m) in the foreground a crevasse El pico mas alto de los Pirineos (3404 m). En el primer termino un barranco de hielo Der höchste Gipfel der Pyrenäen (3404 m) im Vordergrund eine Gletscherspalte Le plus haut sommet des Pyrenées (3404 mètres) au premier plan une crevasse dans le glacier La più alta vetta del Pirenei (3404 m). Sul davanti la fenditura di un ghiacciaio] [Illustration: Pyrenees. View from the Pic de Aneto Pirineos. Vista tomada desde el Pico de Aneto Pyrenäen. Blick vom Pic de Aneto Les Pyrenées: Vue prise du pic d’Aneto Pirenei. Veduta dei monti dal Picco de Aneto] [Illustration: Pyrenees. The Maladeta seen from the Pic de Aneto Pirineos. El Maldeta visto desde el Pico de Aneto Pyrenäen. Der Maladeta vom Pic de Aneto aus gesehen Les Pyrenées: La Maladetta, vue du pic d’Aneto Pirenei. La Maledetta, vista dal Picco de Aneto] [Illustration: Saragossa. El Pilar Cathedral Zaragoza, El Pilar Zaragoza, Kathedrale El Pilar Nôtre-Dame del Pilar (Cathédrale) Saragozza, La Cattedrale El Pilar] [Illustration: Saragossa. El Pilar Zaragoza. El Pilar Zaragoza. El Pilar Saragosse: Effet de crepiscule et Notre-Dame del Pilar Saragozza. El Pilar] [Illustration: Aragonese drinking from a wine skin Aragones, bebiendo de la bota Aragonese, aus dem Weinschlauch trinkend Un Aragonais se desaltère en buvant à même au tuyau de conduite du vin Tipo d’Aragonese in atto di bere] [Illustration: Tarazona] [Illustration: Rock formations of Autol Formaciónes en las rocas de Autol Felsformationen von Autol Le tunnel de la route, à Autol Formazione di roccie ad Autol] [Illustration: Rock formations of Autol Formaciónes en las rocas de Autol Felsformationen von Autol Bizarres formations rocheuses Formazione di roccie ad Autol] [Illustration: Burgo de Osma] [Illustration: Almazán] [Illustration: Soria, S. Juan de Duero-Altar] [Illustration: S. Esteban de Gormaz Going to church Camino de la iglesia Kirchgang La montée de l’église Alla Chiesa] [Illustration: Rock formation of St. Esteban de Gormáz Formación en las rocas de S. Esteban de Gormáz Felsformation von S. Esteban de Gormáz St. Esteban de Gormáz: Le Rocher Formazione di roccie di S. Esteban de Gormàz] [Illustration: Pancorbo] [Illustration: Pancorbo] [Illustration: Pancorbo] [Illustration: Burgos The Cathedral La Catedral Kathedrale La Cathédrale La Cattedrale] [Illustration: Burgos Interior of the Cathedral Interior de la Catedral Inneres der Kathedrale Intérieur de la cathédrale Interno della Cattedrale] [Illustration: Burgos, Cartuja Miraflores High-Altar of the Church Retablo Hochaltar der Kirche Le maître autel de l’église des dominicains L’Altar Maggiore della Cattedrale] [Illustration: Burgos, Cartuja Miraflores Sepulchre of the infante Alfonso Sepulcro del infante Alfonso Grabmal des Infanten Alfonso Tombeau de l’infant Alphonse dans l’église des dominicains Il sepolcro dell’infante Alfonso] [Illustration: Burgos In the Garden of the Cartuja Miraflores En el jardin de la Cartuja Miraflores Im Garten der Cartuja Miraflores Le jardin du convent des dominicains Nel giardino de la Cartuja Miraflores] [Illustration: Lonely Chapel Cappella solitaria Einsame Kapelle Une chapelle solitaire Capilla solitaria] [Illustration: Arranda de Duero Doors of St. Maria Portada de la Iglesia Sta. Maria Portal der Kirche Santa Maria Portail de l’église Sainte-Marie Ingresso della Chiesa di S. Maria] [Illustration: Valladolid Facade of St. Pablo (plateresque style) Fachada de S. Pablo (estilo plateresco) Fassade der Kirche S. Pablo (im plateresken Stil) Façade de l’église Saint-Pablo (style en relief) Facciata della Chiesa di S. Paolo (Stile plateresco)] [Illustration: Valladolid Court of St. Gregorio Patio de S. Gregorio Hof von S. Gregorio Cour de Saint-Grégoire Il Cortile di S. Gregorio] [Illustration: Valladolid Gallery of St. Gregorio Galeria de S. Gregorio Galerie von S. Gregorio Galerie de Saint-Grégoire La Galleria di S. Gregorio] [Illustration: Toro The Cathedral-Doorway of the Carmen Chapel (Former entrance of the Cathedral) Catedral-Portada de la Capilla del Carmen (antigua entrada de la catedral) Kathedrale-Portal der Carmenkapelle (ehemals Eingangstor der Kathedrale) La cathédrale: portail de la Chapelle des Carmes (ancienne porte d’entrée de la Cathédrale) La Cattedrale. Ingresso alla Cappella del Carmine (Antico ingresso alla Cattedrale)] [Illustration: Zamora Sepulchre of Prince D. Juan Vázquez de Acuña in the church of Santa Magdalena Sepulcro del principe D. Juan Vázquez de Acuña en la iglesia Santa Magdalena Grabmal des Prinzen D. Juan Vásquez de Acuña in der Kirche Santa Magdalena Eglise Sainte-Madeleine: Tombeau du prince D. Juan Vásquez d’Acuña Sepolcro del Principe D. Juan Vázquez de Acuña nella Chiesa di Santa Magdalena] [Illustration: Salamanca The Cathedral La Catedral Kathedrale La Cathédrale La Cattedrale] [Illustration: Salamanca Doorway of the University Portada de la Universidad Portal der Universität Portail de l’Université Portale dell’Università] [Illustration: Salamanca University. Staircase with alto-relievo (the relievos on the upper part showing knights in a bull-fight) Universidad. La escalera (en el relieve superior una corrida de toros en la Edad Media) Universität. Platereske Treppe (an der oberen Treppenwange Darstellung eines Ritterstierkampfes) L’Université: Escalier du style en relief (sur le limon supérieur est représenté un combat de taureaux au Moyen-âge) Università. La scalinata. Nella parte superiore della Scala è raffigurata una corrida di tori] [Illustration: Salamanca Inner Doorway in the court of the Escuelas menores (lower school) Entrada y patio de las Escuelas menores (hospital del estudio) Inneres Portal im Hof der Escuelas menores (niedere Schule) Portail intérieur dans la cour des Escuelas menores (écoles mineures) Portale interno nel cortile della Scuola inferiore] [Illustration: Ciudad Rodrigo Door of palace Portada de un palacio Portal eines Palastes Portail d’un palais Ingresso d’un palazzo] [Illustration: Ciudad Rodrigo Market-place Plaza mayor Marktplatz La grande place (Place du marché) La Piazza del Mercato] [Illustration: Costumes in Candelario Traje de Candelario Tracht von Candelario Femmes de Candelario Costumi di Candelario] [Illustration: Candelario (Prov. Salamanca)] [Illustration: Costumes in La Alberca (Prov. of Salamanca) Traje de La Alberca (Prov. de Salamanca) Tracht von La Alberca (Prov. Salamanca) Une famille de paysans de la Alberca. (Province de Salamanque) Costumi di La Alberca (Prov. di Salamanca)] [Illustration: A Mule-Ride Paseo en mula Maultierritt En route sur la mule Cavalcata sul mulo] [Illustration: Festal costume in La Alberca (four-strand gold chain--old family ornament) Traje festivo de La Alberca (las cadenas de oro son una joya de familia) Festtracht von La Alberca (vielreihige Goldketten--alter Familienbesitz) Femme de la Alberca en costume de cérémonie (Les colliers en or à plusieurs rangées proviennent d’un très ancien héritage de famille) Costume festivo a La Alberca (Piu fili de catene d’oro, eredità di famiglia)] [Illustration: Festal costume in La Alberca Traje festivo de la Alberca Festtracht von La Alberca Femme de la Alberca en costume de fête Giovinetta di La Alberca in costume festivo] [Illustration: In Mogarraz (Prov. of Salamanca) En Mogarraz (Prov. de Salamanca) In Mogarraz (Prov. Salamanca) A Mogarraz (Province de Salamanque)] A Mogarraz (Provincia die Salamanca) [Illustration: Hurdanos at the well Hurdanos en la fuente Hurdesbewohner am Brunnen Hurdanos à la fontaine Hurdani alla fontana] [Illustration: The Monastery of Las Batuecas El Monasterio de Las Batuecas Kloster Batuecas Le Monastère de Las Batuecas Il Monastero di Las Batuecas] [Illustration: Doorway of the Monastery of Las Batuecas Portada del Monasterio de Las Batuecas Pforte des Klosters Batuecas Porte d’entrée du monastère de Las Batuecas Ingresso del Monastero Las Batuecas] [Illustration: In the monastery school En la escuela del monasterio In der Klosterschule L’école au monastère Nella scuola del Monastero] [Illustration: The beauty of the woods (Batuecas) Encanto del bosque (Batuecas) Waldespracht (Batuecas) Dans la forêt (Batuecas) Nella foresta (Batuecas)] [Illustration: Door-post of the chapel of St. Miguel de Lino near Oviedo (erected by Ramiro I. about 845) Poste de la Capilla S. Miguel de Lino (Oviedo) (edificada por Ramiro I. por los años de 845) Pfosten der Kapelle S. Miguel de Lino bei Oviedo (von Ramiro I. um 845 erbaut) Un pilier de la Chapelle de St. Michel de Lino (Oviedo) (bâtie par Ramiro Ier en 845) Pilastro della Cappella di S. Michele de Lino (Oviedo) (Costruito da Ramiro I. nell’anno 845)] [Illustration: Interior of the Chapel of St. Maria de Naranco near Oviedo (erected about 845) Interior de la Capilla Sta. Maria de Naranco (Oviedo) (edificada por los años de 845) Inneres der Kapelle Santa Maria de Naranco bei Oviedo (um 845 erbaut) Intérieur de la chapelle de Ste. Marie de Naranco (Oviedo) (bâtie en 845) Interno della Cappella di Santa Maria de Naranco (Oviedo) (Costruita nell’ anno 845)] [Illustration: The Gorge of Hermida in the Picos de Europa (Asturia) Desfiladero de Hermida en los Picos de Europa (Asturias) Engpaß von Hermida in den Picos de Europa (Asturien) Défilé de Hermida à Los Picos de Europa (Asturies) Passo di Hermida nel Picos d’Europa (Asturie)] [Illustration: Gorge In the Sella Valley (Picos de Europa) Desfiladero de Sella (Picos de Europa) Im Sellafal (Picos de Europa) Gorge de la Sella (Picos de Europa) Nella valle del Sella (Pico d’Europa)] [Illustration: Asturian Bridge (Picos de Europa) Puente asturiano (Picos de Europa) Asturianische Brücke (Picos de Europa) Un pont des Asturies (Picos de Europa) Ponte asturiano (Pico d’Europa)] [Illustration: Eucalyptus Avenue near Ribadesella Alameda de Eucaliptos (Ribadesella) Eukalyptusallee bei Ribadesella Allée d’eucalyptus près de Ribadesella Viale fiancheggiato di eucalitti a Ribadesella] [Illustration: Potes (Picos de Europa)] [Illustration: Potes] [Illustration: Potes (Picos de Europa)] [Illustration: Potes] [Illustration: Roman bridge in Cangas de Onis (Asturia) Puente romano de Cangas de Onis (Asturias) Römische Brücke in Cangas de Onis (Asturien) Pont Romain à Cangas de Onis (Asturies) Ponte romano a Canga de Onis (Asturie)] [Illustration: The Santander sailing boat harbour Puerto de veleros de Santander Segelschiffhafen von Santander Le port des voiliers à Santander Porto di velleri a Santander] [Illustration: Ondárroa (Vizcaya)] [Illustration: Castillo Butrón (Vizcaya)] [Illustration: Basque Peasant’s House (Mañaria) Casita vasca (Mañaria) Baskisches Bauernhaus (Mañaria) Maison de paysan basque (Mañaria) Casetta Basca (Mañaria)] [Illustration: Basque Peasant’s House near Durángo Casita vasca cerca de Durángo Baskisches Bauernhaus bei Durángo Maison de paysan basque aux environs de Durángo Casetta di contadini baschi presso Durángo] [Illustration: Basque Mill Molino vasco Baskische Mühle Un moulin basque Molini basco] [Illustration: Typical Basque cart Carro vasco tipico Typischer Baskenkarren Une charrette basque attelée de boeufs Carro basco con buol] [Illustration: Biscaya, Ancient gravestone in the Colegiata of Cenarruza Vizcaya, Lápida sepulcral en la Colegiata de Cenarruza Vizcaya, Alter Grabstein in der Colegiata von Cenarruza Pierre tombale à la Collegiale de Cenarruza (Biscaye) Antica lapide sepolcrale nella Collegiata de Cenarruza] [Illustration: Stone Crucifix in Durango (Biscaya) Cruz de piedra de Durango (Viscaya) Steinkreuz in Durango (Vizcaya) Le Calvaire de Durango (Biscaye) Croce di pietra a Durango (Viscaya)] [Illustration: Entrance to the Mallona Cemetery (Bilbao) Entrada del cementerio de Mallona (Bilbao) Friedhofsaufgang Mallona (Bilbao) Entrée du cimetière de Mallona (Bilbao) Ingresso al cimitero di Mallona (Bilbao)] [Illustration: Cemetery with stone sepulchres near Elorrio (Biscaya) Sepulcros de piedra cerca de Elorria (Vizcaya) Steinkistenfriedhof bei Elorrio (Vizcaya) Sépulcres de pierre aux environs d’Elorria (Biscaye) Sepolcri di pietra cava presso Elorrio (Vizcaya)] [Illustration: San Sebastian View from Monte Ulla Visto desde el Monte Ulla Vom Mont Ulla gesehen Vue prise du Mont Ulla Veduta della città del Monte Ulla] [Illustration: San Sebastian View from Monte Igueldo Visto desde el Monte Igueldo Vom Monte Igueldo gesehen Vue prise du Mont Igueldo Veduta della città dal Monte Igueldo] [Illustration: San Sebastian Eventide Al anochecer Abendstimmung Effet de crépuscule à Saint-Sébastien Tramonto] [Illustration: San Sebastian. Harbour. Evening Puerto de San Sebastian. Crepusculo San Sebastian. Abend im Hafen Le port de Saint-Sebastien Effet de crépuscule Porto di San Sebastiano. Crepuscolo] [Illustration: San Sebastian The Harbour El puerto Hafen Le port de Saint Sébastien San Sebastiano. Il Porto] [Illustration: Entrance to the harbour of Pasages Entrada del puerto de Pasages (Guipuzcoa) Einfahrt in den Hafen von Pasages (Guipuzcoa) Entrée du port de Pasages (Guipuzcoa) Stretto d’accesso al porto di Pasages (Guipuzcoa)] [Illustration: Pasages] [Illustration: Pasages] [Illustration: Pasages] [Illustration: Pasages] [Illustration: Bull-fight in the Market-Place of Pasages Novillada en la plaza mayor de Pasages Stierkampf auf dem Marktplatz von Pasages Un combat de taureaux sur la grande place à Pasages Corrida sulla piazza del mercato di Pasages] [Illustration: Boys playing at bull-fighting Muchachos jugando à los toros Knaben, Stierkampf spielend Un jeu d’enfant bien espagnol Bambini che giuocano alla Corrida] [Illustration: Fuenterabia Court in Charles Vth’s Palace Patio en el Palacio Carlos V. Hof im Palast Karls V. Une cour du palais de Charles-Quint Cortile del Palazzo Carlo V.] [Illustration: Ruins among the flowers Ruinas entre flores Ruinen in Margariten Ruines et fleurs Margariten. Rovine] [Illustration: Santiago de Campostela The Cathedral La Catedral Kathedrale La Cathédrale La Cattedrale] [Illustration: In the Bay of Pontevedra (Galicia) En la ria de Pontevedra (Galicia) In der Bucht von Pontevedra (Galicien) La baie de Pontevedra (Galice) Nel seno di Pontevedra (Galizia)] [Illustration: The waves at play Juego de las olas Spiel der Wellen Echappée sur la mer Giuoco delle onde] [Illustration: Vigo Harbour (Galicia) Puerto de Vigo (Galicia) Hafen von Vigo (Galicien) Le port de Vigo (Galice) Porto di Vico (Galizia)] [Illustration: Eventide at sea (Exit of Pasages) Penumbra de la tarde en el mar (Salida de Pasages) Abendfeier auf dem Meere (Ausfahrt von Pasages) Effet de soir sur la mer à la sortie de Pasages Tramonto sul mare (Uscita del porto di Pasages)] FOOTNOTES: [A] Vide pictures 1-22, 25. Bracketed figures in the text refer to the respective views. [B] Cordova was taken soon after the battle of Jerez (711). Abd-ur-rahman I., the founder of the Omaijaden dynasty began to build the mosque in 785. The columns (their number is stated at between 1400 and 1500) were collected from buildings in all countries: Byzantium, Rome, Carthage, Nîmes, Narbonne, etc.; hence their variety of form and material (marble, porphyry, jasper, alabaster). In 1235 Cordova was taken by the Christians. The erection of the choir was begun in 1523. *** END OF THE PROJECT GUTENBERG EBOOK PICTURESQUE SPAIN *** Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that: * You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." * You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. * You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. * You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org This website includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.