Part 13

_Seville_, Span. _Sevilla_ (33 ft.), a city of 145,300 inhab., the capital of Andalusia and of the province of Sevilla, the seat of an Archbishop and of a University, lies in a broad plain on the left bank of the tawny _Guadalquivir_, opposite the suburb of _Triana_. At flood-tide sea-going vessels of 23 ft. draught can ascend the river to the quays of Seville, which, though 54½ M. from the sea, can thus claim to be a seaport. The harbour is annually entered by about 1000 vessels, of 1¼ millions aggregate tonnage. The city combines the features of a seaport with gay scenes of popular life and a wealth of treasures of art. The houses in the narrow winding streets, the heritage of the Moorish period, often contain charming inner courts, called _pátios_, where the inhabitants spend most of their time in summer. The larger _plazas_ or squares are mostly planted with oranges or palm-trees.

Seville, as its ancient name _Hispalis_ indicates, was originally an Iberian settlement. Ever since the 2nd cent. B. C. its navigable river has made Seville a place of importance. In 411 it became the capital of the Vandals (p. 322), and in 441 the seat of the Visigoth kings, who however migrated in 567 to the more central Toledo. During the Moorish period Seville, alternately with Marakesh, was a favourite residence of the Almoravides and Almohades (p. 95); and particularly under _Yûsuf Abû Yakûb_ (1163–84) and under _Yakûb ibn Yûsuf_ (1184–98), surnamed _Al-Mansûr_ (‘the victorious’), it was embellished with many sumptuous buildings, and for a time it even surpassed Cordova in population. The Christian period begins with Frederick III. (‘the saint’) of Castile, who captured the city in 1248 and made it his residence. Among his descendants was Pedro I. (1350–69), surnamed ‘the Cruel’, of whom many anecdotes are still current. Since the discovery of America Seville has prospered greatly and vies with Cadiz as one of the chief ports of Spain.

At Seville were born Spain’s two greatest painters, _Velázquez_ (1599–1660; court-painter at Madrid from 1623 onwards) and _Murillo_ (1617–82). Here too is laid the scene of several famous operas: _Mozart’s_ Don Juan and Figaro, _Rossini’s_ Barber of Seville, and _Bizet’s_ Carmen.

See ‘Seville’, by _W. M. Gallichan_, in the ‘Mediæval Towns Series’ (London, 1903); and ‘Seville’, by _A. J. Calvert_ (London, 1907).

a. The Plaza del Triunfo with the Alcázar and the Cathedral.

We begin our walk at the PLAZA DEL TRIUNFO (Pl. F, 3), which is bounded by three imposing edifices, the Lonja on the W. side, the Alcázar on the S., and the Cathedral on the N.

The =Casa Lonja= (Pl. F, 3), the Exchange, built in the high-Renaissance style in 1583–98, contains on the upper floor the Archivo General de Indias, with the Spanish charters and deeds relating to the discovery and government of America and the Philippines. Fine view from the roof, especially of the Cathedral.

The *=Alcázar= (Pl. F, 3; adm., see p. 60), originally a castle of the Almohade Yûsuf Abû Yakûb (1181; see above), dates in its present form mainly from the time of kings Pedro I. (p. 61) and Henry II. (1369–79), who caused the castle to be restored by Moorish architects in the Mudejar style (p. 51). Later alterations date from the reigns of Charles V. (1526), Philip II. (1569), and Philip IV. (1624), while modern restorations (1857–89) have materially changed the character of the interior.

The EXTERIOR with its pinnacled corner-towers, still has the character of a mediæval castle. From the entrance in the S.E. angle of the Plaza del Triunfo we first cross the large Patio de las Banderas, in which are the ticket-office and a vaulted gateway (‘apeadero’). Thence we may proceed straight to the garden (see below), or to the right to the Patio de la Montería, the inner court, planted with oranges and palms. Very striking is the splendid *CHIEF FAÇADE of the inner Alcázar. The beautiful windows and side-entrances are framed with toothed arches; above them runs a rich stalactite frieze crowned with a far-projecting timber roof resting on quaint corbels. Arabic inscriptions in Cufic characters (p. 150) serve for decoration.

The APARTMENTS in the interior are grouped round the Patio de las Doncellas (‘court of the maidens’), erected in 1369–79, but almost entirely rebuilt under Charles V. and Philip II. The lower story is preceded by superb Moorish arcades resting on coupled Renaissance columns. The upper walls in open-work are richly embellished with stucco. The chief rooms on the groundfloor are, on the S.E., the Salón de Carlos Quinto with its fine ‘azulejos’ (or tiles) and timber ceiling; on the S.W., the quadrangular domed *Salón de Embajadores, also richly decorated with azulejos, and the Patio de las Muñecas (dolls’ court), modern in its upper parts, so called from the figures which adorn it.

From the Apeadero (see above) we may lastly visit the GARDEN of the Alcázar, with its luxuriant vegetation, a pavilion of the time of Charles V., a grotto, and fountains.

Returning to the Plaza del Triunfo, we face the Cathedral, with the Capilla Real (p. 64), projecting on the E., and the clock-tower at the N.E. angle of the church, the famous—

**=Giralda= (Pl. F, 3), the conspicuous landmark of the city. It was originally the minaret of the principal Moorish mosque, built in brick by the architect _Jâbir_ for Yakûb ibn Yûsuf (p. 61) in 1184–96. The tower tapers slightly towards the top and is remarkable for its harmonious proportions. It is square in form, each side being 45 ft. long, and its walls are 7 ft. thick. The upper wall-surfaces adjoining the windows, at a height of about 80 ft. above the ground, are diapered with a network of Arabesque-like sunken panels, and are further enlivened with niches. Instead of being crowned with a pinnacled platform (see altar-piece, p. 64), the tower now has a belfry (1568), capped by a small dome (305 ft.), on which stands the _Girardillo_, or vane, a bronze female figure representing Faith.

The *Ascent (p. 60) is most enjoyable towards evening. Entrance by the door in the S.E. angle. An easy inclined plane, in 35 sections, and ending in 16 steps, ascends to the first gallery, where the bells are hung, and where we enjoy a very extensive view.

In the Calle de Alemanes, on the N. side of the Cathedral, is the main entrance to the *=Patio de los Naranjos= (Pl. F, 3; ‘orange-court’), once the court of the mosque. The handsome entrance-gateway, called Puerta del Perdón, dates from the Moorish period. The bronze-mounted *Doors and the knockers, in the Mudejar style, and the sculptures (1519) are additions of the Christian period. The old artesonado or coffered ceiling was replaced in 1833 by a tower.

In this picturesque court, where the faithful used to perform their ablutions at a fountain (al-mîdâ) before entering the sacred precincts, we stand opposite the Cathedral; on the right is the _Sagrario_ (p. 65); on the left is the _Biblioteca Colombina_, or cathedral library, founded in 1539 by Fernando Colón, Columbus’s son, above which towers the Giralda.

From the orange-court the cathedral may be entered by the Puerta de los Naranjos or (on the left) by the Puerta del Lagarto. It is preferable, however, to enter on the W. side, from the Calle del Gran Capitán.

The **=Cathedral= (Pl. F, 3; adm., see p. 60), one of the grandest and most sumptuous Gothic churches in the whole of Christendom, occupies the site of the principal Moorish mosque, which was erected by Yûsuf Abû Yakûb in 1171. It was begun by unknown architects in 1402, and in its chief parts was completed in 1506. The dome having collapsed in 1511, it was rebuilt from designs by _Juan Gil de Ontañón_ in 1517, and having in 1888 again fallen in it was restored by _Casanova_.

The W. FAÇADE, which was not completed till 1827, as well as the E. façade, is remarkable for the wealth of sculpture on its portals. On the two lateral gateways in particular, the Puerta del Bautismo (left) and the Puerta del Nacimiento (right), we note the beautiful terracotta figures by _Pedro Millán_ (about 1500), of semi-northern character.

The *INTERIOR has a nave with double aisles, two rows of side-chapels, a transept which does not project beyond the main walls, a choir in the centre, and a Capilla Mayor containing the high-altar. Exclusive of the Capilla Real, the church is 383 ft. long and 249 ft. in width. The nave is 53 ft. wide and 132 ft. high, the aisles are each 36 ft. wide and 85 ft. in height. The marble pavement is of the 18th cent., the fine stained glass of the 16th–19th centuries. The screen (reja) and the Gothic stalls (sillería) of the choir were almost entirely destroyed by the last collapse of the dome. The huge high-altar (retablo) in the Capilla Mayor is a masterpiece of Gothic wood-carving (1482–1564).

The SIDE CHAPELS and the SACRISTIES form a veritable museum of sculpture and painting, but are very badly lighted.

Adjoining the Puerta Mayor, the chief portal of the W. façade, are the Altar del Santo Angel, with a picture by _Murillo_ (the ‘Angel de la Guarda’ or guardian angel), and the small Altar del Nacimiento, containing admirable pictures by _Luis de Vargas_ (1502–68; ‘Adoration of the Child’ and the ‘Four Evangelists’).

The fourth chapel in the S. aisle, the Capilla de Hermenegildo, contains the fine Gothic monument of Archbp. Juan de Cervantes (d. 1453), by _Lorenzo Mercadante de Bretaña_.—In the S. transept rises the very curious sarcophagus of Columbus, placed in the cathedral of Havana in 1892 and brought to Spain in 1899. To the right stands the Altar de la Gamba, with the famous painting by _Luis de Vargas_, the so-called Generación, or Adoration of the Immaculate Conception by Adam and Eve, generally known as ‘La Gamba’, from the finely drawn and painted leg of Adam.

Through the Capilla de los Dolores we pass into the SACRISTÍA DE LOS CÁLICES, built in the late-Gothic style by _Diego de Riaño_ (d. 1533) and _Martin Gainza_ (d. 1566), where we obtain tickets of admission to the closed chapels, etc. (see p. 60). In front of us is a famous *Crucifix, by _Martínez Montañés_ (d. 1649), the most typical of Andalusian sculptors; on the left are a SS. Justa and Rufina, by _Goya_ (1817), and St. Dorothea by _Murillo_. On the window-wall is St. John the Evangelist, by _Zurbarán_.

Adjacent to the Antesala is the *SACRISTÍA MAYOR, a magnificent room in the plateresque style, also built, after 1532, by _Riaño_ and _Gainza_, containing the rich treasury of the cathedral and three valuable pictures, a Descent from the Cross, by _Pedro Campaña_ (1548), and SS. Leander and Isidore by _Murillo_.

The Capilla del Mariscal possesses an altar-piece in ten sections, the Presentation in the Temple, by _Pedro Campaña_.

The elliptical *SALA CAPITULAR, begun by _Riaño_ and _Gainza_ in 1530 but not finished till after 1582, has a Doric entablature resting on Ionic mural columns, while the decoration is plateresque (Span. Renaissance). The eight ovals between the windows and the fine picture of the Immaculate Conception are by _Murillo_.

On the E. side of the church we pass through a high railing (1773) into the CAPILLA REAL (adm., see p. 60), a Renaissance edifice by _Gainza_ and others (1551–75), on the site of the old royal vaults. By the entrance, right and left, are the tombs of Alfonso the Wise (d. 1284) and his mother Queen Beatrice of Swabia. In the apse is preserved the reliquary of St. Ferdinand (Ferdinand III. of Castile; p. 69), who, as well as Pedro I., is interred in the ‘Panteón’ under the chapel.

In the N. aisle, beyond the Puerta del Lagarto (p. 63) is the Capilla de los Evangelistas, whose altar-piece is by _Ferd. Sturm_ (1559); on the predella, to the left, below, are SS. Justa and Rufina with the Giralda in its original form (p. 62). In the Capilla de Santiago (St. James) is a *Picture of that saint, by _Juan de las Roelas_ (1609). Most famous of all is a **_Murillo_ in the Capilla del Bautisterio (forenoon light best), the Infant Christ appearing to St. Antony of Padua (1656).

The Puerta del Sagrario, the last door on the N. side of the cathedral, leads into the =Sagrario=, built as a parish-church in the baroque style in 1618–62, with a single vault 75 ft. high. The altar-piece on the left is a fine half-figure of the Mater Dolorosa by _Montañés_.

b. The Central and Eastern Quarters.

The lively Calle Génova or Cánovas del Castillo leads from the Cathedral to the PLAZA DE LA CONSTITUCIÓN (Pl. E, 3), the focus of the city traffic. On the right is the _Audiencia_, containing the law-courts; on the left, between this plaza and the large Plaza Nueva or de San Fernando (Pl. E, 4), rises the—

*=Casa del Ayuntamiento= (Pl. E, 4), or town-hall, a Renaissance edifice (1526–64) designed by _Diego de Riaño_ (p. 64). The richly decorated S.

## part is one of the most charming creations of the plateresque style.

At the Audiencia begins the *CALLE DE LAS SIERPES (Pl. E, D, 3), or ‘street of serpents’, so named after the sign-board of an old inn. It contains the chief cafés and clubs and the largest shops, and it presents a very lively scene in the evening.

This street forms the best starting-point for a walk through the E. quarters of the town. The first lateral street on the right, the Calle Sagasta, leads to the church of _San Salvador_ (Pl. D, E, 3), which contains a statue of Christ by Montañés (2nd altar on the right). From the S.E. angle of that church the Cuesta del Rosario leads to—

_San Isidoro_ (Pl. E, 3), where at the high-altar a celebrated masterpiece by Roelas, the Death of St. Isidore (El Tránsito), was once closely studied by Murillo.—From San Isidoro the Calle Almirante Hoyos and Calle de Aguilas, which contain several fine patios, lead to the Plaza de Pilatos.

The *=Casa de Pilatos= (Pl. E, 2; adm., see p. 60), the property of the Duque de Medinaceli, was probably begun early in the 16th cent. by Christian-Moorish architects for the Ribera family. As a member of that family had been to Jerusalem, the building was popularly supposed to be a copy of Pilate’s house. The architecture shows a curious but harmonious blend of Moorish, Gothic, and Renaissance elements.

The beautiful Patio, with its colonnade and fountain, contains several antiques; in the angles are two excellent replicas of a statue of Athena, of the time of Phidias.—Adjoining the court, on the right, is the so-called Prætorium of Pilate, and straight in front are the Vestibule, with its superb azulejos, and the Chapel, with its charming Gothic-Moorish decoration. To the left of the vestibule is a room with azulejos and a rich artesonado ceiling.—A magnificent staircase, roofed by a much admired dome, ascends to the upper floor, which is not accessible.

From the Plaza de Pilatos we follow the Calle de Caballerizas and Calle Descalzos to the N.W. to the pretty Plaza de Argüelles (Pl. D, 2, 3). Here rises _San Pedro_, a Gothic church of the 14th cent., containing a fine timber ceiling and pictures by Pedro Campaña and Roelas (sacristan, Calle Doña María Coronel 1).

Following the Calle de la Imagen, and crossing the _Mercado_ (Pl. D, 3), we reach the Calle Laraña.

The =University= (Pl. D, 3) now occupies an old Jesuit convent. The _University Church_ (entered from the quadrangle; fee ½–1 p.), built in 1565–79 by Bartolomé Bustamante (?) for the Jesuits, in the Renaissance style, contains fine Renaissance monuments and several sculptures and paintings by Montañés, Alonso Cano, Roelas, and others.

The churches in the N.E. QUARTER, such as _Omnium Sanctorum_ (Pl. B, 3), _San Marcos_ (Pl. C, 2), and _Santa Marina_ (Pl. B, 2) still possess towers in the Moorish style, which were once the minarets of mosques.—The so-called _Casa del Duque de Alba_ (Pl. C, 2), Calle de las Dueñas 5, a palace built for the Riberas (p. 65) in the Mudejar style after 1483, contains a court planted with palms and a staircase richly adorned with azulejos, but the house itself is not shown.

In the Calle de Santa Paula, a little to the E. of San Marcos, is the _Convento de Santa Paula_ (Pl. C, 1, 2), a nunnery founded in 1476. The forecourt has a superb Gothic portal, with terracotta ornamentation by Franc. Nicoluso of Pisa and reliefs of saints by Pedro Millán (p. 63). The rich mural azulejos (16th cent.) in the church’ are well worth seeing.

In the Ronda de Capuchinos (Pl. A, 1, 2) there are considerable remains of the ancient _City Wall_, with its external towers and low parapet (‘barbacana’, after Byzantine models).

c. The Western and South-Western Quarters.

Starting from the small PLAZA DEL PACÍFICO (Pl. D, 4), planted with orange-trees, we follow the Calle de San Pablo to the S.W. as far as the church of _Santa Magdalena_ (Pl. D, 4) and then turn to the right into the Calle de Bailén. From this in turn we again diverge to the right and follow the Calle de Miguel de Carvajal to the PLAZA DEL MUSEO (Pl. D, 5; officially, Plaza de la Condesa de Casa Galindo), in which rises a _Bronze Statue of Murillo_.

The *=Museo Provincial= (Pl. D, 5; adm., see p. 60), occupying an old monastery of Mercenarii (_Convento de la Merced_), contains the small _Museo Arqueológico_ and the _Museo de Pinturas_, a famous picture-gallery. The gallery contains several valuable sculptures, but its chief treasure consists in 23 _Murillos_, mostly from the old Capuchin monastery (Pl. A, B, 1), depicting the legend of St. Francis of Assisi and the foundation of the Franciscan order.

A small court leads to the N. CLOISTERS, where the antiques (Roman, Visigothic, Moorish), along with some modern works, are exhibited. From the nearer aisle of the cloisters an azulejos-portal leads straight into the—

GREAT HALL of the picture-gallery, once the convent-church. The **_Murillos_ are all hung on the walls of the nave. On the S. wall, by the entrance, note specially the Concepción, the Annunciation, SS. Leander and Bonaventura, and the ‘Virgen de la Servilleta’, said to have been painted on a table-napkin. On the N. wall we note St. Felix of Cantalicio with the Infant Jesus, the *Almsgiving of St. Thomas of Villanueva, the great Conception, the Adoration or the Shepherds, and Christ on the Cross embracing St. Francis.

On the end-wall of the church is the Martyrdom of St. Andrew by _Roelas_. The transept and choir are hung with numerous pictures by _Zurbarán_ (notably the Triumph of St. Thomas Aquinas, in the choir). Here, too, are several *Sculptures: _Pietro Torrigiani_, Virgin and Child, with the penitent St. Jerome (in terracotta); _Montañés_, wooden figures of the Virgin and Child, John the Baptist, and St. Dominicus.

A room on the UPPER FLOOR contains modern pictures.

The Calle de los Reyes Católicos, in line with the Calle de San Pablo (p. 66), ends at the Puente de Isabel Segunda (Pl. F, 6), the chief bridge crossing to the suburb of _Triana_.

A little short of the bridge we turn to the left and follow the PASEO DE CRISTÓBAL COLÓN (Pl. E, F, 5, 4), skirting the left bank of the Guadalquivir and the quays. On the left lie the _Bull Ring_ (Pl. F, 4, 5); then the pretty PLAZA DE ATARAZANAS (Pl. F, 4; Arabic Dâr as-San῾a, ‘arsenal’, ‘place of work’), on the site of the old Moorish wharf, where the great _Artillery Arsenal_ (Maestranza), the Hospital de la Caridad, and the _Custom House_ (Aduana), are now situated.

The =Hospital de la Caridad= (Pl. F, 4; adm., see p. 60), erected for the ‘brotherhood of charity’ (Hermandad de la Caridad) in 1661–4, possesses, in its baroque church, six far-famed **_Murillos_ (1660–74). Two of these in particular are the delight and admiration of every beholder: Moses striking the Rock (Cuadro de las Aguas, or La Sed, ‘the thirst’) and the Feeding of the Five Thousand (Pan y Peces, ‘bread and fishes’). Besides these pictures there are, on the left, the Infant Christ, the Annunciation, and San Juan de Dios carrying sick persons into the hospital; on the right, the young John the Baptist. By tho high-choir are two singular but repulsive pictures by _Juan Valdés Leal_ (1630–91), the Raising of the Cross and the Triumph of Death.

Near the S. angle of the Plaza, close to the river, rises the =Torre del Oro= (Pl. G, 4), once a fortified tower of the Moorish Alcázar (p. 61), and ever since called the ‘tower of gold’ on account of its brilliant azulejos. The upper part of the tower dates from the Christian period only; the window openings and the balconies were constructed in 1760.

Near the Torre del Oro begin the *=Public Gardens= of Seville, which,

## particularly in spring, when roses, camellias, and orange-blossom are in

their glory, afford a delightful promenade. The favourite part is the _Paseo de las Delicias_ (Pl. H, 3), beginning at the _Palacio de Santelmo_ (Pl. G, 3; now a priests’ seminary), where the people of fashion drive on fine afternoons. On the way back we may walk through the _Parque María Luisa_ (Pl. H, 2), once part of the Santelmo gardens, and regain the town by the Calle San Fernando, passing the great _Tobacco Factory_ (Pl. G, 3), a huge baroque building of 1757.

8. From Seville to Cordova.

81½ M. RAILWAY (Seville and Madrid Line) in 2¾–4¾ hrs. (fares 16 p. 40, 12 p. 30, 7 p. 40 c.); one _train de luxe_ daily, 1st cl. only, fare 10 per cent higher. Trains start from the Estación de Córdoba.

_Seville_, see p. 59. We follow the Guadalquivir upstream, at some distance from its lofty reddish banks, which are visible at times. Nearing (13½ M.) _Brenes_ we enjoy a last retrospect of the cathedral of Seville with the Giralda.

22 M. _Tocina_, the junction for Mérida and Lisbon. Beyond (25½ M.) _Guadajoz_ we cross to the right bank of the Guadalquivir. 46½ M. _Peñaflor_, adjoining rapids of the river which drive large mills. 49 M. _Palma del Río_, at the confluence of the Guadalquivir with the _Genil_ (p. 74). 67½ M. _Almodóvar_, with a loftily situated Moorish castle, now being restored.

81½ M. =Cordova.=—At the STATION (_Estación de Madrid, Sevilla y Málaga_; Pl. B, C, 1; Rail. Restaur.) are omnibuses from the chief hotels.

HOTELS (comp. p. 51; charges should be arranged beforehand). _Hot. Suizo_ (Pl. a; C, 2), corner of Calle Duque de Hornachuelos and the narrow Calle Diego León, pens, from 12½ p., variously judged.—Less expensive: _Hot. de Oriente_ (Pl. c; C, 2), pens. 8–10 p.; _Hot. de España & Francia_ (Pl. b; C, 2), pens. 8 p.; _Hot. Simón_ (Pl. d; C, 2), pens. 5–6 p., very fair; these three are in the Paseo del Gran Capitán; _Cuatro Naciones_, Calle San Miguel 4.

CAFÉS. _Café-Restaur. Suizo_, Calle Ambrosio de Morales (Pl. D, 3); _La Perla_, Calle del Conde de Gondomar No. 1, _Cervecería Alemana_ No. 8.

POST & TELEGRAPH OFFICE (Pl. D, 3), Plazuela de Seneca.

BRITISH VICE-CONSUL, _Richard Eshott Carr_.

HALF-A-DAY, when time presses: _Cathedral_ (open all day, except 12–2; closes 2 hrs. before sunset); visit to the Mihrâb, Renaissance choir, Mudejar chapel, etc., for which a permiso (2 p.) is obtained at the Oficina de la Obrería, adjoining the Puerta del Perdón; then the _Guadalquivir Bridge_, with the _Calahorra_; the _Paseo del Gran Capitán_ and _Jardines de la Victoria_.