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[Illustration: image of the book's cover]




_The Story of Seville_

          "He who Seville has not seen,
          Has not seen a marvel great."

    "To whom God loves He gives a house in Seville."

_Popular Spanish Sayings._

[Illustration: _Saints Justa y Rufina_

_From the painting by Goya_]




_The Story of Seville
by Walter M. Gallichan_

_With Three Chapters on the Artists
of Seville by C. Gasquoine Hartley
Illustrated by Elizabeth Hartley_

[Illustration: colophon]

_London: J. M. Dent & Co.
Aldine House, 29 and 30 Bedford Street
Covent Garden, W.C._ * * 1903

_All Rights Reserved_




PREFACE


In the story of Seville I have endeavoured to interest the reader in the
associations of the buildings and the thoroughfares of the city.

I do not claim to have written a full history of Seville, though I have
sketched the salient events in its annals in the opening chapters of
this book. The history of Seville is the history of Spain, and if I have
omitted many matters of historical importance from my pages, it is
because I wished to focus attention upon the city itself. I trust that I
have succeeded in awaking here and there an echo of the past, and in
bringing before the imagination the figures of Moorish potentate or
sage, and of Spanish ruler, artist, priest and soldier.

Those who are acquainted with the history of Spain will appreciate the
difficulty that besets the historian in the matter of chronological
accuracy, and even in a narration of many of the main events. The
chronicles of the Roman, Gothic and Moorish epochs are hardly accepted
as reliable. Patriotic bias and religious enthusiasm are elements that
frequently mislead in the making of history, though the Spaniard is not
alone in the commission of error in this respect.

Seville abounds with human interest. The city may at the first glance
slightly disappoint the visitor, but he cannot wander far without a
growing sense of its fascination. Most of the noteworthy buildings are
hidden amidst narrow alleys, for the designers of the city have shown
great economy in utilising space. It is therefore difficult to gain
large general views of Seville, unless one ascends the Giralda, while
the obtrusion of modern dwelling-houses and stores often mars the view
of fine public edifices. But the modernity of Seville seldom strikes one
as wholly out of place and in sharp contrast to the ancient monuments.
The plan is Morisco, and the impression conveyed is partly Moorish and
partly mediaeval. In a word, Seville brings us at every step closely in
touch with antiquity.

For the chapters on the Artists of Seville I am indebted to C. Gasquoine
Hartley (Mrs. Walter M. Gallichan), who has devoted much study to the
art of Spain. The drawings by Miss Elizabeth Hartley were prepared while
I was gathering material for the book in Seville, and the illustrations
will be found to refer to the text. I have also to thank my brother, Mr.
F. H. Gallichan, for his plan of the city.

The frontispiece photograph of Goya's picture of SS. Justa and Rufina
was reproduced in the _Art Journal_ as an illustration to an article on
"Goya" by C. Gasquoine Hartley. My thanks are due to Messrs. Virtue &
Company for permission to reproduce the picture in this book.

WALTER M. GALLICHAN.

       THE CRIMBLES,
    YOULGREAVE, BAKEWELL,
    _August 20, 1903_.




CONTENTS


CHAPTER I

                                                                    PAGE

_Romans, Goths and Moors_                                              1

CHAPTER II

_The City Regained_                                                   26

CHAPTER III

_Seville under the Catholic Kings_                                    62

CHAPTER IV

_The Remains of the Mosque_                                           73

CHAPTER V

_The Cathedral_                                                       85

CHAPTER VI

_The Alcazar_                                                        110

CHAPTER VII

_The Literary Associations of the City_                              129

CHAPTER VIII

_The Artists of Seville_                                             146

CHAPTER IX

_Velazquez and Murillo_                                              165

CHAPTER X

_The Pictures in the Museo_                                          176

CHAPTER XI

_The Churches of the City_                                           187

CHAPTER XII

_Some Other Buildings_                                               201

CHAPTER XIII

_Seville of To-day_                                                  213

CHAPTER XIV

_The Alma Mater of Bull-fighters_                                    242

CHAPTER XV

_Information for the Visitor_                                        262

_Index_                                                              269




ILLUSTRATIONS


                                                                   PAGE

_SS. Justa and Rufina, from the painting by_
GOYA (_photogravure_)                                      _Frontispiece_

_Roman Amphitheatre at Italica_                                        1

_The Guadalquivir_                                                     3

_Roman Walls_                                                          8

_The Pillars of Hercules and Julius Caesar_                            11

_Moorish Fountain in the Court of Oranges_                            23

_Roman Capital_                                                       25

_Old Walls of the Alcazar_                                            41

_Sword of Isabella_                                                   49

_Plaza San Francisco_                                                 55

_Fountain in Bath, Alcazar_                                           66

_Puerta del Perdon_                                                   75

_Stone Pulpit in Court of Oranges_                                    78

_Cuerpo de Azucenas_                                                  79

_The Giralda_                                                         84

_Pinnacle of the Cathedral_                                           87

_Puerta Mayor--The Central Door of the
Cathedral_                                                            89

_Pinnacle of the Cathedral_                                           91

_Interior of the Cathedral_                                           97

_Patio de las Doncellas_                                             111

_In the Garden of the Alcazar_                                       125

_Cancela of the Casa Pilatos_                                        133

_The Guardian Angel_ (MURILLO)                              _facing_ 172

_The Conception_ (MURILLO)                                  _facing_ 178

_The Road to Calvary_ (VALDES LEAL)                         _facing_ 180

_Saint Hugo in the Refectory_ (ZURBARAN)                    _facing_ 182

_The Crucifixion_ (MONTANES)                                _facing_ 186

_Minaret of San Marcus_                                              190

_Puerta de Santa Maria_                                              195

_Patio del Casa Murillo_                                             203

_Amphora_                                                            212

_Patio del Colegio_, _San Miguel_                                    215

_The Golden Tower_                                                   223

_A Roof Garden_                                                      238

_Arms of Seville_                                                    241

_Plan of City_                                              _facing_ 268

[Illustration: Roman Amphitheatre at Italica]




The Story of Seville




CHAPTER I

_Romans, Goths and Moors_

    'The sound, the sight
     Of turban, girdle, robe, and scimitar
     And tawny skins, awoke contending thoughts
     Of anger, shame and anguish in the Goth.'

     ROBERT SOUTHEY, _Roderick_.


Seville the sunny, the gem of Andalusia, is a city in the midst of a
vast garden. Within its ancient walls, the vine, the orange tree, the
olive, and the rose flourish in all open spaces, while every _patio_, or
court, has its trellises whereon flowers blossom throughout the year.
Spreading palms overshadow the public squares and walks, and the banks
of the brown Guadalquivir are densely clothed with an Oriental verdure.

The surrounding country of the Province of Sevilla, _La Tierra de Maria
Santisima_, is flat, and in the neighbourhood of the city sparsely
wooded. On the low hills of Italica and San Juan de Aznalfarache, the
Hisn-al-Faradj of the Moors, olive groves cover many thousands of acres.
The plain is a _parterre_ of wide grain fields, and meadows of rife
grass, divided by straight white roads, with their trains of picturesque
mule teams and waggons, and their rows of tall, straight trees. Here and
there the cold grey cactus serves as a fence, but there is no other kind
of hedgerow.

Far away, across the yellow wheatfields, and beyond the vine-clad <DW72>s
of the middle distance, rise the huge shoulders and purple peaks of wild
sierras.

The Guadalquivir, rolling and eddying in a wide bed, takes its tint from
the light soil and sand, and is always turbid, as though in spate. Below
Seville, on the left bank of the river, stretch the great salt marshes,
or Marismas, haunted by the stork, the heron, and innumerable wildfowl.
Here, among the arms of the tidal water, the cotton plant is cultivated.
Winter floods are a source of danger to Seville, especially when a
south-west wind is blowing and the tide ascending the river. Then the
Guadalquivir overflows its banks and deluges the town and the flat land,
drowning live stock and