The Story of Seville

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 mediæval. 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 Alcázar 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 Cæsar 11