An interior tower, rather more than twenty feet square, runs up the whole height of the Moorish portion of the building; between which and the external walls an easy ascent is contrived on an inclined plane. The necessity of introducing light throughout the ascent accounts for the different elevation of the windows and ornaments of the different sides; but the architect has so managed this difficulty, that no bad effect is produced in the external view. At the lower part of the tower the ascent is sufficiently wide to admit of the pa.s.sage of two men on horseback abreast; but it becomes narrower as it approaches the summit. Queen Christina is said to have been drawn up in a small carriage. The walls, both of the inner and outer tower, increase in thickness as they rise, and as the ascending plane decreases in width: a plan which appears opposed to the principle usually adopted by modern architects.

It is known that Geber was the architect of the Giralda, but no certainty exists respecting its date. The Spanish antiquarian Don Rodrigo Caro supposes it to have been erected during the reign of Benabet Almucamus, King of Seville, shortly before the appearance in Spain of the Almoravides; but this is no more than a conjecture, founded on the supposed wealth of that King, who possessed larger states than his successors, and who paid no tribute to the sovereigns of Castile.

Immediately over the highest story of the Moorish tower is the belfry.

The bells are suspended on the centre of revolving beams, which traverse the open arches of the four faces of the tower. They are consequently in full view, as they throw their somersets and send forth their lively clatter on a _dia de fiesta_.

Their effect is very original, and as unlike as possible to the monotonous and melancholy cadence of an English peal. None of them are deep-toned nor solemn, but all high and sharp: so that being let loose in merry disorder, and without tune, they somehow appear to harmonize with the brilliant skies, just as the descending ding-dong in England suits the gloom of the northern heavens. Leave Seville, and never shall their tones steal on your memory without your being transported into a blaze of bright sunshine.

In Spain the houses of the grandees are not called palaces, as those of the same rank in Italy are usually termed. There is not even an intermediate term, such as mansion,--still less the hall--abbey, or castle. They have the last, but only applied in cases in which it is correctly and legitimately applicable. The Arab expression _alcazar_, composed of the article _al_ and _cazar_, is so like the Spanish _la casa_ (the house), that, not having at hand a professor of Arabic to consult, I will risk the a.s.sertion that it bore the same meaning; notwithstanding the opinion of several French writers who translate it _chateau_. Chenier, author of the history of Morocco, derives it from the word Caissar, which he considers synonymous with Caesar: but this derivation appears to admit of much doubt, as the word would signify the Emperor, instead of his residence. Supposing it to signify the house, it must no doubt have meant the princ.i.p.al, or royal house. At present the two words are admitted into the Spanish language as one, which is applied indiscriminately to royal town-residences, whether castles or not, as well as the term _palacio_. But a private residence of whatever extent is modestly termed a house.

In this instance, as in many others, the proud contempt of high-sounding phraseology is common to Spain and England, where some of the most palace-like habitations are called Wentworth House, Hatfield House, Burleigh House: the very porters' lodges being sometimes such edifices as would claim the t.i.tle of _chateau_ in some other countries. But this same haughty modesty is rather individual than collective, and does not prevail as applied to towns and cities. In public acts and addresses, and even in the most homely precautionary warnings placarded at the corners of streets or promenades, the form used is,--"The const.i.tutional Alcalde of this heroic and very invincible town of Madrid, or Seville, forbids, or orders, &c.;" and still more splendid epithets are found for the nation in general.

I don't know whether it has occurred to you that this progressive dereliction of consistency is universal in human nature, although it a.s.sumes a variety of forms. In the present instance modesty commences at home, as they say charity should.

By the way, if charity should commence at home, together with the other affections of the heart, such as patriotism, then did the first Brutus make a mistake. If, on the contrary, his merit was great in sacrificing his son to his nation, it follows, that, in causing his entire nation to be butchered the first time they were guilty of any encroachment on the rights of the rest of the world, his glory would have increased in the ratio of one to some millions.

He either acted on a principle of justice, or preferred the applause of his compatriots to the affection of his son. If, therefore, an opportunity was ever afforded him of doing the world the above-mentioned act of justice at the expense of his countrymen, and he abstained from it,--it being impossible to suppose a Roman republican capable of a dereliction of principle--it is clear that he preferred the applause of his nation to that of the rest of the world; and all becomes a question of taste. But what, you exclaim, has the first or any other Brutus to do with Pilate's house, the description of which is preceded by this long introduction? And was not his murder of his son benevolence itself, compared to the infliction of these digressions on your patience?

The Casa de Palatos is a palace belonging to the Duke of Medina Cli.

One of his ancestors is said to have built it in exact imitation of Pontius Pilate's palace in Jerusalem, and to have obtained possession of a large quant.i.ty of the ornaments and portable furniture belonging to the ancient building, which, on the completion of his edifice at Seville, he established, each object in the place corresponding to that which it originally occupied.

A lofty wall, filling the side of the small square, called the Plaza de Pilatos, and surmounted by a bal.u.s.trade, forms the outer enclosure of the palace. You enter through a large plain arched doorway, and pa.s.s through a court, containing the porter's house, and other out-buildings devoid of ornament. A small door on the left leads from this enclosure to the princ.i.p.al court. Here you might imagine yourself still in the Alcazar. The ornament is in the same style; only the arcades are inferior in lightness and beauty. It contains, however, a fountain very superior to that of the princ.i.p.al court of the Alcazar.

At the four angles are colossal statues of white marble, representing deities of the Grecian mythology. They are antique, and of Roman origin.

Under the arcades a series of busts of the Roman emperors, are placed round the walls; the greater part of them are also antique. On one side of this court is the chapel, very small, and entirely covered with Arabesque ornament. At one side is placed erect against the wall a black cross, said to be a facsimile imitation of that actually carried by our Saviour, which occupied a similar situation in the palace at Jerusalem.

Its length is about seven feet, and the thickness of the wood about four inches by two. Opposite to the cross is a Madonna by Raffaelle. As no light enters the chapel, excepting through a small door, and that placed under the arcades, and the picture is hung at a considerable height, it can only be examined by the aid of a ladder, which is kept near it, and then only very imperfectly. At the time the chapel was habitually used, it probably contained candles always burning.

The great staircase is very ornamental and leads to several handsome suites of rooms. There is a colonnade on one side of the garden, under which lies a valuable collection of antique busts, columns, capitals, and fragments of all sorts, "in most admired disorder." The proprietor never visits this residence, and every part of it is in a very neglected state.

Seville lays claim to no less a founder than Hercules. A magnificent temple dedicated to him is said to have existed on the spot at present occupied by the parish church of San Nicholas. Near it a statue of the demiG.o.d has been discovered, together with six columns, four of which are sunk so deeply in the earth that they cannot be brought to light.

The other two are placed on lofty pedestals, and adorn the largest of the promenades of Seville, that called the Alameda. One of them is surmounted by the statue mentioned above, and the other by one of Julius Caesar. Venus is also stated to have shared with Hercules the devotions of the Sevillanos. The existence of her worship in ancient times is placed beyond a doubt by the well authenticated martyrdom of Saints Justa and Rufina, condemned for refusing to do honour to the rites of that G.o.ddess, and to figure in her processions.

These two martyrs to the Christian faith have pursued, on various subsequent occasions, a conduct calculated to afford a degree of advantage to an adversary, should he presume to accuse them of renegade propensities. They have manifested themselves determined protectors of the Arab tower, on every occasion of its being threatened with danger.

Numerous instances are on record; the most remarkable of which, is one that has given rise to much controversy, and employed in more recent times the researches of learned men. The tradition states, that, during an earthquake, which took place in the year 1504, and of which a vivid description may be found at the end of a book, called the Regla Vieja, which exists in the archives of the cathedral--the two virgins were seen to support the tower and prevent it from falling, surrounding it with their arms, one on each side. It is also related that, on the occasion of a previous earthquake, that of the year 1396, voices were heard in the air, articulated by demons, crying, "Throw it down, throw it down;"

and that others replied, "No, we cannot, for those villanous saints, Justa and Rufina, are guarding it." For these reasons it is usual, in paintings representing the Giralda, to place the figures of the two virgin Saints supporting it, one on either side; and a small model thus supported by images of the two martyrs, executed in wood, is carried in the princ.i.p.al religious processions. In all these representations, the figures stand rather taller than the tower.

The hospital of La Caridad is one of the princ.i.p.al attractions to strangers at Seville; for in its chapel is contained the picture, which pa.s.ses for the master-piece of Murillo. The chapel is narrow and lofty, and the picture placed as near as possible to the ceiling. A sight of it can only be obtained at an angle of about twenty degrees. But the aching of the neck is unheeded during the examination of this superb picture.

It is called Las Aguas, the Waters. Moses has just struck the rock, and stands in a simple and dignified att.i.tude. In the complete contentment of his countenance there may be traced a mingled expression of pity and grat.i.tude, as he looks on the scene which follows his action. The artist has given proof of consummate talent in the choice and treatment of his subject; which afforded him a variety of grouping, of expression, and of att.i.tude, of which few were capable of taking better advantage.

This picture is a specimen of his natural style, and its success is considered, and I think justly, superior to that of any other of his works. The imitation of material nature is here carried to as great perfection as in many of his paintings; while at the same time nothing can surpa.s.s the poetry of the composition, nor the exquisitely harmonious grouping of the men and animals. In this last quality, Murillo is certainly unequalled. He seems also in this instance, to have reached the utmost limits of art in the expression of the countenances, throughout the different groups, whether employed in offering silent thanksgivings, or entirely absorbed in the eager effort to obtain for their parched lips a draught of the bright liquid. In the feeling displayed in these instances, and so well represented, there is, it is true, nothing elevated, but still it is feeling; and its materiality is amply made amends for, by the chief personage of the scene, in whose countenance nothing but the sublime can be traced.

Had Murillo not painted this picture and the Saint Elizabeth of Hungary, Spanish art must have contented itself with the second rank, and Raphael would have continued without a rival. These pictures occasion regret that such genius should have employed itself during a long period, on works of a different sort. The San Antonio and a few others, were no doubt productions worthy of the painter of the Aguas, and a hundred or two others are magnificent paintings; but the time employed on some of these, and on a still greater number of less prominent merit, would have been more profitably devoted to the production of two or three which might have ranked with these giant creations of his talent.

In viewing either of these compositions, the other speedily becomes present to the imagination, and forces you to draw a comparison between them. They have a sort of affinity in their subject as well as in their style. The sufferers of the St. Elizabeth, occupied with their torments and their grat.i.tude, answer to those of the Aguas, engrossed also with almost parallel feelings. The Moses, tranquil and erect in the midst of the action which surrounds him, is the exact pendant of the majestic figure and compa.s.sionate countenance of the youthful princess, exercising her saintly charities. These pictures ought to be companions in the same gallery, were it possible for two such works to find their way into one and the same apartment. But that would be a consummation as hopeless as finding St. Peter's and the Duomo of Milan in the same town; Naples and Seville in one province, a London and a Paris in one country, an Ariosto and a Byron in the same language. It has more than once occurred to me, since I have seen these two pictures, that were Raphael's Spasimo and Transfiguration placed on one side of a room, and these two on the other, and the choice offered me which pair I would possess, I should never be able to come to a decision.

Another large picture by Murillo, the multiplying of the Loaves in the Desert, is suspended opposite the Aguas, and at the same elevation. On attempting to examine it, you are forcibly reminded by certain acute sensations in the region of the neck, of the unnatural position it has so long maintained, and you leave this picture, together with two others, placed near the entrance of the chapel, for a subsequent visit.

In the church of the Faubourg Triana, on the right hand after pa.s.sing the bridge, are some excellent pictures, particularly a Conception by Murillo. The mult.i.tude of paintings left by this artist is incredible, when to all those scattered through Spain, France, and England, are added those preserved in this his native town. Almost all the good houses in Seville contain collections of pictures; and all the collections have their Murillos. There are no fewer than sixteen in the gallery of the Canon, Don Manuel Cepero; but this is the largest of the private collections, and the best, as it ought to be, since it is contained in Murillo's house. It is the residence occupied by him during the latter part of his life, and in which he died. Its dimensions and distribution are handsome. At the back of it there is a garden of limited extent, but in which not an inch of s.p.a.ce is thrown away. Where there remains no room for choice flowers and orange trees, the walls are painted to prolong the illusion. The Canon possesses also several good paintings by Italian masters. I counted likewise four Rembrandts, and two of Rubens. Among the other private collections, that of the Alcalde Don Pedro Garcia is one of the richest; it contains a Santa Barbara of Cano, an exquisite picture. A Saint Joseph by Murillo, in the collection of the French Consul (a native of Seville) is admirable.

In most of the churches there is sufficient of this sort of attraction to make them worth a visit. In the convents nothing is left; in fact they no longer exist as convents. There may be one or two remaining in Seville, but I did not hear of them. The monastery of Jeronimites, and the Chartreuse--both situated in the environs--were the most considerable religious establishments of Seville. They are converted, one into a school, and the other into a porcelain manufactory. This last, the Chartreuse, contains in its church and refectory, plentiful traces of its former magnificence. An Englishman has purchased the monastery with three or four acres of ground, containing the immediate dependencies; and he is occupied with the labours which necessarily precede its appearance in its new character, replacing the b.u.t.teries, kitchens, storehouses, and cells, by rows of pudding-shaped baking-houses.

He has, however, spared the chapel, which is to continue in its former state. All the stalls, the altar, and other immoveable furniture, remain as he found them. The pictures and statues had of course been previously removed. The woodwork is inimitable--the best I have seen in Spain; it would be impossible in painting to represent with more delicacy, the very texture of the drapery, the very veins of the hands, and hair of the beards--of figures of a quarter the natural dimensions.

You are filled with astonishment, that the infinite patience necessary for this mechanical labour should have accompanied the genius which conceived and executed the incomparable figures and heads. The refectory, of which the ceiling is the princ.i.p.al ornament, is to be the great show-room for the display of the china. The fortunate manufacturer inhabits, with his family, the prior's residence--one of the most elegant habitations in the world: surrounding a court, which contains of course its white marble fountain and colonnades: and he is in treaty for the purchase of the orange-grove, the park of the monastery. This pleasure-ground is ornamented here and there with Kiosks, from which are obtained views of Seville, and the intervening Guadalquivir.

On the confiscation of this monastery, several magnificent pictures disappeared, a few of which have since been placed in the cathedral. Two alabaster monuments, belonging to the family of Medina Caeli, were also removed; they are placed in a church at present under repair. They are erect, and fit into the wall; measuring about forty feet in height.

Their upper portion is adorned with several well-executed small statues.

The other convent--that dedicated to S. Geronimo, is situated on the opposite side of the river, about a mile higher up. It is not so beautiful as the Cartuja, but on a grander scale. The princ.i.p.al court is magnificent; it is surrounded with upper and lower arcades, respectively of the Ionic and Doric orders: the apartments and church are of corresponding extent; but have either been deprived of their ornaments, or were originally but sparingly decorated. A ci-devant governor of Seville--a general officer, very distinguished as a linguist, has turned schoolmaster, and taken up his abode here. The day of my visit happened to be the general's birthday, and a scene of much festivity presented itself. The schoolmaster's successor in his former post at Seville, had arrived, attended by the band of a cavalry regiment; and the great court having been converted into a ball-room, the marble arcades were made to ring with the thrilling cadences of the hautbois and clarionette--by way of a fitting afterpiece to the tragic chants of former days.

The relatives and friends of the students were present, so that the youthful dancers were well-provided with partners. The performances were French quadrilles, English hornpipes, German waltzes, Russian mazurkas, and Spanish fandangos. I had arrived too late for the first part of the entertainment, which consisted of a bull-fight, for which a temporary arena had been enclosed. The bulls were what are called _novillos_--that is, scarcely more than calves; as the full-grown animals would have been more than a match for their juvenile antagonists.

The ruins of the Roman city of Italica, to which I have already alluded, are situated four miles from Seville in ascending the river--and on the opposite bank. The whole town is underground, with the exception of a few houses in the part in which excavations have been made, and of the amphitheatre which occupies an eminence. No notice was taken in modern times of the existence of this buried town, until towards the end of the last century, when the remains of the amphitheatre, the only portion of the ruins which were visible, drew the attention of travellers: and the authorities of Seville received orders to commence excavating. The search yielded a large quant.i.ty of valuable remains; a temple was discovered, in the neighbourhood of which were found several statues and capitals of columns. A choice was made of the objects in the best state of preservation, which were forwarded to Madrid in order to form a museum. Large quant.i.ties of coins were also sent, and collections of household utensils, and ornaments. The Arabs, who did not consider these Roman relics worthy objects of antiquarian research, nevertheless had either discovered and laid open a large portion of the town, or were themselves its destroyers. From it they extracted the large quant.i.ties of marble columns and slabs with which Seville is filled. The mutilated statues, together with several funereal monuments, found in later times, and not considered deserving of the journey to Madrid, have been deposited in a large room in the Alcazar of Seville, where they are now exhibited.

No record exists of the foundation of Italica. Its annals are traced to the time of Scipio Africa.n.u.s, who, on the completion of his conquest of Spain, and the final expulsion of the Carthaginians, finding himself embarra.s.sed by the number of wounded and sick among his troops, established them in this town under the protection of a garrison. He gave to the town its name of Italica,[12] its previous name being Sancius: the real situation of Italica has been the subject of much controversy. Like the Grecian cities, which claimed each to be the birthplace of Homer, several of the towns in the neighbourhood of Seville are candidates for the honour of being representatives of the ancient Italica; but ample proof exists of the ident.i.ty of these ruins with that city.[13] The Historia general, written by Alonso el Sabio, book 1., chap, XV., speaks of Italica as a place of much importance in ancient times, in allusion to the invasion of a people called the Almunizes. He adds, in the antiquated Spanish of his time, "Las nuevas fueron por todas las tierras de como aquellas gentes avian ganado a Espana, e todos los de las islas quel oyeron crecieron les corazones por fazer otro tal, e ayuntaron muy grandes navios, e vinieronse para Espana, e entraron por cuatro partes. Los que entraron por Cadiz vinieron Guadalquibir arriba, e llegaron a Italica e los de la villa salieron e lidiaron con ellos, e los de fuera entraron con ellos de vuelta por medio de la villa, e mataron los a todos, e ganaron la villa." It is not clear what invasion is here alluded to.

The town of Italica was one of the six or seven in these provinces which possessed the t.i.tle of _municipia_; a superior one to that of _colonia_, from its involving the privilege of retaining its ancient laws and customs, while on the colonies those of Rome were imposed. It was among the cities which sheltered some of the earliest converts to Christianity. Its first bishop was the martyr Saint Geruncio, put to death in prison. The prison, being considered sanctified, from its containing the saint's remains, became subsequently the resort of pious votaries from all parts of the province. In the Mozarabic ritual there is a hymn for the day of this saint, one of the stanzas of which fixes the epoque of his life and martyrdom, at that of the apostles.[14]

The centurion Cornelius, mentioned in the Acts of the Apostles, as converted by the preaching of St. Peter, was, it is said, a native of this city, and commanded a cohort raised in his native place.

The date of the destruction of Italica, is as uncertain as that of its origin. The fact of its existence during almost the entire period of the Gothic dominion, is established, by the presence of its bishops being recorded at the different councils. It is conjectured that its destruction was the work of the Arabs, who were no sooner in possession of Seville, than they considered it imprudent to allow so large a town to be in the hands of enemies in their immediate neighbourhood. This supposition of Spanish antiquaries seems hazarded without sufficient reflection; since, in the first place, had the occupants of Italica occasioned the Arabs any uneasiness, nothing was easier than to occupy the place themselves; and secondly, the ruins bear strong symptoms of having been reduced to their present state by some convulsion of nature, rather than by human agency: not to mention the coins discovered in large quant.i.ties, which would not have been neglected by human destroyers. It is not likely that the destruction of so considerable a place by the conquerors of the province, at the time they were too few to defend it, would have been overlooked by their historians--who make no allusion to the event.

The present appearance is that of a green undulating hill, which no one would imagine to be composed of the remains of streets, palaces, temples, and market-places. The upper portion only of the amphitheatre remains above-ground. Its form is slightly oval, nearly approaching to a circle. The greatest diameter is three hundred and twenty-five feet. It has twenty rows of seats, half of which are buried; each seat is two feet and a half in depth, and two in height. Part of the Podium remains; and enough of the entrance, to distinguish that it consisted of three large arches. It was constructed with Roman solidity. Nothing less than an earthquake could have toppled over the ma.s.ses of masonry, which appear in their confusion like solid rocks. A very small portion of the ruins has been explored: and part of that, for want of being sufficiently cleared out, is again buried in earth, and the work is discontinued. The objects now above-ground, consist of five or six tessalated floors, two of which have been considered of sufficient value to be walled in, and locked up, but without being roofed.

These ruins are well worth a visit, although the road to them from Seville, bears terrible symptoms of having been constructed before Macadam's day; perhaps even before that of the Scipios.

At the distance of a few hundred yards from the nearest portion of the ruined town is situated the village of Santi-ponce, in which is the convent of S. Isidoro, of the order of St. Jerome. The church contains the tombs of Don Alonzo Perez de Guzman, surnamed the Good, and of his wife Dona Maria Alonzo Coronel, founders of the ducal house of Medina Sidonia. This family obtained from Ferdinand the Fourth, a grant of Santi-ponce and old Seville (Italica), with the district, and temporal and spiritual jurisdiction. Don Sancho had already rewarded the services and tried fidelity of Perez de Guzman by presenting him with the town of Medina Sidonia. An anecdote is told of him worthy of a Roman republican.

Being governor of Tarifa under Sancho the Fourth, he had to defend the town against the Infant, Don Juan, who had revolted against his brother.

This prince, learning that a child of Guzman was in his power, being at nurse in the environs of the town, sent for it; and, presenting himself before the walls, declared to the governor that he would kill the child, if the town were not immediately surrendered. Guzman replied by drawing his sword, and throwing it down to the prince, who had the barbarity to order the infant to be murdered before his father's eyes.

LETTER XXI.

PRIVATE HOUSES, AND LOCAL CUSTOMS IN SEVILLE.

Seville.

The greater number of private houses are situated in an interminable labyrinth of winding streets, between the Calle de la Sierpe, and Plaza de San Francisco and the city wall, which connects the Aqueduct of Carmona with the Alcazar. It is the South-eastern half of the city. To the west of the Calle de la Sierpe there are also a few streets containing private residences, but they are not in so large a proportion. Some of the most elegant are, however, on this side; which being less Moorish and more modern, is less chary of its attractions, and allows a part of its decoration to enliven the external facades; while its s.p.a.cious doorways frequently open to the view of the pa.s.ser-by a gay perspective of gardens and courts.

The sunny balcony, crowded with a crimson forest of cactuses, is not more attractive to the sight, than the more mysterious vista beneath it, of retreating colonnades, mingled with orange and pomegranate trees, through which the murmur of the fountain is scarcely audible. Few cities present more charms to the wanderer than one in which the houses offer a combination so luxurious as is met with in the greater number of those of Seville. The cool summer rooms opening into the court, in which the drawing-room furniture is arranged on all sides of a fountain, plentifully supplied from the aqueduct of Carmona: and, on the upper floor, the winter apartments, chosen from their being better lighted, for the deposit of a collection of pictures and these almost always excellent,--and opening to the gallery; to which, during this season, the furniture having been removed from below, is placed, together with the work frames and portable musical instruments, on the side exposed to the sun. One sees these houses and their amiable and happy-looking inhabitants, and imagines there is no life to be compared to it. Yet the experiment may be made, and fail to answer the expectations of the stranger, who, confident in his discovery of the road to happiness, may have pitched his tent in the midst of these bewitching regions.

Can it be fatality--or is it essential in human nature, to find ever the least felicity there, where it looks for the greatest? The experiment, I say, was made. An Englishman, possessing every advantage of taste, talent, and wealth, took up his residence here, resolved to devote the remainder of his days to the peaceable enjoyments of a literary and social life. Thanks to his literary propensities, we are enabled to judge of the result of the trial. In a book published by the person to whom I allude, we find that no one could be less satisfied with his lot.

Seville and the Sevillanos meet with no mercy at his hands, and must, if we may judge by his dislike of them, have rendered his life a burden.

This, however, is a single example, and insufficient to deter others from the attempt. It may be that this individual had not entered fully into the spirit of Andalucian existence. Every detail of life being here adapted to the place and its customs and climate, no custom can be erred against with impunity--that is, without the forfeit of some corresponding advantage.