"The ruins, senor--yes--there they are!" And he pointed to a row of dilapidated stables in the centre of the pasture, not far from where a herd of fierce Andalusian bulls were grazing. I would not have crossed that field for all the antiquities in Spain.

"And this is all that is to be seen here?"

"Yes, senor, this is all."

Re-entering the carriage, I returned to the city, with a feeling of disgust, which was not diminished by my honest coachman's demanding an exorbitant fee for his services as guide....

Among the many revolutions which have affected the manners and formed the society of Europe, none is ent.i.tled to more credit, or has been more completely ignored, than the occupation of Spain by the Saracens. This neglect is almost inexplicable, considering the prestige the invaders acquired by their extensive conquests, long a menace to the peace of Christendom, as well as by their invaluable services to literature, whose influence is even now to be traced in the language, the theology, the science, and the laws of distant countries, loath to acknowledge the debt they owe to this most ingenious and polished people. For the ambition and versatility of the Moor were boundless, and he labored with the same persevering energy in the solution of some abstruse mathematical problem as in the prosecution of every useful discovery and the encouragement of every branch of trade.

The importance of his foreign commerce is shown by the wealth and size of his seaports. Of these Almeria stood first in rank; its merchants not only maintained the closest intimacy with the nations of the Mediterranean, but penetrated as far as Persia and China. It employed three thousand eight hundred looms in the fabrication of damasks and brocades; the gardens and plantations of its environs embraced an area of four hundred square miles. Each city had its specialty: Baeza was famous for woollens, Murcia for coats of mail, Valencia for perfumes, Malaga for pottery and gla.s.s, Xativa for paper, Toledo and Seville for swords of perfect temper. In the early part of the twelfth century there were six hundred villages engaged in the manufacture of silk. Granada was the chief mart of this industry, and soon after the accession of Charles Fifth, when the Inquisition had already driven thousands of skilful artisans into exile, the crown revenues from this source alone amounted annually to one hundred and eighty-one thousand five hundred gold ducats, or seven hundred and twenty-six thousand dollars of our money.

The luxurious tastes of the East caused the introduction of many useful plants and fruits, among them the buckwheat, the sugar-cane, the peach, and the pomegranate, and the first palm ever seen in Andalusia was brought from Damascus by Abderrahman, in memory of his native land. In his control over water, the most valuable treasure of his forefathers, the Moor displayed a power little short of marvellous, and a reverence as for something peculiarly sacred. Every drop of the precious fluid was utilized, and its distribution protected by a code of stringent regulations, causing its benefits to be felt in the remotest hamlets of the kingdom. This code is still in force in Valencia, and the ancient tribunal of seven judges, chosen from the farmers of the province, holds its sessions in that city every Thursday, the last day of the Mohammedan week, to hear and decide without appeal all questions involving the laws of irrigation.

The rapid progress made by the Spanish Arabs in those arts that tend to diminish the burdens and increase the enjoyments of life, unexampled as it was in history, was not more remarkable than the diligence with which they applied themselves to literary and scientific pursuits, studies destined to exert such lasting effects upon the happiness and well-being of mankind....

In the personal appearance and mode of life of the Andalusians, and particularly in those of the inhabitants of Cordova, can be detected unmistakable signs of their Arab ancestry. Their skins are darker, and the women especially have larger and more l.u.s.trous eyes than those of the other provinces of Spain. Their dialect, full of proverbial expressions, and unintelligible by its elision of consonants, seems a barbarous jargon to the Castilian of Salamanca or Valladolid. The popular cloak is the burnous; the hat of the muleteer a degenerate turban; the haick, under whose folds Eastern jealousy required the features of all females to be concealed, survives in the mantilla, that once covered the face, and does yet in certain towns, as Tarifa, and which has even travelled to Spanish America as the _tapada_ of Lima.

The sandal is much worn by the poorer cla.s.ses, and the silken sash, or girdle, pa.s.ses yet under its Arab name of _faja_. The irrigating apparatus, the cart, the plough,--which is nothing but a crooked stick,--are all Oriental; the mills were either actually built by the Moors, or modelled after those of that industrious people. Grain is still tramped out by cattle upon the primitive threshing-floor, and winnowed by the wind. The charcoal vender, with his panniers and his scales, is identical in all save costume with the vagrant charbonnier of Cairo.

The clapping of hands to call servants reminds one of the "Arabian Nights;" the seclusion of women savors strongly of the restraints of the harem.

Instances might be indefinitely multiplied to show the derivation of similar customs interwoven with every act of social and domestic life.

And, notwithstanding the untold advantages and invaluable practical knowledge--the results of ages of experience--bequeathed by the Saracen to his conqueror, with the ruins of ma.s.sive castles, and of palaces unrivalled in magnificent decoration, scattered all over the land; with the museums crowded with priceless relics of Arab art; with the fields watered by an ingenious yet simple system of irrigation, yielding prodigious returns with but trifling labor; it is the greatest insult you can offer a Spaniard to call him a "Moor," or insinuate that in his veins courses a drop of the blood of that despised race whose industry was once the boast, as its neglected souvenirs are now the glory, of his country.

THE SPANISH BULL-FIGHT.

JOSEPH MOORE.

["Outlying Europe and the Nearer Orient," by Joseph Moore, Jr., a work devoted to descriptive sketches of Egypt, the Holy Land, and the various countries of Europe, is the source of the following selection, which excellently delineates that ancient, though hardly time-honored, inst.i.tution of Spain, which has long been its most distinctive form of public recreation.

Happily, no other race than the Spanish has adopted this cruel sport.]

Nothing in the popular mind is more closely a.s.sociated with Spain than the bull-fight. To travel in that country without witnessing the spectacle would imply the loss of an invaluable opportunity to study Spanish life. The people of all cla.s.ses throughout the kingdom are unremitting in their enthusiasm for this favorite amus.e.m.e.nt, and no political or social prerogative could be guarded with more zealous devotion.

This species of gladiatorial contest took its origin at a remote period, and long before it a.s.sumed its present form exhibition combats of one bull against another were not uncommon. Pictorial sculptures at Beni Ha.s.san and Thebes prove the latter to have been among the sports of the Egyptians nearly three thousand years before the Christian era.

Strabo states that the bulls employed on these occasions were carefully trained for the purpose, and the encounters generally took place in the dromos, or avenue of approach to the temples. These displays, however, were probably abandoned under succeeding dynasties, as no such representations exist on walls of later periods. We have reasonable evidence to a.s.sume that bull-fights which included men and beasts as combatants were first inst.i.tuted by the Thessalians more than three hundred years before Christ. As a people, they were skilled in horsemanship, and the spectacle was not unlike that of modern Spain.

Julius Caesar is believed to have noticed such exhibitions in Thessaly, which led to their appearance in Rome about B.C. 45. In later ages they were generally prohibited in the Latin empire, both by the emperors and the popes. Gibbon, however, describes a feast celebrated at Rome in 1332, which included a bull-fight in the Coliseum, with the Roman n.o.bles as partic.i.p.ants. The bull-fight was introduced into the Spanish peninsula by the Moors in the eighth century, and when those people were finally expelled in 1492 by Ferdinand and Isabella, Catholic Spain adopted the cruel sport of her Mohammedan predecessors. In the sixteenth century Pope Pius V. vainly decreed its extinction, and two hundred years later Charles III. practically failed to accomplish the same by persuasion. Late in the last century Charles IV. suppressed the bull-fight, but Joseph Bonaparte soon after restored the privilege to ingratiate himself with the nation whose throne he had usurped.

Since then the ancient diversion has flourished despite the unanimous condemnation of the outer world. The present monarch, Alfonso XII., is said to favor its abolition, but such an attempt, it is declared, would be attended with the risk of engendering a revolution.

Bull-fights are popular throughout Spain, but, with the exception of Madrid, they are more frequent in the southern provinces. In fact, Seville is regarded as the centre of _tauromachia_. The season extends from the close of Lent to November, with Sundays and religious _fiestas_ as the favorite days. The Plaza de Toros, or bull-ring, is an extensive hypaethral amphitheatre resembling the Coliseum on a reduced scale. The new one at Madrid is located near the driving-park, or Gardens of the Buen Retiro, and will seat about fifteen thousand people. That at Seville is an older building, situated near the Guadalquivir, and estimated to accommodate from ten to twelve thousand spectators. The stone Plaza de Toros of Jerez is credited with a capacity of thirteen thousand. The seats are of various grades, and the charges for them range from ten reales (fifty cents) to forty-six reales (two dollars and thirty cents). The choicest are those in the shade and in the boxes which form the upper tier. Not unfrequently during holy week in Seville the demand for places is such that speculators will realize fifty pesetas (ten dollars) for a single ticket.

The various breeds of Spanish bulls are easily distinguished by the practised eye, and the entire interest of the Spaniard is centred on the movements of the doomed beast. A savage, aggressive _toro_ is an object of admiration, and one of timid demeanor of corresponding reproach.

The fiercest of all are those of Andalusian blood. The stock of Navarre and the Castilian bulls on the Jarama, near Aranjuez, are likewise favorites, and the latter are generally used at Madrid. The proceeds of the bull-fights are usually devoted to religious or charitable purposes; those of the capital chiefly supporting the State hospital.

The actors in the bull-fights are of four cla.s.ses: _matadores_, _banderilleros_, _picadores_, and _chulos_, their relative importance being in the order named. The word _torero_ is a general term for bull-fighters on foot, while _toreador_ is commonly applied to those on horseback. Before entering the ring a bull-fighter repairs to the chapel or confessional to be prepared for death should the merciless horns chance to reach his life.

Four o'clock in the afternoon is the usual time for the commencement of the spectacle, and but few seats are vacant when that hour approaches.

The cheap circles are replete with boisterous humanity of both s.e.xes, who loudly vent their impatience in case of delay. During the performance any failure of skill is greeted by the lower cla.s.ses with energetic cries of condemnation, many of the epithets used being of an extremely vulgar character. The choicer sections contain a brilliant a.s.semblage, the _senoritas_ in full evening toilettes of delicate tints, white kid gloves, lace veils, fans, and opera-gla.s.ses. The _senores_ wear a suit of black, except a vest of white, and pearl-colored gloves.

Directly on the opposite side of the arena from the _toril_, or bull-door, is the enclosure reserved for the _autoridad_, or one in authority presiding on the occasion, just as a Caesar did of old in the gladiatorial contests. In Madrid the king and his suite occupy this box, and the n.o.bility cl.u.s.ter in the vicinity.

A few minutes before the performance opens, the floor of the arena is sprinkled to prevent any disturbance of the dust during the struggle.

When this operation is completed, music by the band follows, and the king or the president of the day enters the reserved box. The excitement now becomes intense. A trumpeter stands awaiting the command to inaugurate the exhibition, and but a few seconds elapse before the notes are sounded. The band plays a march, a gate swings open, and a procession advances towards the royal loge. There it halts, and every performer salutes the occupant. The men on foot are in the Andalusian costume, richly elaborated,--flat hats, embroidered jackets, bright-colored knee-breeches, white stockings, and black slippers, and with the hair confined in nets. The hors.e.m.e.n are arrayed as Spanish knights of the olden time, with long buckskin breeches, under which the limbs are protected from injury by cork or tin leggings. The spurs of these combatants are provided with most cruel rowels to goad the timorous horses. The lance which the _picador_ carries is of the usual length for a horseman, but the spear-head is purposely too short to inflict a very serious wound. The group of performers consists of six _chulos_ on foot, with gay mantles, which they carry on the arm; two _matadores_ in green, one with a red-hilted Toledo blade and the other with a mantle; three _banderilleros_, each with a pair of decorated barbed darts called _banderillas_; three _picadores_ on blindfolded horses and armed with the lance; and, finally, some minor characters in charge of two brightly-caparisoned teams harnessed to crossbars.

After the salutation the teams withdraw, and the actors dispose themselves at various points in the ring. A horseman clad in black court costume, who has accompanied the procession and is called an _alguazil_, now gallops over to the box containing the authorities to receive the key of the _toril_, or bull-door. This he carries to the person in charge of that gate, and then hurriedly withdraws. The trumpet again sounds, the tumult becomes intensified, the toril-door opens, and the bull dashes into the arena. Upon his flank is a bright rosette with long ribbons, the _mona_, which is the prize of the victorious _matador_. For an instant "the lord of lowing herds" halts to survey the situation, but only an instant, and then the game of death commences. One of the _picadores_, mounted on a horse whose ears are filled with tow and whose eye towards the bull is covered, takes a position fronting the enemy, with his blunt spear in rest. The mighty brute hesitates a second, lowers his head, and charges. The spear is buried in the bull's shoulder, and the unprotected horse rears to escape the attack, but the deadly horns gore him, and all fall together. The bull's violence is instantly diverted by a _chulo_, who flaunts the red cape, and the _picador_ is quickly extricated by vigilant satellites. The attention of a stranger is now instinctively directed to the horse, to discover the extent of the damage. Perhaps his hip bleeds, or there is a visible rent in his chest from which the blood jets forth, or a ma.s.s of entrails protrudes as he walks. In the first case the wound is stanched with clay, and the _picador_ immediately remounts. If either of the latter happens, the horse is led towards the exit, but before reaching it he staggers and falls, in all probability dead. A subordinate called a _cachetero_ then thrusts a stiletto into the brain, as though the bull had not wholly completed the tragedy.

In the mean while the infuriated bovine has been otherwise engaged. A _chulo_ or two have flashed their bright-colored mantles in his face to madden him, or another _picador_ has stood an attack. Then a _chulo_ is pursued, greatly to the delight of the audience, and hastily retreats behind a short fence or refuge, built close to the ring and too narrow to admit the bull. In some _plazas_ the refuges are entirely wanting, and instead the nimble actors leap the first of the two barriers.

Occasionally the pursuing bull will likewise jump this outer fence, and must then be driven from the intervening circle back to the arena through a gate especially opened for the purpose.

Time pa.s.ses, and the bull is wearied and bleeding. A _banderillero_ now advances with a pair of the _banderillas_, or barbed darts, before mentioned. These instruments are rather less than a yard in length, and when necessary to aggravate a cowardly bull they are sometimes charged with explosives. The _banderillas_ are whisked in the brute's face until he charges, which is the result desired. The _banderillero_ quickly steps aside, the bull pa.s.ses, and the javelins are thrust deeply into his shoulders, one on each side of the spine. The movement is as dexterous as it is dangerous, and never fails to excite a shout of admiration. The bull struggles to extricate himself from the darts, and perhaps one falls to the ground. A second adept immediately places a second pair in the bleeding shoulders, and then still another, making six in all. Now the bull is furious, and accordingly a _picador_ again moves into position. A charge is made; all fall, and the horse is gored,--in all probability killed. The _chulos_ again flaunt their red lures, and so the struggle continues until the bull retires some distance for a respite. Perhaps he will rest on his haunches, or lie upon the ground in utter exhaustion. A cry from the audience at this juncture is well understood. The skilled _matador_ advances with his red-hilted Toledo blade and scarlet _muleta_ to ask formal permission of the authority to despatch the foe. A duel ensues to display the dexterity and grace of the _espada_. Frequently but a single step is necessary to remove him from the approaching horns, so great is this actor's composure, and so thorough his mastery of his movements. The _matador_, to employ the technical parlance, "knows when the bull is right to kill;" and finally he deliberately aims a thrust which in an instant displays the sword transfixed almost to the hilt. If one blade is not sufficient, another sinks to the appointed spot.

"Where his vast neck just mingles with the spine, Sheathed in his form the deadly weapon lies.

He stops--he starts--disdaining to decline; Slowly he falls, amidst triumphant cries, Without a groan, without a struggle, dies."

The victorious _matador_ salutes the presiding dignitary, and Spain's sons and daughters unite in one mighty outburst of joy and noise. One of the teams is summoned; a rope is attached from the crossbar to the deadly horns; the whips are applied, and the dead monarch of the farm disappears with the galloping horses. Nothing is left of him save the blood-stained track which his weighty corse has marked on the soil. The trumpet again sounds; the toril-door swings on its hinges, and a second bull rushes into the arena. The entertainment consists of the death of six bulls, all by the original group of men, and is usually of three hours duration.

A remarkable fact to be noted is that injuries to the human combatants are not frequent, though occasionally one is killed and others are maimed. At Madrid we saw a _matador_ thrown by the bull immediately after the sword had been fairly driven to the hilt. While the man lay upon his breast he received three pa.s.ses from the frantic beast before the mantles of the _chulos_ could distract the animal's attention.

Strange to relate, the unfortunate performer escaped with no greater injury than bruises, and, indeed, he evinced a disposition to renew the contest; but his companions almost forcibly led him from the arena. An instant afterwards the bull commenced bleeding at the mouth from the internal sword wound, and in less than a minute dropped dead. In another case related by a spectator, a _chulo_, in his attempt to escape, slipped when close to the barrier. Upon falling the man quickly doubled himself into a ball, and, miraculous as it may seem, the bull's horns were driven into the wooden fence on each side of the huddled form, and the actor was saved. In an instant the lure of a brother _chulo_ had diverted a second attack. Once when we were present a _cachetero_ struck a dying bull with a stiletto before the tenacious vitality was wholly exhausted, and so suddenly did the brute resent the wound that the public butcher had his nether garment rent by the pursuing horns.

Words cannot describe the strange and engrossing excitement which the bull-fight inspires. The brain is probably in a whirl of agitation, when suddenly the heart ceases beating for an instant, as rider, horse, and bull clash in the deliberate encounter. The sympathy for the poor defenceless horse is without bounds, and with it comes a flush of indignation that so n.o.ble an animal should be cruelly butchered to make a Spanish holiday. It is true the horses thus devoted to immolation are of little value; but they are nevertheless horses, and their wanton slaughter will admit of no justification. The destruction of so many bulls is equally to be condemned, and charity for the brute should not be wanting because he employs the weapons and exhibits the propensities with which the Creator endowed him. The stranger is also impelled to contemplate the fact that those of the gentler s.e.x, the famed beauty of Spain, regard these combats with sufficient partiality to insure their presence, and to behold with the utmost composure a death-stricken horse trailing his vitals before their very eyes. In extenuation it must be considered that their training and the traditions of the country p.r.o.nounce the bull-fight a legitimate amus.e.m.e.nt. Travellers, however, are almost unanimous in their conclusion that pleasure is vainly sought in frequenting the _corrida de toros_. Yet

"Such the ungentle sport that oft invites The Spanish maid, and cheers the Spanish swain."

SEVILLE, THE QUEEN OF ANDALUSIA.

S. P. SCOTT.

[We have already given one selection from Scott's "Through Spain." The work is so worthy that we feel impelled to offer other extracts from its well-filled pages. Seville, in many respects the most attractive city in Spain, offers a charm to the traveller which few can resist, while in respect to the treasure of Moorish architecture, possessed by many of the cities of Spain, it has to show its richly-decorated Alcazar, or citadel, its _Torre del Oro_, or Golden Tower, and its minaret, the Giralda, whose lofty summit looks down in pride upon the modern cathedral. But we must leave this story to our author's pen.]

Of all the cities of Spain, there is none that can compare in general attractiveness with the beautiful Andalusian capital. In the feudal towns of old Castile will be found much of interest to the student of history: in Madrid can be witnessed the pompous ceremonial of the court; Cordova has her mosque; Merida, her Roman, and Tarragona her Cyclopean, remains; Granada, her peerless Alhambra. But in Seville--inferior to none of these in the number and value of her antiquities--alone can be studied to advantage the singular manners of a society in some respects highly civilized yet in others manifesting unmistakable traces of barbarism, more noticeable here than in any other city of the kingdom.

It is a place of wonderful contrasts. On one side are stately avenues lined with magnificent palaces and gardens; on the other rise gloomy Moorish habitations, reached by winding pa.s.sage-ways so narrow that an ordinary umbrella, when raised, will barely clear the walls. As in Oriental communities, the different sects are separated; the Jews are restricted to one quarter, the Moors to another, the gypsies to a third, and nowhere outside of Cairo and Damascus is exhibited such an array of outlandish costumes. In the surging crowds of the promenades the uniform of the soldier and the cowl of the friar are especially conspicuous, the one the sign of a jealous military despotism, the other the badge of an order fast pa.s.sing away.

Seville has the first and grandest bull-fights of the season; her majos are the most extravagant in dress, her women the most witty and beautiful, her religious festivals the most expensive and splendid in the world. It is here, then, that we must look for the characteristic types of Andalusia, that favored land where the ancients placed their Elysian Fields and Garden of the Hesperides.

The city lies very low upon the Guadalquivir, which, overflowing with every freshet, has frequently submerged the streets and seriously damaged buildings situated a long distance from its banks.

The visitor, wandering along the substantial quays, will not fail to notice a curious, isolated tower, whose loop-holes and battlements resemble those of some feudal castle. It is the _Torre del Oro_, or Golden Tower, one of the landmarks of Moorish Seville, and was named from the shining yellow tiles that originally incrusted it, and which Spanish taste has thoroughly "improved" with a coat of plaster. It once guarded a bridge by which the city was supplied with provisions from the _Ajarafe_, the rich territory that extended for fifty miles up and down the river, and was under the most perfect cultivation.

From the Golden Tower, an irregular wall, whose summit is on a level with the roofs of the surrounding houses, can be traced for nearly a quarter of a mile, till it terminates in the Alcazar, or citadel. The date of the foundation of the Alcazar is too remote to be fixed with certainty, although it is known that a palace stood here about the time of the first Saracen invasion. The walls are fifty feet high and in excellent preservation. Within the princ.i.p.al gate is the room where the kadi, and after him Peter the Cruel,--who has left a deeper impress of his individuality upon Seville than any other monarch, Christian or Moslem,--exercised the office of judge. Beyond the grand court, which is large enough for the review of a considerable body of troops, is a smaller one enclosing the facade erected by Don Pedro in 1364. This, as well as much of the interior, was the work of the finest artists of Granada, sent to Don Pedro by his friend the Moorish king. Successive and ill-advised alterations have modernized the inner apartments, and what vandalism and whitewash could not accomplish has been effected by the stupidity of those intrusted with the repairs, who have awkwardly tried to imitate the delicate tile-work with paint, and have inserted many Arabic inscriptions upside down.

The Patio de las Doncellas was the central court of the seraglio, and the place where the annual tribute of one hundred Christian maidens was delivered by the va.s.sals of the sultan. Its arches are festooned and pointed, or ogive, denoting the period of transition between the horseshoe of Cordova and the symmetrical curves of the Alhambra.