But the long succession of apartments through which the visitor is ushered suggests no association with the former maritime prowess of Spain; it is haunted rather by the failures and disappointments of its owner, who, missing the throne on which his foot had almost rested, lived to see his daughter, Queen Mercedes, die, and another daughter mysteriously follow Mercedes into the grave after being plighted to the reigning King. The grounds attached to the palace are very large, and filled with palms, orange-trees, and other less tropical growths; and they may be inspected, under the guidance of a forester armed with an innocuous gun, by anybody who, after getting permission, is willing to pay a small fee and tire himself out by an aimless ramble.
Sevilla, where Murillo was born and spent so many years of artistic activity in the height of his powers, is the next best place after Madrid for a study of the sweetest among Spanish painters. His house still stands in the Jews' Quarter, and a few of his best works are kept in the picture-gallery; among them the one which he was wont to call "my picture"—"St. Thomas of Villanueva Giving Alms." Like the "Saint Elizabeth" at Madrid, it is a grand study of beggary—vagabondism as you may see it to-day throughout Spain, but here elevated by excellent design, charming sympathy with nature, and the resources of a delightful colorist, into something possessing dignity and permanent interest—qualities which the original phenomenon lacks. Murillo is pure, sincere, simple, but never profound; though to this he perhaps approaches more nearly in his "St. Francis Embracing the Crucified Saviour" than in any other of his productions. Like others of his pictures in Sevilla, however, it is painted in his latest style, called "vaporoso," which, to my thinking, marks by its meretricious softness of hazy atmosphere, and its too free coloring, a distinct decadence. In the church connected with the Caridad are hung two colossal canvases, one depicting the miracle of the loaves and fishes, the other, Moses striking the rock. This last is better known by its popular title, "The Thirst," which pays tribute to its masterly portrayal of that animal desire. In the suffering revealed by the faces of the Israelites, as well as the eager joy of the crowd (and even of their beasts of burden) on receiving relief, there is a dramatic contention of pain and pleasure, for the rendering of which the naturalistic genius of the artist was eminently suited—and he has made the most of his opportunity. The representation is terribly true; and its range of observation culminates in the figure of the mother drinking first, though her babe begs for water; for this is exactly what one would expect in Spanish mothers of her class, whose faces are lined with a sombre harshness, a want of human kindness singularly repellent. Such a picture is hardly agreeable; and it must be owned that, excepting in his gentle, honest "Conceptions," and a few other pieces, Murillo shares the earthiness of his national school, the effect of which, despite much magnificence in treatment, is on the whole depressing.
The House of Pilate, owned by the Duke of Medina Celi, is quite another sort of thing from San Telmo; a roomy, irregular edifice, dating from the sixteenth century, but almost wholly Saracenic. The walls are repoussés in fine arabesques, and sheathed at the base with old color-veined tiles that throw back the light in flashes from their surface. These also enamel the grand staircase, which makes a square turn beneath a roof described as a media naranja—natural Spanish music for our plain "half-orange"—the vault of which is fretted cedar cased in stucco. At the top landing is posted a cock in effigy, representing the one that crowed witness to Peter's denial. Again, a balcony is shown which stands for that at which Pilate washed his hands before the people; and in fine, the whole place is net-worked with fancies of this kind, identifying it with the scene of Christ's trial. For it was the whim of the lordly founder to make his house the starting-point for a Via Crucis, marking the path of Jesus on his way to crucifixion, and these devices were adopted to heighten the verisimilitude of the scene. In Passion-week pilgrims come to pray at the several "stations" along the route to the figurative Calvary at the end of the Via.
Into the Duke of Montpensier's garden stare the plebeian, commercial—let us hope unenvious—windows of the government tobacco factory; an enormous building, guarded like a fort to prevent the smuggling out of tobacco. Indeed, every one of the three thousand women employed is carefully watched for the same purpose as she passes forth at the general evening dismissal. Mounting the broad stairs of stone, I heard a peculiar medley of light sounds in the distance. If a lot of steam-looms were endowed with the faculty of throwing out falsetto and soprano notes instead of their usual inhuman click, the effect could not be more uninterrupted than this subdued merry buzzing. It was the chatter of the working-girls in the cigarette room. As we stepped over the threshold these sounds continued with crescendo effect, ourselves being taken for the theme. At least one hundred girls fixed their attention on us, delivering a volley of salutations, jokes, and general remarks.
"What do you seek, little señor? You will get no papelitos here!" exclaimed one, pretty enough to venture on sauciness.
"French, French! don't you see?" another said; and her companions, in airy tones, begged us to disburse a few cuartos, which are cent-and-a-quarter pieces.
There was one young person of a satirical turn who affected to approve a very small beard which one of us had raised incidentally in travelling. She stroked her own smooth cheek, and carolled out, "What a pretty barbule!"