Old Continental Towns

by Walter M. Gallichan

The fortunes of Seville at this period were bound up with those of the revered Queen Isabel. Shakespeare styled her “queen of earthly queens,” and Sir Francis Bacon praised her. She was tall, fair, and of most amiable bearing, and she possessed many of the qualities of one born to command. Unfortunately for Seville, the young queen was under the domination of Cardinal Mendoza, and of Torquemada. It was Torquemada who urged her to purify Spain from her heresy by means of torture and the flame. Let it be said that Isabel did not comply willingly, and that she strove more than once to check the cruelties of the Holy Office. The first to suffer from the Inquisition in Seville were the Jews; then followed a long and bitter persecution of heretics of the Protestant faith, and a reign of terror among men of learning.

The Chapel of the Alcázar was built in the time of Isabel, and her bedroom is still to be seen.

Charles V. loved the retirement of the Alcázar, and his marriage with Isabella of Portugal was celebrated in the gorgeous Hall of the Ambassadors. He made several additions to the palace, and directed the planning of the exquisite gardens. Philip V. lived here for a time, and he also caused alterations, and added to the curious mixture of buildings within the walls of the Moorish palace.

There are so few signs of commercialism in the city that we gain an impression that Seville only lives to amuse itself, and to entertain its host of visitors. There are, however, industries of many kinds, and a considerable export trade in various ores, in olive oil, fruit, wine, and wool. The population is over one-hundred-and-fifty thousand. There are several factories, and many craftsmen working in their homes.

The illustrious natives are numerous. Velazquez, the greatest painter of Spain, if not of the world, was born here in 1599. Murillo was a Sevillian, and so were the artists Pacheco, Herrera, and Roelas, and the sculptor, Montañez. Lope de Rueda, one of the earliest Spanish dramatists, lived here. Cervantes spent a part of his life in Seville, and described the characters of the Macarena Quarter in his shorter tales.

The house of the gifted Dean Pacheco, in Seville, was the resort of many artists and notable men. This painter and cleric is chiefly remembered as the teacher of Velazquez. He wrote discourses on the art of painting, and trained a number of the Sevillian artists. The art of Murillo was influenced by Juan del Castillo, who also taught Alonso Cano. Castillo was born in Seville.

Francisco Herrera, born in 1622, studied in Rome, and upon his return to Spain painted many pictures in Madrid. The Cordovan painter, Juan Valdés Leal, lived for many years in Seville, and worked with Murillo to establish an academy of painting in the city. There are many specimens of his art in Seville. Juan de las Roelas was a Sevillian by birth (1558-1625) and his “Santiago destroying the Moors” is in the chapter of the cathedral, while many of the churches contain his pictures.

The Provincial Museum has an instructive collection of paintings of the Andalusian School as well as the works of many artists of other traditions. Murillo is represented by several paintings. There are some fine examples of the art of Zurbaran, a sombre and realistic artist whose work conveys the mediæval spirit of Spain, and is esteemed by many students as more sincere than the art of Murillo. His finest pictures are, perhaps, “San Hugo visiting the Monks,” “The Virgin of Las Cuevas,” and “St Bruno conversing with Urban II.”

In the Museo is a portrait by El Greco, supposed erroneously to be the painter himself. This is often appraised as the chief treasure of the collection. Among the most admirable of the Spanish primitive painters is Alejo Fernandez, whose work is to be seen in the cathedral, in the churches of Seville and Triana. Fernandez is scarcely known out of Spain, but art students will delight in his work, and everyone should see the beautiful “Madonna and Child” in the Church of Santa Ana in Triana, and the large altarpiece in San Julian.

The sculpture of Montañez merits very careful attention. His figure of “St Bruno” stands in the Museo Provincial, and “St Dominic” is in the south transept. “The Virgin and Child” and “John the Baptist” are in this collection. In the sacristy of the cathedral is Montañez’ “Statue of the Virgin.” This artist died in 1649, after a busy life. He carved many images for the Church, and founded a school of wood-carving. Among his pupils was the gifted Alonso Cano. The single figures by Montañez are considered finer art than his groups. Most of his effigies are lavishly coloured.