The Story of Seville

by Walter M. Gallichan

The third Duke of Alcalá, Fernando Enriquez de Ribera, established a great library here, and the Casa Pilatos was the rendezvous of a polished coterie. The Duke collected pictures, procured Roman relics from Italica, and had cabinets of coins and medals, and cases containing manuscripts. He was an amateur painter, a patron of the fine arts, and the encourager of struggling genius. Pedro de Madrazo, in his Sevilla y Cadiz, states that 'the Casa Pilatos is an august representation of the architectural genius of the sixteenth century; memorable for the reunions of Pacheco, Céspedes, the Herreras, Góngora, Jauregui, Baltasar de Alcázar, Rioja, Juan de Arguizo, and Cervantes.'

Other writers describe the architecture of the palace as pseudo-Moorish. It is indeed a mixture of Gothic, Moorish, and Renaissance designs, adorned with azulejos, the decorations being Mudéjar for the greater part. Pacheco, the friend of the Duke de Alcalá, painted the salon.

Mr. M. Digby Wyatt, in his valuable work, An Architect's Note Book in Spain, describes the Casa Pilatos as possessing two special 'points of architectural value,' i.e., 'the entirely Moresque character of the stucco work at a comparatively late date, and the profuse use of azulejos or coloured tiles. It is ... in and about the splendid staircase that this charming tile lining, of the use of which we have here of late years commenced a very satisfactory revival, asserts its value as a beautiful mode of introducing clean and permanent polychromatic decoration.'

In the principal garden there are remains from Italica. The orange, lemon and jasmine grow profusely in this sunny, sheltered corner of the city. Here the cultured Duke Fernando Enriquez de Ribera discoursed with his illustrious guests, when the stars twinkled and the air was sweet with the odour of the jasmine and rose. No doubt Francisco Pacheco brought his pupil Velazquez to the symposia. We can picture Cervantes relating the story of his imprisonment in Algiers, or diverting the company with anecdotes of the thieves and sharpers of Seville, whose exploits are recorded in his novel of Rinconete y Cortadillo. Góngora, the poet, whose affectations and 'Gongorisms' offended George Henry Lewes, probably read his verses to a critical audience in the salon. Wit vied with wit, scholar discussed with scholar, and artists discoursed upon the new methods of painting. This was the intellectual centre of Seville, where kindred souls uttered their deepest thoughts, assured of sympathy and of comprehension. When the courtly owner of the palace died, his library, his treasures and curiosities were removed to Madrid, and Sevillian men of letters and painters lost a true friend.

In 1588, Miguel de Servantes Saavedra, otherwise Cervantes, lived in the city. In his twenty-first year, while at Madrid, he had written a pastoral poem called Filena, some sonnets and canzonets. A few years later he obtained a position as chamberlain to Cardinal Julio Aquaviva at Rome; but he was not long in Italy. The love of adventure inspired him to enlist in the expedition force sent by Philip II. against Selim the Grand Turk. At the famous battle of Lepanto the young soldier received a wound in the left hand, which necessitated amputation. The surgeons bungled, and Cervantes lost the use of his arm. Still, he continued to serve as a private soldier in the ranks.

In 1575, Cervantes was aboard a galley called the Sun, and when journeying from Naples to Spain, he and the entire crew were captured, and borne to Algiers as prisoners. For five years he lay in a dungeon until a sum was paid in ransom. Upon returning to his native land, he joined his mother and sister at Madrid, and there he led a studious life for three years. His fighting days were at an end. He had seen strange things in foreign lands, and greatly enriched his store of experience of life. Henceforward he gave of his knowledge of the world, and toiled as a writer of poetry, dramas and marvellous romances. His struggle with fortune was severe. He wrote thirty comedies without gaining recognition. At this time he married Doña Catalina de Solazar y Palacios y Vozmediano.

In Seville there lived two relatives of the soldier-dramatist. They were merchants, with a large business, and it is said that they offered Cervantes employment. Mr. J. Fitz-Maurice Kelly tells us that the author obtained a post in the Real Audencia in Seville, probably that of tax-gatherer. Cervantes himself relates that 'he found something better to do than writing comedies.' Whether he sat on a stool in the mercantile office of his relations, or travelled as a tax-collector in Andalasia, is perhaps not quite certain. At anyrate, the dramatist continued to produce plays. He sought an appointment as Accountant-General of the new kingdom of Granada, or as Governor of Secomusco in Guatemala, or as Paymaster of the galleys at Cartagena, or as Corregidor in La Paz. His application was unnoticed, and it was not until 1808 that the document was unearthed. It is a story of hardship, neglect and disappointment. The soldier who had lost an arm in combat with his country's foes, the genius whose name was to reach the far ends of the civilised world, was forced to go begging for situations, which were refused to him. He still plied his pen for poor returns in the way of money. For Rodrigo Osorio he agreed to write six comedies at fifty ducats each. The price was not to be paid unless each play was 'one of the best ever presented in Spain.' Was there ever a more arbitrary contract? It is doubtful whether Cervantes received anything for this work. Then came the quarrel between the Church and the Stage. Playwrights and actors were banned, and four months before the death of Philip II. all the theatres were closed.

The clouds lifted slightly. In 1595 'Miguel Cervantes Saavedra of Seville' won the prize offered by the Dominicans of Zaragoza for a series of poems in honour of St. Hyacinthus. He appears to have earned his living at this period as a tax-gatherer. Sometimes he was to be found at Pacheco's house, and at the Casa Pilatos. Cervantes discerned the genius of Herrera, and the two poets became friends. A sonnet in praise of Herrera was written by Cervantes.

Fresh trouble beset the unfortunate author. 'About this period Cervantes fell into the first of his money troubles,' writes Mr. Watts, in his Miguel de Cervantes, 'in connection with his office. Having to remit a sum of 7,400 reals from Seville to Madrid, he entrusted it to the hands of one Simon Freire, as his agent. Freire became bankrupt, and fled from Spain. This involved Cervantes in a debt to the crown, for which, being unable to pay, he was thrown into prison. Having reduced the amount by what he recovered from the bankrupt estate of Freire to 2,600 reals, Cervantes was released after a detention of three months. Neither then, nor at any time afterwards—although the affair hung over him to trouble him for many years—was there any charge implicating his own personal rectitude.'

Cervantes' pictures of the seamy side of Sevillian life were drawn vividly in his picaresco novels. The tales contain phrases in Germania, or thieves' argot, showing that the author closely observed his types of low life. It was not until he had reached his fifty-seventh year that he finished the first part of Don Quixote de la Mancha. The great romance was partly written during Cervantes' imprisonment in La Mancha. There are three versions of the circumstances that brought about his confinement. One account is that Cervantes made himself unpopular as a tax-gatherer. But could that be made a felony or misdemeanour meriting gaol? Another story relates how he became a factory-owner, and polluted the Guadiana with waste matter; while a third report ascribes his punishment to the offence of uttering satires upon a lady.