Part 2

Details of the Church of St. Peter, 251

Exterior of the Church of San Vicente, 252

Basilica of San Vicente before its restoration, 253

Basilica of San Vicente before its restoration, 254

Basilica of San Vicente: North Façade, 255

Basilica of San Vicente: Principal Façade, 256

Basilica of San Vicente: Eastern Façade, restored, 257

Basilica of San Vicente: Façade, 258

Basilica of San Vicente: Central Gate, restored, 259

Basilica of San Vicente: Detail of the middle cornice, restored, 260

Basilica of San Vicente: Portal, 261

Basilica of San Vicente: Principal west entrance, 262

Basilica of San Vicente: Principal west entrance, 263

Basilica of San Vicente: General view of the Interior, 264

Basilica of San Vicente: Sepulchre of the Holy Martyrs, 265

Basilica of San Vicente: Detail of the Interior, 266

Porch of the Church of San Vicente, 267

Porch of the Church of San Vicente, 268

Porch of the Convent of Santo Tomas, 269

Section of the Convent of Santo Tomas, 270

Plan of the Convent of Santo Tomas, 271

Gate of the Convent of Santo Tomas, 272

Door of the Convent of Santo Tomas, 273

Interior of the Convent of Santo Tomas, 274

The Court of Silence in the Convent of Santo Tomas, 275

Convent of Santo Tomas: The Court of Silence, 276

Convent of Santo Tomas: The Court of the Kings, 277

Convent of Santo Tomas: Courtyard of the Infirmary, 278

Cloisters of the Convent of Santo Tomas, 279

Cloisters of the Convent of Santo Tomas, 280

Cloisters of the Convent of Santo Tomas, 281

Gate of the Cloisters in the Convent of Santo Tomas, 282

Choir of the Convent of Santo Tomas, 283

Convent of Santo Tomas: Details of the Choir, 284

Choir Stalls in the Convent of Santo Tomas, 285

Choir Stalls in the Convent of Santo Tomas, 286

Church of San Segundo: Statue of San Segundo, 287

Church of Santo Tomas: Sepulchre of the Infante Don Juan, 288

Church of Santo Tomas: Sepulchre of the Infante Don Juan, 289

Church of Santo Tomas: Sepulchre of the Infante Don Juan, 290

Gothic Gate in ruins, 291

Door of a Private House, 292

Calle de Pedro d’Avila, 293

Celebrated Window in the House of Pedro d’Avila, 294

Courtyard of the Polentinos’ Palace, 295

Portico of the Polentinos’ Palace, 296

Church of San Andrés and San Segundo, 297

Hermitage of San Isidro, 298

The Academy, 299

Camposagrado Palace, 300

Casa de la Baraganas, 301

Casa de la Torre, 302

Chapel of Mosen Rubi, 303

Palace of the Conde de Superunda, 304

Miniatures from the Avila Missal, 305

Miniatures from the Avila Missal, 306

Door of San Francisco, 307

A Roman Capital of the Church of San Francisco, 308

Latin-Byzantine Frieze in the Church of San Francisco, 309

Monastery of San Pedro at Arenas, 310

ZARAGOZA

General View from Cabezo-Cortado, 311

General View from Altabas, 312

General View from Altabas, 313

The Bridge over the Ebro, from the Ruins of San Lazaro, 314

The Bridge over the Ebro, from El Pilar, 315

General View of Zaragoza, 316

General View of Zaragoza, 317

General View of Zaragoza, 318

General View from the Portilla, 319

View of Zaragoza, 320

Calle del Mercado, 321

Paseo de Santa Engracia, 322

Cathedral of La Seo, 323

Cathedral of La Seo, 324

Glazed Tiles on the Walls of the Cathedral of La Seo, 325

Interior of the Cathedral of La Seo, 326

Cathedral of La Seo: View of the Transept, 327

Cathedral of La Seo: Detail of Transept, 328

Chapel of St. John in the Cathedral of La Seo, 329

Chapel of Gabriel de Zaporta in the Cathedral of La Seo, 330

Cathedral of La Seo: Reja bronze repoussé, 331

Sepulchre of Archbishop Don Lope de Luna in the Cathedral of La Seo, 332

Central Dome of the Cathedral of La Seo, 333

Silver Monstrance in the Cathedral of La Seo, 334

Censer belonging to the Cathedral of La Seo, 335

Cathedral of El Pilar, 336

Cathedral of El Pilar, 337

Interior of Our Lady del Pilar, 338

Side Altar in Our Lady del Pilar, 339

Our Lady del Pilar: View of the Choir, 340

Our Lady del Pilar: Organ in the Choir, 341

Chapel in Our Lady del Pilar, 342

High Altar in Our Lady del Pilar, 343

Paintings on the Cupola of Our Lady del Pilar, 344

Our Lady del Pilar : Choir Stalls, 345

Our Lady del Pilar: Choir Stalls, 346

Our Lady del Pilar: Choir Stalls, 347

Our Lady del Pilar, by M. de Unceta, 348

Our Lady del Pilar, 349

Silver Salver in the Cathedral of El Pilar, 350

Vase in the Cathedral of El Pilar, 351

Church of the Magdalen, 352

Place and Church of St. Nicholas, 353

Portal of the Church of San Miguel, 354

Façade of the Church of Santa Engracia, 355

Church of St. Paul: Puerta del Cristo, 356

The New, or Leaning Tower, 357

Tower of the Calle de Antonio Perez, 358

Tower of San Miguel, 359

Tower of San Pablo, 360

Tower of the Trovador, 361

Ancient Wall and Buildings, 362

Statue of Pignatelli, 363

Courtyard in the House of Pardo, 364

Detail of the Courtyard in the House of Pardo, 365

Entrance to the Audiencia Palace, 366

Palace of the Provincial Deputation, 367

Courtyard in the Count of Argillo’s House, 368

Eaves on the House of the Conde de Argillo, 369

Courtyard in the Count of Argillo’s House, 370

House in the Plaza de San Carlos, 371

The Exchange, 372

Façade of the Exchange, 373

Interior of the Exchange, 374

Porch of the House of Zaporta, 375

Courtyard of the House of Zaporta, 376

Courtyard of the House of Zaporta, 377

Courtyard of the House of Zaporta, 378

Courtyard of the House of Zaporta, 379

Courtyard of the House of Zaporta, 380

Detail of the Courtyard of the House of Zaporta, 381

Court of the Provincial Museum, 382

Gallery in the Provincial Museum, 383

The Aljaferia or Citadel. Window of the Main Staircase, 384

Aljaferia: Interior of the Mosque, 385

Aljaferia: Interior of the Mosque, 386

Aljaferia: Interior of the Mosque, 387

Aljaferia: Details of the Interior, 388

Aljaferia: Details of the Interior, 389

Details of the Aljaferia, 390

Details of the Aljaferia, 391

St. Isabel and her Husband. Tapestry in the University, 392

View of the Barracks of the Aljaferia, 393

The Casa de la Infanta. ‘The Departure for the Fight,’ by P. Gonzalvo Perez, 394

Gate of Our Lady del Carmen, 395

The Defence of Zaragoza in 1809, by Nicolas Mejia, 396

The First Siege of Zaragoza, by A. Ferrant y Fischermans, 397

Heroic Defence of the Tower of St. Augustine at Zaragoza in the War of Independence, by C. Alvarez Dumont, 398

Heroic Combat in the Pulpit of the Church of San Augustin at Zaragoza in 1809, by C. Alvarez Dumont, 399

The Maid of Zaragoza, by M. Hiraldez Acosta, 400

The Maid of Zaragoza, by Navarro y Canizares, 401

Arch from the Aljaferia Palace, now in the Archæological Museum, 402

Arch from the Aljaferia Palace, now in the Archæological Museum, 403

Provincial Museum: Detail of ‘The Mosque’ of the Aljaferia, 404

Provincial Museum: Corbels of Eaves, Gothic style, from the old Custom House, 405

Provincial Museum: Corbels of Eaves, 406

Provincial Museum: Corbels of Eaves, Gothic style, 407

Provincial Museum: Corbels of Eaves, Pointed style, 408

Provincial Museum: Arab Capitals of the Aljaferia Castle, 409

Provincial Museum: Arab Capitals from the Aljaferia, 410

Provincial Museum: Arab Capitals from the Aljaferia, 411

The Story of Lucretia. A Plate from the work entitled ‘Mugeres Ilustres,’ translated from Boccaccio, 412

A Page from the work entitled ‘Example against the Deception and Perils of the World,’ by Juan de Capua, 413

Valladolid, Oviedo, Segovia, Zamora, Avila, and Zaragoza

I

VALLADOLID

ITS STORY

Valladolid, a thriving, bustling place, as Spanish cities go, stands on the rivers Pisuerga and Esgueva, a few miles above the confluence of their united streams with the Duero. All round spreads the vast, dreary plain of Castile, interrupted within sight of the town by a ring of low hills. Trains thunder past from north, south, and west, keeping Valladolid in close touch with Madrid, with France, with Portugal, and with the rest of the world. The natural centre, this, of the old kingdom of Leon and Castile, of which it was for a long time the political capital.

The etymology of the name has perplexed historians not a little. The most probable derivation is from the Arabic Belad-Walid, the valley of Walid, or (as likely) of the Wali or governor. In Latin documents the name is Vallisoletum, from which the poetical etymology, _vallis odoris_, was ingeniously manufactured. Though a great many of the towns in this part of Spain were founded on fresh sites on the resettlement of the country in the ninth and tenth centuries, Valladolid can, with some show of probability, claim a more remote origin. The contention of the old writers that this was the town called Pintia, described by Ptolemy as lying on the road from Caesaraugusta to Asturica, is to some extent borne out by numerous remains, attesting the existence at this spot of a Roman community of opulence and importance.

The earliest mention of the place since the Christian era occurs in the Chronicle of Cardeña, where in the year 1072 it is referred to as one of the two towns (Rio Seco being the other) offered to Doña Urraca by her brother, Sancho, in exchange for Zamora. We may presume, therefore, that it was already a place of some consequence. In 1074 it was handed over by Alfonso VI. to Count Pedro Ansúrez, the companion of his exile at Toledo. This noble plays the same part in its history as Count Raymond does in that of Salamanca. The principal buildings, such as Santa Maria la Antigua and the bridge over the Pisuerga, are ascribed to him. He founded and generously endowed the collegiate church of Santa Maria la Mayor, with the adjacent abbey, of which, in after years, infantes and the sons of the most exalted persons were alone deemed worthy to be abbots. The famous Bernard, Archbishop of Toledo, came to bless the church, with the not less famous Alvar Fañez, who was Count Pedro’s son-in-law. When good King Alfonso passed away, Ansúrez took the oath of allegiance to his daughter, Queen Urraca, and to her husband, ‘The Battler of Aragon.’ When the royal twain came to blows, the count surrendered all the strongholds he held to the queen, and presented himself to the king, saying that ‘with the hands, the tongue, and the body which had paid him homage,’ he could do as he willed. Alfonso the Battler let him depart unmolested, and he was laid to rest in 1118, clothed in his armour, in the collegiate church he had endowed.

The lordship of Valladolid now passed to Armengol, son of Count Pedro’s eldest daughter, by the Count of Urgel. Under his sway the city prospered exceedingly. King Alfonso VII. chose it for the place of his marriage with a Polish princess, and for several ecclesiastical councils. Two more counts of the same name continued the dynasty of Ansúrez till the year 1208; but of these the town saw little, for as Counts of Urgel they were vassals of Aragon, and spent most of their time in that kingdom. The last count left half of his Castilian dominions to the Pope, the other half to his daughter Aurembiax, who was believed to be the mistress of the King of Aragon. Alfonso VIII. of Castile can hardly, therefore, be blamed for setting aside a disposition which handed over the principal town in his kingdom to two foreign potentates. In the year 1208, accordingly, the city was incorporated with the monarchy. Soon after (1215) it became for the first time the royal residence--that of the Queen-Regent Berenguela and her youthful charge, Don Enrique I.; and in accordance with this precedent, two years later, Fernando III. was crowned here, in the Plaza Mayor. Thenceforward the town became the usual seat of the court, though an official capital in the modern sense Spain did not possess till Philip II.’s time. The last years of the thirteenth century saw the reins of government in the hands of a native of Valladolid, the Queen-Regent, Maria de Molina, widow of Sancho el Bravo. Her predilection for her own birthplace practically extinguished the pretensions of Burgos to rank as capital, and during her stormy regency Valladolid stood by her loyally. She was not the least capable or intrepid of the many able women-rulers by whom Spain has been so well served.

Though the seat of government, Valladolid was not wanting in the turbulent, independent spirit characteristic of the Castilian cities. In 1328 a rumour spread abroad that the king’s Jewish treasurer, Joseph, was about to carry off the Infanta Leonor, and to marry her to the detested favourite, Nuñez Osorio. Sure enough the princess presently appeared, mounted and attended by an escort, as if proceeding on a journey. The citizens forced her to return to the palace, and clamoured for the head of the treasurer. Leonor promised to satisfy them if they would permit her to go to the Alcazar, or citadel, whither she contrived to convey the trembling Hebrew concealed among her retinue. Safe inside the fortress, Infanta and Jew set the mob at defiance, and sustained a siege till relieved by the king. Comically enough, Alfonso dismissed his favourite on the ground that he was the cause of these disturbances, while the Infanta married the Prince of Portugal, whom she had been on her way to meet when forced back by the crowd.

Women figure largely in the history of Valladolid. Here in the church of Santa Maria la Mayor, Peter the Cruel was married to the hapless Blanche de Bourbon, to leave her three days later. It was only by the entreaties of his mistress, Maria de Padilla, that he could be persuaded to return to his wife; but unable to overcome his repugnance to the poor princess, he again abandoned her a few days after, this time for ever.

The convent of La Merced owes its origin to another case of erratic passion. Donha Leonor Telles de Meneses had been torn from the arms of her first husband, João Lourenço d’Acunha, by the King of Portugal, who raised her to the throne. D’Acunha retired to Valladolid, where he was buried in the church of Santa Maria la Antigua. In the course of time Leonor’s second husband also died, and she also came to Valladolid, possibly to see what had become of the first. Doubly a widow, she found consolation in the affection of a knight named Zoilo Iñiguez, by whom she had a daughter called Maria. Leonor’s experience of love and matrimony led her at her death to charge her daughter’s guardian, one Laserna, to dedicate the girl to religion, and to found a convent for her special accommodation. Before this could be accomplished, Maria, who believed herself to be a relation of Laserna, fell in love with his nephew, and incontinently married him. On discovering the secret of her origin, she so far complied with her mother’s wish as to build a convent, in which Queen Leonor as the foundress was entombed.

About the same time, by order of Juan I., the old Alcazar, round which the town had been built, was demolished to make room for the existing convent of San Benito. The monastery of San Pablo became the residence of the court during the minority of Juan II. That king may be said to have lived here permanently, and to have confirmed Valladolid in its dignity as capital of the realm. As such it was the scene of much splendour and chivalrous display under the rule of the high-minded favourite, the great Constable Alvaro de Luna. And it was in the little Plaza del Ochavo, in the centre of the town, having run his course as a true knight and a wise statesman, that he met his fate with the dignity and composure which had distinguished him during his whole career.

The place of his execution was chosen by his enemies as precisely the scene of his greatest triumphs. He was confined during his last night in the house of his enemy, Zuñiga, where he passed the hours ‘in great contrition and affliction of spirit.’ ‘The melancholy 2nd of June 1453 dawned,’ says Don Jose Quadrado, ‘and in the Plaza del Ochavo, which then formed the principal square of Valladolid, loomed a scaffold draped with black cloth, and above it a cross set with lighted tapers. On a post was fixed the spike destined to receive the severed head. The Constable was conducted to the spot by the streets of Francos, Cantarranas, and Plateria, mounted on a mule with black trappings, and preceded by a crier, whose violent denunciations drew from him only the humble words, _Más merezco_ (“I deserve more”). Alighting on the side of the church of San Francisco, and mounting the scaffold with firmness, having knelt before the cross, he hesitated whether he should address the people, when he perceived among the crowd his faithful page Moreles, and Barrasa, esquire to Don Enrique. He told the latter to adjure his master not to follow the example of the king, his father, in the way of rewarding his servants; to the former he gave his signet-ring, which the youth received weeping, not a few of the bystanders weeping loudly also. “With my body they may do as they please,” he said on perceiving the spike and divining its object; and baring his throat, and his hands being bound with his own girdle, he offered his head to the executioner, who a few seconds later held it up, dripping with blood, before the horror-stricken people. The body remained exposed three, and the head nine days, with a box beside it to receive alms. With these he was buried among malefactors in the hermitage of San Andrés outside the walls; but at the end of two months he was given a more decent sepulture in San Francisco, where he lay till the rehabilitation of his memory and his magnificent entombment thirty-one years later in the cathedral of Toledo.’

The feeble and ungrateful king (Juan II.) survived his favourite little more than a year, and died at the convent of San Pablo, which had been his usual abode. Valladolid remained steadily loyal to his miserable successor, Enrique IV., when scarcely another town in his dominions would harbour him. Yet, strangely enough, it was in this city, in the house of Juan Vivero (where the Audiencia now stands), that the king’s sister Isabel, in defiance of his wishes, celebrated in secret, but with great ceremony, her marriage with Ferdinand of Aragon. This was on October 18, 1469--an auspicious night for Spain. But the city was too full of Enrique’s partisans to afford a safe asylum to the newly-wedded pair, who immediately betook themselves to Dueñas.