Chapter XXXIII. Cadiz And Seville.

  Voyage to Cadiz - Landing - The City - Its Streets - The Women of 
  Cadiz - Embarkation for Seville - Scenery of the Guadalquivir - Custom 
  House Examination - The Guide - The Streets of Seville - The Giralda - The 
  Cathedral of Seville - The Alcazar-Moorish Architecture - Pilate's 
  House - Morning View from the Giralda - Old Wine - Murillos - My Last 
  Evening in Seville.

  "The walls of Cadiz front the shore, 
      And shimmer o'er the sea."

  R. H. Stoddard.

               "Beautiful Seville! 
  Of which I've dreamed, until I saw its towers 
  In every cloud that hid the setting sun."

  George H. Boker.

Seville, November 10, 1852.

I left Gibraltar on the evening of the 6th, in the steamer Iberia. The passage to Cadiz was made in nine hours, and we came to anchor in the harbor before day-break. It was a cheerful picture that the rising sun presented to us. The long white front of the city, facing the East, glowed with a bright rosy lustre, on a ground of the clearest blue. The tongue of land on which Cadiz stands is low, but the houses are lifted by the heavy sea-wall which encompasses them. The main-land consists of a range of low but graceful hills, while in the south-east the mountains of Ronda rise at some distance. I went immediately on shore, where my carpet-bag was seized upon by a boy, with the rich brown complexion of one Murillo's beggars, who trudged off with it to the gate. After some little detention there, I was conducted to a long, deserted, barn-like building, where I waited half an hour before the proper officer came. When the latter had taken his private toll of my contraband cigars, the brown imp conducted me to Blanco's English Hotel, a neat and comfortable house on the Alameda.

Cadiz is soon seen. Notwithstanding its venerable age of three thousand years - having been founded by Hercules, who figures on its coat-of-arms - it is purely a commercial city, and has neither antiquities, nor historic associations that interest any but Englishmen. It is compactly built, and covers a smaller space than accords with my ideas of its former splendor. I first walked around the sea-ramparts, enjoying the glorious look-off over the blue waters. The city is almost insulated, the triple line of fortifications on the land side being of but trifling length. A rocky ledge stretches out into the sea from the northern point, and at its extremity rises the massive light-house tower, 170 feet high. The walls toward the sea were covered with companies of idle anglers, fishing with cane rods of enormous length. On the open, waste spaces between the bastions, boys had spread their limed cords to catch singing birds, with chirping decoys placed here and there in wicker cages. Numbers of boatmen and peasants, in their brown jackets, studded with tags and bugles, and those round black caps which resemble smashed bandboxes, loitered about the walls or lounged on the grass in the sun.

Except along the Alameda, which fronts the bay, the exterior of the city has an aspect of neglect and desertion. The interior, however, atones for this in the gay and lively air of its streets, which, though narrow, are regular and charmingly clean. The small plazas are neatness itself, and one is too content with this to ask for striking architectural effects. The houses are tall and stately, of the most dazzling whiteness, and though you could point out no one as a pattern of style, the general effect is chaste and harmonious. In fact, there are two or three streets which you would almost pronounce faultless. The numbers of hanging balconies and of court-yards paved with marble and surrounded with elegant corridors, show the influence of Moorish taste. There is not a mean-looking house to be seen, and I have no doubt that Cadiz is the best built city of its size in the world. It lies, white as new-fallen snow, like a cluster of ivory palaces, between sea and sky. Blue and silver are its colors, and, as everybody knows, there can be no more charming contrast.

I visited both the old and new cathedrals, neither of which is particularly interesting. The latter is unfinished, and might have been a fine edifice had the labor and money expended on its construction been directed by taste. The interior, rich as it is in marbles and sculpture, has a heavy, confused effect. The pillars dividing the nave from the side-aisles are enormous composite masses, each one consisting of six Corinthian columns, stuck around and against a central shaft. More satisfactory to me was the Opera-House, which I visited in the evening, and where the dazzling array of dark-eyed Gaditanas put a stop to architectural criticism. The women of Cadiz are noted for their beauty and their graceful gait. Some of them are very beautiful, it is true; but beauty is not the rule among them. Their gait, however, is the most graceful possible, because it is perfectly free and natural. The commonest serving-maid who walks the streets of Cadiz would put to shame a whole score of our mincing and wriggling belles.

Honest old Blanco prepared me a cup of chocolate by sunrise next morning, and accompanied me down to the quay, to embark for Seville. A furious wind was blowing from the south-east, and the large green waves raced and chased one another incessantly over the surface of the bay. I took a heavy craft, which the boatmen pushed along under cover of the pier, until they reached the end, when the sail was dropped in the face of the wind, and away we shot into the watery tumult. The boat rocked and bounced over the agitated surface, running with one gunwale on the waves, and sheets of briny spray broke over me. I felt considerably relieved when I reached the deck of the steamer, but it was then diversion enough to watch those who followed. The crowd of boats pitching tumultuously around the steamer, jostling against each other, their hulls gleaming with wet, as they rose on the beryl-colored waves, striped with long, curded lines of wind-blown foam, would have made a fine subject for the pencil of Achenbach.

At last we pushed off, with a crowd of passengers fore and aft, and a pyramid of luggage piled around the smoke-pipe. There was a party of four Englishmen on board, and, on making their acquaintance, I found one of them to be a friend to some of my friends - Sir John Potter, the progressive ex-Mayor of Manchester. The wind being astern, we ran rapidly along the coast, and in two hours entered the mouth of the Guadalquivir. [This name comes from the Arabic wadi el-kebeer - literally, the Great Valley.] The shores are a dead flat. The right bank is a dreary forest of stunted pines, abounding with deer and other game; on the left is the dilapidated town of San Lucar, whence Magellan set sail on his first voyage around the world. A mile further is Bonanza, the port of Xeres, where we touched and took on board a fresh lot of passengers. Thenceforth, for four hours, the scenery of the Guadalquivir had a most distressing sameness. The banks were as flat as a board, with here and there a straggling growth of marshy thickets. Now and then we passed a herdsman's hut, but there were no human beings to be seen, except the peasants who tended the large flocks of sheep and cattle. A sort of breakfast was served in the cabin, but so great was the number of guests that I had much difficulty in getting anything to eat. The waiters were models of calmness and deliberation.

As we approached Seville, some low hills appeared on the left, near the river. Dazzling white villages were planted at their foot, and all the slopes were covered with olive orchards, while the banks of the stream were bordered with silvery birch trees. This gave the landscape, in spite of the African warmth and brightness of the day, a gray and almost wintry aspect. Soon the graceful Giralda, or famous Tower of Seville, arose in the distance; but, from the windings of the river, we were half an hour in reaching the landing-place. One sees nothing of the far-famed beauty of Seville, on approaching it. The boat stops below the Alameda, where the passengers are received by Custom-House officers, who, in my case, did not verify the stories told of them in Cadiz. I gave my carpet-bag to a boy, who conducted me along the hot and dusty banks to the bridge over the Guadalquivir, where he turned into the city. On passing the gate, two loafer-like guards stopped my baggage, notwithstanding it had already been examined. "What!" said I, "do you examine twice on entering Seville?" "Yes," answered one; "twice, and even three times;" but added in a lower tone, "it depends entirely on yourself." With that he slipped behind me, and let one hand fall beside my pocket. The transfer of a small coin was dexterously made, and I passed on without further stoppage to the Fonda de Madrid.

Sir John Potter engaged Antonio Bailli, the noted guide of Seville, who professes to have been the cicerone of all distinguished travellers, from Lord Byron and Washington Irving down to Owen Jones, and I readily accepted his invitation to join the party. Bailli is recommended by Ford as "fat and good-humored" Fat he certainly is, and very good-humored when speaking of himself, but he has been rather spoiled by popularity, and is much too profuse in his critical remarks on art and architecture. Nevertheless, as my stay in Seville is limited, I have derived no slight advantage from his services.

On the first morning I took an early stroll through the streets. The houses are glaringly white, like those of Cadiz, but are smaller and have not the same stately exteriors. The windows are protected by iron gratings, of florid patterns, and, as many of these are painted green, the general effect is pleasing. Almost every door opens upon a patio, or courtyard, paved with black and white marble and adorned with flowers and fountains. Many of these remain from the time of the Moors, and are still surrounded by the delicate arches and brilliant tile-work of that period. The populace in the streets are entirely Spanish - the jaunty majo in his queer black cap, sash, and embroidered jacket, and the nut-brown, dark-eyed damsel, swimming along in her mantilla, and armed with the irresistible fan.

We went first to the Cathedral, built on the site of the great mosque of Abou Youssuf Yakoub. The tall Giralda beckoned to us over the tops of the intervening buildings, and finally a turn in the street brought us to the ancient Moorish gateway on the northern side. This is an admirable specimen of the horse-shoe arch, and is covered with elaborate tracery. It originally opened into the court, or haram, of the mosque, which still remains, and is shaded by a grove of orange trees. The Giralda, to my eye, is a more perfect tower than the Campanile of Florence, or that of San Marco, at Venice, which is evidently an idea borrowed from it. The Moorish structure, with a base of fifty feet square, rises to the height of two hundred and fifty feet. It is of a light pink color, and the sides, which are broken here and there by exquisitely proportioned double Saracenic arches, are covered from top to bottom with arabesque tracery, cut in strong relief. Upon this tower, a Spanish architect has placed a tapering spire, one hundred feet high, which fortunately harmonizes with the general design, and gives the crowning grace to the work.

The Cathedral of Seville may rank as one of the grandest Gothic piles in Europe. The nave lacks but five feet of being as high as that of St. Peter's, while the length and breadth of the edifice are on a commensurate scale. The ninety-three windows of stained glass fill the interior with a soft and richly-tinted light, mellower and more gentle than the sombre twilight of the Gothic Cathedrals of Europe. The wealth lavished on the smaller chapels and shrines is prodigious, and the high altar, inclosed within a gilded railing fifty feet high, is probably the most enormous mass of wood-carving in existence. The Cathedral, in fact, is encumbered with its riches. While they bewilder you as monuments of human labor and patience, they detract from the grand simplicity of the building. The great nave, on each side of the transept, is quite blocked up, so that the choir and magnificent royal chapel behind it have almost the effect of detached edifices.

We returned again this morning, remaining two hours, and succeeded in making a thorough survey, including a number of trashy pictures and barbarously rich shrines. Murillo's "Guardian Angel" and the "Vision of St. Antonio" are the only gems. The treasury contains a number of sacred vessels of silver, gold and jewels - among other things, the keys of Moorish Seville, a cross made of the first gold brought from the New-World by Columbus, and another from that robbed in Mexico by Cortez. The Cathedral won my admiration more and more. The placing of the numerous windows, and their rich coloring, produce the most glorious effects of light in the lofty aisles, and one is constantly finding new vistas, new combinations of pillar, arch and shrine. The building is in itself a treasury of the grandest Gothic pictures.

From the Cathedral we went to the Alcazar (El-Kasr), or Palace of the Moorish Kings. We entered by a long passage, with round arches on either side, resting on twin pillars, placed at right angles to the line of the arch, as one sees both in Saracenic and Byzantine structures. Finally, old Bailli brought us into a dull, deserted court-yard, where we were surprised by the sight of an entire Moorish facade, with its pointed arches, its projecting roof, its rich sculptured ornaments and its illuminations of red, blue, green and gold. It has been lately restored, and now rivals in freshness and brilliancy any of the rich houses of Damascus. A doorway, entirely too low and mean for the splendor of the walls above it, admitted us into the first court. On each side of the passage are the rooms of the guard and the Moorish nobles. Within, all is pure Saracenic, and absolutely perfect in its grace and richness. It is the realization of an Oriental dream; it is the poetry and luxury of the East in tangible forms. Where so much depends on the proportion and harmony of the different parts - on those correspondences, the union of which creates that nameless soul of the work, which cannot be expressed in words - it is useless to describe details. From first to last - the chambers of state; the fringed arches; the open tracery, light and frail as the frost-stars crystallized on a window-pane; the courts, fit to be vestibules to Paradise; the audience-hall, with its wondrous sculptures, its columns and pavement of marble, and its gilded dome; the garden, gorgeous with its palm, banana, and orange-trees - all were in perfect keeping, all jewels of equal lustre, forming a diadem which still lends a royal dignity to the phantom of Moorish power.

We then passed into the gardens laid out by the Spanish monarchs - trim, mathematical designs, in box and myrtle, with concealed fountains springing up everywhere unawares in the midst of the paven walks; yet still made beautiful by the roses and jessamines that hung in rank clusters over the marble balustrades, and by the clumps of tall orange trees, bending to earth under the weight of their fruitage. We afterward visited Pilate's House, as it is called - a fine Spanish-Moresco palace, now belonging to the Duke of Medina Coeli. It is very rich and elegant, but stands in the same relation to the Alcazar as a good copy does to the original picture. The grand staircase, nevertheless, is a marvel of tile work, unlike anything else in Seville, and exhibits a genius in the invention of elaborate ornamental patterns, which is truly wonderful. A number of workmen were busy in restoring the palace, to fit it for the residence of the young Duke. The Moorish sculptures are reproduced in plaster, which, at least, has a better effect than the fatal whitewash under which the original tints of the Alcazar are hidden. In the courts stand a number of Roman busts - Spanish antiquities, and therefore not of great merit - singularly out of place in niches surrounded by Arabic devices and sentences from the Koran.

This morning, I climbed the Giralda. The sun had just risen, and the clay was fresh and crystal-clear. A little door in the Cathedral, near the foot of the tower, stood open, and I entered. A rather slovenly Sevillana had just completed her toilet, but two children were still in undress. However, she opened a door in the tower, and I went up without hindrance. The ascent is by easy ramps, and I walked four hundred yards, or nearly a quarter of a mile, before reaching the top of the Moorish part. The panoramic view was superb. To the east and west, the Great Valley made a level line on a far-distant horizon. There were ranges of hills in the north and south, and those rising near the city, clothed in a gray mantle of olive-trees, were picturesquely crowned with villages. The Guadalquivir, winding in the most sinuous mazes, had no longer a turbid hue; he reflected the blue morning sky, and gleamed brightly between his borders of birch and willow. Seville sparkled white and fair under my feet, her painted towers and tiled domes rising thickly out of the mass of buildings. The level sun threw shadows into the numberless courts, permitting the mixture of Spanish and Moorish architecture to be plainly discerned, even at that height. A thin golden vapor softened the features of the landscape, towards the sun, while, on the opposite side, every object stood out in the sharpest and clearest outlines.

On our way to the Museo, Bailli took us to the house of a friend of his, in order that we might taste real Manzanilla wine. This is a pale, straw-colored vintage, produced in the valley of the Guadalquivir. It is flavored with camomile blossoms, and is said to be a fine tonic for weak stomachs. The master then produced a dark-red wine, which he declared to be thirty years old. It was almost a syrup in consistence, and tasted more of sarsaparilla than grapes. None of us relished it, except Bailli, who was so inspired by the draught, that he sang us two Moorish songs and an Andalusian catch, full of fun and drollery.

The Museo contains a great amount of bad pictures, but it also contains twenty-three of Murillo's works, many of them of his best period. To those who have only seen his tender, spiritual "Conceptions" and "Assumptions," his "Vision of St. Francis" in this gallery reveals a mastery of the higher walks of his art, which they would not have anticipated. But it is in his "Cherubs" and his "Infant Christs" that he excels. No one ever painted infantile grace and beauty with so true a pencil. There is but one Velasquez in the collection, and the only thing that interested me, in two halls filled with rubbish, was a "Conception" by Murillo's mulatto pupil, said by some to have been his slave. Although an imitation of the great master, it is a picture of much sweetness and beauty. There is no other work of the artist in existence, and this, as the only production of the kind by a painter of mixed African blood, ought to belong to the Republic of Liberia.

Among the other guests at the Fonda de Madrid is Mr. Thomas Hobhouse, brother of Byron's friend. We had a pleasant party in the Court this evening, listening to blind Pepe, who sang to his guitar a medley of merry Andalusian refrains. Singing made the old man courageous, and, at the close, he gave us the radical song of Spain, which is now strictly prohibited. The air is charming, but too gay; one would sooner dance than fight to its measures. It does not bring the hand to the sword, like the glorious Marseillaise.

Adios, beautiful Seville!