The Picturesque Antiquities of Spain: Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.Wells, Nathaniel Armstrong
Islamic
The Picturesque Antiquities of Spain: Described in a series of letters, with illustrations representing Moorish palaces, cathedrals, and other monuments of art, contained in the cities of Burgos, Valladolid, Toledo, and Seville.
The towns of the Basque provinces appear not to have been much
maltreated during the Carlist war; not so the villages, most of which
present a melancholy aspect of ruin and desolation. The churches, built
so as to appear more like keeps of castles, have mostly withstood the
shock. The destruction was oftener the result of burning than of
artillery. The lover of the picturesque offers his silent gratitude to
the combatants on both sides, for sparing, although unintentionally,
some of the most charming objects of all Spain.
Among the most striking of these is Hernani. It is composed of one
street, of the exact required width for the passage of an ordinary
vehicle. This street is a perfect specimen of picturesque originality.
The old façades are mostly emblazoned with the bearings of their ancient
proprietors, sculptured in high relief. On entering the place, the
effect is that of a deep twilight after the broad blaze of the sunny
mountains. This is caused by the almost flat roofs, which advance
considerably beyond the fronts of the houses, and nearly meet in the
centre of the street: the roof of each house is either higher or lower,
or more or less projecting, than its neighbour; and all are supported by
carved woodwork, black from age. The street terminates on the brow of a
hill, and widens at the end, so as to form a small square, one
retreating side of which is occupied by the front of a church covered
with old sculpture; and the diligence, preceded by its long team of
tinkling mules, disappears through the arched gateway of a Gothic
castle.
In this part of Spain one does not hear the sounds of the guitar; these
commence further on. On Sundays and holydays, the fair of Tolosa, and of
the other Basque towns, flourish their castagnettes to the less romantic
whinings of the violin; but, in traversing the country, the ear is
continually met by a sound less musical, although no less national, than
that of the guitar--a sort of piercing and loud complaint, comparable to
nothing but the screams of those who have "relinquished hope" at Dante's
grim gateway.
Public-domain text, read in full here on John Shaqi.
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