Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive) [Numerous typographical errors, as well as many (but not all) of the mis-placed or missing accents of Spanish words, have been corrected. Please see the list of these at the end of this etext. (note of etext transcriber)] [Illustration: image of the book's cover] _The Story of Seville_ "He who Seville has not seen, Has not seen a marvel great." "To whom God loves He gives a house in Seville." _Popular Spanish Sayings._ [Illustration: _Saints Justa y Rufina_ _From the painting by Goya_] _The Story of Seville by Walter M. Gallichan_ _With Three Chapters on the Artists of Seville by C. Gasquoine Hartley Illustrated by Elizabeth Hartley_ [Illustration: colophon] _London: J. M. Dent & Co. Aldine House, 29 and 30 Bedford Street Covent Garden, W.C._ * * 1903 _All Rights Reserved_ PREFACE In the story of Seville I have endeavoured to interest the reader in the associations of the buildings and the thoroughfares of the city. I do not claim to have written a full history of Seville, though I have sketched the salient events in its annals in the opening chapters of this book. The history of Seville is the history of Spain, and if I have omitted many matters of historical importance from my pages, it is because I wished to focus attention upon the city itself. I trust that I have succeeded in awaking here and there an echo of the past, and in bringing before the imagination the figures of Moorish potentate or sage, and of Spanish ruler, artist, priest and soldier. Those who are acquainted with the history of Spain will appreciate the difficulty that besets the historian in the matter of chronological accuracy, and even in a narration of many of the main events. The chronicles of the Roman, Gothic and Moorish epochs are hardly accepted as reliable. Patriotic bias and religious enthusiasm are elements that frequently mislead in the making of history, though the Spaniard is not alone in the commission of error in this respect. Seville abounds with human interest. The city may at the first glance slightly disappoint the visitor, but he cannot wander far without a growing sense of its fascination. Most of the noteworthy buildings are hidden amidst narrow alleys, for the designers of the city have shown great economy in utilising space. It is therefore difficult to gain large general views of Seville, unless one ascends the Giralda, while the obtrusion of modern dwelling-houses and stores often mars the view of fine public edifices. But the modernity of Seville seldom strikes one as wholly out of place and in sharp contrast to the ancient monuments. The plan is Morisco, and the impression conveyed is partly Moorish and partly mediæval. In a word, Seville brings us at every step closely in touch with antiquity.