The Land of The Blessed Virgin; Sketches and Impressions in Andalusia. W. Somerset Maugham

these are all Spanish things, and more than half one's impressions of Andalusia are connected with the Moors. Not only did they make exquisite buildings, they moulded a whole people to their likeness; the Andalusian character is rich with Oriental traits; the houses, the mode of life, the very atmosphere is Moorish rather than Christian; to this day the peasant at his plough sings the same quavering lament that sang the Moor. And it is to the invaders that Spain as a country owes the magnificence of its golden age: it was contact with them that gave the Spaniards cultivation; it was the conflict of seven hundred years that made them the best soldiers in Europe, and masters of half the world. The long struggle caused that tension of spirit which led to the adventurous descent upon America, teaching recklessness of life and the fascination of unknown dangers; and it caused their downfall as it had caused their rise, for the religious element in the racial war occasioned the most cruel bigotry that has existed on the face of the earth, so that the victors suffered as terribly as the vanquished. The Moors, hounded out of Spain, took with them their arts and handicrafts—as the Huguenots from France after the revocation of the Edict of Nantes—and though for a while the light of Spain burnt very brightly, the light borrowed from Moordom, the oil jar was broken and the lamp flickered out.

      In most countries there is one person in particular who seems to typify the race, whose works are the synthesis, as it were, of an entire people. Bernini expressed in this manner a whole age of Italian society; and even now his spirit haunts you as you read the gorgeous sins of Roman noblemen in the pages of Gabriele d'Annunzio. And Murillo, though the expert not unjustly from their special point of view, see in him but a mediocre artist, in the same way is the very quintessence of Southern Spain. Wielders of the brush, occupied chiefly with technique, are apt to discern little in an old master, save the craftsman; yet art is no more than a link in the chain of life and cannot be sharply sundered from the civilisation of which it is an outcome: even Velasquez, sans peer, sans parallel, throws a curious light on the world of his day, and the cleverest painters would find their knowledge and understanding of that great genius the fuller if they were acquainted with the plays of Lope de la Vega and the satires of Quevedo. Notwithstanding Murillo's obvious faults, as you walk through the museum at Seville all Andalusia appears before you. Nothing could be more characteristic than the religious feeling of the many pictures, than the exuberant fancy and utter lack of idealisation: in the contrast between a Holy Family by Murillo and one by Perugino is all the difference between Spain and Italy. Murillo's Virgin is a peasant girl such as you may see in any village round Seville on a feast-day; her emotions are purely human, and in her face is nothing more than the intense love of a mother for her child. But the Italian shows a creature not of earth, an angelic maid with almond eyes, oval of face: she has a strange air of unrealness, for her body is not of human flesh and blood, and she is linked with mankind only by an infinite sadness; she seems to see already the Dolorous Way, and her eyes are heavy with countless unwept tears.

      One picture especially, that which the painter himself thought his best work, Saint Thomas of Villanueva distributing Alms, to my mind offers the entire impression of that full life of Andalusia. In the splendour of mitre and of pastoral staff, in the sober magnificence of architecture, is all the opulence of the Catholic Church; in the worn, patient, ascetic face of the saint is the mystic, fervid piety which distinguished so wonderfully the warlike and barbarous Spain of the sixteenth century; and lastly, in the beggars covered with sores, pale, starving, with their malodorous rags, you feel strangely the swarming poverty of the vast population, downtrodden and vivacious, which you read of in the picaresque novels of a later day. And these same characteristics, the deep religious feeling, the splendour, the poverty, the extreme sense of vigorous life, the discerning may find even now among the Andalusians for all the modern modes with which, as with coats of London and bonnets of Paris, they have sought to liken themselves to the rest of Europe.

      And the colours of Murillo's palette are the typical colours of Andalusia, rich, hot, and deep—again contrasting with the enamelled brilliance of the Umbrians. He seems to have charged his brush with the very light and atmosphere of Seville; the country bathed in the splendour of an August sun has just the luminous character, the haziness of contour, which characterise the paintings of Murillo's latest manner. They say he adopted the style termed vaporoso for greater rapidity of execution, but he cannot have lived all his life in that radiant atmosphere without being impregnated with it. In Andalusia there is a quality of the air which gives all things a limpid, brilliant softness, the sea of gold poured out upon them voluptuously rounds away their outlines; and one can well imagine that the master deemed it the culmination of his art when he painted with the same aureate effulgence, when he put on canvas those gorgeous tints and that exquisite mellowness.

II

       Table of Contents

      The Churches of Ronda

      That necessity of realism which is, perhaps, the most conspicuous of Spanish traits, shows itself nowhere more obviously than in matters religious. It is a very listless emotion that is satisfied with the shadow of the ideal; and the belief of the Andaluz is an intensely living thing, into which he throws himself with a vehemence that requires the nude and brutal fact. His saints must be fashioned after his own likeness, for he has small power of make-believe, and needs all manner of substantial accessories to establish his faith. But then he treats the images as living persons, and it never occurs to him to pray to the Saint in Paradise while kneeling before his presentment upon earth. The Spanish girl at the altar of Mater Dolorosa prays to a veritable woman, able to speak if so she wills, able to descend from the golden shrine to comfort the devout worshipper. To her nothing is more real than these Madonnas, with their dark eyes and their abundant hair: Maria del Pilar, who is Mary of the Fountain, Maria del Rosario, who is Mary of the Rosary, Maria de los Dolores, Maria del Carmen, Maria de los Angeles. And they wear magnificent gowns of brocade and of cloth-of-gold, mantles heavily embroidered, shoes, rings on their fingers, rich jewels about their necks.

      In a little town like Ronda, so entirely apart from the world, poverty-stricken, this desire for realism makes a curiously strong impression. The churches, coated with whitewash, are squalid, cold and depressing; and at first sight the row of images looks nothing more than a somewhat vulgar exhibition of wax-work. But presently, as I lingered, the very poverty of it all touched me; and forgetting the grotesqueness, I perceived that some of the saints in their elaborate dresses were quite charming and graceful. In the church of Santa Maria la Mayor was a Saint Catherine in rich habiliments of red brocade, with a white mantilla arranged as only a Spanish woman could arrange it. She might have been a young gentlewoman of fifty years back when costume was gayer than nowadays, arrayed for a fashionable wedding or for a bull-fight. And in another church I saw a youthful Saint in priest's robes, a cassock of black silk and a short surplice of exquisite lace; he held a bunch of lilies in his hand and looked very gently, his lips almost trembling to a smile. One can imagine that not to them would come the suppliant with a heavy despair, they would be merely pained at their helplessness before the tears of the grief that kills and the woe of mothers sorrowing for their sons. But when the black-eyed maiden knelt before the priest, courtly and debonair, begging him to send a husband quickly, his lips surely would control themselves no longer, and his smile would set the damsel's cheek a-blushing. And if a youth knelt before Saint Catherine in her dainty mantilla, and vowed his heart was breaking because his love gave him stony glances, she would look very graciously upon him, so that his courage was restored, and he promised her a silver heart as lovers in Greece made votive offerings to Aphrodite.

      At the Church of the Espirito Santo, in a little chapel behind one of the transept altars, I saw, through a huge rococo frame of gilded wood, a Maria de los Dolores that was almost terrifying in poignant realism. She wore a robe of black damask, which stood as if it were cast of bronze in heavy, austere folds, a velvet cloak decorated with the old lace known as rose point d'Espagne; and on her head a massive imperial diadem, and a golden aureole. Seven candles burned before her; and at vespers, when the church was nearly dark, they threw a cold, sharp light upon her countenance. Her eyes were in deep shadow, strangely mysterious, and they made the face, so small beneath the pompous