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[238] Spanish school in painting, increase its claims and its interest until, I am hardly disposed to doubt, they are unrivalled in Spain.

To begin, then, with the oldest. You pass out of Seville by the Faubourg Triana,—which is a corruption of Traiana,—and, after stopping an instant at the fine Convent of San Isidro del Campo to see the tomb of that Alfonso Perez de Guzman who gave a new escutcheon to the family of Medina Sidonia by the sacrifice of his son at the siege of Tarifa, you find on the right bank of the Guadalquivir, a league from the city, the extensive ruins of Italica. It was certainly the native place of Trajan and Silius Italicus, and may have given birth to Hadrian and Theodosius, for it seems hardly probable that the favor of one emperor could have spread out so large a city as the ruins here indicate. The most interesting remains are of the walls, baths, etc., and especially of an amphitheatre and some mosaics, of which La Borde has given a detailed and interesting description, with a history of the city down to its final fall in the sixth century, in a folio volume published some years since at Paris. Everything, however, is neglected. The amphitheatre even is falling in every year; the mosaics, as I absolutely saw, are a part of a sheepfold, and, of course, more and more broken up every day; and the only person, I believe, who takes any interest in these curious remains, is a poor advocate of Seville, who comes out here on the feast days, and digs among them with his own hands, though what he has found and what I saw in the Alcazar might well excite to more important excavations, if there were either taste or curiosity in the government to be excited.

Next comes the Alcazar, formerly the palace of the Moorish kings, where I passed a great many pleasant hours, and dined daily, with its kind, open-hearted, chivalrous governor, Sir John Downie. In modern times it has been much altered and enlarged; but still there are a great many apartments, particularly the bathing-rooms and the hall of the ambassadors, that are Arabic, as is its general air, and its gardens of all flowers and fragrance, so that, notwithstanding its changes, it yet remains one of the very curious monuments of Arabian architecture. . . . .

[The Cathedral] is three hundred and ninety-eight feet long and two hundred and ninety-one feet wide, and altogether one of the most pure, solemn, and imposing specimens of the genuine, uncorrupted, unmixed Gothic style. Indeed, its great size, its immense naves, supported by the largest and finest columns of the kind, its rich chapels, whose walls are covered with the works of Murillo and Caño, and its ninety-three storied windows, painted in the best age of the art by

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