THE LAND OF THE BLESSED VIRGIN. Уильям Сомерсет Моэм

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 crown, horribly life-like: you could not see the tears, but you felt they were eyes which would never cease from weeping.

      I suppose it was all tawdry and vulgar and common, but a woman knelt in front of the Mother of Sorrows, praying, a poor woman in a ragged shawl; I heard a sob, and saw that she was weeping; she sought to restrain herself and in the effort a tremor passed through her body, and she drew the shawl more closely round her.

      I walked away, and came presently to the most cruel of all these images. It was a Pietà. The Mother held on her knees the dead Son, looking in His face, and it was a ghastly contrast between her royal array and His naked body. She, too, wore the imperial crown, with its golden aureole, and her cloak was of damask embroidered with heavy gold. Her hair fell in curling abundance about her breast, and the sacristan told me it was the hair of a lady who had lost her husband and her only son. But the dead Christ was terrible, His face half hidden by the long straight hair, long as a woman's, and His body thin and all discoloured: from the wounds thick blood poured out, and their edges were swollen and red; the broken knees, the feet and hands, were purple and green with the beginning of putrefaction.

      III

      Ronda

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       Ronda is set deep among the mountains between Algeciras and Seville; they hem it in on all sides, and it straggles up and down little hills, timidly, as though its presence were an affront to the wild rocks around it. The houses are huddled against the churches, which look like portly hens squatting with ruffled feathers, while their chicks, for warmth, press up against them. It is very cold in Ronda. I saw it first quite early: over the town hung a grey mist shining in the sunlight, and the mountains, opalescent in the morning glow, were so luminous that they seemed hardly solid; they looked as if one could walk through them. The people, covering their mouths in dread of a pulmonia, hastened by, closely muffled in long cloaks. As I passed the open doors I saw them standing round the brasero, warming themselves; for fireplaces are unknown to Andalusia, the only means of heat being the copa, a round brass dish in which is placed burning charcoal.

      The height and the cold give Ronda a character which reminds one of Northern Spain; the roofs are quite steep, the houses low and small, built for warmth rather than, as in the rest of Andalusia, for coolness.

      But the whitewash and the barred windows with their wooden lattice-work, remind you that you are in Moorish country, in the very heart of it; and Ronda, indeed, figures in chronicles and in old ballads as a stronghold of the invaders. The temperature affects the habits of the people, even their appearance: there is no lounging about the squares or at the doors of wine-shops, the streets are deserted and their great breadth makes the emptiness more apparent. The first setters out of the town had no need to make the ways narrow for the sake of shade, and they are, in fact, so broad that the houses on either side might be laid on their faces, and there would still be room for the rapid stream which hurries down the middle.

      The conformation of a Spanish town, even though it lack museums and fine buildings, gives it an interest beyond that of most European places. The Moorish design is always evident. That wise people laid out the streets as was most convenient, tortuous and narrow at Cordova or broad as a king's highway in Ronda. The Moors stayed their time, and their hour struck, and they went; the houses had fallen to decay and been more than once rebuilt. The Christians returned and Mahomet fled before the Saints; (it was no shame since they grossly out-numbered him;) the mosque was made a church, and the houses as they fell were built again, but on the same foundations and in the same way. The streets have remained as the Moors left them, the houses still are built round little courtyards—the patio—as the Moors built them; and the windows are barred and latticed as of old, the better to protect beauty whose dark eyes flash too meaningly at wandering strangers, whose red lips are over ready to break into a smile for the peace of an absent husband.

       After the busy clamour of Gibraltar, that ant-nest of a hundred nationalities, Ronda impresses you by its peculiar silence. The lack of sound is the more noticeable in the frosty clearness of the atmosphere, and is only emphasised by an occasional cry that floats, from some vast distance, along the air. The coldness, too, has pinched the features of the people, and they seem to grow old even earlier than in the rest of Andalusia. Strapping fellows of thirty with slim figures and a youthful air have the faces of elderly men, and their skin is hard, stained and furrowed. The women, ageing as rapidly, have no gaiety. If Spanish girls have frequently a beautiful youth, their age too often is atrocious: it is inconceivable that a handsome woman should become so fearful a hag; the luxuriant hair is lost, and she takes no pains to conceal her grey baldness, the eye loses its light, the enchanting down of the upper lip turns to a bristly moustache; the features harden, grow coarse and vulgar; and the countenance assumes a rapacious expression, so that she appears a bird of prey; and her strident voice is like the shriek of vultures. It is easily comprehensible that the Spanish stage should have taken the old woman as one of its most constant, characteristic types. But in Ronda even the girls have a weary look, as though life were not so easy a matter as in warmer places, or as the good God intended; and they seem to suffer from the brevity of youth, which is no sooner come than gone. They walk inertly, clothed in sombre colours, their hair not elaborately arranged as would have it the poorest cigarette-girl, but merely knotted, without the flower which the Sevillan is popularly said to insist upon even at the cost of a dinner. And when they go out the grey shawls they wrap about their heads add to their unattractiveness.

      IV

      The Swineherd

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       But if Ronda itself is a somewhat dull and unsympathetic place with nothing more for the edification of the visitor than a melodramatic chasm, the surrounding country is worthy the most extravagant epithets. The mountains have the gloomy barrenness, the slate-grey colour of volcanic ranges; they encircle the town in a gigantic amphitheatre, rugged and overbearing like Titans turned to stone. They seem, indeed, to wear a sombre insolence of demeanour as though the aspect of human kind moved them to lofty contempt. And in their magnificent desolation they offer a fit environment for the exploits of Byronic heroes. The handsome villain of romance, seductive by the complexity of his emotions, by the persistence of his mysterious grief, would find himself in that theatrical scene most thoroughly at home; nor did Prosper Mérimée fail to seize the opportunity, for the mountains of Ronda were the very hunting-ground of Don Josè, who lost his soul for Carmen. But as a matter of history they were likewise the haunts of brigands in flesh and blood—malefactors in the past had that sense of the picturesque which now is vested in the amateur photographer—and this particular district was as dangerous to the travelling merchant as any in Spain.

      The environs of Ronda are barren and unfertile, the olive groves bear little fruit. I wandered through the lonely country, towards the mountains; the day was overcast and the clouds hung sluggishly overhead. As I walked, suddenly I heard a melancholy voice singing a peasant song, a malagueña. I paused to listen, but the sadness was almost unendurable; and it went on interminably, wailing through the air with the insistent monotony of its Moorish origin. I struck into the olives to find the singer and met a swineherd, guarding a dozen brown pigs, a youth thin of face, with dark eyes, clothed in undressed sheep-skins; and the brown wool gave him a singular appearance of community