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Dead Simple Python Idiomatic Python for the Impatient
Programmer Jason C. Mcdonald Digital Instant
Download
Author(s): Jason C. McDonald
ISBN(s): 9781718500921, 1718500920
Edition: converted
File Details: PDF, 5.95 MB
Year: 2022
Language: english
 CONTENTS IN DETAIL

TITLE PAGE

COPYRIGHT

DEDICATION

ABOUT THE AUTHOR

FOREWORD

ACKNOWLEDGMENTS

INTRODUCTION
Who Is This Book For?
What Does “Simple” Mean?
What’s in This Book?
What’s NOT in This Book
How to Read This Book
About the Vocabulary
Theory Recaps
Objective or Opinionated?
The Examples
What About a Project?
Prerequisites

PART I: THE PYTHON ENVIRONMENT

CHAPTER 1: THE PYTHON PHILOSOPHY
What Is Python, Exactly?
Myths: What Python Isn’t
Myth #1: Python Is Merely a Scripting Language
Myth #2: Python Is Slow
Myth #3: Python Cannot Be Compiled
Myth #4: Python Gets Compiled Behind the Scenes
Myth #5: Python Is Unsuitable for Large Projects
Python 2 vs. Python 3
Defining “Pythonic” Code
The Zen of Python
Documentation, PEPs, and You
Who Calls the Shots?
The Python Community
The Pursuit of the One Obvious Way
Wrapping Up

CHAPTER 2: YOUR WORKBENCH

Installing Python
Installing on Windows
Installing on macOS
Installing on Linux
Installing from Source
Meet the Interpreter
Interactive Session
Running Python Files
Packages and Virtual Environments
Creating a Virtual Environment
Activating a Virtual Environment
Leaving a Virtual Environment
Introducing pip
System-Wide Packages
Installing Packages
requirements.txt
Upgrading Packages
Removing Packages
Finding Packages
One Warning About pip . . .
Virtual Environments and Git
The Whole Shebang
File Encoding
A Few Extra Virtual Environment Tricks
Using a Virtual Environment Without Activating
The Alternatives
The Line Limit Debate
Tabs or Spaces?
Quality Control: Static Analyzers
Pylint
Flake8
Mypy
Style Janitors: Autoformatting Tools
autopep8
Black
Testing Frameworks
An Exhibition of Code Editors
IDLE
Emacs and Vim
PyCharm
Visual Studio Code
Sublime Text
Spyder
Eclipse + PyDev/LiClipse
The Eric Python IDE
Wrapping Up

CHAPTER 3: SYNTAX CRASH COURSE

Hello, World!
Statements and Expression
The Importance of Whitespace
Doing Nothing
Comments and Docstrings
Docstrings
Declaring Variables
What About Constants?
Mathematics
Meet the Number Types
Operators
The math Module
Logic
Conditionals
Comparison Operators
Boolean, None, and Identity Operators
Truthiness
Logical Operators
The Walrus Operator
Ellipsis
Strings
String Literals
Raw Strings
Formatted Strings
Template Strings
String Conversion
A Note on String Concatenation
Functions
Classes and Objects
Error Handling
Tuples and Lists
Loops
while Loop
Loop Control
for Loop
Structural Pattern Matching
Literal Patterns and Wildcards
Or Patterns
Capture Patterns
Guard Statements
More About Structural Pattern Matching
Wrapping Up

CHAPTER 4: PROJECT STRUCTURE AND IMPORTS

Setting Up the Repository
Modules and Packages
PEP 8 and Naming
Project Directory Structure
How import Works
Import Dos and Don’ts
Importing Functions from Modules
The Problem of Shadowing
The Trouble with Nested Packages
Beware of Importing All
Importing Within Your Project
Absolute Imports
Relative Imports
Importing from the Same Package
Entry Points
Module Entry Points
Package Entry Points
Controlling Package Imports
Program Entry Points
The Python Module Search Path
What Really Happens
Wrapping Up

PART II: ESSENTIAL STRUCTURES

CHAPTER 5: VARIABLES AND TYPES

Variables According to Python: Names and Values
Assignment
Data Types
The type() Function
Duck Typing
Scope and Garbage Collection
Local Scope and the Reference-Counting Garbage Collector
Interpreter Shutdown
Global Scope
The Dangers of Global Scope
The nonlocal Keyword
Scope Resolution
The Curious Case of the Class
Generational Garbage Collector
The Immutable Truth
Passing by Assignment
Collections and References
Shallow Copy
Deep Copy
Coercion and Conversion
A Note About Systems Hungarian Notation
Terminology Review
Wrapping Up

CHAPTER 6: FUNCTIONS AND LAMBDAS

Python Function Essentials
Recursion
Default Argument Values
Keyword Arguments
On Overloaded Functions
Variadic Arguments
Keyword Variadic Arguments
Keyword-Only Parameters
Positional-Only Parameters
Argument Types: All Together Now!
Nested Functions
Closures
Recursion with Closures
Stateful Closures
Lambdas
Why Lambdas Are Useful
Lambdas as Sorting Keys
Decorators
Type Hints and Function Annotations
Duck Typing and Type Hints
Should You Use Type Hinting?
Wrapping Up

CHAPTER 7: OBJECTS AND CLASSES

Declaring a Class
The Initializer
The Constructor
The Finalizer
Attributes
Instance Attributes
Class Attributes
Scope-Naming Conventions
Nonpublic
Public
Name Mangling
Public, Nonpublic, or Name Mangled?
Methods
Instance Methods
Class Methods
Static Methods
Properties
Setting Up the Scenario
Defining a Property
Property with Decorators
When Not to Use Properties
Special Methods
Scenario Setup
Conversion Methods
Comparison Methods
Binary Operator Support
Unary Operator Support
Making Callable
More Special Methods: Looking Ahead
Class Decorators
Structural Pattern Matching with Objects
Functional Meets Object Oriented
When to Use Classes
Classes Aren’t Modules
Single Responsibility
Sharing State
Are Objects Right for You?
Wrapping Up

CHAPTER 8: ERRORS AND EXCEPTIONS

Exceptions in Python
Reading Tracebacks
Catching Exceptions: LBYL vs. EAFP
Multiple Exceptions
Beware the Diaper Anti-pattern
Raising Exceptions
Using Exceptions
Exceptions and Logging
Bubbling Up
Exception Chaining
Else and Finally
Else: “If All Goes Well”
Finally: “After Everything”
Creating Exceptions
A Gallery of Exceptions
Wrapping Up

PART III: DATA AND FLOW

CHAPTER 9: COLLECTIONS AND ITERATION

Loops
while Loops
for Loops
Collections
Tuples
Named Tuples
Lists
Deques
Sets
frozenset
Dictionaries
Check or Except?
Dictionary Variants
Unpacking Collections
Starred Expressions
Unpacking Dictionaries
Structural Pattern Matching on Collections
Accessing by Index or Key
Slice Notation
Start and Stop
Negative Indices
Steps
Copy with Slice
Slice Objects
Slicing on Custom Objects
Using islice
The in Operator
Checking Collection Length
Iteration
Iterables and Iterators
Manually Using Iterators
Iterating with for Loops
Sorting Collections in Loops
Enumerating Loops
Mutation in Loops
Loop Nesting and Alternatives
Iteration Tools
Basic Built-in Tools
Filter
Map
Zip
Itertools
Custom Iterable Classes
Wrapping Up

CHAPTER 10: GENERATORS AND COMPREHENSIONS

Lazy Evaluation and Eager Iterables
Infinite Iterators
Generators
Generators vs. Iterator Classes
Closing Generators
Behavior on Close
Throwing Exceptions
yield from
Generator Expressions
Generator Objects Are Lazy
Generator Expressions with Multiple Loops
Conditionals in Generator Expressions
Nested Generator Expressions
List Comprehensions
Set Comprehensions
Dictionary Comprehensions
Hazards of Generator Expressions
They Quickly Become Unreadable
They Don’t Replace Loops
They Can Be Hard to Debug
When to Use Generator Expressions
Simple Coroutines
Returning Values from a Coroutine
Sequence of Behavior
What About Async?
Wrapping Up

CHAPTER 11: TEXT IO AND CONTEXT MANAGERS

Standard Input and Output
Revisiting print()
Revisiting input()
Streams
Context Manager Basics
File Modes
Reading Files
The read() Method
The readline() Method
The readlines() Method
Reading with Iteration
Stream Position
Writing Files
The write() Method
The writelines() Method
Writing Files with print()
Line Separators
Context Manager Details
How Context Managers Work
Using Multiple Context Managers
Implementing the Context Management Protocol
The __enter__() Method
The __exit__() Method
Using the Custom Class
Paths
Path Objects
Parts of a Path
Creating a Path
Relative Paths
Paths Relative to Package
Path Operations
Out-of-Place File Writes
The os Module
File Formats
JSON
Other Formats
Wrapping Up

CHAPTER 12: BINARY AND SERIALIZATION

Binary Notation and Bitwise
Number Systems Refresher
Python Integers and Binary
Bitwise Operations
Bytes Literals
Bytes-Like Objects
Creating a bytes Object
Using int.to_bytes()
Sequence Operations
Converting bytes to int
struct
struct Format String and Packing
Unpacking with struct
struct objects
Bitwise on Bytes-Like Objects
Bitwise Operations via Integers
Bitwise Operations via Iteration
memoryview
Reading and Writing Binary Files
Organizing the Data
Writing to a File
Reading from a Binary File
Seek with Binary Stream
BufferedRWPair
Serialization Techniques
Forbidden Tools: pickle, marshal, and shelve
Serialization Formats
Wrapping Up

PART IV: ADVANCED CONCEPTS

CHAPTER 13: INHERITANCE AND MIXINS

When to Use Inheritance
Crimes of Inheritance
Basic Inheritance in Python
Multiple Inheritance
Method Resolution Order
Ensuring Consistent Method Resolution Order
Explicit Resolution Order
Resolving Base Class in Multiple Inheritance
Mixins
Wrapping Up
CHAPTER 14: METACLASSES AND ABCS
Metaclasses
Creating Classes with type
Custom Metaclasses
Type Expectations with Duck Typing
EAFP: Catching Exceptions
LBYL: Checking for Attributes
Abstract Classes
Built-in ABCs
Deriving from ABCs
Implementing Custom ABCs
Virtual Subclasses
Setting Up the Example
Using Virtual Subclassing
Wrapping Up

CHAPTER 15: INTROSPECTION AND GENERICS

Special Attributes
Inside Object Attribute Access: The __dict__ Special Attribute
Listing Attributes
Getting an Attribute
Checking for an Attribute
Setting an Attribute
Deleting an Attribute
Function Attributes
The Wrong Way to Use Function Attributes
Mutability and Function Attributes
Descriptors
The Descriptor Protocol
Writing a Descriptor Class (the Slightly Wrong Way)
Using a Descriptor
Writing a Descriptor Class the Right Way
Using Multiple Descriptors in the Same Class
Slots
Binding Attribute Names to Values
Using Arbitrary Attributes with Slots
Slots and Inheritance
Immutable Classes
Single-Dispatch Generic Functions
Registering Single-Dispatch Functions with Type Hints
Registering Single-Dispatch Functions with Explicit Type
Registering Single-Dispatch Functions with the register() Method
Using the Element Class
Arbitrary Execution
Wrapping Up

CHAPTER 16: ASYNCHRONY AND CONCURRENCY

Asynchrony in Python
The Example Scenario: Collatz Game, Synchronous Version
Asynchrony
Native Coroutines
Tasks
The Event Loop
Making It (Actually) Asynchronous
Scheduling and Asynchronous Execution Flow
Simplifying the Code
Asynchronous Iteration
Asynchronous Context Managers
Asynchronous Generators
Other Asynchrony Concepts
Wrapping Up

CHAPTER 17: THREADING AND PARALLELISM

Threading
Concurrency vs. Parallelism
Basic Threading
Timeouts
Daemonic Threads
Futures and Executors
Timeouts with Futures
Race Conditions
A Race Condition Example
Creating Multiple Threads with ThreadPoolExecutor
Locks
Deadlock, Livelock, and Starvation
Passing Messages with Queue
Futures with Multiple Workers
Achieving Parallelism with Multiprocessing
Pickling Data
Speed Considerations and ProcessPoolExecutor
The Producer/Consumer Problem
Importing the Modules
Monitoring the Queue
Subprocess Cleanup
Consumers
Checking for an Empty Queue
Producers
Starting the Processes
Performance Results
Logging with Multiprocessing
Wrapping Up

PART V: BEYOND THE CODE

CHAPTER 18: PACKAGING AND DISTRIBUTION

Planning Your Packaging
The Dangers of Cargo Cult Programming
A Note on Packaging Opinions
Determining Your Packaging Goals
Project Structure: src or src-less
Packaging a Distribution Package with setuptools
Project Files and Structure
Where Metadata Belongs
The README.md and LICENSE Files
The setup.cfg File
The setup.py File
The MANIFEST.in File
The requirements.txt File
The pyproject.toml File
Testing the Setup Configuration
Building Your Package
Publishing on pip (Twine)
Uploading to Test PyPI
Installing Your Uploaded Package
Random documents with unrelated
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Prince of the Asturias, title, 1
Priscillian, heresy of, 15, 29, 31, 301
Provence, language of, 189
Prudentius, poet, 39-40
Prudhon, 173
Ptolemy, 11
Puente de Alonso III., 240-42
Puente de San Payo, 268
Puente de Triana, 263
Puente del Burgo, 255
Puente Internacional, 279
Puente Mayor, 288
Puentedeume, 309, 314
Pyrenees, the, 17-18

Quadrado, 84
“Queen Isabella,” style of architecture, 91
Quevado y Quintano, Pedro, 292
Quintana de los Muertos, 104

Raimundo de Monforte, 303

Ramiro, his corn-rent, 98-99
Ravenna, the Ravenate, 223
Recared, 16, 84, 87
Recesvinto, King, 84, 332
Redondela, 269, 276
Refuge, churches of, 200
Renaissance, architects of the, 90-93;
the Spanish, 92-93
Rennert, 57 and note
Repoll, façade, 109
Retablo, seventeenth century, 263
Rey, Luis Cradaso, 251
Rheims Cathedral, 109, 122
Rianjo, 201
Rias bajas, the, 17
Ribadavia, 287, 295;
 vines of, 279, 348
Ribas, Sr. Francisco, 218
Ribera, Pedro, 93
Rios, Amador de los, 54
Rios, Marquis de Monfero, 264
Ripoll, 64
Ripon, monastic church, 89
Roads in Galicia—
The St. James’s road, 60;
special, for pilgrims, 62, 65;
bad condition of, 177;
plan of a Roman road, 294
Robles, Sr., 2 note 1
Rocas, the church, 340-42
Rocha de Padron, 223
Rock-drawings, 273-75
Rodil, José Ramon, 195
Rodrigo, Archbishop, 16
Rodriquez, Juan, 230
Rodriquez, Luis, vocabulary, 251
Rodriquez, Ventura, 104
Rojo, Simon, 324
Roman Remains in Galicia—
The Roman arch, 81-82, 85;
coins, etc., 205-6, 223;
inscriptions, 223, 243-44, 306;
castros and tumuli, 232-33;
bridge, 233;
milestones, 255, 260-61, 296;
fortifications, 286;
mosaics, 293;
stones, 293-94;
Roman baths, 300, 331, 353
Romana, Marquis of, 157 note
Romance dialect, the, 53-54
Rome, government of Spain, 13;
sacking of, 32
Roncevalles, monastery of, 65
Rosendo, San, 325;
relics at Celanova, 327-29
Rotberto, 98
Rouen Cathedral, windows, 115
Roulin, M., on the Pórtico de Gloria, 109-10
Rozmilal, Baron de, pilgrimage, 66
Rush-gathering, 350
Russia, poets of, 185;
the pigeon, 217

Saavedra, 357
Sahagun, 159
St. John’s, Ephesus, 70
St. Paul’s, London, 91
St. Peter’s, Rome, pilgrims, 70;
style, 91;
statuary, 123
St. Petronius of Bologna, Cathedral, 96
St. Sophia, Constantinople, 82
St. Vincent de Paul, nuns of, 142
Salas, the, 20
Salisbury Cathedral, 96, 284
Sallust, 9
Salvatierra, 22, 286
Salve Regina, the, 43;
authorship, 42-47
Sampedro, Señor Casto, 257, 258, 262, 266 note, 268
San Anton, fort of, 171
San Antonio de Herbon, Convento de, 227
San Bartolomé, 261
San Bartolomé Cathedral, Tuy, 280-81
San Benito, church of, Santiago, 199
San Clement, Rome, plaited designs, 128
San Cosmo, 251
San Esteban, monastery of, ruins, 22, 333, 335-36, 338-39;
sarcophagi, 336-37;
 cloisters, 337;
conventual church, 337-38;
position, 339
San Felix de Solovio, Santiago, 200
San Francisco, Betanzos, 312
San Francisco, Lugo, 305, 313
San Francisco monastery, Santiago, 209 note
San Juan de Baños, Palencia, 84, 331-332
San Juan de Poyo, 265, 267
San Justo de los Tojosutos, 234
San Justo River, 248
San Lorenzo, Santiago, 209 note
San Marco, Leon, 65
San Mamed, 248
San Martin de Nieble, 83
San Martin, hermitage, 267
San Martin, Mondoñedo, 307
San Martin, Noya, 236-39
San Martin, Pinario, 195, 200, 209 note
San Martin, Tiobre, 310
San Miguel de Celanova, 330
San Payo, convent of, 104, 203-4
San Pedro de Rocas, 340-42
San Pedro del Mezquita, church of, 296
San Roman, Toledo, 81
San Roman de Hornija (Valladolid) 84
San Rosendo, family of, 294
San Sebastian del Pico Sacro, 225
San Sernin of Toulouse, comparison with Santiago, 95-97, 132
San Simon, Hospital of, 277
San Vincente del Pino, Monforte, 297
Sanchez, 132, 135, 192-93, 195
Sandez, Fernandez, 43
Santa Clara, convent, 205, 265
Santa Clara, Monforte, 298-99
Santa Comba de Bande, 84, 329-33
Santa Cruz monastery, Coimbra, 291
Santa Eulalia, 226 note
Santa Maria a Nova, 235
Santa Maria de Azogue, Betanzos, 312, 313
Santa Maria de Cambre, 313-14
Santa Maria de Escos, 340
Santa Maria de Iria, 226
Santa Maria de Sar. See Sar, Colegiata de
Santa Maria del Campo, 246
Santa Maria del Puy, church, 44
Santa Maria la Grande, Pontevedra, 256, 263, 313
Santa Maria Salomé, Santiago, 199-200
Santa Susana, Santiago, 62, 199
Santiago—
Moorish invasion, 42-43;
pilgrims to, 60-77;
jet-workers of, 66-68;
money-changers of, 68-69;
capture by John of Gaunt, 76;
school of artists, 124;
birthplace of Rosalia Castro, 184;
a walled city, 190;
position and climate, 190-91, 192;
hospitality of, 191;
absence of fires, 191;
chocolate of, 191;
medical college of Fonseca, 193;
convents and churches, 198-202;
a students’ riot, 198;
the Alameda, 199;
Colegio de San Gerónimo, 200;
Plaza de Alonso XII., 200, 201;
the Consistorio, 200;
fountains, 202;
convents for women, 203-5;
San Payo, 203-4;
Santa Clara, 205;
Archæological Museums, 205;
 Hospital de San Roque, 205;
private collections, 205-6;
the pig market, 210-12
Santiago Cathedral—
Story of the gates, 42-43;
music, 53;
the giant censer, 72-75;
style of architecture, 62-63, 88, 93;
beds for the pilgrims, 72;
Candlemas 1907, 74-75;
the original church, 94-95;
compared with St. Sernin, 95-97;
fire 1170, 98;
the two master builders, 98;
cupola, 99;
naves, 99;
the seven gates, 99-100;
the Puerta de las Platerias, 100-2;
windows, 101;
sculpture and statuary, 101-2, 108;
façades, 102-5;
bells, 102, 103;
clock-tower, 102-3;
the Capilla Mayor, 103;
statues, 103-4;
entrances, 103-4;
façade of the Azabacheria, 104-5;
the Pórtico de Gloria, 105;
see also that title;
staircases, 105;
the Obradoira, 105-6;
cloisters, 106;
sculptured capitals, 126;
foliage, 127-28;
galleries, 128;
chapel of St. Joseph, 132;
capitals of, 133-35;
 the palace of Gelmirez, 134-35
Santiago, church of, Betanzos, 311-12
Santiago, church of, Ribadavia, 287
Santiago Hospital. See Hospital Real.
Santiago University—
Library, 70;
faculties of Law and Medicine, 192-93;
the medical college, 193;
architecture, 193-94;
library, 194-95;
patriots of, 195;
portraits of, 195-96;
reading-room, 196;
Natural History Museum, 196-97;
management, 197;
faculty of Pharmacy, 197-98
Santillana, Marquis of, letter quoted, 50
Santo Domingo, Coruña, 164
Santo Domingo, Lugo, 306
Santo Domingo, Padron, 187
Santo Domingo, Pontevedra, 259-60, 282
Santo Domingo, Ribadavia, 287, 305
Santo Domingo, Santiago, 209 note
Santo Domingo, Tuy, 281-82
Sar, Colegiata de—
Architectural peculiarity, 145-49, 192;
foundation, 149;
tomb of Archbishop Bernard, 149-50;
relics, 150;
other tombs, 150;
the hospital, 150-51
Sar River, 22, 146, 148, 222, 227
Saragossa, St., Virgen del Pilar, 304-5
Sardine trade, the, 164-66, 217-18, 232
Sarmiento, Martin Garcia, 216, 357
Sarmiento, Pedro de Gamboa, 265-66
Sarria, 308
Scandinavia, rock-drawings, 274
Scilly Islands, the, indentification, 11
Scotland, “cup and ball” drawings, 273
Scott, Sir Gilbert, 131
Segobriga, 83
Sejalvo, 291
Seoane, cited, 214, 216
Sephronius, Bishop, 83
Sequin, Bishop, 291
Sergius I., censer of, 75-76
Sevelo, Sr. Barros, 247
Severus, Catilus, 278
Severus, Sulpicius, 223
Seville—
Cathedral library, 73;
tobacco and cigar factories, 169-70;
emigration from, 177
Shell of St. James, the, 66-67, 71, 102, 220, 257
Shobdon, church of, 131
Sicily, 13
Sil River, the, 21, 208, 234-35, 353
Silvestre, Gregorio, 57
Silvia of Acquitaine, 36
Sinai, Mount, 35, 37
Sirmondo, Jesuit, 30
Sivelo, Barros, 2 note 1, 4 and note, 7, 10
Slav pilgrims to Santiago, 7
Sobrado, monastery of, 77, 220
Socialism, in Galicia and Andalusia, 175, 184
Sodom, 37
Solesme, 267
Sotomayor, Diego de, tomb, 270
Sotomayor, Payo Gomez de, 260
Sotomayor, Suero Gomez de, 260
Sotomayor family, 271-72, 281;
house in Pontevedra, 268;
genealogical tree, 271
Soult, Marshal, 158
South Kensington, cast of the Pórtico de Gloria, 123
Southey, at Redondela, 276
Spain—
Origin of Spanish language, 49;
Spanish characteristics, 153;
emigration, 175, 176;
natural laziness, 176-77;
government of, 177;
education, 177-78;
universities of, 192-193;
pigs of, 212;
the Spanish onion, 349;
architecture. See under Architecture
Statuary of the Middle Ages, harmony of, 121 and note;
influence of the drama on, 122;
absence of, in Greek churches, 122
Stoke, Miss, quoted, 128
Stonehenge, 7
Strabo, cited, 6, 10
Street, 85, 95 note, 96 note, 123, 132
Sueves, the, 15-16, 28 and note 29, 30, 49, 261, 301
Susana, Santa, 199
Swanston, Paul, 160
Sweden, 216

Tabor, Mount, 35
Tambre river, 22, 143, 231, 232, 240, 244
Tamerlane, court of, 260
Taxation in Gaul, 173, 179, 266-67
Telmo, San, 284
Templars, the, 265, 278, 296
Teodomiro, 226, 294
Teodomirus, Bishop, 62
Teresa, Doña, 279-80
Teruiel, 81
Teucer, 255
Theobald IV., 52
Theodoricus, 15, 16
Theodosius, Emperor, 4, 30
Theophilus, S., 28
Ticknor, George, 50
Tiobre, 310
Tobacco factories, Spanish, 169-70, 345
Toja, mineral springs, 354-55
Tojosutos, cloisters of, 305
Toledo, 1, 86;
cathedral, 93
Tomas, Irish bishop, 202
Tombstones, 82-83
Tomé, Narciso, 93
Tomeza River, 255
Torquato, San, 327, 328, 330
Torquemada, Bishop, 284
Torques of gold, 206-9, 233
Torremuzquiez, Counts of, 325
Toulouse Cathedral, sculptures, 128
Toulouse Museum, 134, 208
Tower of Hercules, Coruña, 154, 161-63
Trajan, Emperor, 163, 219
Tramunda, Santa, sarcophagus, 267
Trava, the, 231, 239
Tree of Jesse in sculpture, 114-15
Trevino, Francisco, tomb, 69
Trigo, Bartolamé, 256
Troncoso, springs, 355
Trovadores of Galicia, 52-59
Tumbo, island of, 267
Tumuli, 6-7
Turkestan, wardrobes in, 241
Turrafo, the, 22
Tuy, 1, 10, 22;
wolves of, 215;
lampreys, 219;
 railways, 279;
wrestling matches, 279;
history, 279-80;
province, 280;
San Bartolomé, 280-81;
Santo Domingo, 281-82;
drives, 284-85
Tuy Cathedral, 278, 280;
exterior portico, 282-83;
built for defence, 283, 286;
parchments, 283-84;
rectangular apse, 284;
cloister, 284
Tyrol, the Austrian, 264, 333

Uceda, Captain, 162

Ulla River, the, 222, 225, 227, 228, 299, 345
United States, trade with Britain, 180
Urraca, Queen, 116, 279-80, 349
Ursula, S., 299
Usury in Gaul, 181

Valença, fortress of, 279, 280, 284, 285

Valencia, 346
Valerius, Abbot, 33-35, 37, 38
Valladares, Avelina, 184
Valparaiso, 175
Valute, Castro, 228
Vandals, 15, 29
Varela family, 240
Varela, Prof., 197
Valmar, Marquis of, 53
Varro, Marcus, 4
Vatican Library, 52, 55, 244
Vazquez, Arturo, 26
Velazquez, 11
Velazquez, Alonso, 202
Velez, Archbishop, 103
Venice, Doge’s palace, 148
Venta de Baños, 84
Verdugo, the, 268
Vespasian, 223
Vézelay, church of, 97;
façade, 109;
the arcades, 128
Vianna de Castello, 20
Vieira. See Shell of St. James
Vienna Museum, 207
Vigo—
Harbour of, 11, 22, 153, 154, 318;
oysters, 219;
the road to, 276-77;
commercial position, 277;
houses, 278;
Colegiata de Santa Maria, 278;
English attack on, 348
Vigo, Ria de, 17, 276, 277, 278
Villagarcia, 149, 205, 245, 254
Villavieja, 277
Vine cultivation, 180, 224, 264, 268
Violante, Queen, 205
Viollet le Duc, 78 note, 129-30
Virgen de los Ojos, 304
Virgen del Pilar, 304
Visigoths, 83, 84;
churches of the, 86-87

Wales, 8
Wallingford, 33
Walter, minstrel, 53 note
Water supply of Santiago, 202
Wellington, Duke of, on Moore, 159;
and the Gallegans, 356
Westminster Abbey, capitals, 127;
 memorial of Sir John Moore, 157
White Tower, London, 98 note;
capitals, 127
Wilfrid, St., 88
William X., 69
William de Rubruquis, 69-70
Winchester, 284;
capitals, 126-27;
transept, 135
Witiza, King, 1, 279, 295
Wolfe, Rev. Charles, 159
Woman in Galicia, 166, 178, 202, 234;
the women labourers, 249, 269, 355
Woodwork, stalactite, 194
Writings. See Inscriptions

Xeito, the, 218

Yanez de Noboa, Bishop, 294, 295

Yepes, 45
York Cathedral, 304

Zanelo, 65
Zepedano, 73, 149
 Printed by Morrison & Gibb Limited, Edinburgh

FOOTNOTES:
[1] Barros Sivelo tells us that his friend Sr. Robles collected data for a history of
Galicia for twenty-seven years, but died before he had begun to write it.
[2] In the reign of Philip II.
[3] Theophilo Braga.
[4] Barros Sivelo, Antiquedades di Galicia, 1875.
[5] The Bible in Spain, ch. xxvii.
[6] It is believed that Spain was once united to the north African coast, and it is
certain that in antiquity the Straits of Gibraltar were much narrower than they are
now.
[7] See Cronicon del Obispo Idacio, ed. by Dr. Marcelo Macias, 2nd ed., 1906.
[8] See chapter on “The Caucasus” in my Russia.
[9] “Maravillosa es hallar en el Asia y en la España pueblos de nombres identicos,
iberos albanios, galecios, y calibes” (Aguiar).
[10] See Lecture on “Arte Primitivo en España,” by D. José Ramon Melida in the
Athenæum of Madrid, 1902.
[11] See description of these in my Russia.
[12] See article by Señor Melida, “La Ceremica prehistorica de la Peninsula
iberica,” in Nuestro Tiempo, June 1901.
[13] Those which owe their origin to the Romans appear to have been built to hold
from 100 to 10,000 men.
[14] Piedras ossilantes.
[15] H. d’Arbois de Jubainville. See his Les Celts depuis les temps les plus
anciens. Paris, 1904.
[16] España Sagrada, vol. xv.
[17] “Gallia est omnis divisa in partes tres, quarum unam incolunt Belgae, aliam
Aquitarie, tertiam qui ipsorum lingua Celtae, nostra Galli apellantur. Hi omnes lingua,
institutes legibus inter se differunt” (De B. G. i. 1).
[18] See my Russia. See also Plato’s theory of Atlantida.
[19] No one now disputes the fact that the Celts are an Indo-European race.
Jubainville says of them, “On peut comparer l’empire celtique à l’empire romain. Au
sud il ne s’étendit pas autant; il ne comprit ni toute l’Espagne, ni toute l’Italie, ni
toute la péninsule des Balkans, mais plus au nord il contenait une grande partie de
l’empire d’Allemagne, une portion de l’empire d’Autriche et le région septentrionale
de la grande Britagne, qui échappèrent toujours à la domination romaine, enfin, il
comprenait l’Irelande où jamais les legions romains n’ont pénétré.” The same writer
adds, “Le lieu d’origine des langues celtiques parâit avoir été un très petit pays, situé
sur les bords du Rhin, du Main et du Danube, la où se trouvent aujourd’hui la Hesse-
Darmstadt, le grand duché di Basle, de Wurtemburg, et la Bavière septentrionale.”
Farther on he affirms that “la patrie des Cimbris était la Schléswig-Holstein et non la
Crimeé” (because Tacitus mentions a people of that name as dwelling in Schleswig-
Holstein in his day).
[20] See Garcia de la Riega, Galicia Antigua, 1904.
[21] Joseph Cornide, Las Cassiterides, 1790.
[22] Les Celtes, Paris, 1904.
[23] See Barros Sivelo. Hamilcar intended to make Spain his base of operations
for the invasion of Italy. See Stone’s notes to Livy.
[24] See Livy, lib. 53, or rather its Table of Contents, for the book is lost.
[25] See Tables of the Capitoline Triumphes and other ancient documents.
[26] See Suetonius, and Plutarch, who wrote in his Life of Julius Cæsar: “We are
told that when he was in Spain he bestowed some leisure hours in reading part of the
history of Alexander, and was so much affected with it that he sat pensive a long time,
and at last burst out into tears. As his friends were wondering what might be the
reason, he said, ‘Do you think I have not sufficient cause for concern when Alexander
at my age reigned over so many conquered countries, and I have not one glorious
achievement to boast?’ From this principle it was that immediately upon his arrival in
Spain he applied to business with great diligence, and, having added ten new cohorts
to the twenty he received, then he marched against the Callaecians (Galicians) and
Lusitanians, defeated them, and penetrated to the ocean, reducing nations by the way
that had not felt the yoke.”
[27] I have been obliged to omit my chapter on Priscillian for want of space.
[28] Called by Pliny and Pomponius Mela, “the Celtic promontory.”
[29] See Chapter on Tuy.
[30] Ford.
[31] Ibid.
[32] Valenzuela.
[33] Lib. 1. v. 235.
[34] See Dr. Marcelo Macias, Civitas Limicorum, 1904.
[35] Loc. cit.
[36] De Bell. Hisp.
[37] España Sagrada, vol. xv.
 [38] “La Gallega,” Nave Capitaina de Colon, by C. Garsia de la Riega, 1897.
[39] Lopez Ferreiro, El Priscilianismo, 1878.
[40] Laborde, after dividing the history of Spain into four great epochs, says,
“Dans la première époque” (under the Carthaginians and the Romans) “les Espagnols
font partie du grand système qui gouvernait le monde, mais plutot alliés que sujets
des Romains, se civilisant comme eux et non par eux, ils les égalèrent dans presque
toutes les connaissances utiles, et furent a la fois le soutien et la richesse de leur
empire.”
[41] Comision de Monumentos.
[42] Dr. Macias points out that the change of i into e in the name of the city was
probably governed by some law of euphony according to which not only was the final
long i changed into long e but also the short i in the middle of the word to the short e,
as in sinu, sino, pilo, pele, minus, menos.
[43] The name Sueve, Suevi (Anglo-Saxon, Swaefas; Modern German, Schwabe),
was a generic appellation, like that of the body of distinct tribes who composed the
Allemannic confederacy; the name of Suevi was frequently interchanged with that of
Allemanni by ancient writers. See Hampson’s Essay on King Alfred’s “Orosius.” The
Sueves had come to Galicia from the territory stretching between the Rhine and the
Elbe.
[44] Arian professed that the Son was not equal or co-substantial with the Father.
See Gibbon, vol. iv. ch. xxxvii.
[45] Quoted by Dr. Macias from Hist. de los Heterod. Espanoles, vol. i. p. 123.
[46] Gibbon quotes many lines from Idatius, and calls him Spain’s most eloquent
historian.
[47] Ordination was not allowed before the age of twenty-five.
[48] The Sueves entered Spain in 411 and Galicia in 411. See Esp. Sagrada, vol.
iv.
[49] See Bosworth and Florez.
[50] King Alfred’s Orosius, bk. v. ch. xii.
[51] About five years before the birth of Idatius.
[52] “Two great interests then moved the hearts of Christians, led them from their
homes, and threw them into the midst of the difficulties, perils, and tediousness, now
incomprehensible, of a journey to the East. They would kiss the footsteps of the Lord
Jesus upon the very soil where He encountered life and death for our salvation; they
would also survey and see with their own eyes those deserts, caverns, and rocks
where still lived the men who seemed to reach nearest to Christ by their supernatural
austerity, and their brave obedience to the most difficult precepts of the Saviour”
(Montalembert).
 [53] “The learned librarian of a lay-brotherhood established in that place.” See
Preface to Bernard’s translation.
[54] Published by the Imperial Academy of Vienna, in vol. xxxix. of Corpus
Sculptorum Ecclesiasticorum Laborum.
[55] Since published separately, with a facsimile of the opening page of the
manuscript. Translated by J. H. Bernard, B.D., Palestine Pilgrims Text Society.
[56] See Bernard’s translation.
[57] Férotin.
[58] Bernard said in his preface: “I have been much struck by the accuracy of St.
Silvia’s (Etheria’s) topographical descriptions; they are evidently those of a person
who had seen the places described.” Of the document itself he wrote: “The
manuscript is said to be written in an eleventh-century hand, and Gamurrini considers
it tolerably certain that it was the work of a monk at Monte Casino.”
[59] See Valerius’s Life of St. Fructuosus, quoted by Montalembert. St. Isidore,
according to Cuvier, was the first Christian who arranged for Christians the
knowledge of antiquity; so we may call him the father of Ecclesiastical Archæology.
[60] Montalembert translated these and other stories about this saint from the Latin
of Zepes. See his own note.
[61] Capilla parroquial de San Fructuoso.
[62] See Lopez Ferreiro, Hist. de la S. Iglesia de Santiago, vol. ii., 1899, and
España Sagrada, vol. xxxiv. The Arab historians also tell this story.
[63] “Cette œuvre au texte si court et au chant si long; à l’écouter, à la lire avec
recueillement cette magnifique exoration paraissait se décomposer en son ensemble,
répresenter trois états différents d’âme, signifier la triple phase de l’humanité,
pendant sa jeunesse, sa maturité et son déclin; elle était en un mot, l’essentiel resumé
de la prière à tous les âges.” See Huysman’s En Route, where Durtal’s conversion is
made to take place as he listens to the Salve Regina.
[64] España Sagrada, xix.
[65] Read before the Sixth Catholic Congress at Santiago, July 1902.
[66] St. Gregory the Great, who died about 604, was the first monk who became a
pope. “It was he,” says Montalembert, “who inaugurated the Middle Ages, modern
society, and Christian civilization. He was the first to collect the ancient melodies of
the Church, in order to subject them to the rules of harmony, and to arrange them
according to the requirements of Divine worship, ... he established at Rome the
celebrated school of religious music, to which Gaul, Germany, England, all the
Christian nations came in turn.”
[67] See Borrow’s Bible in Spain, ch. xxviii.
[68] Historia de la Santa Iglesia de Santiago, vol. ii.
 [69] See Nos. 55, 262, 313.
[70] See Fita, Braga, and Monaci.
[71] It appeared first in El Eco de Galicia, and then, amplified, in the Boletin de la
Accademia Galliga de la Coruña, May 1906.
[72] The language of Galicia has been called Madre de la Portuguesa (“Mother of
Portuguese”) by Amador de los Rios and by Pedro José Pedal. See La Poesía
Gallega, by the Marquis de Figueroa, 1829.
[73] See work on Alfonso el Sabio, by the Marquis de Valmar, i. 2nd ed., 1897.
[74] The Irish poets were much given to contests of wit, usually carried on in the
following way: When two of them met, one repeated the first half of a very short
poem, which was a challenge to the other to repeat it. Sometimes it was a quotation
from some obscure, half-forgotten old poem, sometimes an effusion composed on the
spot, in which case the second poet was expected to give, extemporaneously, a second
half of the same length, prosody and rhyme, and making continuous sense.... In
Ireland it was believed that a true poet never failed to respond correctly.... So
generally cultivated, and so universally admired was this talent for impromptu reply,
that in the ecclesiastical legends some of the Irish saints are credited with as much
proficiency as the best of the poets. See P. W. Joyce, A Social History of Ancient
Ireland, 1903.
[75] See Marquis de Figueroa, De la Poesía Gallega.
[76] Murguia gives the names of the following Gallegan poets: Abril Perez, Airas
Miñez, Bernal de Boneval, Juan Ayras, Pay de Cana, and Pero Annes Marinho. The
same writer, quoting Michel, says, “In 1361, Messire Jehan de Chartres and Pierre de
Montferrand took three juglares with them on a pilgrimage to Santiago. Walter, an
English minstrel, also visited Santiago about that time.
[77] Aldrede (quoted by Valmar) said, “Many of the words thought to have been
borrowed from the Moors by Spain are really old Latin words.” See his Del origine y
princípio de la lengua Castellana, vol. iii. cap. xv.
[78] See España Sagrada, vol. ix.
[79] “Los bases essenciales de la versificacion, de las lenguas románicas son, el
numero de silabas, el acento dominante del verso (cesura) y al terminar, del verso, la
homofonia de las silabas acentuadas al final de los versos (asonancia o’ rima). No
entre, en esta verseficacion la cantidad prosodica de los griegos y de los romanos.”
See also Friedrich Diez, Die Poesie der Troubadours.
[80] Paradiso, Canto xix. v. 124.
[81] See study by Hugo Albert Rennert, Ph.D., Prof. Univ. Pennsylvania.
[82] The works of Silvestre are very rare. 1st ed. published in Seville, 2nd ed.
Granada, 1597. (Another edition mentioned by Ticknor, Granada, 1588.)
 [83] See his “Nobleza de Andalusia,” Seville, 1588.
[84] “El mas glorioso entre los sepulcros de los Santos de todas las naciones de la
tierra,” quoted by Sanchez.
[85] Lopez Ferreiro, Lecciones de Arqueologia, quoted by Villa-Amil.
[86] See his Mobilario Liturgico, 1907.
[87] Quoted by Fernandez Sanchez.
[88] See article in Smith’s Classical Dict.; also Walter Lowrie’s Christian Art and
Archæology, 1901. Lowrie thinks that the use of incense originated in funeral
processions. “Constantine,” he says, “presented to St. Peter’s a censer
(thumiamaterium) of purest gold, adorned on all sides with gems, to the number of
sixty, and weighing fifteen pounds.”
[89] Ford wrote: “In the Spanish theatres no neutralising incense is used as is done
by the wise clergy in their churches. If the atmosphere (of the theatres) were analysed
by Faraday, it would be found to contain equal portions of stale cigar smoke and fresh
garlic fume.”
[90] See Mobilario Liturgico, p. 176.
[91] These so-called clarions or clarionets (or chirimias, as they are locally called)
are not really clarionets, they are like flutes, sounded by the help of a reed fixed to the
mouthpiece. I have been assured that they are the only two of their kind in existence.
[92] See his El Pontificade Gallego, 1907.
[93] See Richard Ford, A Handbook for Travellers, London, 1855.
[94] Purchase.
[95] See Historia de la Santa Iglesia de Santiago, vol. iv. 1901.
[96] As Lamperez has remarked, the return to Gothic and mediæval architecture
witnessed in France and other countries in the nineteenth century may be distinctly
traced to the interest aroused first by Caumont, and later by Viollet-le-Duc in the
architecture of the Middle Ages.
[97] See Montalembert on this subject.
[98] “À la tendencie espiritualista y sutilisima de la arquitectura de la Edad Media,
con sus complicados problemas de equilibrio, suceden los elementos greco-romanos y
el dominio de la masa. El aspecto expressivo la emoción religiosa que producen los
monumentos del Renacimiento no es por las formas clásicas, sino à pesar de ellas,
puesto que la desposicion de los templos es la caracteristica cristeana, y solo la
vestidura espagana. Socialmente, al colectivismo artistico, succede el arts personal.”
See article by Lamperez in Escuela de Estudios superiores, Madrid, 1904.
[99] Leo V. was an Iconoclast, and for this he was assassinated while attending
matins in his chapel. The great struggle against the Iconoclasts was terminated during
the regency of Theodora, mother of Michael III. (the Drunkard), who came to the
throne in 842. See George Finlay, History of the Byzantine Empire.
[100] “Byzantine art is the Greek spirit working in Asiatic elements.” Choisy,
quoted by Lethaby and Swainson in Sancta Sophia.
[101] See M. Gomez-Morreno, Excursion à traves del arco de herredura, Madrid,
1906.
[102] There are two in the Museum at Leon.
[103] Gomez-Morreno.
[104] An illustration of this was published in Monumentos Arquitectonio de
España.
[105] See Juan Agapite y Rivilla, La Basilica Visigoda de San Juan Batista
(Palentia):

“la única construccion visigoda que nos queda.”

[106] Gomez-Morreno writes: “Sus arcos todos, asi ... reproducen fielmente la
traza de los primitivos cordobeses, con adornada mocheta ó borcelón por impostas y
despiezo, convergente al centro de la curva” (Saladin). “La mosquee de Sidi Okba à
Kairuan. Al mismo tiemps con Abderrahmen II. (821-852) el emirato cordobes
adquiria fuerza politica abriéndose al Oriente: un arte nuevo se produjo à base de le
indigena, pero engalanado con arreos bizantinos, y simultaneamente principió à
fijarse al tipo musulman de nuestro arco. Ya hemos visto cómo caracterisa su fase
anterior el no traspasar la semicircumferencia en más de un tercio del radio, y con
frecuencia en cantidad poco sensible, á excepcion de los estelas, donde el trazado de
la curva se hacía á capricho. Desde Abderrahmen II. impera otro orden invariable: la
prolongacion es de una mitad del radio, ó sea con flecha de tres cuartos del diámetro,
en forma que el arco resulta construido sobre un exágono: la irradiación del despiezo
de sus dovelas verifícase desde el centro dela linia de arranque; muchas veces los
hombros del arco van descaradamente enjarjados: enrasen con el vuelo de los
impostas, ellegando más tarde á rebasarlas algo, y ellas perfilan una mocheta ó bien la
gallarda nacela que se erigió moldura única. Otro nuevo elemento complementario y
en lo sucesivo unseparable casi de nuestro arco, es el alfiz ó recuadro, de origen
quiza’ pérsa.”
[107] Santa Comba de Bande and San Pedro de Rocas.
[108] See George E. Street, F.S.A., Some Account of Gothic Architecture in Spain,
1865.
[109] See J. Amador de los Rios, El Arte Latino-Byzantine, 1861.
[110] See Tarig-ben-Zeyad and Mirza-ben-Nosayar, both quoted by Amador de los
Rios.
 [111] Ataulf was the founder of the Visigoth kingdom in Spain, just as Alaric was
the founder of the Ostragoth kingdom in Italy.
[112] “Los objetos artisticos que constituyen el Tesoro de Guerrazar, revelan
claramente la existencia de una arte en que se asocian y asemelan los elementos
constitutivos del arte romano, ya alterado por la poderosa influencia de la Iglesia
latina y del arte bizantino, tal como aparece en la primera edad de su desarollo” (op.
cit.). Many of these are now in the Cluny Museum.
[113] “La única senda possible para realizar la obra del Renacimiento” (op. cit.).
[114] See Historia de la Arquitectura Christiana, 1904.
[115] In Galicia there are practically no traces of the Moors, except an Arabic
inscription on a stone in a church at Betauzos, the name of a street there. The carved
woodwork of the Fonseca ceiling, and that at Monforte, are of more recent date, and
the work of Spaniards.
[116] “Then nearly all the bishops’ seats, the churches, the monasteries of saints,
and even the oratories in the villages, were changed by the faithful for better ones”
(op. cit.). Radulphus Glaber (who died 1045), quoted by Parker in Gothic
Architecture.
[117] See F. Gregorovius, The City of Rome in the Middle Ages.
[118] Even in Rome there had been till then no Burgher class sufficiently strong to
build a sure foundation for a secular constitution (op. cit.).
[119] See Lamperez, Historia de la Arquitectura Cristiana.
[120] “Es la época de apogeo del arte cristiano y de la idealizacion de la materia
hasta convertirla en sutilisima expresion del pensamiento religioso” (op. cit.).
[121] “Ce ne sont pas des soldats qui rapportent un art dans le baggage” (Viollet-
le-Duc).
[122] See Edward Preissig, Ph.D., Notes on the History and Political Institutions
of the Old World, 1906.
[123] See Lamperez, op. cit.
[124] Lamperez. See also Buckart, Geismuller, and Munty, three great authorities
quoted by Lamperez.
[125] See Arturo Vazques Nuñez, La Arquitectura Cristiana en la provincia de
Orense, 1894.
[126] The first cathedral built over the apostle’s body was finished in 874, and
consecrated on May 17th, 899.
[127] Until the fifteenth century the dates given in Spanish inscriptions were
calculated from the “Spanish era,” which began thirty-eight years before the Christian
era. To bring a date to our own reckoning we must therefore subtract thirty-eight.
 [128] See Monografía de la Catedral de Santiago, by Fernandez Casanova, 1902,
and Historia de la S.A.M. Iglesia de Santiago, vol. iii., by Lopez Ferreiro.
[129] Street wrote of the cathedral of Santiago: “This cathedral is of singular
interest, not only on account of its unusual completeness and the general unity of
style which marks it, but still more because it is both in plan and design a very
curiously exact repetition of the church of St. Sernin at Toulouse. But S. Sernin is
earlier in date by several years, having been commenced by S. Raymond in 1060 A.D.
and consecrated by Pope Urban II. in 1096” (Gothic Architecture in Spain, 1865). But
Lopez Ferreiro writes forty years later that, after comparing the two cathedrals with
the minutest care, he has found sufficient divergence in their detail to indicate a
different style, a different school, and a different inspiration.
[130] The barrel vault (roof shaped like half a barrel) is peculiar to the architecture
of the eleventh century. English architects call this “Earliest Norman.”
[131] Street was the first to draw attention to these buttresses. He wrote in 1866,
“The buttresses which appear on the ground-plan are all connected by arches thrown
from one to the other, so that the eaves of the roof project in front of their outside
face. There is consequently an enormous thickness of wall to resist the weight and
thrust of the continuous vault of the triforium, these arches between the buttresses
having been contrived in order to render the whole wall as rigid and uniform as
possible.”
[132] See Hist. Compost.
[133] See Chapter IX.
[134] It must be remembered that the Cathedral of Santiago stood completed in all
its glory more than a hundred years before the foundations of Cologne Cathedral were
laid. Amiens Cathedral was not begun till 1220, and not completed until 1288. All the
architecture in England dating from the period in which Santiago Cathedral was
completed is Early Norman. The chapel in the White Tower, London (1081), is
considered to be one of the best and most perfect examples of this period. Part of the
west front of Lincoln was built by the bishop of Remi (of Reims) between the years
1085 and 1092. Canterbury Cathedral was not finished till 1184.
[135] Codex of Calixtus II. bk. v.
[136] In ch. ix. of bk. iv. of the Codex of Calixtus II. we read: “Tiene esta Iglesia”
(that of Santiago) “tres portadas principales, y siete pequeñas. De las primeras la una
mira al Occidente, la otra al Mediodia, y la tercera al Septentrion. Cada una de estas
portadas tiene dos entradas, y cada entrada dos puertas.” See chapter on “La Portada
de las Platerias,” in Ferreiro’s El Pórtico de Gloria.
[137] See Lopez Ferreiro, op. cit.
[138] “Un compendio en piedra de la divina revelacion.”
[139] Lopez Ferreiro, op. cit.
 [140] See Fernandez Sanchez, who gives it in full.
[141] See Chapter VI. for further explanation of this word.
[142] “La obra mas bella y suntuosa, verdaderamente magnifica, y tan
monumental que al contemplarlæ no se perciben los detalles, es la fachada de la
Catedral de Santiago construeda en 1737 por Casas y Novos” (Lamperez).
[143] The Spanish word portico is derived from the Latin porticus, French porche,
English porch. Roulin points out that this word is one of the thousand examples of
Spain having altered the Latin language less than France has done.
[144] Lopez Ferreiro, in his El Pórtico de Gloria, was the first modern writer to
interpret its meaning thus. For a long time previously it was taken erroneously to
represent the Last Judgment.
[145] See A. N. Didron, Christian Iconography, translated by E. J. Millington,
compiled by M. Stokes, 1886.
[146] “Now on a certain day it came to pass that as she sat in the church and read,
a poor man drew nigh to pray, and beholding a woman robed in black raiment and
already stricken in years, he took her for one of the needy, and drawing forth a cake
of bread, he placed it on her lap and went away. But she, despising not the gift of the
poor man, who had not recognised her rank, accepted the bread and thanked him; and
she placed it before her on the table, and every day she used it for the prayer of
benediction until no more of it remained.” See op. cit.
[147] See Speculum humanae Salvationis, etc. Didron found a copy of the
Byzantine Guide to Painters in a monastery at Esphigmenon which, he thought, dated
from the fifteenth century.
[148] See Lamperez.
[149] Revue de l’Art Chrétien, 1895.
[150] Lopez Ferreiro.
[151] Lopez Ferreiro here quotes Viollet le Duc: “To give the hero proportions
superior to those which you give to the other persons engaged in the combat is the
most effectual way of impressing the spectator with the greatness of the deed.”
[152] See Villa-Amil.
[153] Villa-Amil, taking the tore for the barrier of purgatory, concluded that the
foliage behind it must be meant to represent flames!
[154] “Le Jugement dernier de Saint Jacques de Compostella se distingue enfin par
des éléments iconographiques très specieux, très interessants: et pourtant nous le
répétons, l’iconographie de la partie centrale de cette belle composition se rapproche
sensibliment des representations correspondantes qui appartiennent aux siècles
suivants: elle précède, elle annonce, elle laisse, entrevoir les fameux jugements de la
période gothique....” A. A. Roulin (op. cit.).
 [155] Baculo en tau.
[156] Fernandez Sanchez says this column is of agate.
[157] “At Llanrhaidr yn Kenmerch, Denbighshire, there is an example in stained
glass, with the date 1533.... It was likewise wrought into a branched candlestick,
thence called a Jesse, not an unusual piece of furniture in ancient churches; in the
year 1097 Hugo de Flori, abbot of St. Augustine’s, Canterbury, bought for the choir of
his church a candlestick of this kind.”—See Parker, Glossary of Architecture.
[158] See his El Pórtico de Gloria (2nd ed., 1893).
[159] Viollet le Duc has shown how the statuary of the Middle Ages produced
perfect harmony between “l’intelligence et son envelope. Dans les traits des visages
comme dans les formes et les movements du corp on retrouve l’individu moral.
Chaque statue possède un character personnel qui rest gravi dans le mémoire comme
le souvenir d’un être vivant qu’on a connu.”
[160] Didron has published the whole of the MS. of Dionisius (op. cit.).
[161] See E. J. Millington’s translation of Didron.
[162] Op. cit.
[163] It was taken under the auspices of the artist Brucciani in 1866.
[164] “Dans l’Espagne chrétienne aucun monument, avant l’époque des grandes
cathédrales du XIII siècle, n’est comparable au porche de Compostelle; aucun n’est
comme lui une construction d’architecte, de sculpteur et de poète. En France les
porches de Chartres exposent une iconographie plus compliquée, et plus savante.
L’auteur du porche de Compostelle n’a pas réalisé en pierre une somme théologique,
mais un hymne épique.”—See Histoire de l’Art, vol. i., ed. André Michel, Paris.
[165] See his work on the Cathedral of Santiago, vol. iv., 1901. This authority
describes the capital thus: “El perfil de nuestros capiteles es de un tambour cilindrico
que desde la base se va ensanchando por igual con la follaje, hasta tocar en el abaco ó
en la imposta, bajo cuyos cuatro angulos las molduras se entienden y encorvan para
delinear la antigua voluta elanca.”
[166] They fondly believe that this class of design had spread from Ireland to the
Continent.
[167] See Margaret Stoke’s Six Months in the Apennines, 1892.
[168] “Chaque artisan était intéressé ainsi à ce que son morceau se distinguât entre
tous les autres pas une execution plus parfait” (op. cit.).
[169] See Parker.
[170] See Adolfo Fernandez Casanova (op. cit.).
[171] See illustration in Viollet le Duc, Dictionnaire Raisonnée, vol. vii.
[172] See Sanchez.
 [173] See Villa-Amil, Iglesias Gallegas, p. 271 (1904).
[174] Villa-Amil gives the exact wording of the document (op. cit.).
[175] “Por una carta del Arzobispo de Zaragoza á su padre et Rey Catolico, que
publicó. Cean Bermúdez, se sabe que había recibido Enrique Egas orden del Rey para
ir á Santiago á derigir la obra del Hospital por todo el mes de Febrero de 1505”
(Eglesias Gallegas).
[176] Villa-Amil points out that the statue of St. Paul in the Pórtico de Gloria also
has a long beard.
[177] This kind of verse was very common among hymn-writers of the Middle
Ages, and is used in the inscriptions on the consecration crosses of the cathedral
(1211).
[178] See Lopez Ferreiro, Hist. Cat. de Santiago, vol. iv., note.
[179] Florez gives the Latin of Orosius from bk. I. ch. v. See Esp. Sag. vol. xxi.
[180] In the forties of last century this journey took seventy hours. See Ford.
[181] In Murray’s Handbook for Travellers in Spain (London, 1845) we read that
the body of Moore was afterwards removed by the Marquis of Romana from its
original grave in the cemetery of San Carlos to where it now lies: the present
monument was paid for by the British Government through the agency of the British
Consul, Mr. Bartlett. In 1839 (three years after Borrow’s visit) General Mazaredo, a
Spaniard, who lived much in England, raised a subscription there with which he
repaired the tomb and planted the surrounding ground for a public Alameda. Spanish
writers do not mention any removal of the body.
[182] Borrow. Guadalete, Moorish equivalent for Lethe or Limia. See account of
that river in Chapter II. of this volume.
[183] Life of Wellington.
[184] “El general inglis Moore que murió en 1809 defendiendo la poblacion,” says
one of them.
[185] I would recommend all who are interested in the authorship of these lines to
read Mr. Newick’s pamphlet, The Writer of the Burial of Sir John Moore discovered
(T. Thatcher, Bristol), which was brought to my notice by a letter from Professor
Skeat in the Daily Telegraph for January 19, 1909.
[186] sube al cielo.
[187] Ford, Gatherings from Spain.
[188] See Monografía geografico-historica de Galicia, published Madrid, 1907.
[189] Monografía de Galicia, 1907.
[190] See Chapter on Galicia’s Livestock in this volume.
[191] See Chapter on Emigration.
 [192] See B. F. Alonso, Guerra Hispano-Lusitana, 1893.
[193] La Voz de Galicia.
[194] There are more Norwegians in the United States than the whole population
of the mother country.
[195] See Le progrès économique de la République Argentine, published by Banco
Español del Rio de la Plata, August 1906.
[196] See Verea y Aguiar, Historia de Galicia, vol. i., 1838.
[197] See Prologue to her Follas Novas, by Emilio Castelar.
[198] It is known in Madrid by the name morrinha Gallega.
[199] See J. V. Failde, Rosalia Castro, Madrid, 1906.
[200] “Nos somos arpa de soyo duas cordas, a’ imaẍinacion y o’ sentimiento.”
[201] “Tienen singularísimo valor los diminutivos Gallegas” (Marquis de
Figueroa).
[202] See his De la Poesía Gallega, 1889.
[203] “Por Galicia penetró el gusto provenzal en Castille hasta principios del siglo
xiii.” See Theophile Braga, Trovadores Galaice-portugueses.
[204] Pastor Dias was one of these; though a Gallegan by birth and in
temperament, he only wrote one poem in the Gallegan dialect. See Marquis de
Figueroa (Op. cit.), p. 41.
[205] Emilia Pardo Bazán, quoted by Marquis de Figueroa.
[206] Op. cit.
[207] See Eugenio Carré Aldao, La Literatura Gallega en el siglo xix., 1903.
[208] Murguia.
[209] See Deux Manuscrits Wisigothiques de la bibliotheque de Ferdinand I. Paris,
1901.
[210] The diary of this Gallegan Pepys begins with the year 1546:—“Año del
Señor de mil e quinientos y quarenta y seis años: siendo yo vice Rector de la villa de
Carril cayó Sant Juan y Corpus Xpi en un dia: fué año de jubileo: fueron ocho de
Aureo numero: letra dominical fue C. Abia dos años que cantara misa nueva....”
[211] In rich families thirteen ounces of gold are handed to the bride, but whatever
the metal, the number must always be thirteen; it is a symbol of the husband’s
promise to endow his wife with all his worldly goods.
[212] See George Macdonald, Coin Types, 1905.
[213] “The first specimens of British coinage can hardly be later than circa 150
B.C.” (op. cit.).
 [214] Quoted by P. W. Joyce in A Social History of Ancient Ireland, 1903. This
writer adds: “How much Ireland was richer than Britain in gold is well illustrated by
the fact that while the total weight of the gold ornaments in the British Museum
collected from England, Wales, and Scotland (excluding those from Ireland) is not
more than 5 oz., those of the collection in the National Museum in Dublin weigh
about 570 oz.”
[215] “Ordono II., en la carta por la que dona á la iglesa de Santiago una villa que
fué de cierta Elvira, en 27 de Febrero de 922, dice: ’accepimus in offertionem ex
parte prenominate ecclesie limace eum lapidibus et auro sculpto in D, solides necnon
... balteum aureum cum lapidibus miro opere compositum similitem in D, solidos.”
(Published for first time by Señor Lopez Ferreiro in Appendix of his Hist. Igl.
Santiago, vol. ii., 1899. Quoted by Villa-Amil in Mobiliario Liturgico.)
[216] See Benito F. Alonso, El Pontificado Gallego, p. 667.
[217] See Ford (op. cit.) on this subject.
[218] See Dr. K. T. Raer, Geschichte des Pfluges, 1845; also Dr. O. Schrader,
Prehistoric Antiquities of the Aryan Peoples, trans. by F. B. Jevons, 1890.
[219] Victor Lopez Seoane, Fauna Mastologica de Galicia, Santiago, 1861.
[220] Galicia’s horses were poetically described by the ancients as “the children of
the Atlantic winds.”
[221] See V. L. Seoane, Fauna Mastologica de Galicia, 1861.
[222] This author translated Pliny’s Natural History into Spanish.
[223] See Fidel Fita, Recuerdos de un viaje á Santiago de Galicia, Madrid, 1880.
[224] Esp. Sagrada, vol. xix.
[225] Fidel Fita (op. cit.).
[226] See Villa-Amil, Mobilario Liturgico, 1907.
[227] See Monografía de Galicia, 1905. Sanchez stated in 1885 that the
excavations already made led to the supposition that the capitol covered a space a
league broad and half a league wide (17-1/2 Spanish leagues make a geographical
degree).
[228] About twelve kilometres from Santiago.
[229] See Sancha (op. cit.), p. 438.
[230] See España Sagrada for a long list of distinguished bishops. The church
which stood here in the ninth century was called Santa Eulalia. Fita says that the
present church was rebuilt in 1685-1715.
[231] The Sar flows into the Ulla.
[232] Op. cit., p. 434.
[233] See Ticknor, History of Spanish Literature, chap. xx., and note.
 [234] Op. cit.
[235] Florez.
[236] In the sixteenth century.
[237] The legend of Noah having founded Noya is thought to have been invented
by Annius of Viterbo, or some such person.
[238] The founder and first president of the Academia de Bellas Artes of Madrid.
[239] See Vincente Lamperez y Romea, Notas sobre algunos Monumentos de la
Arquitectura Christiana Española. Madrid, 1904.
[240] “It is hard to believe,” remarks Lamperez, “as one compares this work with
that of the Pórtico de Gloria, that three centuries elapsed between their construction.”
[241] Montalembert.
[242] Borrow, op. cit., mentions this bridge,—“we reached a long and ruinous
bridge, seemingly of great antiquity, ... the bridge of Don Alonso. It crossed a species
of creek or rather firth, for the sea was at no considerable distance; the small town of
Noya lay to our right” (he should have written left).
[243] Local authorities have many times assured me that there is no trace of the
Basque language or people in Galicia.
[244] Aguiar, op. cit., says of this village: “Este memoria es antiquisima aun
cuando fuere alge posterior su imposition en Galicia á la existencia del 5te rey de
Lacedemonia que fué dictio Argalo cerca 1400 B.C.”
[245] See Monografía de Galicia, 1905.
[246] The Gallegans invariably use the name “America” where we should say
“South America.”
[247] Pontevedra was made the capital of the province by Royal Charter in 1833.
See Villa-Amil, Iglesias Gallegas.
[248] See España Sagrada, vol. xix.
[249] Fidel Fita thought that two Roman roads met here.
[250] See Villa-Amil, op. cit.; and Casto Sampedro, Coleccion de documentos e
inscripciones para la historia de Pontevedra, p. 218, vol. ii., 1897.
[251] Lopez Ferreiro calls this edifice the perla del arte Gallega.
[252] This curious little book is an extract from the Hakluyt MS.
[253] Señor Sampedro hopes shortly to publish further particulars.
[254] By Bishop Juan Lopez. See full particulars in Villa-Amil (op. cit.).
[255] See Narrative of the Embassy, by Ruy Gonzalez de Clavijo, 1403 A.D.
Translated by C. Markham, 1859.
 [256] See preface to Voyages of Pedro Sarmiento de Gamboa to the Straits of
Magellan, translated 1895. Sir Clements Markham states that Sarmiento was born at
Alcala de Henares in 1532, but that he was brought up in his father’s house at
Pontevedra.
[257] Señor Casto Sampedro tells me it is without doubt the very same house.
[258] Published in 1904.
[259] See Les Origines de la France. The Marquis de Ayerbe occupies the post of
Spanish Minister to Portugal.
[260] See J. H. Rivett Carnac, article in Journal of Royal Asiatic Society, 1903.
[261] See Prehistoric Phares, by Hodder M. Westropp, 1872.
[262] See Sir J. T. Simpson, Ancient Sculpturing of Cups and Concentric Rings,
1867.
[263] See Proceedings of the Society of Antiquaries of Scotland, 1892-93.
[264] See his Letters from Spain and Portugal, 1797.
[265] See Chapter I., also T. Rice Holmes, Ancient Britain and the Invasions of
Julius Cæsar (1907), p. 483.
[266] See España Sagrada, vol. xxii. (It was this hero who wounded Mars and
Venus.)
[267] See Villa-Amil, Iglesias Gallegas.
[268] Villa-Amil has seen documents proving that the Dominicans only acquired
its site in 1498, so that it must have been begun after that date.
[269] See A. D. Casanova, Iglesias Medioevales de Tuy, 1907.
[270] Lamperez thinks it was begun in 1100, and constructed very slowly.
[271] See Casanova.
[272] See Ford.
[273] See Benito F. Alonso, El Pontificado Gallego, 1897.
[274] Benito F. Alonso gives these particulars on p. 234 of El Pontificado Gallego,
but on p. 60 of the same work he speaks of Eufemia as a martyr of the fourth century.
[275] See Benito F. Alonso, op. cit.
[276] Op. cit.
[277] See Hübner, and article by A. Vazquez Nuñez in Orense Archæological
Journal.
[278] For an account of the longer excursions that should be taken from Orense,
see Chapter on the Great Monasteries of Galicia in this volume.
[279] Greco was the painter who, of all others, had the greatest influence over
Velasquez.
 [280] The Counts of Lemos were at one time the most powerful nobles in Galicia.
[281] See his Les Celts depuis les temps les plus anciens, Paris, 1904.
[282] See Miquel Garcia y Teyeiro, Lugo, 1906.
[283] Op. cit.
[284] See his article in Mureo Española de Antiquidades.
[285] See Photograph in Chapter on Noya.
[286] “Segundo Congreso Eucaristico español.”
[287] See article by Dr. Eladio Oviedo published in La Mañana, Coruña, 1890.
[288] This inclination is also visible from the outside, which is not the case at Sar.
[289] See Monografis de Galicia, 1905.
[290] William Jacob, Travels in the South of Spain, 1811.
[291] Fundacion, antiquedad, y progressos del Imperial Monasterio de nuestra
Señora de Ossera (Osera).
[292] “El sitio es una montana cuyas inascesibles cuestes, y empeñados siscos
causa horror al que las mira” (op. cit.).
[293] See España Segrada, vol. xvii.
[294] See Tumbo del Monasterio de Osera, folio 195.
[295] See Monografía Geografico-historica de Galicia, 1905.
[296] See Arturo Vazquez, op. cit.
[297] See Villa-Amil, op. cit.
[298] This poet has migrated to Cuba.
[299] See Ambrosio Morales, op. cit.
[300] This kind of building was much used by the Romans, who called it
“Incertum opus,” the stones being small and unhewn.—See Parker.
[301] Quoted by Villa-Amil in Iglesias Gallegan.
[302] See Arturo Vazquez Nuñez, La Arquitectura Cristina en la provencia de
Orense, 1894, where the full wording of the paragraph is given. The same writer also
remarks that in the time of Adozno there was a duplex monastery at Santa Comba,
and that Adozno fell in love with the abbess, but eventually repented and expiated his
sin.
[303] See Labrada.
[304] Two English brothers named Benjamin set up some machinery in the town
of Pontevedra about the same time, but their enterprise did not meet with success.
[305] Ford wrote: “The treading out of the fruit is generally done by night, because
it is then cooler, and in order to avoid as much as possible the plague of wasps by
whom the half-naked operators are liable to be stung.”
[306] Water, 1 litre:
Acido carbonico libre 0,983 gramos.
Bicarbonatado de sosa 2,284 “
Idem de potasa 0,199 “
Idem de cal 0,156 “
Idem de magnesia 0,041 “
Idem de hierro 0,037 “
Cloruro de sodio 0,148 “
Silice 0,069 “
Lithina
Arsénico
—Indicios.
Estronciana
Yodo

Doctor Isidro Pondal.

[307] Buscar su madre Gallega.
[308] “Her earliest success was a prize essay on Feijoó, 1876, ... her foundation of
a critical review, the Nuevo Teatro Critico, written entirely by herself, showed
confidence and enterprise, and enabled her to propagate her eclectic views on life and
art. It is as a naturalistic novelist that Señora Pardo Bazán is generally known” (James
Fitzmaurice Kelly, in A History of Spanish Literature, 1898). The great Benedictine,
Feijoó, was also a native of Galicia.
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