Wanderings in Spain — Themes and Context
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Wanderings in Spain — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 144,960 words, 10 hr 31 min estimated reading time, and 26 detected text sections.
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FROM PARIS TO BORDEAUX. PAGE Departure from Paris--Subterranean Dwellings--Château Regnault-- Tours--Châtellerault--Angoulême--The _Landes_--Cubzac--Bordeaux-- The Theatre--The Cathedral--St. Michael's Tower--Mummified Corpses--The Museum 1
FROM BORDEAUX TO VERGARA.
The _Landes_--Arrival at Bayonne--Information for Travellers-- Urrugne--Saint Jean de Luz--Human Smuggling--Bridge over the Bidassoa--Irun--Travelling with Mules--Primitive Carts--Beggar Children--Spanish Bridges--Oyarzun--Astigarraga--A Spanish Supper--Puchero--Arrival at Vergara 11
FROM VERGARA TO BURGOS.
Vergara--Vittoria: the Baile Nacional and the French Hercules-- The Passage of Pancorbo--The Asses and the Greyhounds--Burgos-- A Spanish Fonda--Galley Slaves in Cloaks--The Cathedral--The Coffer of the Cid 20
The Cloisters; Paintings and Sculptures--The Cid's House; the Casa del Cordon; the Puerta de Santa Maria--The Theatre and the Actors--La Cartuja de Miraflores--General Thibaut and the Cid's bones 34
FROM BURGOS TO MADRID.
El Correo Real; the Galeras--Valladolid--San Pablo--A Representation of Hernani--Santa Maria--Madrid 47
Bull-fights--The Arena--Calesins--Espadas, Chulos, Banderilleros, and Picadores--Sevilla the Picador--La Estocada a Vuela Pies 59
The Prado--The Mantilla and Fan--The Spanish Type--Water-Merchants; Coffee-houses of Madrid--Newspapers--The Politicians of the Puerta del Sol--Post-Office--The Houses of Madrid--Tertullias; Spanish Society--The Teatro del Principe--The Queen's Palace; the Palace of the Cortes, and the Monument of the Dos de Mayo--The Armeria and El Buen Retiro 73
VISIT TO THE ESCURIAL.
Aridity and Desolation of the Country--First View of the Escurial-- Sombre appearance of the building--The Church--The blind Cicerone-- The Pantheon Pictures--Anecdote of Spanish Robbers 103
Illescas--The Puerta del Sol--Toledo--The Alcazar--The Cathedral-- The Gregorian and Mozarabic Ritual--Our Lady of Toledo--San Juan de los Reyes--The Synagogue--Galiana, Karl, and Bradamant--The Bath of Florinda--The Grotto of Hercules--The Cardinal's Hospital--Toledo Blades 113
Procession of the Corpus Christi at Madrid--Aranjuez--A Patio Ocaña and its Environs--Tembleque and its Garters--A Night at Manzanares-- Santa Cruz Knives--The Puerto de los Perros--Colony of Carolina--Baylen--Jaen, its Cathedral and its Majos--Granada--The Alameda--The Alhambra--The Generalife--The Albaycin--Life at Granada--The Gitanos--The Carthusian Convent--Santo Domingo-- Ascent of the Mulhacen 144
FROM GRANADA TO MALAGA.
The Robbers and Cosarios of Andalusia--Alhama--Malaga--Travelling Students--A Bull-Fight--Montes--The Theatre 208
FROM MALAGA TO SEVILLE.
Four-wheeled galera--Caratraca--The "Mayoral"--Ecija--The "Calle de los Caballeros"--La Carlotta--Cordova--The Archangel Raphael-- The Mosque--Caliph Abderama--The Guadalquiver--Road to Seville 236
Seville--The Cristina--The Torre del Oro--Italica--The Cathedral-- The Giralda--The Alcazar--The Caridad and Don Juan de Marana 258
FROM CADIZ TO BARCELONA AND HOME.
Cadiz--Visit to the brig "Le Voltigeur"--The Rateros--Jeres-- Bull-fights--The Steamer--Gibraltar--Carthagena--Valencia--The Lonja de Seda--The Convent de la Merced--The Valencians-- Barcelona--The Return to France 274
THE GATE OF VIVARAMBLA _Frontispiece._
THE BRIDGE OF IRUN _Vignette in Title._
CLOISTERS, BURGOS CATHEDRAL 30
PUERTA DE SANTA MARIA 41
SEVILLA THE PICADOR 66
LADIES ON THE PRADO 75
FOUNTAIN AT MADRID 80
WELL DE LAS ALGIVES, ALHAMBRA 180
EXTERIOR OF THE ALHAMBRA 182
PAVILION OF THE COURT OF LIONS, ALHAMBRA 185
FOUNTAIN, COURT OF LIONS, ALHAMBRA 187
MALAGA FROM THE ALAMEDA 219
CHAPEL IN MOSQUE, CORDOVA 253
MOORISH MILLS, CORDOVA 255
HALL OF DON PEDRO, THE ALCAZAR, SEVILLE 270
CITY GATE, VALENCIA 297
FROM PARIS TO BORDEAUX.
Departure from Paris--Subterranean Dwellings--Château-Regnault--Tours--Châtellerault--Angoulême--The _Landes_--Cubzac--Bordeaux--The Theatre--The Cathedral--St. Michael's Tower--Mummified Corpses--the Museum.
A few weeks ago (April, 1840), I happened, in an off-hand manner, to give utterance to the following phrase:--"I should like to go to Spain." Five or six days afterwards, my friends had suppressed the prudent "I should like," with which I had qualified my wish, and had told every one who chose to listen that I was about to undertake a trip to Spain. This positive formula was soon followed by the interrogation, "When do you set out?" while I, without thinking of the obligation under which I was placing myself, replied, "In a week." At the end of the week people began to manifest some astonishment at seeing me still in Paris. "I thought you were at Madrid," said one. "What! come back?" asked another. I saw at once that I owed my friends an absence of several months, and that I must pay the debt with the least possible delay, unless I wished to be mercilessly pursued, without a moment's respite, by my obliging creditors. The lobbies of the theatres, the various asphaltic and bituminous pavements of the Boulevards, were to me forbidden luxuries for the time being. All I could obtain was the grace of three or four days, and on the 5th of May I commenced relieving my native land of my importunate presence, by scrambling into the Bordeaux diligence.
Théophile Gautier's Wanderings in Spain, here in Thomas Robert McQuoid's 1853 translation, opens with a departure from Paris and quickly establishes a voice that oscillates between lyrical awe and wry observation. The author's descriptive style is immediately evident: he compares mountain ranges to "long rows of billows of azure" and describes light as "liquid gold and silver." Yet he also undercuts romanticism with dry remarks about a planned village's "tedious regularity." This tension between the sublime and the mundane runs through the narrative, as Gautier records both the grandeur of Spanish landscapes and the quirks of its inns, roads, and inhabitants.
A Painter's Eye for Light and Colour
Gautier, a poet and art critic, frequently frames scenes as paintings. He describes a vista as "an immense panorama" and compares mountain ridges to "draperies in ancient pictures which were yellow on one side and blue on the other." His palette is precise: aloe-trees are "more and more African in size and shape," rose-bays are "of the greatest beauty and freshness," and olive-trees have "pale leaves" that remind him of northern willows. The sun's rays "streaked with gold" mountain-tops, making them "sparkle with a thousand colours like a pigeon's breast." Such passages reveal a writer who composes landscapes as deliberately as a painter arranges pigments.
Irony and Understatement in the Face of Discomfort
Gautier's tone often shifts from rhapsody to dry humour. When describing a planned colony at Carolina, he notes that everything was "done by line and rule" and that he prefers "the most wretched village which has taken its form at random." He reports that Swiss colonists "died off like flies" from nostalgia, adding that the church bells had to be silenced. Later, he mentions a solid dinner "served up with some excellent wine" and adds, "I was not obliged to take double portions"—a wry nod to earlier deprivations. These moments of understatement prevent the narrative from becoming merely picturesque.
Observations on Spanish Customs and Infrastructure
Gautier records details of travel and daily life with a journalist's eye. He notes the use of mules and primitive carts, the presence of beggar children, and the layout of Spanish bridges. In Madrid, he describes bull-fights with technical terms—espadas, chulos, banderilleros, picadores—and devotes a chapter to the mantilla and fan. He also comments on the tertullias (social gatherings) and the theatre. His account of the Escurial includes a "blind Cicerone" and the Pantheon pictures. These observations ground the travelogue in specific, verifiable practices, though the excerpts offer only fragments of his full commentary.
The Translator's Role and the Text's Texture
Thomas Robert McQuoid's translation, published in 1853, preserves Gautier's characteristic blend of romantic and ironic registers. The prose retains a slightly formal Victorian cadence, with sentences like "The infinite in things filled with light is sublime and stupendous in a far different manner to the infinite in things smothered in darkness." Yet the translator also renders Gautier's conversational asides, such as the question posed to a nameless rivulet: "Eurotas, Eurotas, que font tes lauriers-roses?" The result is a text that feels both literary and immediate, though readers should be aware that the translation may soften or sharpen Gautier's original French tone.
Readers approaching Wanderings in Spain will find a travelogue that rewards attention to its descriptive language and tonal shifts. Gautier's eye for colour and light, his dry humour, and his curiosity about local customs make the narrative more than a simple itinerary. The excerpts suggest a work that balances aesthetic pleasure with wry commentary, though the full book may contain more sustained passages of both. Those interested in 19th-century travel writing or the Romantic sensibility will find much to observe in Gautier's prose.
Reading Gautier’s account of dusty Spanish roads, I remembered an afternoon in a sun-bleached village where the silence felt older than the stones. That same ache of distance came back with As the Crow Flies: From Corsica to Charing Cross — Key Ideas to Explore, whose quiet pacing through unfamiliar ground held the same gentle loneliness. Some journeys don’t need maps, just patience.
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