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V
GIBRALTAR
HE traveler in Andalusia should visit the south-
ernmost tip of Spain to enjoy the contrast af-
forded by the British rocky fortress of Gibraltar.
This chunk of Anglo-Teutonic culture lands into its
tropical oriental environment like a pugilist’s fist thrust
into the dark eye of a lovely woman.
Leaving the railway center of Bobadilla, the tracks
lie directly to the south through one of the most savage
and beautiful mountain regions of Andalusia, Sierra de
Ronda. Wild, rocky precipices and depressions rich
with verdure, tunnels, viaducts and dizzy bridges are
passed in rapid succession; mountains suddenly tower
above us—we almost imagine we are at the bottom of
a deep well—only to emerge again at the next moment
at a height with far glimpses of cities and flat tilled
fields.
Painters who visit the south for other purposes than
to train as theatrical scene-painters, who mean to study
nature on a large scale, or the peculiar manifestations
of popular life, should certainly go to Andalusia rather
than to Italy. For instance, there is the mountain
across Sierra Nevada from Guadix to Granada,* with
its deep-set cities, a journey that seems to reveal a new
world and whose monstrous fields of snow and abysses
of blue may force a terrified perspiration to the
painter’s brow. There is Granada itself, unique
® See the final chapter: “A ieee of Sudden Death.”
I
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