to me by the way to Madrid

126

In which the Gentleman pursues his Journey, and his promised Tale of his Life and Condition

132

Of what Happened to me at my coming to Madrid as soon as I arrived there, until Nightfall

143

In which the same Subject is pursued, with other strange Incidents

150

The further Proceedings of this Sharping Gang, till they were thrown all together into Gaol

166

In which the Prison is described and what Happened therein, until the old Woman was whipped, my Companions exposed to Shame, and myself let out on Bail

176

How I took a Lodging, and the Misfortune that befel me therein

184

In which the same Subject is pursued, with other strange Incidents

192

In which the Story is continued, with other Incidents and notable Misfortunes

199

Of my Cure and other Strange Things

211

In which I turn Player, Poet, and Gallant of Nuns; which Characters are Daintily Painted

222

Of what Happened to me at Seville, till I took Ship for the Indies

235

COMMENTS  ON THE DRAW-
INGS OF DANIEL VIERGE BY
IOSEPH   PENNELL  AND  AN
ESSAY   ON  THE  LIFE   AND
WRITINGS OF QUEVEDO BY
HENRY     EDWARD    WATTS

COMMENTS ON THE DRAWINGS OF
DANIEL URRABIETA VIERGE.

And also a Letter from the Artist.

TO attempt to introduce Daniel Vierge to the few artists of the world who are artists, would be, on my part, an impertinence, since his work is as well known to them as it is to myself. To attempt to introduce him to the rest of the world would be no less impertinent, since apparently most men care nothing for the illustrator, though they may, without ever troubling to know him, delight in his work. But the appearance of Pablo de Segovia, not in French or Spanish, but in English, illustrated by Vierge’s completed series of drawings, is worthy of note and, possibly, of some comment.

Vierge’s first edition of this book was published in Paris in 1882, by Bonhoure, and the drawings not only made his own name famous throughout the entire artistic world, but renewed the popularity of Quevedo. The book—and when I speak of it I refer to the illustrations and not to the letter-press—was the most brilliant, the most daring, the most original which had ever appeared. From the head-piece of the first chapter nearly to the end, almost every page contained a perfect picture which amazed all who studied it, and delighted all who could appreciate it. These exquisite little drawings displayed a knowledge of form, of action, of light and shade, of architecture, expressed with a brilliancy of