THE ALHAMBRA
HE WHO SEVILLA HAS NOT SEEN
HAS NOT SEEN A MARVEL GREAT;
WHO TO GRANADA HAS NOT BEEN
CAN HAVE NOTHING TO RELATE.
_Spanish Popular Rhyme._
[Illustration: Signature: _Albert F. Calvert_]
[Illustration:
THE
ALHAMBRA
BEING A BRIEF RECORD OF
THE ARABIAN CONQUEST OF THE
PENINSULA WITH A PARTICULAR
ACCOUNT OF THE MOHAMMEDAN
ARCHITECTURE AND DECORATION
BY ALBERT F. CALVERT
LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY, MCMVII
]
E. Goodman and Son, The Phœnix Press, Taunton.
TO
HIS MAJESTY KING ALFONSO XIII.
SIRE,
The great interest your Majesty has evinced in the Moorish Monuments
which adorn your Majesty’s loyal and noble country, and the gracious
appreciation with which you were pleased to regard my first work on The
Alhambra, inspired me with the presumption to solicit the honour of your
Majesty’s August Patronage for this volume, which is humbly dedicated to
your Majesty agreeably to your gracious permission, by
Your Majesty’s humble Servant,
ALBERT F. CALVERT.
PREFACE
Although the admission may be construed by the censorious as betraying a
lack of becoming diffidence, I am tempted to believe that no apology
will be demanded for the publication of this volume by that section of
the reading public for which it has been chiefly compiled. My temerity
goes even further, and I anticipate with some confidence that visitors
to the Alhambra, and pilgrims to that glorious Mecca of Moorish
workmanship will recognise in this book an earnest attempt to supply a
long-felt want. When I paid my first visit to Granada some years ago, I
was surprised and disappointed to find that no such thing as an even
fairly adequate illustrated souvenir of this “city of the dawn” was to
be obtained. Many tomes, costly and valuable (not necessarily the same
thing), have been written to place on record the wonders of “the
glorious sanctuary of Spain,” but these are beyond the reach of the
general public. Many beautiful pictures have caught odd ecstasies of
this superb and perfectly harmonised palace of art, but these
impressions are not available to the ordinary tourist.
What is wanted, as I imagine, is a concise history and description of
the Alhambra, illustrated with a series of pictures constituting a
tangible remembrancer of the delights of this Granadian paradise
“Where glory rests ’tween laurels,
A torch to give thee light!”
The Alhambra may be likened to an exquisite opera which can only be
appreciated to the full when one is under the spell of its magic
influence. But as the witchery of an inspired score can be recalled by
the sound of an air whistled in the street, so--it is my hope--the pale
ghost of this Moorish fairy-land may live again in the memories of
travellers through the medium of this pictorial epitome.
I desire, however, to submit an explanation--or excuse--for the unusual
form in which this volume is issued. At the commencement of my work I
experienced no little difficulty in collecting the requisite
illustrations, for most of the obtainable photographs were ill-chosen
and but carelessly developed, and I was compelled to press my own
cameras into the service of my scheme. But when my designs became known,
I was inundated with offers of pictures of every description until the
embarrassment of artistic treasures entirely upset the original purpose
of my book. Artists placed their studies at my disposal; collectors
begged me, with irresistible Spanish courtesy, to regard their galleries
as my own; and students directed my attention to little known
publications on the subject.
Don Mariano Contreras, Conservator of the Alhambra, the son of the
gifted Raphaël Contreras, who devoted thirty-seven years of his life to
the restoration of the Palace--gave me the benefit of his knowledge of
this unique treasure-house of art; and I have also laid under
contribution the beautiful plates of Owen Jones, who disposed of a Welsh
inheritance in order to produce his great work on the _Plans,
Elevations, Sections and Details of the Alhambra_. Jones’s _Grammar of
Ornament_, which has been described as “beautiful enough to be the
horn-book of the Angels,” also contains the result of his researches in
the Alhambra, which occupied him for the greater part of eleven years. A
selection of these illustrations is here rescued from the obscurity of
public libraries and the inaccessible recesses of private collections.
The inclusion of John F. Lewis’s drawings, and the reproduction of a
series of pictures by James C. Murphy, who spent seven years in the
study of the artistic marvels of the Alhambra, I do not feel called upon
to defend. The photographs, several of which were placed at my disposal
by Don Rafaël Garzón, represent the buildings as they appear to-day; the
drawings were made before the Palace was damaged by the disastrous fire
of September, 1890.
For the historical portions of the description contained in the
letterpress I have levied tribute on a variety of authors. _The History
of the Mohammedan Dynasties in Spain_, by the learned Spanish
Orientalist, Don Pascual de Gayángos; Raphaël Contreras’ _Etude
Descriptive des Monuments Arabes_; Richard Ford’s reverent
appreciations; Dr. R. Dozy’s history; Mr. Stanley Lane-Poole’s _The
Moors in Spain_; Washington Irving’s fascinating writings; and _The
Alhambra Album_, presented by Prince Dolgorouki in 1829, containing the
autographs, poems and thoughts of succeeding generations of visitors to
Granada, these and many others have been drawn upon in the following
pages.
But the multiplicity of my illustrations convinced me that if I adhered
to my idea of furnishing an amount of letterpress sufficient to “carry”
the blocks, I should only end in producing a book that would tax the
physical endurance of my readers by reason of its bulk, and exhaust
their patience with a tedious superabundance of minute descriptive
pabulum. I resolved, therefore, to give pride of place to the pictorial
side of the volume; to abandon the traditions regulating the proportions
of prose to pictures; and make my appeal to the public by the beauty and
variety of the illustrations I have collected, and the immensity of
elaborate letterpress which I have not written.
A. F. C.
“ROYSTON,”
HAMPSTEAD, N.W., 1904.
PREFACE TO SECOND EDITION
The compilation of a book of this kind reveals in the author a
refreshing optimism which does not always survive the ordeal of
publication, and it is perhaps out of sympathy with the misgivings that
assail him as he approaches the bar of public and critical opinion, that
convention cedes to him the privilege of making some apology for the
faith that is in him. In his preface he is permitted to explain himself,
and this _apologia_ or justification, call it which you will, stands as
the last word in his own defence. But the demand for a further edition
is the outcome of an amiable conspiracy on the part of the public, and
it is not required of the author to explain, justify, or excuse an issue
for which he is not directly responsible. Any revision or amplification,
however, which is to be found in a second impression, may be briefly
referred to, and at the same time tradition allows him to express the
feelings of gratitude and gratification that the occasion inspires. It
has been my ambition to acknowledge the favour with which this book has
been received, by having this edition produced with the greatest care on
special paper, and by the addition of a number of new illustrations,
including some half-tone and coloured plates reproduced from the
_Monumentos Arquitectonicos de España_ and others, which I have acquired
since it was first produced. It will be seen that several of the
coloured pictures illustrate designs which are common to the Arabian
ornamentation to be found in Cordova and Seville, and as being
representative of the Moresco work of the period, they also appear in
the companion volume on “Moorish Remains in Spain,” but it may be stated
that the whole of the plates reproduced here are from photographs and
drawings secured, or specially made to illustrate _The Alhambra_. In
its pictorial appeal it has been my ambition to make this edition as
worthy of its subject as means and ability permit, and I offer this
assurance as an earnest of my sincere appreciation of the generous
manner in which the Press and public rewarded my previous effort.
A. F. C.
List of Illustrations.
PAGE
FRONTISPIECE
PANELS AND INSCRIPTIONS IN THE ALHAMBRA xxxiii.
VARIOUS MOSAICS FROM THE ALHAMBRA xxxvii.
PANEL ORNAMENT IN THE ALHAMBRA xxxix.
FRET.--FIG. 1. FORMED BY THE INTERLACING OF LINES xli.
FRET.--FIG. 2. FORMED BY THE INTERLACING OF LINES xlii.
PLAN OF GENERAL CONSTRUCTION OF CENTRAL ORNAMENT OF
CEILINGS xliii.
SECTION OF THE COLUMNS AND ARCHES OF GENERAL CONSTRUCTION
IN THE PALACE xliv.
DIAGRAMS xlv.
MISCELLANEOUS ORNAMENT IN THE ALHAMBRA xlvii.
CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA xlix.
CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA li.
VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA 2
GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLAS 3
PART OF THE ALHAMBRA, EXTERIOR 4
THE ALHAMBRA AND THE SIERRA NEVADA 5
ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO--LESSER
KING HILL 7
BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE
VEGA, OR PLAIN, OF GRANADA 8
ALCOVE OF THE “CAPTIVE” 9
INTERIOR OF THE “CAPTIVE’S” TOWER 11
THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF
TENDILLA, TO COMMEMORATE THE SURRENDER OF THE FORTRESS
IN 1492 14
THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA,
JANUARY 2ND, 1492 15
GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER
OF THE ALHAMBRA, WHO REIGNED 1232-1272 A.D. 21
“WA LA GHALIB ILA ALÁ!”--THERE IS NO CONQUEROR BUT GOD!--THE
FAMOUS MOTTO, IN KUFIC CHARACTERS, OF MOHAMMED I. AND
HIS SUCCESSORS, WHICH IS INSCRIBED ON THE WALLS OF THE
ALHAMBRA IN COUNTLESS REPETITION 25, 51
THE WINE GATE, ATTRIBUTED TO YÚSUF I. 29
HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY
YÚSUF I. 30
THE SULTÁN’S BATH, CONSTRUCTED BY YÚSUF I. 31
COURT OF MYRTLES, OR OF THE FISH-POND, FORMED BY YÚSUF I. 32
THE KORÁN RECESS IN THE MOSQUE, THE SCENE OF YÚSUF’S
ASSASSINATION 33
THE GATE OF JUSTICE, ERECTED BY YÚSUF I. 37
HALL OF JUSTICE AND COURT OF THE LIONS 39
HALL OF JUSTICE 41, 43
HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS 42
HALL OF JUSTICE AND PART OF COURT OF THE LIONS 45
HALL OF JUSTICE.--THREE FIGURES FROM THE PICTURE OF THE MOORISH
TRIBUNAL 45
PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN
KNIGHT RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR
WILD-MAN-O’-THE-WOODS. THE CHRISTIAN KNIGHT IS, IN TURN,
SLAIN BY A MOORISH WARRIOR 47
HALL OF JUSTICE.--MOOR’S HEAD 48
FAÇADE, COURT OF THE MOSQUE, BUILT BY YÚSUF I. 49
ELEVATION OF THE ANCIENT GATE OF JUSTICE 53
SECTIONS OF THE HALL OF JUSTICE 55
PAINTINGS ON THE CEILING OF THE HALL OF JUSTICE 57, 59
PART OF PICTURE IN THE HALL OF JUSTICE.--THE MOOR’S RETURN
FROM HUNTING 61
HALL OF JUSTICE.--THE DEATH OF THE LION AT THE HANDS OF A
CHRISTIAN KNIGHT 63
PART OF PICTURE IN HALL OF JUSTICE.--MOORISH HUNTSMAN SLAYING
THE WILD BOAR 63
ENTRANCE TO HALL OF THE TWO SISTERS, FROM THE COURT OF LIONS 65
HALL OF THE TWO SISTERS, FROM ENTRANCE DOOR 66
HALL OF THE TWO SISTERS 67, 79, 113
UPPER BALCONY OF THE HALL OF THE TWO SISTERS 68
HALL OF THE TWO SISTERS, FROM THE “LINDARAJA” BALCONY 69
BALCONY OF THE FAVOURITE, “LINDARAJA” 71
DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE
TWO SISTERS 73
THE FAVOURITE’S BALCONY 76
EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY
STOOD, HALL OF THE TWO SISTERS. THE VASE, CONSIDERABLY
MUTILATED, IS NOW IN THE MUSEUM OF THE PALACE 77, 95
HALL OF THE TWO SISTERS 79
VIEW IN THE HALL OF THE TWO SISTERS 81
DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS 83
SECTION OF THE HALL OF THE TWO SISTERS, AND SECTION OF PART OF
THE COURT OF THE LIONS 84, 85
INSCRIPTIONS IN THE HALL OF THE TWO SISTERS 87, 89
PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO
SISTERS 91
DETAILS ON THE FRONT OF “LINDARAJA’S” BALCONY 93
DETAILS AT THE EXIT OF THE HALL OF THE TWO SISTERS 97
AN ARAB VASE OF THE XIVTH CENTURY IN THE NICHE WHEREIN IT
STOOD UNTIL THE YEAR 1837 99
MOSAIC IN DADO OF THE ENTRANCE TO THE HALL OF THE TWO SISTERS 100
MOSAIC IN DADO OF RECESS, HALL OF THE TWO SISTERS 101
MOSAIC IN DADO, HALL OF THE TWO SISTERS 101
HALL OF THE ABENCERRAGES (BENI CERRAJ) 105
MOSAIC--HALL OF THE ABENCERRAGES 107
HALL OF THE ABENCERRAGES 109, 119, 121
WOODEN DOOR, HALL OF THE ABENCERRAGES 111
INTERIOR VIEW, TAKEN FROM THE HALL OF THE TWO SISTERS 115
CEILING OF THE HALL OF THE TWO SISTERS 117
CEILING OF THE HALL OF THE ABENCERRAGES 124
MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA 125
MOSAIC, NORTH SIDE OF THE COURT OF THE LIONS 125
CHIEF GATE OF THE ALHAMBRA 127
TRANSVERSAL SECTION OF THE ALHAMBRA 129
SECTION SHOWING HEIGHTS OF THE ALHAMBRA 131
ELEVATION OF THE “WINE GATE” 133
THE GATE OF JUDGMENT 135
PORCH OF THE GATE OF JUDGMENT 137
A SECTION OF THE GATE OF JUDGMENT 139
INTERIOR PERSPECTIVE OF THE ALHAMBRA 141
VIEW OF THE AQUEDUCT, NEAR THE ALHAMBRA 143
A VIEW OF THE ALHAMBRA FROM THE ALBAYCIN 145
GATE OF JUSTICE 147
NORTH SIDE OF THE COURT OF THE FISH-POND 151
ELEVATION OF AN ALCOVE IN THE COURT OF THE FISH-POND 153
ELEVATION OF THE ARCADE ON THE NORTH SIDE OF THE COURT OF THE
FISH-POND 155
SECTION THROUGH PART OF THE COURT OF THE FISH-POND AND THE
HALL OF THE AMBASSADORS 157
THE BATHS; HALL OF REPOSE 159
GROUND PLAN OF THE BATHS IN THE ALHAMBRA 161
SECTION OF THE HALL OF THE BATHS 163
A SECTION OF THE BATHS IN THE ALHAMBRA 165
THE SULTÁNA’S BATH 167
THE SULTÁN’S BATH 169
THE HALL OF THE BATHS 171
CEILING OF THE HALL OF THE BATHS 173
LONGITUDINAL SECTION THROUGH THE BATHS 175
THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 177, 181, 191
GALLERY, THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 179
DETAILS OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF
THE MYRTLES 183
COURT OF THE FISH-POND 185, 193
ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 187
ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 189
GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 195
ENTRANCE TO THE COURT OF THE LIONS 196
MOSAIC, SOUTH SIDE OF THE COURT OF THE LIONS 196
FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS 197
THE COURT OF THE LIONS 198, 199, 201, 213
GENERAL VIEW OF THE COURT OF THE LIONS 203, 207
LITTLE TEMPLE IN THE COURT OF THE LIONS 205
FOUNTAIN IN THE COURT OF THE LIONS 205
A LITTLE TEMPLE IN THE COURT OF THE LIONS 206
A PEEP INTO THE COURT OF THE LIONS 206
THE COURT OF THE LIONS, FROM THE WEST 209
TEMPLE IN THE COURT OF THE LIONS 211
SIDE ELEVATION OF THE COURT OF THE LIONS AND FOUNTAIN 215
ELEVATION OF THE FOUNTAIN OF THE LIONS 217
FOUNTAIN OF THE LIONS, WITH DETAILS OF THE ORNAMENT 219
PLAN OF THE BASIN OF THE FOUNTAIN OF THE LIONS 221
THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE
FOUNTAIN OF THE LIONS 223
THE LAST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE
FOUNTAIN OF THE LIONS 225
ENTABLATURE IN THE COURT OF THE LIONS 227
DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS 229
PART OF PANEL IN THE COURT OF THE LIONS 231
ENTRANCE TO THE COURT OF THE LIONS 233, 237
ENTRANCE TO THE COURT OF THE LIONS (UPPER PORTION) 235
LONGITUDINAL SECTION OF THE COURT OF THE LIONS, TAKEN THROUGH
THE PAVILION AT EACH END OF THE COURT, AND EXHIBITING
AN ELEVATION OF THE SIDE PORTICOS 238, 239
CAPITALS IN THE COURT OF THE LIONS, WITH A MEASURE OF ONE
METRE 241
NORTH GALLERY IN THE COURT OF THE LIONS 243
ENTRANCE TO THE HALL OF THE BARQUE, WITH VIEW OF THE COURT
OF THE FISH-POND; OR, OF THE MYRTLES 245
THE HALL OF AMBASSADORS 247, 253
MOSAIC IN DADO, HALL OF AMBASSADORS 248
GENERAL VIEW OF THE HALL OF AMBASSADORS 249, 251
ENTRANCE TO THE HALL OF THE BARQUE, THE ANTE-ROOM OF THE
HALL OF AMBASSADORS 255
PERSPECTIVE VIEW OF THE HALL OF AMBASSADORS 257
SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF
AMBASSADORS 259
DETAIL IN THE HALL OF AMBASSADORS 261
KUFIC INSCRIPTIONS, HALL OF AMBASSADORS 263
MOSAIC ON DADO OF BALCONY, HALL OF AMBASSADORS 265
ORNAMENT FROM THE SIDE OF A WINDOW,
HALL OF AMBASSADORS 267, 279, 285, 287
MURAL ORNAMENT, ENTRANCE TO THE HALL OF AMBASSADORS 269
ORNAMENT AT THE SIDE OF DOORWAY, ENTRANCE TO THE HALL OF
AMBASSADORS 271
AN ARABIAN ORNAMENT, HALL OF AMBASSADORS 273
AN ARABIAN ORNAMENT, ENTRANCE TO THE HALL OF AMBASSADORS 275
INSCRIPTIONS AND ORNAMENT, HALL OF AMBASSADORS 277
INSCRIPTIONS IN THE HALL OF AMBASSADORS 281
MURAL ORNAMENT, HALL OF AMBASSADORS 283
ORNAMENT FROM THE SIDE OF A WINDOW, NORTH FRONT OF THE HALL
OF AMBASSADORS 289
ORNAMENT IN THE SIDE OF A WINDOW, HALL OF AMBASSADORS 291
A CEILING IN OUTLINE, HALL OF AMBASSADORS 293
THE CEILING OF THE DOME LAID FLAT, HALL OF AMBASSADORS 295
DETAILS OF GLAZED TILES IN THE HALL OF AMBASSADORS 297
MOSAIC IN DADO, EAST SIDE OF THE HALL OF AMBASSADORS 299
MOSAIC IN DADO, NORTH SIDE OF THE HALL OF AMBASSADORS 299
MOSAICS IN DADO, HALL OF AMBASSADORS 301
CEILING OF GALLERY, HALL OF AMBASSADORS 303
EXTERIOR OF THE MOSQUE (PRIVATE PROPERTY) 304
FAÇADE OF THE MOSQUE 305
ELEVATION OF PORTICO ADJACENT TO THE MOSQUE 307
DETAILS OF ORNAMENT OF KORÁN RECESS NEAR THE ENTRANCE DOOR
OF THE MOSQUE 309
DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE 311
DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE 313
ARCHED WINDOWS OF THE MOSQUE 315
INTERIOR OF THE MOSQUE 317, 319
THE MOSQUE, FROM KORÁN RECESS 319
ARAB LAMP IN THE MOSQUE 321
CHAMBER OF REPOSE 324, 325, 327
GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID
TO HAVE BEEN OCCUPIED BY “LINDARAJA,” A FAVOURITE
SULTÁNA 328
THE GARDEN OF “LINDARAJA” 329
MOSAIC PAVEMENT IN THE QUEEN’S DRESSING-ROOM (TOCADOR DE LA
REINA) 331, 440
“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRÁB
TOWER, WITH DISTANT VIEW OF THE GENERALIFE 332
TOWERS AND PROMENADE 333
THE TOWER OF THE PEAKS 336
THE HOMAGE TOWER, ANCIENT ARAB RUINS IN THE ALCAZÁBA 337
GRANADA, FROM THE HOMAGE TOWER 337
THE CAPTIVE’S TOWER 339
INTERIOR OF THE INFANTAS TOWER 339
TOWER OF INFANTAS 341, 345
INTERIOR OF THE INFANTAS TOWER (CEILING) 343
ROOM IN THE TORRE DEL CAUTIVO, OR CAPTIVE’S TOWER 347
THE LADIES’ TOWER 347
TORRE DE LA AQUA--TOWER OF THE AQUEDUCT 349
DETAIL OF THE ONLY ANCIENT JALOUSIE REMAINING IN THE ALHAMBRA 349
THE INFANTAS TOWER 351
DETAILS OF THE ENTRANCE DOOR TO THE MUSEUM 353
BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA 355
BAS-RELIEF, FROM AN ENGRAVING IN MURPHY’S ARABIAN ANTIQUITIES 355
PALACE OF CHARLES V. 356, 361
ELEVATION OF SECTION OF THE PALACE OF CHARLES V. 357
INTERIOR, PALACE OF CHARLES V. 359
ROMAN COURT, PALACE OF CHARLES V. 363
PLAN OF THE ALHAMBRA 365
GROUND FLOOR PLAN OF THE ALHAMBRA, AND OF THE FOUNDATIONS OF
THE PALACE OF CHARLES V. 367
PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN
VAULTS OF THE ALHAMBRA 369
HALL OF JUSTICE 371
SUNK LINES ON THE WALLS, HALL OF JUSTICE AND COURT OF THE
LIONS 373
FRIEZE IN THE HALL OF THE TWO SISTERS 375
PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS 375
ORNAMENT IN PANELS, HALL OF THE BARQUE 377
ORNAMENT IN PANELS, HALL OF AMBASSADORS 377
CORNICE OVER COLUMNS, COURT OF THE LIONS 379
FRIEZE OVER COLUMNS, COURT OF THE LIONS 379
BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS 381
PANELLING IN WINDOWS, HALL OF AMBASSADORS 381
ORNAMENT IN PANELS, COURT OF THE MOSQUE 383
ORNAMENTS AT THE JUNCTIONS OF INSCRIPTIONS, COURT OF THE LIONS,
AND COURT OF THE FISH-POND 385
SUNK LINES ON THE WALLS, HOUSE OF THE COMMANDANT 387
ORNAMENT IN PANELS, HALL OF AMBASSADORS 389
DETAILS OF THE ORNAMENTS WHICH ARE INTRODUCED INTO THE PAINTING
OVER THE CENTRE ALCOVE OF THE HALL OF JUSTICE 391
DETAILS AND ARABIAN INSCRIPTIONS 393
DETAILS OF ARABIAN WORK 395
DETAILS AND INSCRIPTIONS AND ARABIAN CHAPITERS 397
DETAILS OF ARABIAN WORK 399
GROUND PLAN OF THE GENERALIFE AT GRANADA 403
THE GENERALIFE 405, 407, 413
A VIEW OF THE ROYAL VILLA OF THE GENERALIFE AT GRANADA 409
TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE AT
GRANADA 411
GARDEN OF THE GENERALIFE 415
PERSPECTIVE VIEW OF THE GARDEN OF THE GENERALIFE 417
ELEVATION AND GROUND PLAN OF THE PORTICO OF THE GENERALIFE 419
MOSAIC, PORTICO OF THE GENERALIFE 421
FRONT VIEW OF THE PORTICO OF THE GENERALIFE 423
A CEILING IN THE GENERALIFE 425
GENERALIFE (PORTRAIT GALLERY), ENTRANCE TO THE GALLERY OF
RETRATOS 427
GALLERY IN THE ACEQUIA COURT, GENERALIFE 427, 437
GALLERY IN THE GENERALIFE 429
THE ACEQUIA COURT, GENERALIFE 431, 435
THE ACEQUIA COURT, FROM THE MAIN ENTRANCE, GENERALIFE 433
A CORNER OF THE ACEQUIA COURT, GENERALIFE 435
CYPRESS COURT, GENERALIFE 437
MOSAIC PAVEMENT IN THE DRESSING-ROOM OF THE SULTÁNA 440
SABRE OF THE LAST MOORISH KING OF GRANADA 441
ELEVATION OF THE CASA DEL CARBON, OR “HOUSE OF CARBON,” ONCE
KNOWN AS THE HOUSE OF THE WEATHER-COCK 443
HOUSE OF SANCHEZ 445
PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA 447
List of Coloured Illustrations.
PLATE. NO. DESCRIPTION.
I. 1 ORNAMENT IN PANELS ON THE WALLS, HALL OF AMBASSADORS.
II. 2 SOFFITT OF AN ARCH, COURT OF THE FISH-POND.
III. 3 ORNAMENT OVER DOORWAY AT THE ENTRANCE, COURT OF
THE LIONS.
IV. 4 ORNAMENT IN DOORWAY AT THE ENTRANCE TO THE VENETA,
HALL OF THE TWO SISTERS.
V. 5 ORNAMENT ON THE SIDE OF WINDOWS, UPPER STOREY, HALL
OF THE TWO SISTERS.
VI. 6 ORNAMENT IN SPANDRILS OF ARCHES, HALL OF THE TWO
SISTERS.
VI. 7 ORNAMENTS IN SPANDRILS OF ARCHES, HALL OF THE ABENCERRAGES.
VII. 8 ORNAMENTS IN PANELS, HALL OF THE AMBASSADORS.
VIII. 9 ORNAMENTS IN PANELS, COURT OF THE MOSQUE.
IX. 10 ORNAMENT OVER ARCHES AT THE ENTRANCE TO THE COURT
OF THE LIONS.
X. 11 ORNAMENT ON THE WALLS, HALL OF THE ABENCERRAGES.
XI. 12 ORNAMENT IN PANELS ON THE WALLS, COURT OF THE MOSQUE.
XII. 13 SPANDRIL OF AN ARCH OF WINDOW, HALL OF AMBASSADORS.
XIII. 14 BRACKETS SUPPORTING CEILING OF THE PORTICO, COURT OF
THE LIONS.
XIV. 15 SMALL PANEL IN JAMB OF A WINDOW, HALL OF AMBASSADORS.
XV. 16 SMALL PANEL IN JAMB OF A WINDOW, HALL OF AMBASSADORS.
XVI. 17 SMALL PANEL IN JAMB OF A WINDOW, HALL OF THE TWO
SISTERS.
XVII. 18 PANEL IN THE UPPER CHAMBER OF THE HOUSE OF SANCHEZ.
XVIII. 19 SOFFITT OF GREAT ARCH AT THE ENTRANCE OF THE COURT
OF THE FISH-POND.
XIX. 20 SPANDRIL FROM NICHE OF DOORWAY AT THE ENTRANCE OF
THE HALL OF AMBASSADORS, FROM THE HALL OF THE
BARK.
XX. 21 LINTEL OF A DOORWAY, COURT OF THE MOSQUE.
XXI. 22 CAPITAL OF COLUMNS, COURT OF THE LIONS.
XXI. 23 CAPITAL OF COLUMNS, COURT OF THE LIONS.
XXII. 24 CAPITAL OF COLUMNS, COURT OF THE LIONS.
XXII. 25 CAPITAL OF COLUMNS, COURT OF THE LIONS.
XXIII. 26 CAPITAL OF COLUMNS, COURT OF THE FISH-POND.
XXIII. 27 CAPITAL OF COLUMNS, COURT OF THE FISH-POND.
XXIV. 28 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.
XXIV. 29 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.
XXIV. 30 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.
XXIV. 31 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.
XXIV. 32 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.
XXIV. 33 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.
XXV. 34 COURT OF THE LIONS.
XXVI. 35 CAPITALS IN THE HALL OF TWO SISTERS.
XXVII. 36 DETAILS OF THE GREAT ARCHES IN THE HALL OF THE BARK.
XXVIII. 37 ARCHES, COURT OF THE LIONS AND HALL OF JUSTICE.
XXIX. 38 DETAILS OF THE GREAT ARCHES.
XXX. 39 FRETS FROM DIFFERENT HALLS.
XXXI. 40 DETAIL OF AN ARCH, COURT OF THE FISH-POND.
XXXII. 41 DETAIL OF AN ARCH, PORTICO OF THE COURT OF LIONS.
XXXIII. 42 CORNICE OF THE ROOF, COURT OF THE MOSQUE.
XXXIV. 43 DIVAN, COURT OF THE FISH-POND.
XXXV. 44 ACTUAL STATE OF THE COLOURS.
XXXVI. 45 WINDOWS IN THE ALCOVE, HALL OF THE TWO SISTERS.
XXXVII. 46 THE VASE.
XXXVIII. 47 DETAILS OF ONE OF THE ARCHES, HALL OF JUSTICE.
XXXIX. 48 DETAILS OF THE ARCHES, HALL OF THE ABENDERRAGES.
XL. 49 CENTRE PAINTING ON THE CEILING, HALL OF JUSTICE.
XLI. 50 MOSAIC DADO IN CENTRE WINDOW ON THE NORTH SIDE,
HALL OF AMBASSADORS.
XLII. 51 MOSAIC DADOS ON PILLARS BETWEEN THE WINDOWS, HALL
OF AMBASSADORS.
XLIII. 52 MOSAIC DADOS ON PILLARS BETWEEN THE WINDOWS, HALL
OF AMBASSADORS.
XLIV. 53 MOSAICS IN THE HALL OF THE TWO SISTERS.
XLV. 54 MOSAIC DADO ROUND THE INTERNAL WALLS OF THE MOSQUE.
XLVI. 55 AZULEJOS. PAINTED TILES.
XLVII. 56 MOSAIC IN THE BATHS.
XLVII. 57 MOSAIC IN THE BATHS.
XLVIII. 58 MOSIAC FROM THE PORTICO OF THE GENERALIFE.
XLIX. 59 BLANK WINDOW, HALL OF THE BARK.
L. 60 SOFFITT OF ARCH, ENTRANCE OF THE HALL OF ABENDERRAGES.
LI. 61 CORNICE AT SPRINGING OF ARCH OF DOORWAY AT THE
ENTRANCE OF THE VENTANA, HALL OF THE TWO SISTERS.
LII. 62 BORDER OF ARCHES.
LII. 63 BORDER OF ARCHES.
LIII. 64 BORDER OF ARCHES.
LIV. 65 BORDER OF ARCHES.
LIV. 66 BORDER OF ARCHES.
LV. 67 ORNAMENT IN PANELS ON THE WALL, HALL OF AMBASSADORS.
LVI. 68 ORNAMENTS PAINTED ON THE PENDANTS, HALL OF THE BARK.
LVI. 69 BANDS, SIDE OF ARCHES, COURT OF THE LIONS.
LVIII. 70 BANDS, SIDE OF ARCHES, COURT OF THE LIONS.
LVIII. 71 BANDS, SIDE OF ARCHES, COURT OF THE LIONS.
LIX. 72 ORNAMENTS ON PANEL, HALL OF AMBASSADORS.
LX. 73 ORNAMENTS ON PANELS, HALL OF AMBASSADORS.
LXI. 74 ORNAMENTS ON PANELS, HALL OF AMBASSADORS.
LXII. 75 ORNAMENTS ON PANELS, HALL OF AMBASSADORS.
LXIII. 76 FRIEZE IN THE UPPER CHAMBER, HOUSE OF SANCHEZ.
LXIV. 77 CORNICE AT SPRINGING OF ARCHES, WINDOWS OF THE HALL
OF AMBASSADORS.
LXV. 78 SPANDRIL OF ARCH. FROM THE CENTRE ARCH OF THE COURT
OF THE LIONS.
LXV. 79 SPANDRIL OF ARCH. FROM THE ENTRANCE TO THE DIVAN,
HALL OF THE TWO SISTERS.
LXVI. 80 DETAILS OF THE WOOD-WORK OF THE DOOR TO THE HALL OF
ABENCERRAGES.
LXVII. 81 SPANDRIL OF ARCH. HALL OF JUSTICE.
LXVII. 82 SPANDRIL OF ARCH. HALL OF JUSTICE.
LXVIII. 83 ORNAMENTS ON THE WALLS OF THE HALL OF AMBASSADORS.
LXIX. 84 SPANDRIL OF ARCH. FROM THE ENTRANCE TO THE COURT OF
LIONS FROM THE COURT OF THE FISH-POND.
LXIX. 85 SPANDRIL OF ARCH. FROM THE ENTRANCE TO THE COURT OF
THE FISH-POND FROM THE HALL OF THE BARK.
LXX. 86 MOSAIC. PILASTER, HALL OF AMBASSADORS.
LXX. 87 MOSAIC. DADO, HALL OF AMBASSADORS.
LXX. 88 MOSAIC. DADO, HALL OF THE TWO SISTERS.
LXX. 89 MOSAIC. PILASTER, HALL OF AMBASSADORS.
LXX. 90 MOSAIC. DADO, HALL OF THE TWO SISTERS.
LXX. 91 MOSAIC. DADO, HALL OF THE TWO SISTERS.
LXX. 92 MOSAIC. PILASTER, HALL OF AMBASSADORS.
LXXI. 93 PLASTER ORNAMENTS, USED AS UPRIGHT AND HORIZONTAL
BANDS ENCLOSING PANELS ON THE WALLS.
LXXII. 94 MOSAIC. DADO, HALL OF AMBASSADORS.
LXXII. 95 MOSAIC. DADO, HALL OF AMBASSADORS.
LXXII. 96 MOSAIC. DADO, IN CENTRE WINDOW, HALL OF AMBASSADORS.
LXXII. 97 MOSAIC. FROM A COLUMN, HALL OF JUSTICE.
LXXII. 98 MOSAIC. DADO IN THE BATHS.
LXXII. 99 MOSAIC. DADO IN DIVAN, COURT OF THE FISH-POND.
LXXII. 100 MOSAIC. DADO, HALL OF THE TWO SISTERS.
LXXIII. 101 PANELS ON WALLS, TOWER OF THE CAPTIVE.
LXXIV. 102 BLANK WINDOW, HALL OF THE BARK.
LXXV. 103 RAFTERS OF A ROOF OVER A DOORWAY NOW DESTROYED
BENEATH THE TOCADOR DE LA REYNA.
LXXVI. 104 BAND AT SPRINGING OF ARCH AT THE ENTRANCE OF THE
HALL OF THE TWO SISTERS FROM THE COURT OF LIONS.
LXXVII. 105 PANELLING OF THE CENTRE RECESS, HALL OF AMBASSADORS.
LXXVIII. 106 PART OF CEILING OF THE PORTICO OF THE COURT OF THE
FISH-POND.
LXXIX. 107 BLANK WINDOW, HALL OF THE BARK.
LXXX. 108 ORNAMENTS ON THE WALLS, HOUSE OF SANCHEZ.
[Illustration: INTRODUCTION.]
“Andalus” is the name given by the Moors to that part of the Spanish
Peninsula wherein they were all-powerful for eight centuries. Andalus
comprehended the four kingdoms of Seville, Córdova, Jaen, and Granada.
(_Los Cuatro Reinos de Andalusia._)
About the year 403 of the Hegira (A.D. 1012) Granada first acquired
importance. Záwí, the African chief who then ruled in Andalusia from
Malaga to Almeria, declared himself independent, and transferred the
seat of government from Elvira[1] to Granada. Little by little the whole
population migrated to the new capital, so that Elvira dwindled to an
insignificant village, whilst Granada rose to be a magnificent city,
culminating in grandeur and importance during the reigns of three
enlightened sovereigns of the _Beni Nasr_ dynasty--Mohammed the First
(_Al-ghálib-billah_, A.D. 1232-1272), who commenced the Alhambra;[2]
Yúsuf the First (A.D. 1333), who added greatly to its beauty, and is
regarded as the monarch who completed the building; and Mohammed the
Fifth (_Al-ghaní-billah_), son of Yúsuf, who succeeded to the throne
upon the assassination of his father in 1354, and who finished the
decorations of many of the Courts and Halls of the Palace.
One of the earliest extant references to Granada is contained in the MS.
of _Ibnu Battúttah_, the Moslem traveller, who wrote in the fourteenth
century. About the year 1360 _Ibnu Battúttah_ journeyed from Morocco to
Andalus, and visited Granada, which he thus describes: “Granada is the
capital of Andalus, and the husband of its cities; its environs are a
delightful garden, covering a space of forty miles, and have not their
equal in the world. It is intersected by the well-known river
_Sheníl_[3] (Xenil) and other considerable streams, and surrounded on
every side by orchards, gardens, groves, palaces, and vineyards. One of
the most pleasant spots in its neighbourhood is that known by the name
of _’Aynu-l-adamar_--the fountain of tears--which is a spring of cold
and limpid water placed in the midst of delightful groves and gardens.”
The suburb of Granada here referred to, preserves to this day its Arabic
name corrupted into _Dinamar_, or _Adinamar_. It is a pleasant and
much-frequented spot, close to Granada.
The city of Granada was held in the highest estimation by Andalusian
poets. One ancient eulogist says: “If that city could reckon no other
honour but of having been the birthplace of the Wizír _Ibnu-l-khattíb_,
that alone would be sufficient. But Granada has not its like in the
world: neither Cairo, Baghdád, nor Damascus can compete with it; we can
only give an idea of its worth by comparing it to a beautiful bride, of
whose dower it should form part.”
The mention of the celebrated Wizír, _Ibnu-l-khattíb_, brings to mind a
particularly interesting figure in the history of the Alhambra, for to
him we owe the composition of many of the poems inscribed upon its
walls. He flourished A.D. 1313-1374. Amongst other works of the highest
value, of which he was the author, is a biographical dictionary of
illustrious Granadians. At an early age he attracted the notice of Yúsuf
I., who promoted him through many offices of the State, until he became
that Sultán’s Grand Wizír, in which capacity he served his master
faithfully and long. After the death of Yúsuf, he retained his high
office of Wizír under Mohammed V. for twenty years, when the hostility
of his foes brought upon him the suspicion of disloyalty. He was thrown
into prison, and strangled by order of Mohammed. “Thus,” says an
admiring biographer, “perished the phœnix of the age, the prince of
poets and historians of his time, and the model of Wizírs.”
The unfortunate _Ibnu-l-khattíb_ possessed, in the highest degree, the
faculty of improvisation. It is related that he was sent on an embassy
by Mohammed V. to implore the aid of _Fáris_, Sultán of Fez, against the
Christians. On entering the Hall of Audience, and before he delivered
his message, he uttered some verses which called forth the admiration of
all present, and were so much approved by the Sultán, that before
listening to what the Ambassador had to say on affairs of State, he
exclaimed: “By Allah! I know not the object of thy visit; but whatever
it may be, I grant the request.” In concluding the anecdote, the
narrator adds: “This circumstance elicited from the celebrated _Kádí_,
_Abú-l-kásim Ash-Sheríf_, who formed part of the embassy, the very just
remark that never until that time had there been an ambassador who
attained the object of his mission before he had made it known!”
The Mohammedans in Spain, whether considered as the enthusiastic
warriors whose victorious arms spread terror and consternation, or as
the cultivated race who acted as the pioneers of art, letters, and
civilisation, are entitled to a prominent place in the annals of Europe.
But, instead of being commended to the gratitude of succeeding ages, as
they assuredly deserved to be, the Arabs have been too frequently
charged with corrupting the infancy of modern literature; and this, in
the face of the verdict of a high authority on the literature of the
Spanish Moslems, who has declared that the material he cites proves the
superiority of the Andalusians to every other nation.
Spanish historians have always manifested contempt for the writings of
the Arabs. Rejecting the means afforded them by abundant Moorish
records, they have compiled their histories from one-sided national
authorities, disdaining to cast a glance on writings of the enemies of
their country and religion. The effects of such illiberality need
scarcely be pointed out. The history of Spain, during the Middle Ages,
has been, and still is, notwithstanding the labours of modern critics, a
tissue of fable and contradiction.
Nevertheless, it was reserved for a Spaniard--Don Pascual de
Gayángos--to give to the world the true history of the Mohammedans in
Spain. He fixed upon the manuscript account of _Ahmed Ibn Mohammed
Al-makkarí_, which gives an uninterrupted narrative of the conquests,
wars, and settlements of the Spanish Moslems from their first invasion
of the Peninsula to their final expulsion; and Don Pascual so enriches
his author’s text with a mass of notes and illustrations that the work
forms, if not the only, certainly the most valuable history of the Arabs
in Spain--even the recondite production of the German _savant_, the late
Dr. R. Dozy, of Leyden, _Histoire des Musulmans d’Espagne_, yields on
the score of usefulness.
_Al-makkarí_ wrote at the close of the sixteenth century. His life was
spent in literary pursuits, and in the society of the learned. He
appears to have resembled our own John Aubrey in his genius for taking
the greatest pains to collect his material from the most authentic
sources at his command; and, if he sometimes falls into slight
inaccuracies, his editor--Don Pascual--promptly sets the matter right in
a note of profound and judicious scholarship. That portion of
_Al-makkarí_ which most concerns the present volume is contained in the
second part of his work, and consists of extracts from various Arab
authors relating to the history of the kingdom of Granada. In a note
upon the etymology of the name “Andalus,” _Al-makkarí_ derives it from
_Andalosh_, a Moorish corruption for _Vandalocii_ (Vandals), with which
attribution Don Pascual seems to agree. _Al-makkarí_ concludes his
history with a pious ejaculation for the re-occupation of the country:
“May Allah restore it entire to the Moslems!”
It is to be lamented that an ungenerous spirit actuated the authorities
in Madrid at the time Gayángos was preparing his monumental work
(_circa_ 1840). In his own land, the assistance he had every right to
expect, was withheld! He tells us that he petitioned the Ministers of
Her Catholic Majesty for permission to visit the Library of the
Escorial, and he finds himself called upon to disclose a fact very
painful to his feelings. Don Pascual’s own words are: “Strange to say,
notwithstanding repeated applications, and the interference of persons
high in rank and influence, my request was positively denied,
professedly on the plea that the Library could not be opened, a
contention having arisen between the Government and the Royal Household
as to the possession of it!” Under the enlightened rule of King Alfonso
XIII. such treatment has become impossible: all that remains of the
literature, the splendid monuments of Arabian architecture, indeed
everything which exhibits memorials of the graceful people who have
passed away, is now open to the antiquary or the artist, and zealously
guarded with the most reverent care. No longer is there danger of wanton
spoliation of the ancient palace of the Moorish Kings of Granada. The
effort now is to retard the inevitable process of decay. The late Señor
Raphaél Contreras occupied himself for thirty-seven years in an attempt
to restore the defaced or partially-destroyed arabesques of the
Alhambra. In the course of his labour of love, it was his good fortune
to be rewarded, from time to time, by the discovery of inscriptions
which had long lain hidden; and his exertions were further recompensed
by the happiness of lighting upon and replacing parts of mutilated
ornament and portions of the edifice itself which had become dislodged
by accident or rapine, thus saving somewhat from the deluge of time.
The result of his research and discovery Don Raphaél placed before the
public in a scholarly work, entitled, _Etude Déscriptive des Monuments
Arabes_, published at Madrid, and which reached its fourth edition in
1889.
A separate, or supplementary volume was promised, which should treat of
Arabic Inscriptions remaining in Seville, Córdova, and more particularly
in Granada, belonging to the most important period of the Mohammedan
Domination in those parts of the Peninsula. It is greatly to be hoped
that the work may make its appearance under the auspices of his son, Don
Mariano Contreras, the present Conservator of the Alhambra.
That portion of the Alhambra, called the _Casa Real_, or Royal House,
appears to be but a very small part of the ancient Palace of the Moorish
Kings of Granada. It is to be regretted that no traces exist at the
present day by which its limits can be accurately defined; but we may
judge, from the gallery of
[Illustration: PANELS AND INSCRIPTIONS IN THE ALHAMBRA.]
two stories at the southern end of the Court of the Fish-pond, which
still remains, that the part of the Moorish building destroyed to make
way for the Palace of Charles V., must have been of considerable
consequence. No traces of the numerous apartments, which must have been
required for guards and attendants, now exist; and a most important
feature--the hareem--is wanting.
The Alhambra, occupying the plateau of the _Monte de la Assabica_, is
situated at one extremity of the city of Granada, above which it rises
like the Acropolis at Athens. The usual entrance is by the Gate of
Justice. From the Gate of Justice we pass the _Puerta del Vino_, or Wine
Gate, to the large square called the _Plaza de los Algibes_, or Place of
the Cisterns. On the right is the Palace of Charles V.; beyond, but
without revealing any indication of its internal beauty, is the
_Casa Real_; on the left of the Place of the Cisterns is the
_Alcazába_--_Kussábah_, the citadel--long used as a place of detention
for convicts. There are several ruined towers here, which are, perhaps,
the remains of the most ancient part of the fortress.
The severe and striking aspect of the towers with which the walls of the
fortress are studded, arouses no suspicion of the art and luxury
enshrined within; they are formed to impress the beholder with respect
for the power and majesty of the King; whilst within, the fragrant
shrubs and running streams, the porcelains, Mosaics, and gilded stucco
work, and particularly the pious inscriptions which are in such
profusion upon the walls, constantly reminded the sovereign how all that
ministered to his happiness was the gift of Allah.
The inscriptions are of three sorts--“_ayát_,” _i.e._, verses from the
Korán; “_asjá_,” pious or devout sentences not taken from the Korán;
and, thirdly, “_ash’ár_,” poems in praise of the builders or owners of
the Palace. Those belonging to either of the first two classes are
generally written in the Cufic character, and the letters are often so
shaped as to present a uniform appearance from both sides, and make the
inscription readable from the right to the left, and _vice versa_, or
upwards and downwards.
The innumerable sentences abounding everywhere in the Alhambra are so
harmonious and interweaving--producing such cross-lights of poetry and
praise, merging naturally and gracefully when the mind is torpid or
indifferent to them, into mere surface ornament--that they are never out
of place, but present always an unsatiating charm. Once, at least, an
inscription in the Palace has settled a dull controversy respecting the
use of the many small, highly-decorated recesses which are seen in the
apartments. On each side of the ante-room of the Hall of the Ambassadors
is one of these recesses resembling the piscinæ of our cathedrals.
Blundering wise men insistently averred that these niches were used by
suppliants as receptacles for their slippers before entering to an
audience, until an Arabic scholar pointed to an inscription round the
aperture, which reads: “_If anyone approach me complaining of thirst, he
will receive cool and limpid water, sweet and pure._” Any Spaniard ought
to have known that here were the places of the _Alcarraza_, or porous
earthen bottles common to all comers, even as they may now be found in
the halls of some Andalusian gentlemen.
Such a niche and water-vase are represented in this volume at page 77.
“Is the Alhambra,” asks Ford, “a palace of the _Arabian Nights_, or only
a tawdry ruin bedaubed with faded colour? And what of the colour as it
exists? Is it emeraldine or plaited flowers? No, in sober truth, the
colour is dim and faded; buried in some places under white flaky icicles
of whitewash, or blurred and besmirched as a dead butterfly’s wing. Here
and
[Illustration: VARIOUS MOSAICS FROM THE ALHAMBRA.]
there are revived bright scraps of azure, gold, and vermilion; but
generally dull of outline, and dim in low, deep, shadow tone.”
Where the Moorish work is imitated, greens and purples obtrude, to
demonstrate how inferior is modern decorative skill to the genius of the
ancient Arabs. The dados, or low wainscotings, are of square, glazed
tiles, which form a glittering breast-high coat of mail up to the lower
third of the Palace
[Illustration: PANEL ORNAMENT IN THE ALHAMBRA.]
walls. Here the colours are the same as those of the old Majolica ware.
Sometimes these _Azulejo_ tiles, with their low-toned enamel colours,
are formed into pillars, or pave the floors in squares of
_fleurs-de-lis_, or other heraldic emblems. In these dados, colour is
seen in the shade. The Moors wanted shade in a country where the sun is
solid fire--the colours deep, soft, and subdued as in an Arabian carpet.
The present pavement of the halls and courts of the Palace is either of
white marble, as in the Hall of The Two Sisters and Hall of the
Abencerrages, or of brick. Seldom, however, does it appear to be the
original flooring, as in many places it is considerably above the
ancient level, concealing the lower part of the Mosaic dados. On the
pavement of one of the alcoves of the Hall of Justice are still to be
seen painted tiles which seem to suggest a style of flooring more in
harmony with the general decoration of the Halls and Courts than either
those of marble or of brick. This deduction has been objected to by
persons conversant with the manners and customs of the Mohammedans, who
contend that it is impossible that these tiles--on which the name of God
is written--should have been trodden under foot. But it should be borne
in mind that the Arabs of Spain allowed themselves considerable laxity
in observing the behests of the Korán--as is evidenced by the fountain
in the Court of Lions, the bas-relief in the Museum of the Palace, and
the paintings in the Hall of Justice.
For the student who desires to pursue exhaustively the history of the
Moors in Spain, there are but two trustworthy authorities--Don Pascual
de Gayángos, the Spanish Orientalist and historian, and Dr. R. Dozy, of
Leyden. Don Pascual’s translation of _Al-makkarí_ has been largely drawn
upon in the compilation of the present volume, as also the “Handbook”
and “Gatherings” of Richard Ford (1845 and onward), which form the bases
of the indispensable Murray’s _Guide_. For the last days of the Moslems
in Spain, Sir William Stirling-Maxwell’s _Don John of Austria_ must be
read. The fascinating volumes of Washington Irving will, of course,
continue to delight so long as the English language endures, and no
better companions can be wished for on the spot where they were written
than his stories of _The Alhambra_ and _The Conquest of Granada_. Mr.
Henry Coppeé’s _History of the Conquest of Spain by the Arab Moors_, in
two volumes, _Boston_ (Mass.), 1881; Miss Charlotte Yonge’s _Christians
and Moors in Spain_; Mr. H. E. Watt’s _Spain from the Moorish Conquest
to the Fall of Granada_; the concise _Rise and Fall of the Muslim Empire
in Spain_, by our fellow-subject, Muhammed Hayat Khan, Lahore, 1897; and
Mr. Stanley Lane-Poole’s _The Moors in Spain_ should be consulted.
ORNAMENT.
However much disguised, the whole ornamentation of the Moors is
constructed geometrically.
[Illustration: FRET.--FIG. 1. FORMED BY THE INTERLACING OF LINES. THE
NUMEROUS FRETS THROUGHOUT THE PALACE ARE FORMED UPON THE TWO PRINCIPLES
EXHIBITED IN THIS AND FOLLOWING DIAGRAM.]
It is probable that the immense variety of Moorish ornaments, which are
formed by the intersection of equi-distant lines, could be traced
through the Arabian to the Greek fret.
The Moorish system of decoration reached its culminating point in the
ornament of the Alhambra. Owen Jones says: “The Alhambra is at the very
summit of perfection of Moorish art ... every principle which we can
derive from the study of the ornamental art of any other people is not
only ever present here, but was by the Moors more universally and truly
obeyed. We find in the Alhambra the speaking art of the Egyptians, the
natural grace and refinement of the Greeks, the geometrical combination
of the Romans, the Byzantines, and the Arabs.
[Illustration: FRET.--FIG. 2. FORMED BY THE INTERLACING OF LINES.]
The ornament wanted but one charm, which was the peculiar feature of the
Egyptian ornament--symbolism. This, the religion of the Moors forbade.”
The decoration of the Alhambra is peculiarly appropriate--the
circumstances of the people rendered the ornament beautiful for that
reason--when transplanted, though it loses nothing of its loveliness, it
becomes inexpressive.
The Moors ever regarded what architects hold to be the first principle
of architecture--to decorate construction--never to construct
decoration. In Moorish architecture, not only does the decoration arise
naturally from the construction, but the constructive idea is carried
out in every detail of the ornamentation of the surface. A superfluous,
or useless ornament is never found in Moorish decoration; every ornament
arises quietly and naturally from the surface decorated.
[Illustration: PLAN OF GENERAL CONSTRUCTION OF CENTRAL ORNAMENT OF
CEILINGS.]
The general forms were first cared for; these were sub-divided by
general lines; the interstices were then filled in with ornament again
to be sub-divided and enriched for closer inspection. The principle was
carried out with the greatest refinement, and the harmony and beauty of
all Moorish ornamentation derive success from its observance. The
greatest distinction was thus obtained; the detail never interfering
with the general form. When seen at a distance, the main lines strike
the eye; on nearer approach, the detail comes into the composition; upon
yet closer inspection, further detail is seen on the surface of the
ornaments themselves.
To the builders of the Alhambra, harmony of form consisted in the proper
balancing and contrast of the straight, the inclined, and the curved.
[Illustration: SECTION OF THE COLUMNS AND ARCHES OF GENERAL CONSTRUCTION
IN THE PALACE.]
As in colour, there can be no composition in which either of the three
primary colours is wanting, so in form, whether structural or
decorative, there can be no perfect composition in which either of the
three primary figures is lacking; variety and harmony in composition and
design depend on the pre-dominance and subordination of the three.
In his monumental work on the ornamentation of the Alhambra, the late
Owen Jones, who spent many years at Granada in collaboration with his
friend, M. Jules Goury, the eminent French architect, studying the
Palace of the Western Caliphs, furnishes diagrams in support of this
conclusion, which are here reproduced; and, furthermore, says: “In
[Illustration]