Her hair is white as silver, like horn her glazing eye:
’Twas she that nursed him at her breast--that nursed him long ago;
She knows not whom they all lament, but soon she well shall know!
With one deep shriek, she thro’ doth break, when her ears
receive their wailing,
“Let me kiss my Celin ere I die.--Alas! alas for Celin!”
[Illustration: ARCH OF THE WINE GATE.]
[Illustration: PLAN, ELEVATION, AND DETAILS OF THE GATE OF JUSTICE.]
[Illustration: TRANSVERSE SECTION OF THE HALL OF JUSTICE.]
[Illustration: FAÇADE OF THE MOSQUE.]
[Illustration: SECTION OF THE PAVILION IN THE COURT OF THE LIONS.]
[Illustration: DETAIL OF THE CENTRAL ARCH OF THE COURT OF THE LIONS.]
[Illustration: INTERIOR OF THE BALCONY OF LINDARAJA.]
[Illustration: TRANSVERSE SECTION OF THE MOSQUE.]
Index.
Frontispiece
Dedication
Preface, v., vii.
Preface To Second Edition
Introduction, xxv.-liv.
Abencerrages, 10, 103-112, 149, 150
Abou Hud, 22
Abu-l-hasen, King of Granada (father of Boabdil), 10, 14, 17, 18
Abu’ Abdillah (Boabdil), 10, 17, 18, 107, 108, 422
Acequia Court, 414.
Alcarraza, xxxvi.
Alcazába, xxxv.
Alfonso XIII., King of Spain, xxxi., 21
Alfonso the Wise, 449
Algibes, xxxv.
Alhama, 108
Alhambra:--Album, ix.;
Begun, 26;
Completed, 32;
Diagrams of Principle of Ornament, xlv.;
Exterior, 4;
Fire in the Hall of the Barque, viii.;
Frets, xli., xlii.;
Courts, Halls, and Towers of, 35;
Inscriptions, Mosaics, and Panels, xxxv., xxxvi.;
Miscellaneous Ornament, xlvii.;
Museum in the, 352-356; Ornament, xli.;
Pavements, xxxix., xl.;
Vases, 77, 95, 99;
Views of, 3, 5, 7.
_See_ also “List of Illustrations” in front of volume
Al-makkarí, xxx., xxxi., 439
Alonzo X., 26
Alonzo de Valiza, 401
Alonzo XI., 30, 31
Ambassadors, Hall of, 28, 244-304
“Andalus,” Etymology of, xxxi.
Andalusians, Superiority of, xxx.
_Antigüedades Arabes de España_, 20
Appendix, 449
Ayeshah, 10
Azulejo Tiles, xxxix.
Bacon, Lord, 13
Bádís Ibn Hábus, 430
Ballads:--Moresco-Spanish, 449;
The Flight from Granada, 451, 452;
The Death of Don Alonzo de Aguilar, 453, 455;
The Bull-Fight of Gazul, 455, 457;
The Bridal of Andalla, 457, 458;
Zara’s Ear-rings, 458, 459;
The Lamentation for Celin, 459, 460
Barnardo del Carpio, 450
Barque, Hall of the, 244
Bas-relief, 355
Baths, The, 28, 31, 324-327
Boabdil, _see_ Abu’ Abdillah
Cabra, Count of, 17
Campotejar, Marquis of, 422
Casa del Carbon, 430, 439
Casa del Gallo de Viento, 430
Casa Sanchez, 439
Casa Real, the Spanish name for the Alhambra, xxxii.
Cathedral of Granada, 13
Charcoal, House of, 430, 439
Charles V., xxxv., 19, 356, 364
Charles Martel, 2
Cid, The, “el Campeador,” 450
Cisterns, Place of the, xxxv., 356
Colours employed by the Moors, liii.
Columbus, 13
Contreras, Don Mariano, viii., xxxii.
Contreras, Don Raphaël, viii., ix., xxxii.
Conveyancing, Curious practice of, 401
Coppeé, Henry, xl.
Córdova, 4, 17
Cuarto Real, _see_ Generalife
D’Abrantes, Duke, 439
Darro, 10, 414
De Solis, Isabel, 8, 9
Dolgorouki, Prince, vii.
Dozy, Professor, ix., xxx., xl.
Elizabeth of Parma, 19, 335
English Elms at Granada, 35
Ez-zaghal, 10, 18
Ferdinand, the Saint, 23, 24, 26
Ferdinand VII., 35
Ferdinand and Isabella, 10, 13, 17, 18, 19, 422
Fernando of Talavera, Archbishop of Granada, 14
Fish-pond, Court of the, xxxv., 28, 32, 150, 191, 192, 195
Ford, Richard, ix., 13, 35, 401
Gayángos, Don Pascual de, ix., xxx., xxxi., xl., 323
Geb-al-Tárik, 1, 5
Generalife, The, 401, 402, 414, 422, 429, 430, 439
Gibraltar, 1
Gold Coin of Mohammed I., 20, 21
Gonzalez, Fernan, of Castile, 450
Goury, Jules, xlv., lv., 48
Granada, xxix., 2, 4, 6, 9, 15, 414
Guadix, 408, 413
Homage Tower, 352
Ibnu Battútah, xxviii.
Ibnu-l-khattib, xxviii., xxix., 402, 413
Illustrations, List of, xi.-xix.
Illustrations, List of coloured, xxii.-xxv.
Irving, Washington, ix., xl., 7, 19, 37, 331, 335, 364
Isabella and Ferdinand, 10, 13, 17, 18, 19
Isabel de Solis, “The Captive,” 8, 9, 11
Isma’il-Ibn-Faraj, 402
Jaen, 23
James the Conqueror, 23
Jennatu-l-’arif, _see_ Generalife
Jones, Owen, viii., xliv., lv.
Justice, Gate of, xxxv., 28, 29, 36, 37, 38
Justice, Hall of, 38, 41, 42, 47, 48, 65
Katherine of Aragon, 13, 38
Ladies’ Tower, 352
Lane-Poole, Stanley, ix.
Lerma, Duke of, 6
Lewis, John F., viii.
“Lindaraja,” 67, 71, 328, 329
Lions, Court of the, 195-244
Lockhart, J. G., 449-460
Lucena, 10, 17
Macafreto, 401
Machuca, Pedro, 364
Malaga, 18, 29, 414
Martos, 10
Mint within the Alhambra, 20
Mohammed I., xxvii., 20, 21, 22, 24, 25, 27, 51
Mohammed V., xxvii., 402, 407, 408, 413
Mohammed VI., 408, 413, 414
Mohammed XII. (Ez-zaghal), 10, 18
Moorish Ornament, xli.-liii.
Moors, Final Expulsion of the, 5
“Morning Star,” 10
Mosque, The, 49, 304-324
Motto of Mohammed I. and his successors, 25, 51
Muhammed Hayat Khan, xli.
Muley Hasen, _see_ Abu-l-hasen, King of Granada
Murphy, J. C., viii., lv.
Musa, 5, and foot-note
Museum of the Alhambra, 352, 356;
Bas-relief, 355;
Vase, 77, 95
Pedro I., 408, 413, 414
Peninsular War, 19
Peyron, Mr., 422
Philip of Castile, 27
Philip III., 6
Philip V., 19, 335
Queen’s Dressing-room, 331
Saint Ferdinand, Academy of, 20
Sanchez, House of, 439
Salado, Battle of, 29
Seville, 4, 24, 26
Silla del Moro, 422
Swinburne, Henry, 422
Tablada, 413
“Tanto Monta,” lv.
Tarif, 1
Tárik, 1, 5
Tendilla, Count of, 14, 17
Tours, 1
Tower of “The Captive,” 351, 352
Tower of Comares, 336, _see_ Hall of Ambassadors
Tower of the Infantas, 351, 352
Tower of the Peaks, 336, 414
Tower of the Seven Stages, 335
Two Sisters, Hall of the, 28, 30, 65-103;
Verses in the, 70-75
Vega, or Plain of Granada, 9
Votive Altar (Roman), Embedded in the Masonry of the Alhambra, 352
Watt, H. E., xli.
Weather-cock, House of the, 430, 439
Welíd (Sultán), 5
Wellington, Duke of, 35
“Wine Gate,” xxxv., 28, 29, 356
Ximenez, 13
Yonge, Charlotte M., xli.
Yúsuf, I. (Abu-el-Hejaj), xxvii., xxix., 28-34, 402
Yúsuf II., 414
Zacatin, 430
Záwí, xxvii.
Zegris, 10
Zoraya, the “Morning Star,” 10
* * * * *
THE ALHAMBRA
BY ALBERT F. CALVERT
_UNIFORM WITH “MOORISH REMAINS IN SPAIN”_
_SOME PRESS OPINIONS_
“A remarkable representation of the chief features of a building that
has been, for six centuries, one of the wonders of the world.”--_Times._
“The standard work upon a splendid subject.”--_Daily Telegraph._
“Affords an inviting opportunity of studying this beautiful example of
Moorish art.”--_Morning Post._
“A treasure to the student of decorative art.”--_Morning Advertiser._
“Seems to have been a labour of love.”--_Sporting Life._
“Superb pictorial guide.”--_Sportsman._
“It is a book apart.”--_Manchester Courier._
“The final book on the Alhambra.”--_Sussex Daily News._
“Takes high rank among the lavish books.”--_Financial News._
“Among the most important art books which have been
published.”--_Globe._
“For any adequate idea of its beauty one must go to the book
itself.”--_Echo._
“Altogether an attractive volume.”--_Sunday Special._
“Exercises on the reader something of the fascination which inspired its
production.”--_Observer._
“Will contribute as much as anything to bringing home to men’s minds the
greatness of the Moors.”--_Reynolds._
“Helps one to realise the wonder and the glory of the Alhambra in a way
that few other books can do.”--_Lloyds._
“As a history it is conciseness itself.”--_Outlook._
“The coloured plates ... alone are worth the price of the
volume.”--_Academy._
“A monumental work.”--_Bristol Mercury._
“A notable work of art.”--_Lowestoft Standard._
“It is the last word on the subject.”--_Nottingham Express._
“One of the most sumptuous of modern tomes.”--_Newcastle Chronicle._
“The most adequate illustrated souvenir.”--_Scotsman._
“A remarkable masterpiece of book production.”--_Eastern Daily Press._
“A magnificent work.”--_Melbourne Age._
“Few writers would be better qualified to describe the
Alhambra.”--_Bookseller._
“The most complete record ... which has ever been contemplated, much
less attempted.”--_British Architect._
“One of the most magnificent books ever issued from the English
Press.”--_Building World._
“In every way well produced.”--_Building News._
“Instructive and attractive.”--_Field._
“We have seldom had a more pleasurable task than that of reviewing
it.”--_Commercial Intelligence._
“A fitting memorial of one of the greatest of human
achievements.”--_Review of Reviews._
“We shall be surprised if collectors of valuable books on art do not
rush to become possessed of it.”--_Public Opinion._
“Artistically excellent.”--_Guardian._
“Quite the most beautiful book upon the Alhambra issued in
England.”--_Sphere._
“One of the most artistic productions of the year.”--_Publishers’
Circular._
“One of the most detailed and sumptuous works on the Alhambra that has
come under our notice.”--_Yachtsman._
“It may be doubted if Irving or any other visitor would perceive as much
of the beauty of the Alhambra.”--_Liverpool Courier._
“A monumental work ... perfect in description and equally perfect in
artistic illustration.”--_Sheffield Telegraph._
“At once an instruction and a delight.”--_Lancashire Post._
“Will afford ... exquisite delight.”--_Western Daily Press._
“An ineffable delight to every lover of the beautiful.”--_Dundee
Advertiser._
“Very exceptional interest and attractiveness.”--_Glasgow Herald._
“A perfect treasure of beauty and delight.”--_Keighley News._
“One of the most beautiful books of modern times.”--_Ely Gazette._
“No traveller could desire a more sumptuous remembrancer.”--_To-day._
“A very handsome art-work.”--_Melbourne Argus._
MOORISH REMAINS IN SPAIN
BY ALBERT F. CALVERT
_UNIFORM WITH “THE ALHAMBRA”_
_SOME PRESS NOTICES_
“This book is certainly a store-house of Moorish ornament; of plates and
illustrations there are literally hundreds, numbers of them printed in
colours and gold, drawn out geometrically.... The wealth of illustration
cannot be gainsaid; and with it Mr. CALVERT has made a genuine and very
successful attempt to grapple with the problem of the working out of the
bases of the Moorish geometrical designs, so amazing in their ultimate
intricacy. In a series of diagrams, nearly two hundred in number, the
astonishing complexity of the designs based on the triangle, rectangle,
pentagon, and hexagon is unravelled with a completeness that surpasses
anything of the sort with which we are acquainted. It is an excellent
piece of work, which gives Mr. CALVERT’S book a real value of its
own.”--_Times._
“Mr. ALBERT F. CALVERT has in this sumptuous volume produced an artistic
_chef d’œuvre_ as well as a deeply interesting historical treatise on
one of the most picturesque periods of European history. Here we have in
a series of graphic word-pictures the marvellous exploits of the Moors
in the Peninsula, the foundation of an empire which lasted for several
centuries, and has left marks of its eminence in arts and in learning,
in a record of brilliant scholars and in architectural remains which are
still the wonder of travellers. The influence of Moorish art is still
felt among nations to whom the word Saracen is but a name, and Mr.
CALVERT has performed a useful work in bringing together for the benefit
of artists and students the masterpieces which the ravages of time,
neglect, and hatred have still spared in Spain.... Mr. CALVERT deals in
these pages with Cordova, Seville, and Toledo, and gives us drawings of
the most famous Moorish buildings therein, with complete details of the
wonderful decorative art lavished upon them by now forgotten architects
and artists. These are faithfully reproduced in the illustrations, which
form a veritable treasure-house of suggestion for moderns. The author
has, indeed, brought Spain to the doors of Englishmen who are unable to
visit that country, and placed its treasures fully before them. It only
remains to add that the volume is produced in a style worthy of the
object.”--_Daily Telegraph._
“A volume which is not only rich in elaborate reproductions of Moorish
designs in outline and colour, but is animated by a warm admiration for
the great race which has left us so many tributes to beauty. Modestly as
Mr. CALVERT states his claims, the reader should not neglect his
eloquent introduction, in which he reminds us that it was to the Moslem
Spain first owed some permanent national organisation.... The present
condition of the monuments which remain is briefly described in
subsequent chapters dealing with Cordova, Seville, and Toledo. Mr.
CALVERT’S thorough study of Arabian work enables him to give the student
valuable aid in distinguishing what are the monuments which belong to
the golden age of Islamic achievement. He shows how little there is of
this time in Seville, though Spanish taste endeavoured to maintain the
tradition for four centuries after the Moorish spirit had given way
before the conquering Christian.”--_Morning Post._
“The book gives a vivid idea of the present state and former
magnificence of Moorish buildings in the three Spanish cities which its
author now describes; while the illustrations, which include upwards of
eighty coloured plates, and an immense number of photographic halftones,
are exceptionally good.”--_Standard._
“An examination of the book reveals at once the fact that it is very
well illustrated; while the author brings to his work an unmistakable
freshness and vigour, brought about by prolonged visits to the places
described, and gives evidence of the possession of the observing eye and
a facility for expressive description.”--_Evening Standard._
“It is really impossible to do justice, in a journal of this kind, to
the sumptuous volume (its price is two guineas and the book is worth it)
before us. To do that--to give the reader any adequate notion of the
beauty of the illustrations with which it is enriched--we should have to
summon all the resources of the colour printer’s art to our assistance,
in order to reproduce them in a special _edition de luxe_ of the
“P.M.G.” Inasmuch as that is not to be done, we must ask the reader to
take it on trust from us that the illustrations of Moorish decorative
art are something quite out of the common.... The making of this book
must, surely, have been a labour of love; and love’s labour has
certainly not been lost.”--_Pall Mall Gazette._
“_Qui multum peregrinatur, raro sanctificatur_ runs the old monkish saw;
but we find its living contradiction in Mr. CALVERT. This modern Jason
set out to Western Australia in quest of gold. Adventuring into deserts,
he found what he sought and returned home content, only to set forth
again on further pilgrimages; which, if the evidence of our eyes is to
be trusted, have resulted in the discovery of still more gold. Verily
there is a profusion of it in this book; but its liberal use has paid
the fee of sanctification. We cheerfully admit Mr. CALVERT into the
ranks of those whom posterity will applaud for delightful yet
unprofitable work.”--_Outlook._
“This valuable and profusely-illustrated volume is designed to be the
companion and complementary volume to the same author’s work on the
Alhambra.... Mr. CALVERT’S frequent and protracted visits to Spain
caused him to realise that the Moors were not a one-city nation, and
that there were splendid remains of earlier Mohammedan architecture and
decoration in Cordova, Seville, and Toledo. Moorish work of these three
cities forms the theme of the present volume, in which, as in the book
on the Alhambra, the letterpress is made subservient to the
illustrations. The supply of pictures is at once lavish and
excellent.... The colouring and the elaboration of the designs of
various schemes of Moorish ornamentation, apart from general
architectural effects, are often marvellous, and almost bewildering,
both in the boldness of their conception and in the intricacy of their
pattern.”--_Guardian._
“Mr. CALVERT has produced a beautiful book.... It is illustrated with so
lavish a richness of colour that to turn its pages gives one at first
almost the same impression of splendour as one receives in wandering
from hall to hall of the Alcazar of Seville: and this is probably the
highest compliment we could pay to the book or its author.”--_Academy._
“This is one of the books to which a simply literary review cannot
pretend to do justice. Mr. CALVERT gives a brief record of the Moorish
conquest of Spain, but the main purpose of his book is to bring before
the English reader the art, architectural and decorative, of the
people.... In this volume he deals with and presents, with great wealth
of illustration, the relics of their achievement in Cordova, Seville,
and Toledo.... The book seems worthy of the subject, and we would gladly
give a more effective description of its many beauties.”--_Spectator._
“As a production it is, without doubt, one of the most beautiful we have
seen, the illustrations and colour printing, being exquisite. The author
evidently knows his subject well, as the description in detail of
Cordova, Seville, and Toledo range far and above any other publication.
It is certainly one of the most interesting books of the
year.”--_Crown._
“A truly sumptuous volume.”--_Speaker._
“This sumptuous volume.”--_Westminster Gazette._
“Scholarly and richly illustrated volume.... Although he himself
deprecates the value of the essays accompanying the illustrations of his
book, declaring his purpose to have been rather to present a picture
than to chronicle the romances of Spanish-Morisco art, Mr. CALVERT has
given a very complete and deeply-interesting account of the evolution of
that art, which he has skilfully combined with a condensed history of
the people who produced it.”--_Connoisseur._
“Just when the new Spanish marriage is attracting attention to a country
of departed greatness, Mr. CALVERT’S volume appears with the courtliest
of dedications to His Majesty Alfonso XIII. In many respects this
handsome volume is a timely wedding present for his Spanish Majesty, as
it is a gorgeous literary tribute to the beauty of the jewels in the
Spanish Crown--Cordova, Seville, and Toledo. Mr. CALVERT is an
enthusiast and an antiquary.... The author himself allows us to regard
his volume in the main as a picture book, and we can imagine that many a
designer who eschews the noble simplicity of fresh forms and the
Christian aspiration of Gothic art will turn with profit to the wealth
of plates here bestowed. The coloured plates are gorgeous rather than
delicate; for that we must thank the Moors, and marvel at the
inventiveness of their artist geometricians.”--_Antiquary._
“Already in his _Alhambra_ Mr. CALVERT has shown his keen appreciation
of the beauties of Spanish-Moresco architecture combined with an insight
into its special characteristics and a recognition of the manner in
which those characteristics reflect the idiosyncracies of its builders.
The present volume deals chiefly with the Cathedral Mosque of Cordova,
the Alcazar of Seville, and the less important relics of Moorish art at
Toledo, bringing vividly before the imagination the almost bewildering
richness of design, with the infinite variety, yet intrinsic simplicity,
of decorative motives, that set the art of the Moors apart from that of
any other people, the creators of the marvellous palaces and tombs of
India not excepted.... Though Mr. CALVERT relies mainly on the copious
illustrations of his book to impress upon the spectator the beauty of
the survivals of Moorish art in Spain, he supplements his descriptions
of them with a history of the Moors during the eight centuries of the
domination in Spain. To the actual story of the three typical towns
selected Mr. CALVERT has added a very interesting and richly-illustrated
chapter on the general principles of Arab ornament.”--_Studio._
“An interesting, well-written, and illuminative work, sumptuously
illustrated and tasteful alike in method and detail. Mr. CALVERT is to
be heartily congratulated. His admirable work on the Alhambra, to which
the present volume is designed to be complementary, showed him to be not
merely a careful and appreciative student of Moorish art, but a
connoisseur possessed of remarkable powers of discrimination. Of the new
book before us we can at once say that it is in every way worthy of its
fascinating subject, and a fitting companion to its predecessor.... The
exquisiteness of the Mosque Cathedral of Cordova, and the superb tracery
and decoration of the Alcazar of Seville, are here adequately revealed,
perhaps for the first time. Indeed, to the traveller familiar with these
wonders of Moorish delicacy, the present volume will reveal new
beauties. Mr. CALVERT, as in his previous work, has made his letterpress
subservient to his illustrations, and the illustrations are given with a
minuteness and faithfulness of detail and colour, which will be
particularly appreciated and acknowledged by those who are most
acquainted with the subjects themselves.”--_Liverpool Post._
“For his history and description of the mark which the Moor has left on
Toledo, Cordova, and Seville, Mr. CALVERT has consulted many
authorities, and has produced a useful and well-written letterpress
which is in style touched by the colour and romance of the subject....
Certainly the marvellous loveliness and richness and intricacy of
detail, as well as the vastness of extent of boldness of conception of
the relics of Moorish art in the three cities named, could not be more
fully and vividly brought before the eyes than in this series of
illustrations.... The great feature of the book is the series of eighty
full-page coloured plates, in which the colour as well as form of the
wonderful arabesque and diapering which distinguish the typical
buildings of the best age of Moorish architecture in Spain, are shown
with remarkable vividness and fidelity.”--_Scotsman._
“It is only fitting that this important volume has been dedicated to the
King of Spain, for it would be difficult to imagine a more sumptuous
work illustrating the beautiful buildings which the Moors left behind
them in the Peninsula to bear everlasting record to their taste and
culture.... The illustrations are such a prominent feature of this
volume that they claim our first attention. At the risk of being
suspected of exaggeration we can only say that it is impossible to
praise too highly the care with which they have been prepared. There are
some hundreds of them, of which between eighty and ninety are exact
reproductions in colour and gold of various portions of the marvellously
beautiful decorations so beloved of the Moors and so characteristic of
their work. The other illustrations are so numerous and well chosen as
to give a perfect series of pictures of every portion of these Moorish
buildings. Details of tracery, capitals of pillars, sections of friezes,
decorations and roofs are pictured with absolute faithfulness, and as a
treasure-house of Moorish art this book and its predecessor are, and
will probably remain, unique. But by modestly remarking in his preface
that he has made the letterpress subservient to the illustrations, the
author has done himself a great injustice. Not only is the book
carefully thought out and well arranged, but it is written in a most
sympathetic spirit, and abounds in passages of real
eloquence.”--_Birmingham Daily Post._
“This handsome volume is the complement of Mr. CALVERT’S work on the
Alhambra, and, like its predecessor, is lavishly illustrated.... The
illustrations have been chosen with excellent taste, and executed with
considerable skill.... It would be difficult to find anything more
representative in their respective ways.”--_Manchester Guardian._
IMPRESSIONS OF SPAIN
BY ALBERT F. CALVERT
_8vo. 10s. 6d. NET_
_SOME PRESS OPINIONS_
“Covers a great deal of ground, and treats a great many
subjects.”--_Times._
“Is full of that true knowledge which comes of sympathy, and is both
more trustworthy and more agreeable than many more pretentious
volumes.”--_Morning Post._