,,the ,,alhambra ,,he ,,who ,,sevilla ,,has ,,not ,,seen ,,has ,,not ,,seen ,a ,,marvel ,,great2 ,,who ,,to ,,granada ,,has ,,not ,,been ,,can ,,have ,,nothing ,,to ,,relate4 ,spanish ,popular ,rhyme4 ,illustration3 ,signature3 ,albert ,f4 ,calvert ,illustration3 ,,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 ,f4 ,,calvert ,,london3 ,,john ,,lane1 ,,the ,,bodley ,,head ,,new ,,york3 ,,john ,,lane ,,company1 ,,mcmvii ,e4 ,goodman and ,son1 ,the ,phnix ,press1 ,taunton4 ,,to ,,his ,,majesty ,,king ,,alfonso ,,xiii4 ,,sire1 ,the great interest your ,majesty has evinced in the ,moorish ,monuments which adorn your ,majesty's loyal and noble country1 and the gracious appreciation with which you were pleased to regard my first work on ,the ,alhambra1 inspired me with the presumption to solicit the honour of your ,majesty's ,august ,patronage for this volume1 which is humbly dedicated to your ,majesty agreeably to your gracious permission1 by ,your ,majesty's humble ,servant1 ,,albert ,f4 ,,calvert4 ,,preface ,although the admission may be construed by the censorious as betraying a lack of becoming diffidence1 ,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 compiled4 ,my temerity goes even further1 and ,i anticipate with some confidence that visitors to the ,alhambra1 and pilgrims to that glorious ,mecca of ,moorish workmanship will recognise in this book an earnest attempt to supply a long-felt want4 ,when ,i paid my first visit to ,granada some years ago1 ,i was surprised and disappointed to find that no such thing as an even fairly adequate illustrated souvenir of this 8city of the dawn0 was to be obtained4 ,many tomes1 costly and valuable 7not necessarily the same thing71 have been written to place on record the wonders of 8the glorious sanctuary of ,spain10 but these are beyond the reach of the general public4 ,many beautiful pictures have caught odd ecstasies of this superb and perfectly harmonised palace of art1 but these impressions are not available to the ordinary tourist4 ,what is wanted1 as ,i imagine1 is a concise history and description of the ,alhambra1 illustrated with a series of pictures constituting a tangible remembrancer of the delights of this ,granadian paradise 8,where glory rests 'tween laurels1 ,a torch to give thee light60 ,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 influence4 ,but as the witchery of an inspired score can be recalled by the sound of an air whistled in the street1 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 epitome4 ,i desire1 however1 to submit an explanation--or excuse--for the unusual form in which this volume is issued4 ,at the commencement of my work ,i experienced no little difficulty in collecting the requisite illustrations1 for most of the obtainable photographs were ill-chosen and but carelessly developed1 and ,i was compelled to press my own cameras into the service of my scheme4 ,but when my designs became known1 ,i was inundated with offers of pictures of every description until the embarrassment of artistic treasures entirely upset the original purpose of my book4 ,artists placed their studies at my disposal2 collectors begged me1 with irresistible ,spanish courtesy1 to regard their galleries as my own2 and students directed my attention to little known publications on the subject4 ,don ,mariano ,contreras1 ,conservator of the ,alhambra1 the son of the gifted ,raphal ,contreras1 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 art2 and ,i have also laid under contribution the beautiful plates of ,owen ,jones1 who disposed of a ,welsh inheritance in order to produce his great work on the ,plans1 ,elevations1 ,sections and ,details of the ,alhambra4 ,jones's ,grammar of ,ornament1 which has been described as 8beautiful enough to be the horn-book of the ,angels10 also contains the result of his researches in the ,alhambra1 which occupied him for the greater part of eleven years4 ,a selection of these illustrations is here rescued from the obscurity of public libraries and the inaccessible recesses of private collections4 ,the inclusion of ,john ,f4 ,lewis's drawings1 and the reproduction of a series of pictures by ,james ,c4 ,murphy1 who spent seven years in the study of the artistic marvels of the ,alhambra1 ,i do not feel called upon to defend4 ,the photographs1 several of which were placed at my disposal by ,don ,rafal ,garzn1 represent the buildings as they appear to-day2 the drawings were made before the ,palace was damaged by the disastrous fire of ,september1 #ahij4 ,for the historical portions of the description contained in the letterpress ,i have levied tribute on a variety of authors4 ,the ,history of the ,mohammedan ,dynasties in ,spain1 by the learned ,spanish ,orientalist1 ,don ,pascual de ,gayngos2 ,raphal ,contreras' ,etude ,descriptive des ,monuments ,arabes2 ,richard ,ford's reverent appreciations2 ,dr4 ,r4 ,dozy's history2 ,mr4 ,stanley ,lane-,poole's ,the ,moors in ,spain2 ,washington ,irving's fascinating writings2 and ,the ,alhambra ,album1 presented by ,prince ,dolgorouki in #ahbi1 containing the autographs1 poems and thoughts of succeeding generations of visitors to ,granada1 these and many others have been drawn upon in the following pages4 ,but the multiplicity of my illustrations convinced me that if ,i adhered to my idea of furnishing an amount of letterpress sufficient to 8carry0 the blocks1 ,i should only end in producing a book that would tax the physical endurance of my readers by reason of its bulk1 and exhaust their patience with a tedious superabundance of minute descriptive pabulum4 ,i resolved1 therefore1 to give pride of place to the pictorial side of the volume2 to abandon the traditions regulating the proportions of prose to pictures2 and make my appeal to the public by the beauty and variety of the illustrations ,i have collected1 and the immensity of elaborate letterpress which ,i have not written4 ,a4 ,f4 ,c4 8,,royston10 ,,hampstead1 ,n4,w41 #aijd4 ,,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 publication1 and it is perhaps out of sympathy with the misgivings that assail him as he approaches the bar of public and critical opinion1 that convention cedes to him the privilege of making some apology for the faith that is in him4 ,in his preface he is permitted to explain himself1 and this apologia or justification1 call it which you will1 stands as the last word in his own defence4 ,but the demand for a further edition is the outcome of an amiable conspiracy on the part of the public1 and it is not required of the author to explain1 justify1 or excuse an issue for which he is not directly responsible4 ,any revision or amplification1 however1 which is to be found in a second impression1 may be briefly referred to1 and at the same time tradition allows him to express the feelings of gratitude and gratification that the occasion inspires4 ,it has been my ambition to acknowledge the favour with which this book has been received1 by having this edition produced with the greatest care on special paper1 and by the addition of a number of new illustrations1 including some half-tone and coloured plates reproduced from the ,monumentos ,arquitectonicos de ,espaa and others1 which ,i have acquired since it was first produced4 ,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 ,seville1 and as being representative of the ,moresco work of the period1 they also appear in the companion volume on 8,moorish ,remains in ,spain10 but it may be stated that the whole of the plates reproduced here are from photographs and drawings secured1 or specially made to illustrate ,the ,alhambra4 ,in its pictorial appeal it has been my ambition to make this edition as worthy of its subject as means and ability permit1 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 effort4 ,a4 ,f4 ,c4 ,list of ,illustrations4 ,,page ,,frontispiece ,,panels ,,and ,,inscriptions ,,in ,,the ,,alhambra xxxiii4 ,,various ,,mosaics ,,from ,,the ,,alhambra xxxvii4 ,,panel ,,ornament ,,in ,,the ,,alhambra xxxix4 ,,fret4--,,fig4 #a4 ,,formed ,,by ,,the ,,interlacing ,,of ,,lines xli4 ,,fret4--,,fig4 #b4 ,,formed ,,by ,,the ,,interlacing ,,of ,,lines xlii4 ,,plan ,,of ,,general ,,construction ,,of ,,central ,,ornament ,,of ,,ceilings xliii4 ,,section ,,of ,,the ,,columns ,,and ,,arches ,,of ,,general ,,construction ,,in ,,the ,,palace xliv4 ,,diagrams xlv4 ,,miscellaneous ,,ornament ,,in ,,the ,,alhambra xlvii4 ,,cornices1 ,,capitals1 ,,and ,,columns ,,in ,,the ,,alhambra xlix4 ,,capitals ,,from ,,the ,,courts ,,and ,,halls ,,of ,,the ,,alhambra li4 ,,view ,,of ,,granada1 ,,showing ,,the ,,alhambra ,,and ,,the ,,sierra ,,nevada #b ,,general ,,view ,,of ,,the ,,alhambra ,,from ,,san ,,nicolas #c ,,part ,,of ,,the ,,alhambra1 ,,exterior #d ,,the ,,alhambra ,,and ,,the ,,sierra ,,nevada #e ,,ascent ,,to ,,the ,,alhambra ,,by ,,the ,,cuesta ,,del ,,rey ,,chico--,,lesser ,,king ,,hill #g ,,balcony ,,of ,,the 8,,captive0 7,,isabel ,,de ,,solis71 ,,overlooking ,,the ,,vega1 ,,or ,,plain1 ,,of ,,granada #h ,,alcove ,,of ,,the 8,,captive0 #i ,,interior ,,of ,,the 8,,captive',s0 ,,tower #aa ,,the ,,gothic ,,inscription ,,set ,,up ,,in ,,the ,,alhambra ,,by ,,the ,,count ,,of ,,tendilla1 ,,to ,,commemorate ,,the ,,surrender ,,of ,,the ,,fortress ,,in #adib #ad ,,the ,,surrender ,,of ,,granada ,,by ,,boabdil ,,to ,,ferdinand ,,and ,,isabella1 ,,january #b,,nd1 #adib #ae ,,gold ,,coin 7,,obverse ,,and ,,reverse7 ,,of ,,mohammed ,i41 ,,the ,,founder ,,of ,,the ,,alhambra1 ,,who ,,reigned #abcb-abgb ,a4,d4 #ba 8,,wa ,,la ,,ghalib ,,ila ,,al60--,,there ,,is ,,no ,,conqueror ,,but ,,god6--,,the ,,famous ,,motto1 ,,in ,,kufic ,,characters1 ,,of ,,mohammed ,i4 ,,and ,,his ,,successors1 ,,which ,,is ,,inscribed ,,on ,,the ,,walls ,,of ,,the ,,alhambra ,,in ,,countless ,,repetition #be1 #ea ,,the ,,wine ,,gate1 ,,attributed ,,to ,y,,suf ,i4 #bi ,,hall ,,of ,,the ,,two ,,sisters ,,from ,,the ,,entrance ,,door1 ,,built ,,by ,y,,suf ,i4 #cj ,,the ,,sult,n',s ,,bath1 ,,constructed ,,by ,y,,suf ,i4 #ca ,,court ,,of ,,myrtles1 ,,or ,,of ,,the ,,fish-,,pond1 ,,formed ,,by ,y,,suf ,i4 #cb ,,the ,,kor,n ,,recess ,,in ,,the ,,mosque1 ,,the ,,scene ,,of ,y,,suf',s ,,assassination #cc ,,the ,,gate ,,of ,,justice1 ,,erected ,,by ,y,,suf ,i4 #cg ,,hall ,,of ,,justice ,,and ,,court ,,of ,,the ,,lions #ci ,,hall ,,of ,,justice #da1 #dc ,,hall ,,of ,,justice1 ,,showing ,,fountain ,,of ,,court ,,of ,,the ,,lions #db ,,hall ,,of ,,justice ,,and ,,part ,,of ,,court ,,of ,,the ,,lions #de ,,hall ,,of ,,justice4--,,three ,,figures ,,from ,,the ,,picture ,,of ,,the ,,moorish ,,tribunal #de ,,part ,,of ,,picture ,,in ,,the ,,hall ,,of ,,justice ,,representing ,a ,,christian ,,knight ,,rescuing ,a ,,maiden ,,from ,a ,,wicked ,,magician1 ,,or ,,wild-,,man-,o'-,,the-,,woods4 ,,the ,,christian ,,knight ,,is1 ,,in ,,turn1 ,,slain ,,by ,a ,,moorish ,,warrior #dg ,,hall ,,of ,,justice4--,,moor',s ,,head #dh ,,fa,,ade1 ,,court ,,of ,,the ,,mosque1 ,,built ,,by ,y,,suf ,i4 #di ,,elevation ,,of ,,the ,,ancient ,,gate ,,of ,,justice #ec ,,sections ,,of ,,the ,,hall ,,of ,,justice #ee ,,paintings ,,on ,,the ,,ceiling ,,of ,,the ,,hall ,,of ,,justice #eg1 #ei ,,part ,,of ,,picture ,,in ,,the ,,hall ,,of ,,justice4--,,the ,,moor',s ,,return ,,from ,,hunting #fa ,,hall ,,of ,,justice4--,,the ,,death ,,of ,,the ,,lion ,,at ,,the ,,hands ,,of ,a ,,christian ,,knight #fc ,,part ,,of ,,picture ,,in ,,hall ,,of ,,justice4--,,moorish ,,huntsman ,,slaying ,,the ,,wild ,,boar #fc ,,entrance ,,to ,,hall ,,of ,,the ,,two ,,sisters1 ,,from ,,the ,,court ,,of ,,lions #fe ,,hall ,,of ,,the ,,two ,,sisters1 ,,from ,,entrance ,,door #ff ,,hall ,,of ,,the ,,two ,,sisters #fg1 #gi1 #aac ,,upper ,,balcony ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters #fh ,,hall ,,of ,,the ,,two ,,sisters1 ,,from ,,the 8,,lindaraja0 ,,balcony #fi ,,balcony ,,of ,,the ,,favourite1 8,,lindaraja0 #ga ,,details ,,of ,,the ,,glazed ,,tiles ,,in ,,the ,,dado ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters #gc ,,the ,,favourite',s ,,balcony #gf ,,el ,,jarro4 ,,the ,,arabian ,,vase ,,and ,,niche ,,in ,,which ,,it ,,formerly ,,stood1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,the ,,vase1 ,,considerably ,,mutilated1 ,,is ,,now ,,in ,,the ,,museum ,,of ,,the ,,palace #gg1 #ie ,,hall ,,of ,,the ,,two ,,sisters #gi ,,view ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters #ha ,,detail ,,of ,,the ,,upper ,,story1 ,,hall ,,of ,,the ,,two ,,sisters #hc ,,section ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters1 ,,and ,,section ,,of ,,part ,,of ,,the ,,court ,,of ,,the ,,lions #hd1 #he ,,inscriptions ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters #hg1 #hi ,,panel1 ,,ornament1 ,,and ,,inscriptions ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters #ia ,,details ,,on ,,the ,,front ,,of 8,,lindaraja',s0 ,,balcony #ic ,,details ,,at ,,the ,,exit ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters #ig ,,an ,,arab ,,vase ,,of ,,the ,,xivth ,,century ,,in ,,the ,,niche ,,wherein ,,it ,,stood ,,until ,,the ,,year #ahcg #ii ,,mosaic ,,in ,,dado ,,of ,,the ,,entrance ,,to ,,the ,,hall ,,of ,,the ,,two ,,sisters #ajj ,,mosaic ,,in ,,dado ,,of ,,recess1 ,,hall ,,of ,,the ,,two ,,sisters #aja ,,mosaic ,,in ,,dado1 ,,hall ,,of ,,the ,,two ,,sisters #aja ,,hall ,,of ,,the ,,abencerrages 7,,beni ,,cerraj7 #aje ,,mosaic--,,hall ,,of ,,the ,,abencerrages #ajg ,,hall ,,of ,,the ,,abencerrages #aji1 #aai1 #aba ,,wooden ,,door1 ,,hall ,,of ,,the ,,abencerrages #aaa ,,interior ,,view1 ,,taken ,,from ,,the ,,hall ,,of ,,the ,,two ,,sisters #aae ,,ceiling ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters #aag ,,ceiling ,,of ,,the ,,hall ,,of ,,the ,,abencerrages #abd ,,mosaic1 ,,from ,a ,,fragment ,,in ,,the ,,alhambra #abe ,,mosaic1 ,,north ,,side ,,of ,,the ,,court ,,of ,,the ,,lions #abe ,,chief ,,gate ,,of ,,the ,,alhambra #abg ,,transversal ,,section ,,of ,,the ,,alhambra #abi ,,section ,,showing ,,heights ,,of ,,the ,,alhambra #aca ,,elevation ,,of ,,the 8,,wine ,,gate0 #acc ,,the ,,gate ,,of ,,judgment #ace ,,porch ,,of ,,the ,,gate ,,of ,,judgment #acg ,a ,,section ,,of ,,the ,,gate ,,of ,,judgment #aci ,,interior ,,perspective ,,of ,,the ,,alhambra #ada ,,view ,,of ,,the ,,aqueduct1 ,,near ,,the ,,alhambra #adc ,a ,,view ,,of ,,the ,,alhambra ,,from ,,the ,,albaycin #ade ,,gate ,,of ,,justice #adg ,,north ,,side ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond #aea ,,elevation ,,of ,,an ,,alcove ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond #aec ,,elevation ,,of ,,the ,,arcade ,,on ,,the ,,north ,,side ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond #aee ,,section ,,through ,,part ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond ,,and ,,the ,,hall ,,of ,,the ,,ambassadors #aeg ,,the ,,baths2 ,,hall ,,of ,,repose #aei ,,ground ,,plan ,,of ,,the ,,baths ,,in ,,the ,,alhambra #afa ,,section ,,of ,,the ,,hall ,,of ,,the ,,baths #afc ,a ,,section ,,of ,,the ,,baths ,,in ,,the ,,alhambra #afe ,,the ,,sult,,na',s ,,bath #afg ,,the ,,sult,n',s ,,bath #afi ,,the ,,hall ,,of ,,the ,,baths #aga ,,ceiling ,,of ,,the ,,hall ,,of ,,the ,,baths #agc ,,longitudinal ,,section ,,through ,,the ,,baths #age ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #agg1 #aha1 #aia ,,gallery1 ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #agi ,,details ,,of ,,the ,,gallery ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #ahc ,,court ,,of ,,the ,,fish-,,pond #ahe1 #aic ,,entrance ,,to ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #ahg ,,ornament ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #ahi ,,gallery ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #aie ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions #aif ,,mosaic1 ,,south ,,side ,,of ,,the ,,court ,,of ,,the ,,lions #aif ,,fountain ,,and ,,east ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions #aig ,,the ,,court ,,of ,,the ,,lions #aih1 #aii1 #bja1 #bac ,,general ,,view ,,of ,,the ,,court ,,of ,,the ,,lions #bjc1 #bjg ,,little ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions #bje ,,fountain ,,in ,,the ,,court ,,of ,,the ,,lions #bje ,a ,,little ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions #bjf ,a ,,peep ,,into ,,the ,,court ,,of ,,the ,,lions #bjf ,,the ,,court ,,of ,,the ,,lions1 ,,from ,,the ,,west #bji ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions #baa ,,side ,,elevation ,,of ,,the ,,court ,,of ,,the ,,lions ,,and ,,fountain #bae ,,elevation ,,of ,,the ,,fountain ,,of ,,the ,,lions #bag ,,fountain ,,of ,,the ,,lions1 ,,with ,,details ,,of ,,the ,,ornament #bai ,,plan ,,of ,,the ,,basin ,,of ,,the ,,fountain ,,of ,,the ,,lions #bba ,,the ,,first ,,six ,,verses ,,of ,,the ,,inscription ,,around ,,the ,,basin ,,of ,,the ,,fountain ,,of ,,the ,,lions #bbc ,,the ,,last ,,six ,,verses ,,of ,,the ,,inscription ,,around ,,the ,,basin ,,of ,,the ,,fountain ,,of ,,the ,,lions #bbe ,,entablature ,,in ,,the ,,court ,,of ,,the ,,lions #bbg ,,details ,,of ,,the ,,centre ,,arcade ,,of ,,the ,,court ,,of ,,the ,,lions #bbi ,,part ,,of ,,panel ,,in ,,the ,,court ,,of ,,the ,,lions #bca ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions #bcc1 #bcg ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions 7,,upper ,,portion7 #bce ,,longitudinal ,,section ,,of ,,the ,,court ,,of ,,the ,,lions1 ,,taken ,,through ,,the ,,pavilion ,,at ,,each ,,end ,,of ,,the ,,court1 ,,and ,,exhibiting ,,an ,,elevation ,,of ,,the ,,side ,,porticos #bch1 #bci ,,capitals ,,in ,,the ,,court ,,of ,,the ,,lions1 ,,with ,a ,,measure ,,of ,,one ,,metre #bda ,,north ,,gallery ,,in ,,the ,,court ,,of ,,the ,,lions #bdc ,,entrance ,,to ,,the ,,hall ,,of ,,the ,,barque1 ,,with ,,view ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles #bde ,,the ,,hall ,,of ,,ambassadors #bdg1 #bec ,,mosaic ,,in ,,dado1 ,,hall ,,of ,,ambassadors #bdh ,,general ,,view ,,of ,,the ,,hall ,,of ,,ambassadors #bdi1 #bea ,,entrance ,,to ,,the ,,hall ,,of ,,the ,,barque1 ,,the ,,ante-,,room ,,of ,,the ,,hall ,,of ,,ambassadors #bee ,,perspective ,,view ,,of ,,the ,,hall ,,of ,,ambassadors #beg ,,section ,,and ,,elevation ,,of ,,the ,,interior ,,of ,,the ,,hall ,,of ,,ambassadors #bei ,,detail ,,in ,,the ,,hall ,,of ,,ambassadors #bfa ,,kufic ,,inscriptions1 ,,hall ,,of ,,ambassadors #bfc ,,mosaic ,,on ,,dado ,,of ,,balcony1 ,,hall ,,of ,,ambassadors #bfe ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors #bfg1 #bgi1 #bhe1 #bhg ,,mural ,,ornament1 ,,entrance ,,to ,,the ,,hall ,,of ,,ambassadors #bfi ,,ornament ,,at ,,the ,,side ,,of ,,doorway1 ,,entrance ,,to ,,the ,,hall ,,of ,,ambassadors #bga ,,an ,,arabian ,,ornament1 ,,hall ,,of ,,ambassadors #bgc ,,an ,,arabian ,,ornament1 ,,entrance ,,to ,,the ,,hall ,,of ,,ambassadors #bge ,,inscriptions ,,and ,,ornament1 ,,hall ,,of ,,ambassadors #bgg ,,inscriptions ,,in ,,the ,,hall ,,of ,,ambassadors #bha ,,mural ,,ornament1 ,,hall ,,of ,,ambassadors #bhc ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,north ,,front ,,of ,,the ,,hall ,,of ,,ambassadors #bhi ,,ornament ,,in ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors #bia ,a ,,ceiling ,,in ,,outline1 ,,hall ,,of ,,ambassadors #bic ,,the ,,ceiling ,,of ,,the ,,dome ,,laid ,,flat1 ,,hall ,,of ,,ambassadors #bie ,,details ,,of ,,glazed ,,tiles ,,in ,,the ,,hall ,,of ,,ambassadors #big ,,mosaic ,,in ,,dado1 ,,east ,,side ,,of ,,the ,,hall ,,of ,,ambassadors #bii ,,mosaic ,,in ,,dado1 ,,north ,,side ,,of ,,the ,,hall ,,of ,,ambassadors #bii ,,mosaics ,,in ,,dado1 ,,hall ,,of ,,ambassadors #cja ,,ceiling ,,of ,,gallery1 ,,hall ,,of ,,ambassadors #cjc ,,exterior ,,of ,,the ,,mosque 7,,private ,,property7 #cjd ,,fa,,ade ,,of ,,the ,,mosque #cje ,,elevation ,,of ,,portico ,,adjacent ,,to ,,the ,,mosque #cjg ,,details ,,of ,,ornament ,,of ,,kor,n ,,recess ,,near ,,the ,,entrance ,,door ,,of ,,the ,,mosque #cji ,,details ,,of ,,ornament ,,in ,,the ,,court ,,of ,,the ,,mosque #caa ,,details ,,in ,,the ,,court ,,of ,,the ,,mosque1 ,,eastern ,,fa,,ade #cac ,,arched ,,windows ,,of ,,the ,,mosque #cae ,,interior ,,of ,,the ,,mosque #cag1 #cai ,,the ,,mosque1 ,,from ,,kor,n ,,recess #cai ,,arab ,,lamp ,,in ,,the ,,mosque #cba ,,chamber ,,of ,,repose #cbd1 #cbe1 #cbg ,,garden ,,of 8,,lindaraja10 ,,and ,,the ,,apartments ,,traditionally ,,said ,,to ,,have ,,been ,,occupied ,,by 8,,lindaraja10 ,a ,,favourite ,,sult,,na #cbh ,,the ,,garden ,,of 8,,lindaraja0 #cbi ,,mosaic ,,pavement ,,in ,,the ,,queen',s ,,dressing-,,room 7,,tocador ,,de ,,la ,,reina7 #cca1 #ddj 8,,the ,,queen',s ,,dressing-,,room10 ,,at ,,the ,,summit ,,of ,,the ,,mihr,b ,,tower1 ,,with ,,distant ,,view ,,of ,,the ,,generalife #ccb ,,towers ,,and ,,promenade #ccc ,,the ,,tower ,,of ,,the ,,peaks #ccf ,,the ,,homage ,,tower1 ,,ancient ,,arab ,,ruins ,,in ,,the ,,alcaz,,ba #ccg ,,granada1 ,,from ,,the ,,homage ,,tower #ccg ,,the ,,captive',s ,,tower #cci ,,interior ,,of ,,the ,,infantas ,,tower #cci ,,tower ,,of ,,infantas #cda1 #cde ,,interior ,,of ,,the ,,infantas ,,tower 7,,ceiling7 #cdc ,,room ,,in ,,the ,,torre ,,del ,,cautivo1 ,,or ,,captive',s ,,tower #cdg ,,the ,,ladies' ,,tower #cdg ,,torre ,,de ,,la ,,aqua--,,tower ,,of ,,the ,,aqueduct #cdi ,,detail ,,of ,,the ,,only ,,ancient ,,jalousie ,,remaining ,,in ,,the ,,alhambra #cdi ,,the ,,infantas ,,tower #cea ,,details ,,of ,,the ,,entrance ,,door ,,to ,,the ,,museum #cec ,,bas-,,relief1 ,,now ,,in ,,the ,,museum ,,of ,,the ,,alhambra #cee ,,bas-,,relief1 ,,from ,,an ,,engraving ,,in ,,murphy',s ,,arabian ,,antiquities #cee ,,palace ,,of ,,charles ,v4 #cef1 #cfa ,,elevation ,,of ,,section ,,of ,,the ,,palace ,,of ,,charles ,v4 #ceg ,,interior1 ,,palace ,,of ,,charles ,v4 #cei ,,roman ,,court1 ,,palace ,,of ,,charles ,v4 #cfc ,,plan ,,of ,,the ,,alhambra #cfe ,,ground ,,floor ,,plan ,,of ,,the ,,alhambra1 ,,and ,,of ,,the ,,foundations ,,of ,,the ,,palace ,,of ,,charles ,v4 #cfg ,,plan ,,of ,,the ,,palace ,,of ,,charles ,v41 ,,and ,,of ,,the ,,subterranean ,,vaults ,,of ,,the ,,alhambra #cfi ,,hall ,,of ,,justice #cga ,,sunk ,,lines ,,on ,,the ,,walls1 ,,hall ,,of ,,justice ,,and ,,court ,,of ,,the ,,lions #cgc ,,frieze ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters #cge ,,panel ,,on ,,jambs ,,of ,,doorways1 ,,hall ,,of ,,the ,,two ,,sisters #cge ,,ornament ,,in ,,panels1 ,,hall ,,of ,,the ,,barque #cgg ,,ornament ,,in ,,panels1 ,,hall ,,of ,,ambassadors #cgg ,,cornice ,,over ,,columns1 ,,court ,,of ,,the ,,lions #cgi ,,frieze ,,over ,,columns1 ,,court ,,of ,,the ,,lions #cgi ,,band ,,round ,,panels ,,in ,,windows1 ,,hall ,,of ,,the ,,two ,,sisters #cha ,,panelling ,,in ,,windows1 ,,hall ,,of ,,ambassadors #cha ,,ornament ,,in ,,panels1 ,,court ,,of ,,the ,,mosque #chc ,,ornaments ,,at ,,the ,,junctions ,,of ,,inscriptions1 ,,court ,,of ,,the ,,lions1 ,,and ,,court ,,of ,,the ,,fish-,,pond #che ,,sunk ,,lines ,,on ,,the ,,walls1 ,,house ,,of ,,the ,,commandant #chg ,,ornament ,,in ,,panels1 ,,hall ,,of ,,ambassadors #chi ,,details ,,of ,,the ,,ornaments ,,which ,,are ,,introduced ,,into ,,the ,,painting ,,over ,,the ,,centre ,,alcove ,,of ,,the ,,hall ,,of ,,justice #cia ,,details ,,and ,,arabian ,,inscriptions #cic ,,details ,,of ,,arabian ,,work #cie ,,details ,,and ,,inscriptions ,,and ,,arabian ,,chapiters #cig ,,details ,,of ,,arabian ,,work #cii ,,ground ,,plan ,,of ,,the ,,generalife ,,at ,,granada #djc ,,the ,,generalife #dje1 #djg1 #dac ,a ,,view ,,of ,,the ,,royal ,,villa ,,of ,,the ,,generalife ,,at ,,granada #dji ,,transverse ,,section ,,of ,,the ,,royal ,,villa ,,of ,,the ,,generalife ,,at ,,granada #daa ,,garden ,,of ,,the ,,generalife #dae ,,perspective ,,view ,,of ,,the ,,garden ,,of ,,the ,,generalife #dag ,,elevation ,,and ,,ground ,,plan ,,of ,,the ,,portico ,,of ,,the ,,generalife #dai ,,mosaic1 ,,portico ,,of ,,the ,,generalife #dba ,,front ,,view ,,of ,,the ,,portico ,,of ,,the ,,generalife #dbc ,a ,,ceiling ,,in ,,the ,,generalife #dbe ,,generalife 7,,portrait ,,gallery71 ,,entrance ,,to ,,the ,,gallery ,,of ,,retratos #dbg ,,gallery ,,in ,,the ,,acequia ,,court1 ,,generalife #dbg1 #dcg ,,gallery ,,in ,,the ,,generalife #dbi ,,the ,,acequia ,,court1 ,,generalife #dca1 #dce ,,the ,,acequia ,,court1 ,,from ,,the ,,main ,,entrance1 ,,generalife #dcc ,a ,,corner ,,of ,,the ,,acequia ,,court1 ,,generalife #dce ,,cypress ,,court1 ,,generalife #dcg ,,mosaic ,,pavement ,,in ,,the ,,dressing-,,room ,,of ,,the ,,sult,,na #ddj ,,sabre ,,of ,,the ,,last ,,moorish ,,king ,,of ,,granada #dda ,,elevation ,,of ,,the ,,casa ,,del ,,carbon1 ,,or 8,,house ,,of ,,carbon10 ,,once ,,known ,,as ,,the ,,house ,,of ,,the ,,weather-,,cock #ddc ,,house ,,of ,,sanchez #dde ,,plan ,,and ,,section ,,of ,,the ,,great ,,cistern ,,in ,,the ,,alhambra #ddg ,list of ,coloured ,illustrations4 ,,plate4 ,,no4 ,,description4 ,i4 #a ,,ornament ,,in ,,panels ,,on ,,the ,,walls1 ,,hall ,,of ,,ambassadors4 ,,ii4 #b ,,soffitt ,,of ,,an ,,arch1 ,,court ,,of ,,the ,,fish-,,pond4 ,,iii4 #c ,,ornament ,,over ,,doorway ,,at ,,the ,,entrance1 ,,court ,,of ,,the ,,lions4 ,,iv4 #d ,,ornament ,,in ,,doorway ,,at ,,the ,,entrance ,,to ,,the ,,veneta1 ,,hall ,,of ,,the ,,two ,,sisters4 ,v4 #e ,,ornament ,,on ,,the ,,side ,,of ,,windows1 ,,upper ,,storey1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,vi4 #f ,,ornament ,,in ,,spandrils ,,of ,,arches1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,vi4 #g ,,ornaments ,,in ,,spandrils ,,of ,,arches1 ,,hall ,,of ,,the ,,abencerrages4 ,,vii4 #h ,,ornaments ,,in ,,panels1 ,,hall ,,of ,,the ,,ambassadors4 ,,viii4 #i ,,ornaments ,,in ,,panels1 ,,court ,,of ,,the ,,mosque4 ,,ix4 #aj ,,ornament ,,over ,,arches ,,at ,,the ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions4 ,x4 #aa ,,ornament ,,on ,,the ,,walls1 ,,hall ,,of ,,the ,,abencerrages4 ,,xi4 #ab ,,ornament ,,in ,,panels ,,on ,,the ,,walls1 ,,court ,,of ,,the ,,mosque4 ,,xii4 #ac ,,spandril ,,of ,,an ,,arch ,,of ,,window1 ,,hall ,,of ,,ambassadors4 ,,xiii4 #ad ,,brackets ,,supporting ,,ceiling ,,of ,,the ,,portico1 ,,court ,,of ,,the ,,lions4 ,,xiv4 #ae ,,small ,,panel ,,in ,,jamb ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,,xv4 #af ,,small ,,panel ,,in ,,jamb ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,,xvi4 #ag ,,small ,,panel ,,in ,,jamb ,,of ,a ,,window1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,xvii4 #ah ,,panel ,,in ,,the ,,upper ,,chamber ,,of ,,the ,,house ,,of ,,sanchez4 ,,xviii4 #ai ,,soffitt ,,of ,,great ,,arch ,,at ,,the ,,entrance ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,,xix4 #bj ,,spandril ,,from ,,niche ,,of ,,doorway ,,at ,,the ,,entrance ,,of ,,the ,,hall ,,of ,,ambassadors1 ,,from ,,the ,,hall ,,of ,,the ,,bark4 ,,xx4 #ba ,,lintel ,,of ,a ,,doorway1 ,,court ,,of ,,the ,,mosque4 ,,xxi4 #bb ,,capital ,,of ,,columns1 ,,court ,,of ,,the ,,lions4 ,,xxi4 #bc ,,capital ,,of ,,columns1 ,,court ,,of ,,the ,,lions4 ,,xxii4 #bd ,,capital ,,of ,,columns1 ,,court ,,of ,,the ,,lions4 ,,xxii4 #be ,,capital ,,of ,,columns1 ,,court ,,of ,,the ,,lions4 ,,xxiii4 #bf ,,capital ,,of ,,columns1 ,,court ,,of ,,the ,,fish-,,pond4 ,,xxiii4 #bg ,,capital ,,of ,,columns1 ,,court ,,of ,,the ,,fish-,,pond4 ,,xxiv4 #bh ,,ornament ,,on ,,the ,,walls ,,of ,,the ,,windows ,,of 8,,linda-,,raja',s0 ,,balcony4 ,,xxiv4 #bi ,,ornament ,,on ,,the ,,walls ,,of ,,the ,,windows ,,of 8,,linda-,,raja',s0 ,,balcony4 ,,xxiv4 #cj ,,ornament ,,on ,,the ,,walls ,,of ,,the ,,windows ,,of 8,,linda-,,raja',s0 ,,balcony4 ,,xxiv4 #ca ,,ornament ,,on ,,the ,,walls ,,of ,,the ,,windows ,,of 8,,linda-,,raja',s0 ,,balcony4 ,,xxiv4 #cb ,,ornament ,,on ,,the ,,walls ,,of ,,the ,,windows ,,of 8,,linda-,,raja',s0 ,,balcony4 ,,xxiv4 #cc ,,ornament ,,on ,,the ,,walls ,,of ,,the ,,windows ,,of 8,,linda-,,raja',s0 ,,balcony4 ,,xxv4 #cd ,,court ,,of ,,the ,,lions4 ,,xxvi4 #ce ,,capitals ,,in ,,the ,,hall ,,of ,,two ,,sisters4 ,,xxvii4 #cf ,,details ,,of ,,the ,,great ,,arches ,,in ,,the ,,hall ,,of ,,the ,,bark4 ,,xxviii4 #cg ,,arches1 ,,court ,,of ,,the ,,lions ,,and ,,hall ,,of ,,justice4 ,,xxix4 #ch ,,details ,,of ,,the ,,great ,,arches4 ,,xxx4 #ci ,,frets ,,from ,,different ,,halls4 ,,xxxi4 #dj ,,detail ,,of ,,an ,,arch1 ,,court ,,of ,,the ,,fish-,,pond4 ,,xxxii4 #da ,,detail ,,of ,,an ,,arch1 ,,portico ,,of ,,the ,,court ,,of ,,lions4 ,,xxxiii4 #db ,,cornice ,,of ,,the ,,roof1 ,,court ,,of ,,the ,,mosque4 ,,xxxiv4 #dc ,,divan1 ,,court ,,of ,,the ,,fish-,,pond4 ,,xxxv4 #dd ,,actual ,,state ,,of ,,the ,,colours4 ,,xxxvi4 #de ,,windows ,,in ,,the ,,alcove1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,xxxvii4 #df ,,the ,,vase4 ,,xxxviii4 #dg ,,details ,,of ,,one ,,of ,,the ,,arches1 ,,hall ,,of ,,justice4 ,,xxxix4 #dh ,,details ,,of ,,the ,,arches1 ,,hall ,,of ,,the ,,abenderrages4 ,,xl4 #di ,,centre ,,painting ,,on ,,the ,,ceiling1 ,,hall ,,of ,,justice4 ,,xli4 #ej ,,mosaic ,,dado ,,in ,,centre ,,window ,,on ,,the ,,north ,,side1 ,,hall ,,of ,,ambassadors4 ,,xlii4 #ea ,,mosaic ,,dados ,,on ,,pillars ,,between ,,the ,,windows1 ,,hall ,,of ,,ambassadors4 ,,xliii4 #eb ,,mosaic ,,dados ,,on ,,pillars ,,between ,,the ,,windows1 ,,hall ,,of ,,ambassadors4 ,,xliv4 #ec ,,mosaics ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,,xlv4 #ed ,,mosaic ,,dado ,,round ,,the ,,internal ,,walls ,,of ,,the ,,mosque4 ,,xlvi4 #ee ,,azulejos4 ,,painted ,,tiles4 ,,xlvii4 #ef ,,mosaic ,,in ,,the ,,baths4 ,,xlvii4 #eg ,,mosaic ,,in ,,the ,,baths4 ,,xlviii4 #eh ,,mosiac ,,from ,,the ,,portico ,,of ,,the ,,generalife4 ,,xlix4 #ei ,,blank ,,window1 ,,hall ,,of ,,the ,,bark4 ,l4 #fj ,,soffitt ,,of ,,arch1 ,,entrance ,,of ,,the ,,hall ,,of ,,abenderrages4 ,,li4 #fa ,,cornice ,,at ,,springing ,,of ,,arch ,,of ,,doorway ,,at ,,the ,,entrance ,,of ,,the ,,ventana1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,lii4 #fb ,,border ,,of ,,arches4 ,,lii4 #fc ,,border ,,of ,,arches4 ,,liii4 #fd ,,border ,,of ,,arches4 ,,liv4 #fe ,,border ,,of ,,arches4 ,,liv4 #ff ,,border ,,of ,,arches4 ,,lv4 #fg ,,ornament ,,in ,,panels ,,on ,,the ,,wall1 ,,hall ,,of ,,ambassadors4 ,,lvi4 #fh ,,ornaments ,,painted ,,on ,,the ,,pendants1 ,,hall ,,of ,,the ,,bark4 ,,lvi4 #fi ,,bands1 ,,side ,,of ,,arches1 ,,court ,,of ,,the ,,lions4 ,,lviii4 #gj ,,bands1 ,,side ,,of ,,arches1 ,,court ,,of ,,the ,,lions4 ,,lviii4 #ga ,,bands1 ,,side ,,of ,,arches1 ,,court ,,of ,,the ,,lions4 ,,lix4 #gb ,,ornaments ,,on ,,panel1 ,,hall ,,of ,,ambassadors4 ,,lx4 #gc ,,ornaments ,,on ,,panels1 ,,hall ,,of ,,ambassadors4 ,,lxi4 #gd ,,ornaments ,,on ,,panels1 ,,hall ,,of ,,ambassadors4 ,,lxii4 #ge ,,ornaments ,,on ,,panels1 ,,hall ,,of ,,ambassadors4 ,,lxiii4 #gf ,,frieze ,,in ,,the ,,upper ,,chamber1 ,,house ,,of ,,sanchez4 ,,lxiv4 #gg ,,cornice ,,at ,,springing ,,of ,,arches1 ,,windows ,,of ,,the ,,hall ,,of ,,ambassadors4 ,,lxv4 #gh ,,spandril ,,of ,,arch4 ,,from ,,the ,,centre ,,arch ,,of ,,the ,,court ,,of ,,the ,,lions4 ,,lxv4 #gi ,,spandril ,,of ,,arch4 ,,from ,,the ,,entrance ,,to ,,the ,,divan1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,lxvi4 #hj ,,details ,,of ,,the ,,wood-,,work ,,of ,,the ,,door ,,to ,,the ,,hall ,,of ,,abencerrages4 ,,lxvii4 #ha ,,spandril ,,of ,,arch4 ,,hall ,,of ,,justice4 ,,lxvii4 #hb ,,spandril ,,of ,,arch4 ,,hall ,,of ,,justice4 ,,lxviii4 #hc ,,ornaments ,,on ,,the ,,walls ,,of ,,the ,,hall ,,of ,,ambassadors4 ,,lxix4 #hd ,,spandril ,,of ,,arch4 ,,from ,,the ,,entrance ,,to ,,the ,,court ,,of ,,lions ,,from ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,,lxix4 #he ,,spandril ,,of ,,arch4 ,,from ,,the ,,entrance ,,to ,,the ,,court ,,of ,,the ,,fish-,,pond ,,from ,,the ,,hall ,,of ,,the ,,bark4 ,,lxx4 #hf ,,mosaic4 ,,pilaster1 ,,hall ,,of ,,ambassadors4 ,,lxx4 #hg ,,mosaic4 ,,dado1 ,,hall ,,of ,,ambassadors4 ,,lxx4 #hh ,,mosaic4 ,,dado1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,lxx4 #hi ,,mosaic4 ,,pilaster1 ,,hall ,,of ,,ambassadors4 ,,lxx4 #ij ,,mosaic4 ,,dado1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,lxx4 #ia ,,mosaic4 ,,dado1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,lxx4 #ib ,,mosaic4 ,,pilaster1 ,,hall ,,of ,,ambassadors4 ,,lxxi4 #ic ,,plaster ,,ornaments1 ,,used ,,as ,,upright ,,and ,,horizontal ,,bands ,,enclosing ,,panels ,,on ,,the ,,walls4 ,,lxxii4 #id ,,mosaic4 ,,dado1 ,,hall ,,of ,,ambassadors4 ,,lxxii4 #ie ,,mosaic4 ,,dado1 ,,hall ,,of ,,ambassadors4 ,,lxxii4 #if ,,mosaic4 ,,dado1 ,,in ,,centre ,,window1 ,,hall ,,of ,,ambassadors4 ,,lxxii4 #ig ,,mosaic4 ,,from ,a ,,column1 ,,hall ,,of ,,justice4 ,,lxxii4 #ih ,,mosaic4 ,,dado ,,in ,,the ,,baths4 ,,lxxii4 #ii ,,mosaic4 ,,dado ,,in ,,divan1 ,,court ,,of ,,the ,,fish-,,pond4 ,,lxxii4 #ajj ,,mosaic4 ,,dado1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,lxxiii4 #aja ,,panels ,,on ,,walls1 ,,tower ,,of ,,the ,,captive4 ,,lxxiv4 #ajb ,,blank ,,window1 ,,hall ,,of ,,the ,,bark4 ,,lxxv4 #ajc ,,rafters ,,of ,a ,,roof ,,over ,a ,,doorway ,,now ,,destroyed ,,beneath ,,the ,,tocador ,,de ,,la ,,reyna4 ,,lxxvi4 #ajd ,,band ,,at ,,springing ,,of ,,arch ,,at ,,the ,,entrance ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters ,,from ,,the ,,court ,,of ,,lions4 ,,lxxvii4 #aje ,,panelling ,,of ,,the ,,centre ,,recess1 ,,hall ,,of ,,ambassadors4 ,,lxxviii4 #ajf ,,part ,,of ,,ceiling ,,of ,,the ,,portico ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,,lxxix4 #ajg ,,blank ,,window1 ,,hall ,,of ,,the ,,bark4 ,,lxxx4 #ajh ,,ornaments ,,on ,,the ,,walls1 ,,house ,,of ,,sanchez4 ,illustration3 ,,introduction4 8,andalus0 is the name given by the ,moors to that part of the ,spanish ,peninsula wherein they were all-powerful for eight centuries4 ,andalus comprehended the four kingdoms of ,seville1 ,crdova1 ,jaen1 and ,granada4 7,los ,cuatro ,reinos de ,andalusia47 ,about the year #djc of the ,hegira 7,a4,d4 #ajab7 ,granada first acquired importance4 ,zw1 the ,african chief who then ruled in ,andalusia from ,malaga to ,almeria1 declared himself independent1 and transferred the seat of government from ,elvira#a to ,granada4 ,little by little the whole population migrated to the new capital1 so that ,elvira dwindled to an insignificant village1 whilst ,granada rose to be a magnificent city1 culminating in grandeur and importance during the reigns of three enlightened sovereigns of the ,beni ,nasr dynasty--,mohammed the ,first 7,al-ghlib-billah1 ,a4,d4 #abcb-abgb71 who commenced the ,alhambra2#b ,ysuf the ,first 7,a4,d4 #accc71 who added greatly to its beauty1 and is regarded as the monarch who completed the building2 and ,mohammed the ,fifth 7,al-ghan-billah71 son of ,ysuf1 who succeeded to the throne upon the assassination of his father in #aced1 and who finished the decorations of many of the ,courts and ,halls of the ,palace4 ,one of the earliest extant references to ,granada is contained in the ,,ms4 of ,ibnu ,battttah1 the ,moslem traveller1 who wrote in the fourteenth century4 ,about the year #acfj ,ibnu ,battttah journeyed from ,morocco to ,andalus1 and visited ,granada1 which he thus describes3 8,granada is the capital of ,andalus1 and the husband of its cities2 its environs are a delightful garden1 covering a space of forty miles1 and have not their equal in the world4 ,it is intersected by the well-known river ,shenl#c 7,xenil7 and other considerable streams1 and surrounded on every side by orchards1 gardens1 groves1 palaces1 and vineyards4 ,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 gardens40 ,the suburb of ,granada here referred to1 preserves to this day its ,arabic name corrupted into ,dinamar1 or ,adinamar4 ,it is a pleasant and much-frequented spot1 close to ,granada4 ,the city of ,granada was held in the highest estimation by ,andalusian poets4 ,one ancient eulogist says3 8,if that city could reckon no other honour but of having been the birthplace of the ,wizr ,ibnu-l-khattb1 that alone would be sufficient4 ,but ,granada has not its like in the world3 neither ,cairo1 ,baghdd1 nor ,damascus can compete with it2 we can only give an idea of its worth by comparing it to a beautiful bride1 of whose dower it should form part40 ,the mention of the celebrated ,wizr1 ,ibnu-l-khattb1 brings to mind a particularly interesting figure in the history of the ,alhambra1 for to him we owe the composition of many of the poems inscribed upon its walls4 ,he flourished ,a4,d4 #acac-acgd4 ,amongst other works of the highest value1 of which he was the author1 is a biographical dictionary of illustrious ,granadians4 ,at an early age he attracted the notice of ,ysuf ,i41 who promoted him through many offices of the ,state1 until he became that ,sultn's ,grand ,wizr1 in which capacity he served his master faithfully and long4 ,after the death of ,ysuf1 he retained his high office of ,wizr under ,mohammed ,v4 for twenty years1 when the hostility of his foes brought upon him the suspicion of disloyalty4 ,he was thrown into prison1 and strangled by order of ,mohammed4 8,thus10 says an admiring biographer1 8perished the phnix of the age1 the prince of poets and historians of his time1 and the model of ,wizrs40 ,the unfortunate ,ibnu-l-khattb possessed1 in the highest degree1 the faculty of improvisation4 ,it is related that he was sent on an embassy by ,mohammed ,v4 to implore the aid of ,fris1 ,sultn of ,fez1 against the ,christians4 ,on entering the ,hall of ,audience1 and before he delivered his message1 he uttered some verses which called forth the admiration of all present1 and were so much approved by the ,sultn1 that before listening to what the ,ambassador had to say on affairs of ,state1 he exclaimed3 8,by ,allah6 ,i know not the object of thy visit2 but whatever it may be1 ,i grant the request40 ,in concluding the anecdote1 the narrator adds3 8,this circumstance elicited from the celebrated ,kd1 ,ab-l-ksim ,ash-,sherf1 who formed part of the embassy1 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 known60 ,the ,mohammedans in ,spain1 whether considered as the enthusiastic warriors whose victorious arms spread terror and consternation1 or as the cultivated race who acted as the pioneers of art1 letters1 and civilisation1 are entitled to a prominent place in the annals of ,europe4 ,but1 instead of being commended to the gratitude of succeeding ages1 as they assuredly deserved to be1 the ,arabs have been too frequently charged with corrupting the infancy of modern literature2 and this1 in the face of the verdict of a high authority on the literature of the ,spanish ,moslems1 who has declared that the material he cites proves the superiority of the ,andalusians to every other nation4 ,spanish historians have always manifested contempt for the writings of the ,arabs4 ,rejecting the means afforded them by abundant ,moorish records1 they have compiled their histories from one-sided national authorities1 disdaining to cast a glance on writings of the enemies of their country and religion4 ,the effects of such illiberality need scarcely be pointed out4 ,the history of ,spain1 during the ,middle ,ages1 has been1 and still is1 notwithstanding the labours of modern critics1 a tissue of fable and contradiction4 ,nevertheless1 it was reserved for a ,spaniard--,don ,pascual de ,gayngos--to give to the world the true history of the ,mohammedans in ,spain4 ,he fixed upon the manuscript account of ,ahmed ,ibn ,mohammed ,al-makkar1 which gives an uninterrupted narrative of the conquests1 wars1 and settlements of the ,spanish ,moslems from their first invasion of the ,peninsula to their final expulsion2 and ,don ,pascual so enriches his author's text with a mass of notes and illustrations that the work forms1 if not the only1 certainly the most valuable history of the ,arabs in ,spain--even the recondite production of the ,german savant1 the late ,dr4 ,r4 ,dozy1 of ,leyden1 ,histoire des ,musulmans d',espagne1 yields on the score of usefulness4 ,al-makkar wrote at the close of the sixteenth century4 ,his life was spent in literary pursuits1 and in the society of the learned4 ,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 command2 and1 if he sometimes falls into slight inaccuracies1 his editor--,don ,pascual--promptly sets the matter right in a note of profound and judicious scholarship4 ,that portion of ,al-makkar which most concerns the present volume is contained in the second part of his work1 and consists of extracts from various ,arab authors relating to the history of the kingdom of ,granada4 ,in a note upon the etymology of the name 8,andalus10 ,al-makkar derives it from ,andalosh1 a ,moorish corruption for ,vandalocii 7,vandals71 with which attribution ,don ,pascual seems to agree4 ,al-makkar concludes his history with a pious ejaculation for the re-occupation of the country3 8,may ,allah restore it entire to the ,moslems60 ,it is to be lamented that an ungenerous spirit actuated the authorities in ,madrid at the time ,gayngos was preparing his monumental work 7circa #ahdj74 ,in his own land1 the assistance he had every right to expect1 was withheld6 ,he tells us that he petitioned the ,ministers of ,her ,catholic ,majesty for permission to visit the ,library of the ,escorial1 and he finds himself called upon to disclose a fact very painful to his feelings4 ,don ,pascual's own words are3 8,strange to say1 notwithstanding repeated applications1 and the interference of persons high in rank and influence1 my request was positively denied1 professedly on the plea that the ,library could not be opened1 a contention having arisen between the ,government and the ,royal ,household as to the possession of it60 ,under the enlightened rule of ,king ,alfonso ,,xiii4 such treatment has become impossible3 all that remains of the literature1 the splendid monuments of ,arabian architecture1 indeed everything which exhibits memorials of the graceful people who have passed away1 is now open to the antiquary or the artist1 and zealously guarded with the most reverent care4 ,no longer is there danger of wanton spoliation of the ancient palace of the ,moorish ,kings of ,granada4 ,the effort now is to retard the inevitable process of decay4 ,the late ,seor ,raphal ,contreras occupied himself for thirty-seven years in an attempt to restore the defaced or partially-destroyed arabesques of the ,alhambra4 ,in the course of his labour of love1 it was his good fortune to be rewarded1 from time to time1 by the discovery of inscriptions which had long lain hidden2 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 rapine1 thus saving somewhat from the deluge of time4 ,the result of his research and discovery ,don ,raphal placed before the public in a scholarly work1 entitled1 ,etude ,dscriptive des ,monuments ,arabes1 published at ,madrid1 and which reached its fourth edition in #ahhi4 ,a separate1 or supplementary volume was promised1 which should treat of ,arabic ,inscriptions remaining in ,seville1 ,crdova1 and more particularly in ,granada1 belonging to the most important period of the ,mohammedan ,domination in those parts of the ,peninsula4 ,it is greatly to be hoped that the work may make its appearance under the auspices of his son1 ,don ,mariano ,contreras1 the present ,conservator of the ,alhambra4 ,that portion of the ,alhambra1 called the ,casa ,real1 or ,royal ,house1 appears to be but a very small part of the ancient ,palace of the ,moorish ,kings of ,granada4 ,it is to be regretted that no traces exist at the present day by which its limits can be accurately defined2 but we may judge1 from the gallery of ,illustration3 ,,panels ,,and ,,inscriptions ,,in ,,the ,,alhambra4 two stories at the southern end of the ,court of the ,fish-pond1 which still remains1 that the part of the ,moorish building destroyed to make way for the ,palace of ,charles ,v41 must have been of considerable consequence4 ,no traces of the numerous apartments1 which must have been required for guards and attendants1 now exist2 and a most important feature--the hareem--is wanting4 ,the ,alhambra1 occupying the plateau of the ,monte de la ,assabica1 is situated at one extremity of the city of ,granada1 above which it rises like the ,acropolis at ,athens4 ,the usual entrance is by the ,gate of ,justice4 ,from the ,gate of ,justice we pass the ,puerta del ,vino1 or ,wine ,gate1 to the large square called the ,plaza de los ,algibes1 or ,place of the ,cisterns4 ,on the right is the ,palace of ,charles ,v42 beyond1 but without revealing any indication of its internal beauty1 is the ,casa ,real2 on the left of the ,place of the ,cisterns is the ,alcazba--,kussbah1 the citadel--long used as a place of detention for convicts4 ,there are several ruined towers here1 which are1 perhaps1 the remains of the most ancient part of the fortress4 ,the severe and striking aspect of the towers with which the walls of the fortress are studded1 arouses no suspicion of the art and luxury enshrined within2 they are formed to impress the beholder with respect for the power and majesty of the ,king2 whilst within1 the fragrant shrubs and running streams1 the porcelains1 ,mosaics1 and gilded stucco work1 and particularly the pious inscriptions which are in such profusion upon the walls1 constantly reminded the sovereign how all that ministered to his happiness was the gift of ,allah4 ,the inscriptions are of three sorts--8ayt10 i4e41 verses from the ,korn2 8asj10 pious or devout sentences not taken from the ,korn2 and1 thirdly1 8ash'r10 poems in praise of the builders or owners of the ,palace4 ,those belonging to either of the first two classes are generally written in the ,cufic character1 and the letters are often so shaped as to present a uniform appearance from both sides1 and make the inscription readable from the right to the left1 and vice versa1 or upwards and downwards4 ,the innumerable sentences abounding everywhere in the ,alhambra are so harmonious and interweaving--producing such cross-lights of poetry and praise1 merging naturally and gracefully when the mind is torpid or indifferent to them1 into mere surface ornament--that they are never out of place1 but present always an unsatiating charm4 ,once1 at least1 an inscription in the ,palace has settled a dull controversy respecting the use of the many small1 highly-decorated recesses which are seen in the apartments4 ,on each side of the ante-room of the ,hall of the ,ambassadors is one of these recesses resembling the piscin of our cathedrals4 ,blundering wise men insistently averred that these niches were used by suppliants as receptacles for their slippers before entering to an audience1 until an ,arabic scholar pointed to an inscription round the aperture1 which reads3 8,if anyone approach me complaining of thirst1 he will receive cool and limpid water1 sweet and pure40 ,any ,spaniard ought to have known that here were the places of the ,alcarraza1 or porous earthen bottles common to all comers1 even as they may now be found in the halls of some ,andalusian gentlemen4 ,such a niche and water-vase are represented in this volume at page #gg4 8,is the ,alhambra10 asks ,ford1 8a palace of the ,arabian ,nights1 or only a tawdry ruin bedaubed with faded colour8 ,and what of the colour as it exists8 ,is it emeraldine or plaited flowers8 ,no1 in sober truth1 the colour is dim and faded2 buried in some places under white flaky icicles of whitewash1 or blurred and besmirched as a dead butterfly's wing4 ,here and ,illustration3 ,,various ,,mosaics ,,from ,,the ,,alhambra4 there are revived bright scraps of azure1 gold1 and vermilion2 but generally dull of outline1 and dim in low1 deep1 shadow tone40 ,where the ,moorish work is imitated1 greens and purples obtrude1 to demonstrate how inferior is modern decorative skill to the genius of the ancient ,arabs4 ,the dados1 or low wainscotings1 are of square1 glazed tiles1 which form a glittering breast-high coat of mail up to the lower third of the ,palace ,illustration3 ,,panel ,,ornament ,,in ,,the ,,alhambra4 walls4 ,here the colours are the same as those of the old ,majolica ware4 ,sometimes these ,azulejo tiles1 with their low-toned enamel colours1 are formed into pillars1 or pave the floors in squares of fleurs-de-lis1 or other heraldic emblems4 ,in these dados1 colour is seen in the shade4 ,the ,moors wanted shade in a country where the sun is solid fire--the colours deep1 soft1 and subdued as in an ,arabian carpet4 ,the present pavement of the halls and courts of the ,palace is either of white marble1 as in the ,hall of ,the ,two ,sisters and ,hall of the ,abencerrages1 or of brick4 ,seldom1 however1 does it appear to be the original flooring1 as in many places it is considerably above the ancient level1 concealing the lower part of the ,mosaic dados4 ,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 brick4 ,this deduction has been objected to by persons conversant with the manners and customs of the ,mohammedans1 who contend that it is impossible that these tiles--on which the name of ,god is written--should have been trodden under foot4 ,but it should be borne in mind that the ,arabs of ,spain allowed themselves considerable laxity in observing the behests of the ,korn--as is evidenced by the fountain in the ,court of ,lions1 the bas-relief in the ,museum of the ,palace1 and the paintings in the ,hall of ,justice4 ,for the student who desires to pursue exhaustively the history of the ,moors in ,spain1 there are but two trustworthy authorities--,don ,pascual de ,gayngos1 the ,spanish ,orientalist and historian1 and ,dr4 ,r4 ,dozy1 of ,leyden4 ,don ,pascual's translation of ,al-makkar has been largely drawn upon in the compilation of the present volume1 as also the 8,handbook0 and 8,gatherings0 of ,richard ,ford 7#ahde and onward71 which form the bases of the indispensable ,murray's ,guide4 ,for the last days of the ,moslems in ,spain1 ,sir ,william ,stirling-,maxwell's ,don ,john of ,austria must be read4 ,the fascinating volumes of ,washington ,irving will1 of course1 continue to delight so long as the ,english language endures1 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 ,granada4 ,mr4 ,henry ,coppe's ,history of the ,conquest of ,spain by the ,arab ,moors1 in two volumes1 ,boston 7,mass471 #ahha2 ,miss ,charlotte ,yonge's ,christians and ,moors in ,spain2 ,mr4 ,h4 ,e4 ,watt's ,spain from the ,moorish ,conquest to the ,fall of ,granada2 the concise ,rise and ,fall of the ,muslim ,empire in ,spain1 by our fellow-subject1 ,muhammed ,hayat ,khan1 ,lahore1 #ahig2 and ,mr4 ,stanley ,lane-,poole's ,the ,moors in ,spain should be consulted4 ,,ornament4 ,however much disguised1 the whole ornamentation of the ,moors is constructed geometrically4 ,illustration3 ,,fret4--,,fig4 #a4 ,,formed ,,by ,,the ,,interlacing ,,of ,,lines4 ,,the ,,numerous ,,frets ,,throughout ,,the ,,palace ,,are ,,formed ,,upon ,,the ,,two ,,principles ,,exhibited ,,in ,,this ,,and ,,following ,,diagram4 ,it is probable that the immense variety of ,moorish ornaments1 which are formed by the intersection of equi-distant lines1 could be traced through the ,arabian to the ,greek fret4 ,the ,moorish system of decoration reached its culminating point in the ornament of the ,alhambra4 ,owen ,jones says3 8,the ,alhambra is at the very summit of perfection of ,moorish art 444 every principle which we can derive from the study of the ornamental art of any other people is not only ever present here1 but was by the ,moors more universally and truly obeyed4 ,we find in the ,alhambra the speaking art of the ,egyptians1 the natural grace and refinement of the ,greeks1 the geometrical combination of the ,romans1 the ,byzantines1 and the ,arabs4 ,illustration3 ,,fret4--,,fig4 #b4 ,,formed ,,by ,,the ,,interlacing ,,of ,,lines4 ,the ornament wanted but one charm1 which was the peculiar feature of the ,egyptian ornament--symbolism4 ,this1 the religion of the ,moors forbade40 ,the decoration of the ,alhambra is peculiarly appropriate--the circumstances of the people rendered the ornament beautiful for that reason--when transplanted1 though it loses nothing of its loveliness1 it becomes inexpressive4 ,the ,moors ever regarded what architects hold to be the first principle of architecture--to decorate construction--never to construct decoration4 ,in ,moorish architecture1 not only does the decoration arise naturally from the construction1 but the constructive idea is carried out in every detail of the ornamentation of the surface4 ,a superfluous1 or useless ornament is never found in ,moorish decoration2 every ornament arises quietly and naturally from the surface decorated4 ,illustration3 ,,plan ,,of ,,general ,,construction ,,of ,,central ,,ornament ,,of ,,ceilings4 ,the general forms were first cared for2 these were sub-divided by general lines2 the interstices were then filled in with ornament again to be sub-divided and enriched for closer inspection4 ,the principle was carried out with the greatest refinement1 and the harmony and beauty of all ,moorish ornamentation derive success from its observance4 ,the greatest distinction was thus obtained2 the detail never interfering with the general form4 ,when seen at a distance1 the main lines strike the eye2 on nearer approach1 the detail comes into the composition2 upon yet closer inspection1 further detail is seen on the surface of the ornaments themselves4 ,to the builders of the ,alhambra1 harmony of form consisted in the proper balancing and contrast of the straight1 the inclined1 and the curved4 ,illustration3 ,,section ,,of ,,the ,,columns ,,and ,,arches ,,of ,,general ,,construction ,,in ,,the ,,palace4 ,as in colour1 there can be no composition in which either of the three primary colours is wanting1 so in form1 whether structural or decorative1 there can be no perfect composition in which either of the three primary figures is lacking2 variety and harmony in composition and design depend on the pre-dominance and subordination of the three4 ,in his monumental work on the ornamentation of the ,alhambra1 the late ,owen ,jones1 who spent many years at ,granada in collaboration with his friend1 ,m4 ,jules ,goury1 the eminent ,french architect1 studying the ,palace of the ,western ,caliphs1 furnishes diagrams in support of this conclusion1 which are here reproduced2 and1 furthermore1 says3 8,in ,illustration surface decoration1 any arrangement of forms1 as at ,a41 consisting only of straight lines1 is monotonous1 and affords but imperfect pleasure2 but1 introduce lines which tend to carry the eye towards the angles1 as at ,b41 and you have at once an additional pleasure4 ,illustration 8,then add lines giving a circular tendency1 as at ,c41 and you have now complete harmony3 in this case the square is the leading form or tonic2 the angular and curved are subordinate4 8,we may produce the same result in adopting an angular composition1 as at ,d41 add the lines as at ,e41 and we at once correct the tendency to follow only the angular direction of the inclined lines2 but1 unite these by circles as at ,f41 and we have harmony still more nearly perfect1 i4e41 repose1 for the eye has now no longer any want that could be supplied40 ,still1 compositions distributed in equal lines or divisions will be less beautiful than those which require a greater mental effort to appreciate them3 proportions the most difficult for the eye to detect will be the most agreeable4 ,in surface decoration by the ,moors1 lines flow from a parent stem3 every ornament1 however distant1 can be traced to its branch and root2 they have the happy art of so adapting the ornament to the surface decorated1 that the ornament as often appears to have suggested the general form as to have been suggested by it4 ,in all cases we find the foliage flowing out of a parent stem1 and we are never offended1 as in modern practice1 by the random introduction of an ornament set down without a reason for its existence4 ,however irregular the space they have to fill1 they always commence by dividing it into equal areas1 and round these trunk lines they fill in their detail1 but invariably return to their parent stem4 ,the ,moors also followed another principle1 that of radiation from the parent stem1 as we may see exemplified in nature by the human hand1 or in a chestnut leaf4 ,when style becomes debased1 neither of these laws is followed2 as in ,elizabethan ornament1 where nothing is continuous1 nothing radiates1 all is haphazard4 ,all junctions of curved lines with curved1 or of curved with straight1 should be tangential to each other4 ,the ,oriental practice always accords with this principle4 ,many of their ornaments are on the principle which is observable in the lines of a feather and in the articulations of a leaf2 and to this is due that additional charm found in all perfect ornamentation1 which is called 8the graceful40 ,illustration3 ,,miscellaneous ,,ornament ,,in ,,the ,,alhambra ,illustration3 ,,cornices1 ,,capitals1 ,,and ,,columns ,,in ,,the ,,alhambra4 ,,the ,,splendid ,,cornice ,,at ,,the ,,right-,,hand ,,top ,,corner ,,is ,,from ,,the ,,loggia ,,of ,,the ,,generalife4 ,illustration3 ,,capitals ,,from ,,the ,,courts ,,and ,,halls ,,of ,,the ,,alhambra4 ,a further charm is found in the works of the ,arabs and ,moors from their conventional treatment of ornament1 which1 forbidden as they were by their creed to represent living forms1 they carried to the highest perfection4 ,they ever worked as ,nature works1 but always avoided a direct transcript2 they took her principles1 but did not attempt to copy her works4 ,it is true that the ,arabs in ,spain1 as already pointed out1 once or twice allowed themselves to disregard the behests of the ,korn1 as instanced in the ,fountain of ,lions1 and the bas-relief which is now preserved in the ,museum of the ,alhambra2 but the ,mohammedan mosques of ,egypt1 ,india1 and ,spain1 show everywhere the calm1 voluptuous translation of the doctrines of the ,korn3 an art in unison with its imaginative and poetic teachings which led them to adorn their temples in a manner peculiar to themselves4 ,,colour4 ,the colours employed by the ,moors on their stucco work were in all cases1 the primaries--blue1 red1 and yellow 7gold74 ,the secondary colours--purple1 green1 and orange1 occur only in the ,mosaic dados2 which1 being near the eye1 formed a point of repose from the more brilliant colouring above4 ,it is true that1 at the present day1 the grounds of many of the ornaments are found to be green2 it will readily be seen1 however1 on a minute examination1 that the colour originally employed was blue1 which1 being a metallic pigment1 has become green from the effects of time4 ,this is proved by the presence of particles of blue colour1 which occur everywhere in the crevices3 in the 8restorations0 also1 which were made by the ,catholic kings1 green and purple were freely used4 ,the colouring of the ,courts and ,halls of the ,alhambra was carried out on so perfect a motive1 that anyone who cares to make this a study1 can1 with almost absolute certainty1 on being shown for the first time a piece of ,moorish ornament in white1 define at once the manner in which it was coloured4 ,so completely were all the architectural forms designed1 with reference to their subsequent colouring1 that the surface alone will indicate the colours they were destined to receive4 ,notwithstanding the fact that the ,moors1 in their marvellous system of decoration1 worked on fixed rules1 the effect of their infinite variety leaves the observer under the impression that they arrived at their amazing achievements by instinct1 to which centuries of refinement had brought them4 ,one person may naturally sing in tune as another does by acquired knowledge4 ,the happier state1 however1 is where knowledge ministers to instinct1 and this must have been the case with the ,moors4 ,their poet exhorts us to attentively contemplate the adornments of the ,palace1 and so reap the benefit of a commentary on decoration2 this invitation seems to imply that there was in their works something to be learned as well as much that might be felt4 ,mr4 ,owen ,jones admits that there is no authority for the gilding of the columns3 wherever the columns are of marble1 the shafts are always free from traces of colour of any kind4 ,gold1 blue1 and red are still seen on most of the capitals1 and1 in some cases1 the plaster half-columns against the walls are covered by mosaic of a small pattern in glazed earthenware4 ,nevertheless1 the eminent authority on decoration is strongly of opinion that the marble shafts could never have been1 originally1 left entirely white2 and1 furthermore1 he thinks that the general harmony of the colouring above forbids such a supposition2 but the conclusion seems to be erroneous1 when it is remembered that the shafts of the columns are compared1 in the graceful hyperbole of the ,inscriptions1 to 8transparent crystal20 and1 again1 8when struck by the earliest beams of the rising sun1 maybe likened to many blocks of pearl40 ,therefore1 in view of the poetic reference by ,moorish versifiers1 and the utter absence of any trace of colour on the marble1 it has been thought befitting to omit the gilding of the shafts in the many reproductions in this volume from the beautiful coloured plates in the work of ,owen ,jones4 ,it should be recorded here that the book alluded to is dedicated 8,to the ,memory of ,jules ,goury1 ,architect1 who died of ,cholera1 at ,granada1 ,august #bhth1 #ahcd1 whilst engaged in preparing the original drawings for this work40 ,amongst the illustrations appearing on p4 xlix4 supra1 which principally consist of cornices1 capitals1 and columns in the ,alhambra1 is a motto in ,roman characters3 ,t,,to,m,,ta--,tanto ,monta--pertaining to ,ferdinand and ,isabella1 and which is somewhat out of place in a page otherwise devoted to ,moorish ornament4 ,the motto1 of course1 signifies tantamount1 and is meant to express an equality in power between the two ,sovereigns2 ,isabella zealously maintaining that her right of exercising the royal authority was equivalent to that of her royal consort3 8,tanto monta ,isabella que ,hernando1 ,hernando que ,isabella0--of equal worth are ,isabella and ,ferdinand4 ,the motto appears in relief in the ,court of the ,lions4 ,acknowledgment is made to the work of the late ,james ,cavanah ,murphy1 ,arabian ,antiquities of ,spain1 ,lond41 #ahae1 to which source we are indebted for some of the illustrations to the present volume4 ,mr4 ,murphy faithfully delineated1 and admirably engraved the arabesques and mosaics of the superb ,courts and ,halls of the ,palace of the ,alhambra at ,granada4 ,for the rest1 it may be said that a vast number of plates have been specially prepared for the present volume2 and it is thought a confident expectation may be indulged of a favourable reception to an attempt at preserving the reliques of a romantic pile--the glory and the wonder of a civilised world4 8,i ,,pray ,,you1 ,,let ,,us ,,satisfy ,,our ,,eyes ,,with ,,the ,,memorials ,,and ,,the ,,things ,,of ,,fame ,,that ,,do ,,renown ,,this ,,city40 ,twelfth ,night1 ,act ,,iii41 sc4 #c4 ,the ,alhambra4 ,the ancient citadel and residence of the ,moorish monarchs of ,granada is1 indisputably1 the most curious1 and in some ways the most marvellous building that exists in the whole world4 ,in its period1 its architectural style1 and artistic effect1 it is not without its counterpart in ,southern ,spain2 but the ,alhambra was conceived and constructed on so colossal a scale that it is accepted as the last word in ,arabian workmanship4 ,from the outside it appears to be a forbidding fortress1 and1 indeed1 its walls are of prodigious strength2 but within it is a palace that was once the most voluptuous in the makings and imaginings of man1 and in which everything was made subservient to luxury4 ,the singular fortunes of the ,arabian1 or ,moresco-,spaniards1 whose whole existence is a tale that is told1 certainly forms one of the most anomalous1 yet splendid episodes in history4 ,potent and durable as was their dominion1 we have no one distinct title by which to designate them4 ,they were a nation1 as it were1 without a legitimate country or a name3 a remote wave of the great ,arabian inundation cast upon the shores of ,europe4 ,from the year #gaj1 when the ,arab general ,tarif landed at the port which bears his name1 and plundered ,algeciras1 to be succeeded in the following year by a greater soldier1 ,geb-al-,tarik1 whose name survives in the title of 8,the ,rock0--a familiar designation very dear to ,englishmen--the course of ,moorish conquest from ,gibraltar to the cliffs of the ,pyrenees was as rapid and brilliant as the ancient ,moslem victories of ,syria and ,egypt4 ,nay1 had they not been checked on the ,plains of ,tours by ,charles ,martel1 who that day gained his sobriquet--8,the ,hammerer0--all ,france1 all ,europe might have succumbed to the ravages of the ,saracenic warriors as completely as the empires of the ,east were made to yield1 and the crescent might have glittered on the fanes of ,paris and of ,london4 ,repelled within the limits of the ,pyrenees1 the mixed hordes of ,asia and ,africa that formed this great irruption1 gave up the ,moslem principle of conquest1 and sought to establish in ,spain a peaceable and permanent dominion4 ,as conquerors1 their heroism was only equalled by their moderation2 and in ,illustration3 ,,view ,,of ,,granada1 ,,showing ,,the ,,alhambra ,,and ,,the ,,sierra ,,nevada4 both1 for a time1 they excelled the nations with whom they contended4 ,severed from their native homes1 they loved the land given them1 as they supposed1 by ,allah1 and strove to adorn it with all that could minister to the happiness of man4 ,by a system of wise and equitable laws they formed an empire unrivalled for its prosperity by any of the empires of ,christendom1 and diligently drew around them the graces and refinements that marked the ,arabian empire in the ,east at the time of its ,illustration3 ,,general ,,view ,,of ,,the ,,alhambra ,,from ,,san ,,nicolas4 greatest civilisation4 ,if the superb remains of ,moslem monuments in ,spain2 if the ,mosque of ,crdova1 the ,alczar of ,seville1 and the ,alhambra of ,granada still bear inscriptions fondly vaunting the power and permanency of the dominion of the ,moor2 can the boast be derided as arrogant and vain8 ,they were the outposts and frontiers of ,islamism4 ,the ,illustration3 ,,part ,,of ,,the ,,alhambra1 ,,exterior4 ,southern part of the ,peninsula was the great battle-ground where the ,gothic conquerors of the ,north1 and the ,moslem conquerors of the ,east1 met and strove for mastery2 the fiery courage of the ,arab being at length subdued by the obstinate and persevering valour of the descendants of the subjects of ,don ,roderick4 ,but century after century had passed away1 and still they retained a hold upon the land4#d ,a period had elapsed equal to that which has passed since ,england was subjugated by the ,normans2 and the descendants of ,musa#e and ,taric might as little anticipate being forced into exile across the ,straits traversed by their triumphant ancestors1 as the descendants of ,rollo and ,william may dream of being driven back to the shores of ,normandy4 ,with all this1 however1 the ,moslem empire in ,spain was but ,illustration3 ,,the ,,alhambra ,,and ,,the ,,sierra ,,nevada4 a brilliant exotic that took no fixed root in the soil it adorned4 ,severed from all their neighbours in the ,west by impassable barriers of faith and manners1 and separated by seas and deserts from their kindred in the ,east1 they remained an isolated people4 ,their whole existence was a prolonged and gallant struggle to maintain a foothold in a land usurped4 ,the few relics of the miserable and proscribed race were ultimately expelled from the ,peninsula1 under the administration of the ,duke of ,lerma1 during the reign of ,philip ,,iii4--a measure which1 by depriving ,spain of a numerous and industrious population1 inflicted a severe blow on her agriculture and commerce4 ,never was the annihilation of a nation more complete4 ,where are they8 ,the exiled remnant of a once powerful people became assimilated with the predatory hordes of ,barbary and the desert southward4 ,a few broken monuments are all that remain to bear witness to their power and dominion in ,europe4 ,such is the ,alhambra2 an epoch marking relic--a ,moslem pile in the midst of a ,christian land2 an ,oriental palace amidst the ,gothic edifices of the ,west2 an elegant memento of a brave1 intelligent1 and graceful people who conquered1 ruled1 and passed away4 ,l',alhambra6 l',alhambra6 palais que les ,gnies ,ont dor comme un rve et rempli d'harmonies2 ,forteresse aux crneaux festonns et croulans1 ,o l'on entend la nuit de magiques syllables1 ,quand la lune1 travers les milles arceaux arabes1 ,sme les murs de trfles blancs6 ,les ,orientales1 par ,victor ,hugo4 ,the ,alhambra--the ,acropolis of ,granada--is1 indeed1 a pearl of great price in the estimation of all travellers1 exciting in the breast of the stranger the most absorbing interest and concentrated devotion4 ,to realise the full spell--the mystery and the magic of the ,alhambra--one must live in the building by day and contemplate it--like the ruins of fair ,melrose--by moonlight1 when all is still4 8,who can do justice10 says ,washington ,irving1 8to a moonlight night in such a climate and in such a place6 ,the temperature of an ,andalusian midnight in summer is perfectly ethereal4 ,we seem lifted up into ,illustration3 ,,ascent ,,to ,,the ,,alhambra ,,by ,,the ,,cuesta ,,del ,,rey ,,chico--,,lesser ,,king ,,hill4 a purer atmosphere2 there is a serenity of soul1 a buoyancy of spirit1 an elasticity of frame1 that renders mere existence enjoyment4 ,the effect of moonlight1 too1 on the ,alhambra1 has something like enchantment4 ,every rent and chasm of time1 every mouldering tint and weather-stain disappears2 the marble resumes its original whiteness2 the long colonnades brighten in the moonbeams2 the halls are illuminated with a softened radiance until the whole edifice reminds one of the enchanted palace of an ,arabian tale40 ,illustration3 ,,balcony ,,of ,,the 8,,captive0 7,,isabel ,,de ,,solis71 ,,overlooking ,,the ,,vega1 ,,or ,,plain1 ,,of ,,granada4 ,art and nature have combined to render ,granada1 with its ,alps1 ,plain1 and ,alhambra1 one of those few places which surpass all previous conceptions4 ,the town is built on the spurs of the hills1 which rise on the south-east to their greatest altitude4 ,the city overlooks the ,vega1 or ,plain1 and is about #b1ejj feet above sea-level4 ,this altitude1 coupled with the snowy background1 renders it a most delicious residence2 the bosom of snow furnishing a never-failing supply of water for ,illustration3 ,,alcove ,,of ,,the 8,,captive0 7,,isabel ,,de ,,solis74 irrigation4 ,accordingly1 the ,vega supplies every vegetable production1 and is a spot--said the ,arabians themselves--superior in extent and fertility to the valley of ,damascus4 ,the ,alhambra is built on a crowning height that hangs over the ,river ,darro2 its long lines of walls and towers follow the curves and dips of the ground just as a consummate artist would have placed them2 the wooded slopes1 kept green by water-courses1 are tenanted by nightingales1 singing as if in pain at the tender scene of desolate beauty4 ,granada1 which1 under the ,moors1 was populated by half-a-million inhabitants1 knew no slow decline1 but flourished until it toppled to its fall4 ,the date of its ruin is #bnd ,january1 #adib1 when the banner of ,castile first floated from the towers of the ,alhambra4 ,to the fatal influence of a beautiful woman--,isabel de ,solis--may be attributed1 in great part1 the destruction of the ,moslem cause4 ,isabel was the daughter of the ,governor of ,martos1 a town of ,andalusia to the north-west of ,granada4 ,in a foray by the ,moors she was captured1 and became the favourite ,sultana of ,abu-l-hasan1 ,king of ,granada4 ,her ,moorish appellation is ,zoraya--8,morning ,star0--in allusion to her surpassing loveliness1 on account of which ,ayeshah1 another wife and cousin of ,abu-l-hasan1 became jealous of her rival4 ,this necessarily led to dissension2 conspiracy was rampant1 and the ,moorish ,court became separated into two parties4 ,of the most powerful families of ,granada1 the ,zegris espoused the cause of ,ayeshah2 while the ,beni ,cerraj 7,abencerrages7 championed that of the 8,morning ,star40 ,in ,june1 #adhb1 ,abu-,abdillah 7,boabdil71 son of ,ayeshah1 dethroned ,abu-l-hasan1 his father4 ,thus the ,moorish house was divided against itself at the very time when ,castile and ,aragon became united by the marriage of ,ferdinand and ,isabella4 ,on ,boabdil's defeat and capture at ,lucena in #adhc1 the old king returned to ,granada and was enthroned1 but quickly abdicated in favour of his brother1 ,mohammed 7,,xii471 called ,ez-zaghal1 the ,valiant4 ,boabdil1 later1 was re-instated2 but1 becoming a mere instrument and vassal of ,ferdinand1 finally surrendered himself and his kingdom to the ,christian king4 ,illustration3 ,,interior ,,of ,,the 8,,captive',s0 7,,isabel ,,de ,,solis7 ,,tower4 ,for the true character of ,ferdinand consult ,shakespeare1 who understood all things--8who didst the stars and sunbeams know40 ,he describes ,ferdinand1 by the mouth of our eighth ,henry's ill-fated queen1 ,katharine of ,aragon1 daughter of ,ferdinand and ,isabella3 84444,ferdinand1 ,my father1 ,king of ,spain1 was reckon'd ,the wisest prince1 that there had reign'd by many ,a year before3 4440 ,henry ,,viii41 ,act ,,ii4 ,and of ,katharine's qualities1 ,king ,henry1 in all things else unrelenting1 speaks in high terms3 84444,thou art1 alone1-- ,if thy rare qualities1 sweet gentleness1 ,thy meekness saint-like1 wife-like government1 ,obeying in commanding1 and thy parts ,sovereign and pious else1 could speak thee out1-- ,the queen of earthly queens40 ,henry ,,viii41 ,act ,,ii4 ,as to ,queen ,isabella1 ,ford is loud in her praise1 regarding her as a pearl among women4 ,she died1 indeed1 far from ,granada1 but desired to be buried here--in the ,cathedral of ,granada--the bright jewel of her crown4 ,isabella was the ,elizabeth of ,spain1 the most effulgent star of an age which produced ,ximenez1 ,columbus1 and the ,great ,captain1 all of whom rose to full growth under her smile1 and withered at her death4 ,she is one of the most faultless characters in history1 one of the purest sovereigns who ever graced or dignified a throne2 who1 8in all her relations of queen1 or woman10 was1 in the words of ,lord ,bacon1 8an honour to her sex1 and the corner-stone of the greatness of ,spain40 ,then it was that ,spain spread her wings over a wider sweep of empire1 and extended her name of glory to the far antipodes4 ,then it was that her flag1 on which the sun never set1 was unfolded to the wonder and terror of ,europe2 while a ,new ,world1 boundless1 and richer than the dreams of avarice1 was cast into her lap1 discovered at the very moment when the ,old ,world was becoming too confined for the outgrowth of the awakened intellect1 enterprise1 and ambition of mankind4 99 99 99 99 99 ,after receiving the keys of the fortress1 ,ferdinand remained for a few days in ,granada1 having entrusted the custody of the ,alhambra to ,don ,inigo ,lopez de ,mendoza1 ,count of ,tendilla4#f ,illustration3 ,,the ,,gothic ,,inscription ,,set ,,up ,,in ,,the ,,alhambra ,,by ,,the ,,count ,,of ,,tendilla1 ,,to ,,commemorate ,,the ,,surrender ,,of ,,the ,,fortress ,,in #adib4 ,the fact is recorded in a ,gothic inscription formerly placed over a cistern constructed at the command of that ,governor1 but now on a wall just within the 8,gate of ,justice40 ,the letters are incised upon a large marble tablet4 ,illustration3 ,,the ,,surrender ,,of ,,granada ,,by ,,boabdil ,,to ,,ferdinand ,,and ,,isabella1 ,,january #b,,nd1 #adib4 ,the following is a translation of the inscription3 8,the most high1 most ,catholic1 and most powerful lords1 ,don ,fernando and ,doa ,isabel1 our ,king and ,queen1 conquered by force of arms this ,kingdom and city of ,granada1 which1 after their highnesses had besieged it in person for a considerable time1 was surrendered to them by the ,moorish ,king1 ,muley ,hasen1 together with its ,alhambra1 and other fortresses1 on the #bnd day of ,january1 #adib4 ,on the same day their highnesses appointed1 as ,governor and ,captain-,general of the same1 ,don ,inigo ,lopez de ,mendoza1 ,count of ,tendilla1 their vassal1 who1 on their departure1 was left in the ,alhambra with #ejj horse and #a1jjj foot2 and the ,moors were ordered to remain in their houses and villages as they were before4 ,the ,count1 by command of their highnesses1 caused this cistern to be made40 ,it will be seen1 by the style of the ,gothic lettering1 that the inscription was cut in the last decade of the fifteenth century4 ,whether the count of ,tendilla dug the well or only constructed the cistern remains a disputable point2 it is not important2 but what is by no means clear is the strange statement that the keys were surrendered by 8,muley ,hasen40 ,upon the capture of ,boabdil#g at ,lucena by the ,count of ,cabra1 he was conducted to ,crdova1 where he was received with much honour by ,ferdinand1 after the manner1 in modern times1 of the reception of ,schamyl at the ,court of ,st4 ,petersburg4 ,thereafter1 ,boabdil became the instrument of the ,christians1 and was allowed to return to ,granada1 where such confusion reigned at this time1 that there were always two1 and sometimes three kings in the ,moorish capital of ,andalusia4 ,the antagonism of old ,muley ,hasen1 his son ,boabdil1 and the brother of ,muley1 ,ez-,zaghal1 8the ,valiant10 all posing as kings at one time1 probably hastened the overthrow of the ,moorish power4 ,there is much uncertainty respecting the date of ,muley ,hasen's death4 ,some authorities state that when he was dethroned by his son ,boabdil1 8he retired to ,malaga40 ,others say that the king could not survive the misfortunes that his son's rebellion brought upon the kingdom1 and 8becoming blind and mad1 soon afterwards died40 ,one account gives his death as occurring in ,september1 #adhd1 without1 however1 adducing evidence in support4 ,is it not just possible then1 that when ,malaga fell1 the old king was discovered and rode in ,ferdinand's train1 to deliver the keys of ,granada1 as so plainly set forth in the ,gothic inscription of the ,count of ,tendilla8 ,the circumstances which attended the growth of the ,spanish nation1 and the expulsion of the ,moor1 were necessarily productive of an over-zealous spirit--a spirit which is ever the inevitable consequence of subjugation in the name of heaven1 and under the immediate influence of religious feeling4 ,how1 then1 could it fail to manifest itself in the ,spaniards1 who1 only by a war lasting seven centuries1 recovered their own country from the hands of the ,moslem--the bitterest foes of the ,christian religion--usurpers who justified their violence by retorting the opprobrious epithet 8,infidels0 upon the natives8 ,a contest1 so fierce and abiding1 must have inseparably connected1 in the minds of the ,spaniards1 every idea of honour with orthodoxy1 and all that is discreditable and odious1 with dissent from their creed4 ,small wonder1 then1 need be expressed that the degradation of the ,alhambra dates from the very day of the ,castilian ,conquest1 on which the removal of ,moslem symbols commenced4 ,have we not seen the same principles rampant in ,england at the time of the ,reformation1 and again1 throughout ,puritan times2 although1 in our own case1 the unreasonable iconoclasts professed the same faith8 ,the grievous vandalism begun by ,ferdinand and ,isabella was carried on by their grandson1 ,charles ,v41 who despoiled the palace1 on an even more gigantic scale1 of those artistic glories which he looked upon as 8the ugly abominations of the ,moor40 ,he attempted the impossible3 he modernized and rebuilt portions of the ,alhambra1 put up heavy ceilings1 blocked up old passages1 or constructed new1 and sought to convert the palace of an ,oriental sybarite into a residence for a ,western monarch4 ,all was in vain3 the last royal residents were ,philip ,v4 and his beautiful ,queen1 ,elizabetta of ,parma1 early in the eighteenth century4 ,although great preparations were made for their reception1 the stay of the sovereigns was but transient2 and1 after their departure1 the place once more became desolate4 ,during the ,peninsular ,war1 when ,granada was in the hands of the ,french1 the ,alhambra was garrisoned by their troops1 and the palace was occasionally inhabited by the ,french commander4 ,washington ,irving maintains that 8with that enlightened taste which has ever distinguished the ,french nation--this monument of ,moorish elegance and grandeur was rescued from the absolute ruin and desolation that were overwhelming it4 ,the roofs were repaired1 the saloons and galleries protected from the weather1 the gardens cultivated1 the water-courses restored1 the fountains once more made to throw up their sparkling showers2 and ,spain may thank her invaders for having preserved to her the most beautiful and interesting of her historical monuments4444 ,on the departure of the ,french1 they blew up several towers of the outer wall1 and left the fortifications untenable10 c4 ,this last act may well have been one of military exigence2 but1 on the other hand1 ,ford entirely disagrees with ,irving1 and asserts1 with all the vigour of an extinct species of ,tory ,john ,bull1 that the ,french are responsible for the most wanton destruction perpetrated during their occupancy4 ,whatever the truth may be1 we confess to a strong fellow-feeling with the kindly ,american genius who has done so much to retard the decay of the edifice1 which is still preserved to adorn the land1 and attract the curious of every clime4 ,for centuries the antiquities of the ,spanish ,arabs continued disregarded or unknown4 ,prejudice--that sad inheritance of nations--was1 alas6 only too actively employed in demolishing the work of the polished and enlightened people1 whose occupation of the ,peninsula it was accounted piety to efface4 ,it was not until the end of the eighteenth century that steps were taken to explore and protect the remains of ,moorish monuments in ,spain2 when1 in consequence of representations of cultured ,spaniards1 the ,government commissioned the ,royal ,academy of ,st4 ,ferdinand to send two architects and an officer of ,engineers to report upon the condition1 and make drawings of the ,palace of the ,alhambra and the ,mosque at ,crdova4 ,the result of their labours was published at ,madrid1 #aghj1 in an illustrated folio volume entitled ,antigedades ,arabes de ,espaa4 ,it is only by the union of the graphic art with descriptions that we can hope to form an accurate estimate of the high state of excellence to which the ,mohammedans in ,spain attained in the ,fine ,arts while the rest of ,europe was overwhelmed with ignorance and barbarism4 ,the coin1 for instance1 represented on the opposite page is of fine gold1 and is an example of art which would not dishonour a medallist of any epoch4 ,the existence of a ,royal ,mint within the ,alhambra may be admitted when we learn that the coin was struck by order of the ,founder of the ,alhambra1 ,mohammed ,i41 surnamed ,al-,ghalib-,billah--the ,conqueror--who reigned in ,granada from #abcb to #abgb ,a4,d4 ,the coin is one of the most cherished possessions in the cabinet of ,alfonso ,,xiii41 ,king of ,spain1 at ,madrid4 ,,description4 ,obverse3 ,within the square1 an ,arabic inscription which reads3 8,in the name of ,god1 the ,merciful1 the ,forgiving4 ,the blessing of ,god on ,mohammed and his family4 ,there is no ,conqueror but ,god40 ,on the segments of the circle surrounding the square we read3 8,your ,god is one ,god4 ,there is no ,god but ,he1 the ,merciful1 the ,forgiving40 ,illustration3 ,,gold ,,coin 7,,obverse ,,and ,,reverse7 ,,of ,,mohammed ,i41 ,,the ,,founder ,,of ,,the ,,alhambra1 ,,who ,,reigned #abcb-abgb ,a4,d4 ,reverse4 ,within the square3 8,there is no ,god1 but ,god4 ,mohammed is the messenger of ,god4 ,al-mahdi1 ,prince of the people of ,granada40 ,on the segments of the circle surrounding the square3 8,the ,commander of the ,faithful1 ,al-,ghalib-,billah1 ,mohammed1 ,son of ,ysuf1 ,son of ,nasr1 whom ,god prosper40 ,mohammed1 the ,founder of the ,alhambra4 ,to ,mohammed the ,first1 the world is indebted for the beautiful and romantic ,oriental monument1 the ,alhambra4 ,this famous monarch was born in ,arjou in the year of the ,hegira #eia 7,a4,d4 #aaie71 of the noble family of the ,beni ,nasr1 or children of ,nasr1 and no pains were spared by his parents to fit him for the high station to which the opulence and dignity of his family entitled him4 ,when he reached manhood he was appointed alcayde1 or governor of ,arjou and ,jaen1 and gained great popularity by his benignity and justice4 ,some years afterwards1 on the death of ,abou ,hud1 the ,moorish power in ,spain was broken into factions1 and many places declared for ,mohammed4 ,being of a sanguine spirit and lofty ambition1 he turned the opportunity to his own purpose1 made a progress through the country1 and was everywhere received with acclamations4 ,in the year #abcb he entered ,granada1 and was proclaimed king with every demonstration of joy4 ,shortly afterwards he became the head of the ,moslems in ,spain1 being the second of the illustrious line of ,beni ,nasr to sit upon the throne4 ,his reign was such as to render him a blessing to his subjects4 ,he gave the command of his various cities to those who had distinguished themselves by valour and prudence1 and had recommended themselves most acceptable to the people4 ,he erected hospitals for the blind1 the aged and infirm1 and all those incapable of labour1 visiting the asylums frequently--not on set days1 with pomp and form1 so as to give time for everything to be put in order1 and every abuse concealed1 but suddenly and unexpectedly1 informing himself1 by actual observation and close enquiry1 of the treatment of the sick1 and the conduct of those appointed to administer to their relief4 ,he founded schools and colleges1 which he visited in the same manner1 inspecting personally the instruction of youth4 ,he introduced abundant streams of water into the city1 erecting baths and fountains1 and constructing aqueducts and canals to irrigate and fertilize the ,vega4 ,by these means prosperity and abundance prevailed in this beautiful city1 its gates were thronged with commerce1 and its warehouses filled with luxuries and merchandise of every country4 ,while ,mohammed was ruling his fair dominions thus wisely and prosperously1 he was suddenly menaced with the horrors of war4 ,the ,christians1 profiting by the dismemberment of the ,moslem power1 were rapidly regaining their ancient territories4 ,james the ,conqueror had subjected all ,valencia1 and ,ferdinand the ,saint was carrying his victorious arms into ,andalusia4 ,the latter invested the city of ,jaen1 and swore not to strike his camp until he had gained possession of the place4 ,mohammed was conscious of the insufficiency of his means to carry on a war with the potent sovereign of ,castile4 ,taking a sudden resolution1 therefore1 he repaired privately to the ,christian camp1 and made his unexpected appearance in the presence of ,king ,ferdinand4 8,in me10 said he1 8you behold ,mohammed1 king of ,granada4 ,i confide in your good faith1 and put myself under your protection4 ,take all ,i possess1 and receive me as your vassal40 ,so saying1 he knelt1 and kissed the king's hand in token of submission4 ,ferdinand1 touched by this instance of confiding faith1 determined not to be outdone in generosity4 ,he raised his late rival from the earth1 and embraced him as a friend1 leaving him sovereign in ,granada1 on condition of paying a yearly tribute1 attending the ,cortes as one of the nobles of the empire1 and serving him in war with a certain number of horsemen4 ,it was not long after this that ,mohammed was called upon for his military services1 to aid ,king ,ferdinand in the siege of ,seville4 ,the ,moorish king sallied forth with #ejj chosen horsemen of ,granada1 than whom none in the world knew better how to manage a steed or wield the lance4 ,it was a humiliating service1 however1 to draw the sword against brethren of the faith4 ,mohammed gained but a melancholy distinction by his prowess in this renowned campaign1 but achieved more true honour by the humane methods which he prevailed upon ,ferdinand to introduce into the usages of war4 ,when1 in #adbh1 the famous city of ,seville surrendered to the ,castilian monarch1 ,mohammed returned sad1 and full of care1 to his dominions4 ,he saw the gathering ills that menaced the ,moslem cause1 and uttered the ejaculation1 often used by him in moments of anxiety and trouble3 8,que angosta y miserabile seria nuestra vida1 sino fuera tan dilatada y espaciosa nuestra esperanza60--,how straitened and wretched would be our lives if our hope were not so spacious and extensive6 ,sad and dispirited1 the conqueror approached his beloved ,granada4 ,the people thronged the streets with impatient joy3 like to another ,coriolanus1 8the dumb men flocked to see him1 and the blind to hear him speak20 for they loved him as a benefactor4 ,arches of triumph were erected in his honour2 and as he passed he was hailed with acclamations as ,al ,ghalib1 or the ,conqueror4 ,mohammed shook his head when he heard the appellation4 8,wa la ghalib ila ,al60 exclaimed he--,there is no conqueror but ,god6 ,from that time forward he adopted the exclamation as a motto4 ,he inscribed it on an oblique band--in heraldry1 a ,bend--across his escutcheon1 and it continued to be the motto of his descendants4 ,mohammed had purchased peace by submission to the ,christians2 but he knew that where the elements were so discordant1 and the motives for hostility so deep and ancient1 it could not be secure or permanent4 ,acting1 therefore1 upon an old maxim1 8,arm thyself in peace1 and clothe thyself in ,summer10 he improved the interval of tranquillity by fortifying his dominions1 by replenishing his arsenals1 and by promoting those useful arts which give wealth and real power to an empire4 ,illustration3 8,,wa ,,la ,,ghalib ,,ila ,,al60--,,there ,,is ,,no ,,conqueror ,,but ,,god6--,,the ,,famous ,,motto1 ,,in ,,kufic ,,characters1 ,,of ,,mohammed ,i4 ,,and ,,his ,,successors1 ,,which ,,is ,,inscribed ,,on ,,the ,,walls ,,of ,,the ,,alhambra ,,in ,,countless ,,repetition4 ,he gave premiums and privileges to the best artisans1 improved the breed of horses and other domestic animals1 encouraged husbandry1 and increased the fertility of the soil two-fold by his protection1 making the lovely valleys of his kingdom to bloom like gardens4 ,he fostered1 also1 the growth and fabrication of silk1 until the looms of ,granada surpassed even those of ,syria in the fineness and beauty of their productions4 ,he caused the prolific mines of gold and silver1 and other metals of the mountainous regions of his dominions1 to be diligently worked1 and was the first ,king of ,granada who1 as we have seen1 struck money with his name1 taking great care1 moreover1 that the coins should be skilfully executed4 ,it was about this time1 towards the middle of the thirteenth century1 and just after his return from the siege of ,seville 7#abdh71 that ,mohammed commenced the splendid ,palace of the ,alhambra1 superintending the building of it in person1 mingling frequently amongst the artists and workmen1 and directing their labour4 ,he stored the gardens with the rarest plants1 and with the most beautiful aromatic shrubs and flowers4 ,amid these scenes he delighted in reading histories1 or in causing them to be related to him2 and sometimes1 in intervals of leisure1 employed himself in the instruction of his three sons1 for whom he had provided the most learned and virtuous masters4 ,mohammed ever remained loyal to ,ferdinand1 giving him repeated proofs of fidelity and attachment4 ,when that renowned monarch died at ,seville in #abed1 ,mohammed sent ambassadors to condole with his successor1 ,alonzo ,x41 and with them a gallant train of ,moorish cavaliers of distinguished rank to attend the obsequies4 ,this grand testimony of respect was repeated by the ,moslem monarch during the remainder of his life on each anniversary of the death of ,king ,fernando el ,santo1 when a hundred ,moorish knights repaired to ,seville1 and took their stations with lighted tapers in the ,cathedral1 around the tomb of the illustrious deceased4 ,mohammed retained his vigour to an advanced age4 ,in his seventy-ninth year he took the field on horseback1 accompanied by the flower of his chivalry1 to resist an invasion4 ,as the army sallied forth from ,granada1 one of the adalides1 or guides1 who rode in the advance1 accidentally shivered his lance against the arch of the gate4 ,the counsellors of the king1 alarmed by the circumstance1 which was considered an evil omen1 entreated him to return4 ,the king persisted1 and at noontide the omen1 say the ,moorish chroniclers1 was fatally fulfilled4 ,mohammed was suddenly seen to fall from his horse4 ,he was placed on a litter and borne towards ,granada1 but his illness increased to such a degree that they were obliged to pitch his tent on the ,vega4 ,his physicians were filled with consternation1 and in a few hours he died2 the ,castilian prince1 ,don ,philip1 brother of ,alonzo ,x41 being by his side when he expired4 ,his body was embalmed1 enclosed in a silver coffin1 and buried in the ,alhambra1 in a sepulchre of precious marble1 amidst the unfeigned lamentations of his subjects1 who bewailed him as a parent4 ,such was the enlightened prince who founded the ,alhambra1 whose name remains emblazoned amongst its most delicate and graceful ornaments1 and whose memory is calculated to inspire the loftiest associations in those who tread these fading scenes of his magnificence and glory4 ,abu-el-,hejaj 7,ysuf ,i471 ,king of ,granada1 #accc-aced1 who completed the ,alhambra4 ,in the royal ,mosque1 where the escutcheons of the ,moorish kings hang side by side with those of the ,castilian sovereigns--for the ,mosque was1 after the subjugation1 consecrated as a ,catholic chapel--perished the illustrious ,ysuf ,abu-el-,hejaj1 the high-minded prince who completed the ,alhambra1 and who1 for his virtues and endowments1 deserves almost equal renown with its magnanimous founder4 ,washington ,irving was1 perhaps1 the first to draw forth1 from the obscurity in which it had too long remained1 the name of another of those princes of a departed and almost forgotten race1 who reigned in elegance and splendour in ,andalusia1 when all ,europe was in comparative barbarism4 ,to ,ysuf ,i4 the ,alhambra owes much of its splendour2 he not only constructed the ,gate of ,justice and the ,wine ,gate1 leading into the ,palace1 as appears from the inscriptions over their respective archways2 but he must also have built1 or decorated1 many of the interior apartments1 for his name appears frequently in ,the ,hall of the ,two ,sisters1 in that of the ,baos1 in the ,court of the ,fish-pond1 and in the ,hall of the ,ambassadors4 ,ysuf ascended the throne of ,granada in #accc4 ,he is said to have been of noble presence1 possessing great bodily strength united to manly beauty4 ,he had the courage common to all generous spirits1 but his genius inclined more to peace than to war2 and1 though repeatedly obliged to take up arms1 he was generally unfortunate4 ,amongst other ill-starred enterprises1 he undertook a campaign in conjunction with the ,king of ,morocco1 against ,castile and ,portugal1 but was defeated in the memorable battle of ,salado2 a reverse which nearly proved a death-blow to the ,moslem power in ,spain4 ,a long truce1 after this defeat1 enabled ,ysuf to devote himself to the instruction and improvement of his people4 ,he established schools in the villages1 with uniform systems of education2 he obliged every hamlet of more than twelve houses to have a ,mosque1 and reformed abuses which had crept into the religious ceremonies and festivals of the people4 ,the ,alhambra was now completed4 ,ysuf constructed the beautiful ,gate of ,justice1 forming the grand entrance1 which he finished in #acdh4 ,he likewise adorned many of the ,courts and ,halls of the ,palace1 as may be seen by the inscriptions in which his name repeatedly occurs4 ,he built also the ,alczar1 or ,citadel of ,malaga1 of which1 alas6 only crumbling traces remain4 ,illustration3 ,,the ,,wine ,,gate1 ,,attributed ,,to ,y,,suf ,i4 ,the genius of the sovereign stamps a character upon his time4 ,the nobles of ,granada1 emulating the graceful taste of their monarch1 filled the city with magnificent palaces1 the halls of which were adorned with mosaics1 the ceilings wrought in fretwork1 and delicately gilded and painted1 or inlaid with precious woods2 they had lofty towers of wood or stone1 carved and ornamented1 and covered with plates of metal that glittered in the sun4 ,so refined was the taste in decoration prevailing amongst this elegant people that1 to use the simile of an ,arabian writer1 8,granada1 in the days of ,ysuf1 was as a silver vase filled with emeralds and jacynths40 ,one anecdote will be sufficient to show the magnanimity of this generous prince4 ,the long truce which succeeded the battle of ,salado was at an end1 and every effort of ,ysuf to renew it was in vain4 ,his deadly foe1 ,alonzo ,,xi4 of ,castile1 ,illustration3 ,,hall ,,of ,,the ,,two ,,sisters ,,from ,,the ,,entrance ,,door1 ,,built ,,by ,y,,suf ,i4 took the field with great force1 and laid siege to ,gibraltar4 ,ysuf reluctantly took up arms1 and sent troops to the relief of the place2 when1 in the midst of his anxiety1 he received tidings that his dreaded foe had fallen a victim to the plague4 ,instead of manifesting exultation1 ,ysuf called to mind the great qualities of the deceased monarch1 and was touched with sorrow--8,alas60 cried he1 8the world has lost one of its most excellent princes2 a sovereign who knew how to honour merit1 whether in friend or foe60 ,the ,spanish chroniclers1 themselves1 bear witness to this magnanimity3 according to their accounts1 the ,moorish cavaliers shared the sentiment of their king and put on mourning for the death of ,alonzo4 ,even those ,moors of ,gibraltar1 which had been so closely invested1 when they learned that the hostile monarch lay dead in his camp1 determined that no aggressive movement should be made against the ,christians during the observance of his obsequies4 ,illustration3 ,,the ,,sultan',s ,,bath1 ,,constructed ,,by ,y,,suf ,i4 ,upon the day on which the camp was broken up1 and the army departed bearing the corpse of ,alonzo1 the ,moors issued in multitudes from ,gibraltar1 and stood mute and melancholy1 watching the mournful pageant4 ,the same reverence for the deceased was observed on the frontiers by all the ,moorish commanders1 who suffered the funeral cortge to pass in safety with the body of the ,christian sovereign1 from ,gibraltar to ,seville4 ,ysuf did not long survive the enemy he had so generously deplored4 ,in the year #aced1 as he was one day at prayer in the royal ,mosque of the ,alhambra1 a maniac suddenly rushed upon him and plunged a dagger in his side4 ,the cries of the king brought his guards to his assistance3 they found him in convulsions1 weltering in his blood4 ,he was borne to the royal apartments1 and expired almost immediately4 ,the assassin ,illustration3 ,,court ,,of ,,myrtles1 ,,or ,,the ,,fish-,,pond1 ,,formed ,,by ,y,,suf ,i4 was cut to pieces1 and his limbs burnt in public1 to gratify the fury of the populace4 ,the assassination of ,ysuf is described by an eye-witness in a letter addressed to ,frris1 ,sultn of ,western ,africa1 which is printed by ,pascual de ,gayangos from the chronicle of ,al-,makkar--an elegant ,moorish writer who flourished towards the end of the sixteenth century3--8,as ,abu-el-hejaj 7,ysuf7 was performing the last prostration of his prayer1 a madman rushed upon him and wounded him with a khanjar1 or yataghn4 ,the assassin was immediately secured4 ,the ,sultn1 who had been mortally wounded1 made some signs as if he wished to speak2 ,illustration3 ,,the ,,koran ,,recess ,,in ,,the ,,mosque1 ,,the ,,scene ,,of ,y,,suf',s ,,assassination4 but1 after uttering some unintelligible words1 he was carried senseless to his apartments1 where he shortly died4 ,the assassin1 meantime1 was given up to the infuriated mob1 who slew him and burned his body4 ,the ,sultn was interred within the ,alhambra4 ,he left three sons3 ,mohammed1 who succeeded him2 ,isma'l1 and ,kays40 ,the body of ,ysuf was interred in a superb sepulchre of white marble2 a long epitaph1 in letters of gold upon an azure ground1 recorded his virtues3 8,here lies a king and martyr1 of an illustrious line1 gentle1 learned and virtuous2 renowned for the graces of his person and his manners1 whose clemency1 piety and benevolence were extolled throughout the kingdom of ,granada4 ,he was a great prince2 an illustrious captain2 a sharp sword of the ,moslems2 a valiant standard-bearer amongst the most potent monarchs40 ,the ,mosque1 which once resounded with the dying cries of ,ysuf1 still remains1 but the monument which recorded his virtues has long since disappeared4 ,his name1 however1 yet abides among the ornaments of the ,alhambra1 and will be perpetuated in connection with this renowned pile1 which it was his pride and delight to adorn4 ,the ,towers1 ,courts1 and ,halls of the ,alhambra4 8,as an ,englishman approaches the ,alhambra10 says ,ford1 8he rubs his eyes1 for he finds himself in a park of real ,english elms4 ,delicious green roofs they form1 but no more in keeping with the old ,moorish ,palace than ,bolton ,abbey would be with the ,pyramids4 ,but why ,english8 ,why2 because this wood was the present of the ,iron ,duke1 who had the estate of ,soto de ,roma1 with its four thousand once pheasant-haunted acres given him reluctantly by the grateful ,ferdinand ,,vii41 and who sent out these elms from ,england40 ,the first feeling which strikes a visitor on entering the ,alhambra is one of amazement to find himself suddenly transported to fairly-land4 ,arches bearing upon pillars so slender that the wonder is they are able to sustain the superincumbent weight--the style differing from all regular orders of architecture--ceilings and walls incrusted with fretwork so minute and intricate that the most patient draughtsman finds it difficult to follow4 ,yet1 although the patterns present so great variety1 the compotent parts are1 in their origin1 the same2 and it is by changing the colours and juxtaposition of the several pieces that the astonishing diversity is produced4 ,this exquisite ,moorish work appears to have been accomplished by means of moulds applied successively1 the continuity of the design being preserved with greatest care4 ,amidst or around the complex forms are constantly disposed ,arabic sentences of moral and religious tendency1 the most oft-repeated homily being1 8,wa la ghlib ila ,al10 that is1 8,there is no conqueror but ,god30 the sentence being sometimes enclosed within ,cufic characters written twice1 and forming the words signifying 8,grace10 and 8,blessing10 the letters so curiously interwoven that the text may be read from left to right1 and from right to left4 ,,puerta ,,de ,,justicia--,,the ,,gate ,,of ,,justice4 ,the ,gate of ,justice has ever been the principal entrance into the fortress4 ,like all the other towers of the ,alhambra1 it is built of concrete1 the jambs of the doorway being of white marble1 and the elegant horseshoe arch and spandrils of brick4 ,the ,gate of ,justice was erected in #acch by the ,sultn ,ysuf1 and was so called because 7in accordance with ancient practice all over the ,east7 the ,kings of ,granada occasionally sat under it to administer justice to every class of their subjects4 ,the hand and key1 which are seen in relievo upon the stone1 have given rise to a variety of conjectures1 more or less plausible4 ,the quaint open hand1 carved over the outer arch1 has a talismanic and ,arabian ,nights effect4 ,some authorities say it typifies the hand of ,god1 the symbol of power and providence2 others suppose it to be a type of the five commandments of ,islam--to fast2 to give alms2 to smite the infidel2 to make the pilgrimage to ,mecca2 and to perform purifications4 ,but it is1 in all likelihood1 the old ,roman talisman against the ,evil ,eye1 such as we see in coral on ,neapolitan lockets4 ,the ,evil ,eye is especially dreaded by ,orientals1 and the ,spaniards tremble at its influence even now4#h ,over the inner arch is a sculptured key3 there was an old legend believed in through the centuries anterior to the ,expulsion1 that the ,christians would never take the 8red castle0 until the outer hand had grasped the inner key4 ,it was also agreed that the key was an emblem of the ,prophet's power to open the gates of hell or heaven4 ,the truth is1 that the key was an old ,cufic emblem1 intimating ,allah's power to open the hearts of true believers4 ,it was also a badge on the ,almohades' banners1 and is seen in many ,moorish castles4 ,illustration3 ,,the ,,gate ,,of ,,justice1 ,,erected ,,by ,y,,suf ,i4 ,washington ,irving says of these strange symbols3 8,according to tradition1 the hand and key were magical devices on which the fate of the ,alhambra depended4 ,the ,moorish king who built it was a great magician1 or1 as some believed1 had sold himself to the devil1 and had laid the whole fortress under an evil spell4 ,by this means it had remained standing for several hundred years1 in defiance of storms and earthquakes1 whilst almost all other buildings of the ,moors had fallen to ruin and disappeared4 ,this spell1 the tradition went on to say1 would last until the hand on the outer arch should reach down and grasp the key1 when the whole pile would tumble to pieces1 and all the treasures buried beneath it by the ,moors would be revealed40 ,,sala ,,del ,,tribunal--,,hall ,,of ,,justice4 ,the ,hall of ,justice has three court-rooms1 or apses1 now blazoned with the royal ,spanish badges of the yoke and the bundle of arrows1 familiar to us as the badge of ,katharine of ,aragon1 daughter of ,ferdinand and ,isabella1 the first queen of our much-married monarch1 ,henry ,,viii4 ,of the many beautiful arches which adorn the ,palace1 the one forming the entrance to the central alcove1 or divan1 of the ,hall of ,justice is perhaps the most remarkable2 the exquisite form of the arch and richly-ornamented spandril with the poetic inscription which encloses it--8,may power everlasting and imperishable glory be the destiny of the owner of this ,palace0--and the slender porcelaine columns from which it springs1 exciting the deepest admiration4 ,in this ,hall are the famous paintings on leather1 ascribed to the end of the fourteenth century4 ,the painting of a group of ,moslems1 apparently congregated in ,council1 merits close attention1 as giving the veritable costume of the ,moors in ,granada of the fourteenth century1 at which period the delineations were certainly made1 and1 in all probability1 by an ,italian artist working under ,moslem direction4 ,other paintings portray various chivalrous or amatory subjects2 or they may be taken to represent romantic episodes as legendary as the story of the ,chinese lovers on a willow-pattern plate4 ,one scene 7see p4 #dg7 represents a wicked magician1 or wild man of the woods1 ,illustration3 ,,hall ,,of ,,justice ,,and ,,court ,,of ,,the ,,lions4 coercing a ,christian maiden1 who1 nevertheless1 is holding a docile lion by a leading chain2 the compliant animal meanwhile permitting domestic fowl and other pretty wantons to play undismayed around him4 ,a ,christian warrior on horseback makes short work of the wild man2 but1 alas6 for the maiden1 a valiant ,moor comes galloping up1 at once transfixes the ,christian rescuer with his spear1 and presumably claims the beautiful captive as the reward of his prowess4 ,this episode of a ,moor killing a ,christian may be taken as a strong presumption of the paintings being wrought under ,mohammedan influence1 as it appears most unlikely that it would have been so represented by a ,spaniard after the conquest of ,granada4 ,some spectators in the upper chamber of a tower in the background seem to heartily approve of the whole proceeding4 ,illustration3 ,,hall ,,of ,,justice4 ,however fantastic these pictures may be1 they are at least unique1 and1 as such1 must be regarded with the utmost interest4 ,we may conjecture that the painter fell into the hands of the ,moors by the fortune of war2 or1 on the other hand1 came by invitation to ,granada4 ,much difference of opinion exists amongst writers who have described the ,alhambra with respect to these three curious paintings on leather which are found in the domes of the alcoves of the ,hall of ,justice4 ,it is said by many that they are not the work of ,moorish artists1 but were executed posterior to the ,conquest of ,granada by ,spanish painters4 ,this opinion is founded chiefly on the injunctions contained in the ,korn1 forbidding the representation of animated beings2 but that this law was disregarded by the builders of the ,alhambra is fully proved by the fountain of the ,court of ,lions1 and the bas-relief which forms part of a fountain now in the ,museum of the ,palace4 ,illustration3 ,,hall ,,of ,,justice1 ,,showing ,,fountain ,,of ,,court ,,of ,,the ,,lions4 ,there is evidently much more analogy between these paintings and the bas-relief than between them and the works of the ,spaniards after the ,expulsion2 witness the bas-reliefs from the royal chapel of ,granada1 built by ,ferdinand and ,isabella1 which represent their entrance into the ,alhambra1 and evidently belong to a later period of ,art4 ,illustration3 ,,hall ,,of ,,justice4 ,illustration3 ,,hall ,,of ,,justice ,,and ,,part ,,of ,,court ,,of ,,the ,,lions4 ,illustration3 ,,hall ,,of ,,justice4--,,three ,,figures ,,from ,,the ,,picture ,,of ,,the ,,moorish ,,tribunal4 ,the ornaments1 moreover1 which are introduced into these paintings are strictly of a ,moorish character4 ,the subject on the centre alcove is considered by the ,spaniards to represent a ,tribunal1 whence they have called this ,hall4 ,from the different colours of the beards and dresses of the figures1 they would appear to represent the chiefs of the ,illustration3 ,,part ,,of ,,picture ,,in ,,the ,,hall ,,of ,,justice ,,representing ,a ,,christian ,,knight ,,rescuing ,a ,,maiden ,,from ,a ,,wicked ,,magician1 ,,or ,,wild-,,man-,o'-,,the-,,woods4 ,,the ,,christian ,,knight ,,is1 ,,in ,,turn1 ,,slain ,,by ,a ,,moorish ,,warrior4 tribes of ,granada4 ,one head traced from this picture is given on page #dh4 ,these paintings are of bright colours1 but in flat tints1 without shadow1 and were first drawn in outline of a brown colour4 ,they are painted on skins of animals sewn together1 and nailed to the wooden dome2 a fine coating of gypsum forming the surface to receive the painting4 ,the ornaments on the gold ground are in relief4 ,,painting ,,on ,,the ,,ceiling ,,of ,,the ,,left ,,alcove4 ,to determine whether the subject of this picture be legendary or historical is difficult4 ,christians appear to be engaged in hunting the lion and the bear1 while the ,moslems confine their attentions to the wild boar4 ,the spoils of the chase are presented at the feet of both ,christian and ,moslem ladies--the humility with which the ,christian knight1 who is upon his knees1 offers his share of the spoil to his lady1 may be contrasted with the more commanding attitude of the ,moslem1 as finely exhibiting the estimation in which women were held by their respective nations4 ,many hounds--one of which has the luck to fall in with a stray fox--take part in the ,illustration3 ,,hall ,,of ,,justice4--,,moor',s ,,head4 7,from a tracing by ,m4 ,jules ,goury1 a celebrated ,french architect1 from the painting representing a ,moorish ,tribunal47 chase1 and the ladies are attended by lap-dogs4 ,the huntsmen are on horseback and on foot4 ,when the wild boar is slain1 he is hoisted on the back of a mule by attendants1 and borne triumphantly home4 ,a great variety of birds and trees--amid the branches of which monkeys partially conceal themselves--make up the various scenes4 ,in spite of the want of perspective1 there is much spirit in the details1 and the female figures especially are most graceful4 ,that these unique relics should be taken from their present ,illustration3 ,,fa,,ade1 ,,court ,,of ,,the ,,mosque1 ,,built ,,by ,y,,suf ,i4 ,illustration3 8,,wa ,,la ,,gh,,lib ,,ila ,,al60--,,there ,,is ,,no ,,conqueror ,,but ,,god6--,,the ,,famous ,,motto ,,of ,,mohammed ,i4 ,,and ,,his ,,successors4 ,,an ,,example ,,from ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,elevation ,,of ,,the ,,ancient ,,gate ,,of ,,justice4 ,illustration3 #a4 ,,section ,,of ,,the ,,hall ,,of ,,justice 7looking ,east74 ,illustration3 #b4 ,,section ,,of ,,the ,,hall ,,of ,,justice 7looking towards the ,court of the ,lions74 ,illustration3 ,,painting ,,on ,,the ,,ceiling ,,of ,,the ,,hall ,,of ,,justice4 ,no #a4 ,illustration3 ,,painting ,,on ,,the ,,ceiling ,,of ,,the ,,hall ,,of ,,justice4 ,illustration3 ,,part ,,of ,,picture ,,in ,,the ,,hall ,,of ,,justice4--,,the ,,moor',s ,,return ,,from ,,hunting4 ,illustration3 ,,hall ,,of ,,justice--,,the ,,death ,,of ,,the ,,lion ,,at ,,the ,,hands ,,of ,a ,,christian ,,knight4 ,illustration3 ,,part ,,of ,,picture ,,in ,,hall ,,of ,,justice4--,,moorish ,,huntsman ,,slaying ,,the ,,wild ,,boar4 position and preserved under glass1 is a consummation devoutly to be wished4 ,,las ,,dos ,,hermanas--,,the ,,two ,,sisters4 ,perhaps the most interesting1 as it certainly is the loveliest apartment in this palace of enchantment1 is the ,,hall ,,of ,,the ,,two ,,sisters1 a title1 the guide books would fain have us believe1 ,illustration3 ,,entrance ,,to ,,hall ,,of ,,the ,,two ,,sisters1 ,,from ,,the ,,court ,,of ,,the ,,lions4 conferred by reason of two enormous slabs of white marble laid in the pavement1 precisely alike in form1 and without flaw or stain2 but the surpassing splendour of this chamber forbids us to accept a reason so inadequate for the designation4 ,there is nothing so very extraordinary in two huge blocks of stone1 be they never so faultless2 that is only a matter of quarrying3 if such objects are to excite wonder1 we may turn1 with more profit1 to the ,pyramids of ,egypt4 ,let us rather concern ourselves with the beauty and symmetry of this unequalled spot4 ,first1 then1 the gate of the tower exceeds all other gates in ,illustration3 ,,hall ,,of ,,the ,,two ,,sisters1 ,,from ,,entrance ,,door4 profusion of ornament1 and in the beauty of the prospect from the entrance through a range of apartments1 where a multitude of arches terminate in a large window affording a view of open country4 ,in sunshine1 the variety of tints thrown upon this enfilade are surprisingly beautiful4 ,in all probability the ,hall of ,the ,two ,sisters formed part of the private apartments of the ,moorish kings4 ,the alcoves1 or divans1 on either side of the ,hall1 with the charming retiring rooms on the upper floor1 give it the character of a residence2 just as the ,hall of ,ambassadors1 as its aspect shows1 and its traditional name implies1 was destined only for public receptions4 ,it may reasonably be declared that the ,hall of ,the ,two ,sisters1 together with the corridors and alcoves which surround it1 cannot be equalled even by other parts of the ,palace4 ,its stalactite ceilings are the most perfect examples remaining of this curious and interesting kind of decoration4 ,to preserve them1 the outer walls are raised ten feet above the dome1 and support an encasing roof over all4 ,nothing can exceed the glory of the honeycomb vaultings1 with thousands of fantastic cell formations1 each one differing from the other1 yet all combining in uniformity4 ,the effect ,illustration3 ,,hall ,,of ,,the ,,two ,,sisters4 is as if the architect had been assisted in his work by swarms of ,brobdingnagian bees4 ,at the upper end of the ,hall of ,the ,two ,sisters1 but separated from it by a corridor1 is an alcove1 once overlooking a beautiful garden1 as we learn from a verse in the room4 ,it is known as ,the ,mirador or ,balcony of 8,lindaraja40 ,on this favoured spot the poets1 painters1 and architects of that day lavished their most exalted efforts4 ,all the varieties of form and colour which adorn other portions of the ,palace have here been blended with the happiest effect4 ,the delighted observer is spell-bound1 and finds it difficult to remove himself from the fascination of the place4 ,the lattice window of the upper story gives light to a corridor leading to apartments appropriated to the fair odalisques4 ,it was through these lattices that the beauties of the hareem viewed ,illustration3 ,,upper ,,balcony ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters4 the splendid ftes enacted for their entertainment in the great hall below1 but in which they could participate only as distant spectators4 ,these gratings are precisely similar in their construction to those which are now seen in the hareems of the ,east4 ,the long series of inscriptions in the ,hall of ,the ,two ,sisters were much mutilated1 and in some cases utterly destroyed1 in a barbarous attempt at decoration--rien n'est sacr pour un sapeur--made by the ,ayuntamiento of ,granada in #ahcb1 when the ,infante1 ,don ,francisco de ,paula visited the city4 ,fortunately1 so far as the text goes1 the sentences may be found in ,antigedades ,arabes de ,espaa4#i ,the greatest pains have been expended upon the inscriptions which address themselves to the eye of the connoisseur by the beautiful forms of the characters2 exercise his intellect by the effort of deciphering their curious and ,illustration3 ,,hall ,,of ,,the ,,two ,,sisters1 ,,from ,,the 8,,lindaraja0 ,,balcony4 complex involutions1 and reward his imagination by the beauty of the sentiments and the music of their composition4 ,many will be grateful to see some specimens of the verses from the ,hall of ,the ,two ,sisters3-- 8,i am the garden1 and every morn am ,i revealed in new beauty4 ,observe attentively how ,i am adorn'd1 and thou wilt reap the benefit of a commentary on decoration2 8,for1 by ,allah6 the elegant structures around me assuredly surpass all other edifices by the happy presage attending their foundation4 8,how many delightful prospects ,i enfold6 ,prospects1 in the contemplation of which a mind enlightened finds the gratification of its desire4 8,look upon this wonderful cupola1 at sight of whose perfection all other domes must pale and disappear2 8,to which the ,constellation of the ,twins extends the hand of salutation2 and1 for communion1 the ,full ,moon deserts her station in the heavens4 8,nay1 more2 were they to take these aisles for their abiding place1 those heavenly bodies would render constant homage to their beauty4 8,no wonder1 then1 if the stars grow pale in their high stations1 and if a limit be put to the duration of their light4 8,here also behold the portico1 unfolding every beauty4 ,indeed1 had this palace no other ornament1 it would still surpass the firmament in splendour3 8,for manifold are the gorgeous habilaments in which thou1 ,o ,sultn6 hast arrayed it1 surpassing in brilliancy the lustrous robes of ,yemen6 8,to look at them1 one would imagine them to be planets revolving in their orbits1 and throwing into shade the sunburst of morning4 8,here are columns ornamented to absolute perfection2 the beauty of which has become glorified3 columns ,illustration3 ,,balcony ,,of ,,the ,,favourite1 8,,lindaraja40 ,illustration3 ,,details ,,of ,,the ,,glazed ,,tiles ,,in ,,the ,,dado ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters4 8,which1 when struck by the earliest beam celestial1 may be likened1 notwithstanding their vastness1 to many blocks of pearl4 8,indeed1 there is no palace more imposing in its elevation1 nor so brilliantly decorated2 nor having more extensive apartments2 8,they may be compared to markets where the richest comers are overpaid in beauty1 and where the arbiter of elegance presides eternally to pronounce his award2 8,and where the sigh of the zephyr is inhaled by the noontide ray whose scintillating beam is more refulgent than all other light4 8,between myself and the most high fortune the closest relationship exists1 and the greatest resemblance between us lies in the splendour of our destiny4 8,every art has laid its gifts upon me2 nay1 all have united in conferring perfection4 8,by those who are permitted to behold me ,i am regarded as the ,queen of ,beauty who bestoweth the prize upon her well-beloved2 8,indeed1 when the enraptured observer has feasted his eyes upon me1 he will find reality surpassing the most extravagant flights of fancy2 8,he will see the moon-beam start from my orbs1 and its scintillation leave me only to enter the mansions of the blest4 8,the palace is a palace of transparent crystal2 it appears to be illimitable as the boundless ocean2 8,and yet ,i am not the sole marvel of this heaven upon earth2 for ,i overlook with ecstacy a garden1 the like of which no human eye has contemplated4 8,i was built by the ,imam ,ibn ,nasr4 ,may ,allah uphold his majesty as a pattern to other kings60 ,the last half-dozen verses1 printed supra1 are inscribed on the jambs of the doorway which gives entrance to the exquisite little chamber already described4 ,the windows of the ,mirador still overlook the garden eulogised in the penultimate verse4 ,the dado of the ,hall of ,the ,two ,sisters is a most beautiful ,mosaic1 presenting the same general form on all four sides of the ,hall1 but differing considerably in the filling up of the patterns4 ,illustration3 ,,the ,,favourite',s ,,balcony4 ,in the ,hall of ,the ,two ,sisters formerly stood the famous ,arab vase 7el jarro7 see pp4 #gg and #ie which tradition says was discovered in one of the subterranean chambers of the palace1 8full of gold40 ,it is now placed in the ,museum4 ,the vase is of the fourteenth century1 and is exquisitely enamelled in white1 blue and gold4 ,the decorations are ,hispano-,moresque1 and are fully described in the work on pottery by ,peter ,davillier4 ,another lovely amphora1 is engraved in the ,spanish work ,antigedades ,arabes de ,espaa1#aj the equal1 indeed1 the companion ,illustration3 ,,el ,,jarro4 ,,the ,,arabian ,,vase ,,and ,,niche ,,in ,,which ,,it ,,formerly ,,stood1 ,,hall ,,of ,,the ,,two ,,sisters4 ,,the ,,vase1 ,,considerably ,,mutilated1 ,,is ,,now ,,in ,,the ,,museum ,,of ,,the ,,palace4 7,see p4 #ie47 ,illustration3 ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,view ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,detail ,,of ,,the ,,upper ,,story1 ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,section ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters1 ,,and ,illustration3 ,,section ,,of ,,part ,,of ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,inscription ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,inscriptions ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,panel1 ,,ornament1 ,,and ,,inscriptions ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,details ,,on ,,the ,,front ,,of 8,,lindaraja',s0 ,,balcony4 ,illustration3 ,,el ,,jarro4 ,,arab ,,vase ,,of ,,metallic ,,lustre1 ,,probably ,,from ,,the ,,balearic ,,isles 7,,majorca74 ,,this ,,vase ,,now ,,stands ,,in ,,the ,,museum ,,of ,,the ,,palace4 ,illustration3 ,,plate ,i4 ,no4 #a4 ,ornament in panels on the ,walls1 ,hall of the ,ambassadors4 ,illustration3 ,,plate ,,ii4 ,no4 #b4 ,soffit of an arch1 ,court of the ,fishpond4 ,illustration3 ,,plate ,,iii4 ,no4 #c4 ,ornament over doorway at the entrance1 ,court of the ,lions4 ,illustration3 ,,plate ,,iv4 ,no4 #d4 ,ornament in doorway at the entrance to the ,ventana1 ,hall of the ,two ,sisters4 ,illustration3 ,,plate ,v4 ,no4 #e4 ,ornament on the side of windows1 upper story1 ,hall of the ,two ,sisters4 ,illustration3 ,,plate ,,vi4 ,no4 #f4 ,ornament in spandrils of arches1 ,hall of the ,two ,sisters4 ,no4 #g4 ,ornaments in spandrils of arches1 ,hall of the ,abencerrages ,illustration3 ,,plate ,,vii4 ,no4 #h4 ,ornaments in panels1 ,hall of the ,ambassadors4 ,illustration3 ,,plate ,,viii4 ,no4 #i4 ,ornaments in panels1 ,court of the ,mosque4 ,illustration3 ,,details ,,at ,,the ,,exit ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters4 to el jarro1 formerly existed in the ,palace1 but it was unfortunately broken about the year #ahcg1 and the pieces sold to a passing traveller4 ,it is here figured from ,murphy's ,arabian ,antiquities1 #ahae4 ,illustration3 ,,an ,,arab ,,vase ,,of ,,the ,,xivth ,,century ,,in ,,the ,,niche ,,wherein ,,it ,,stood ,,until ,,the ,,year #ahcg4 ,the ,hall of ,the ,two ,sisters fairly intoxicates one with the fragile yet imperishable beauty of the place4 ,the eye soars upward1 and flutters in and out of those flower-cup cells which seem the first creative types of some fresh world4 ,architects--,owen ,jones amongst the number--inform us that the thing is very simple3 it is a beauty put together by mere receipt proceeding from three primary figures--the right-angled triangle1 the rectangle1 and the isosceles triangle3 capable of millions of combinations1 just like the three primary colours1 or the seven notes of the musical scale4 8,a simple receipt10 says an anonymous writer on the glories of the ,alhambra2 8but who1 nowadays1 ,illustration3 ,,mosaic ,,in ,,dado ,,of ,,the ,,entrance ,,to ,,the ,,hall ,,of ,,the ,,two ,,sisters4 can cook anything like it80 ,the same writer goes on to say that in devising the ,alhambra1 the ,moors were always thinking of the ,arab tent4 ,they wanted air and lightness4 ,the marble pillars are the tent spears1 but of stone4 ,the net-work lace veil that filigrees every wall with cobwebs of harmonious colour1 is the old tent tapestry1 the ,crdovan-stamped leather hangings are the ,indian shawls that canopied the wandering and victorious horseman's tent4 ,they wanted mere pendant flowers woven together into roof and gossamer-pierced panels that hardly ,illustration3 ,,mosaic ,,in ,,dado ,,of ,,recess1 ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,mosaic ,,in ,,dado1 ,,hall ,,of ,,the ,,two ,,sisters4 arrest the air4 ,everything must float and sway2 they would not bar out the chirp of the dripping silver water4 ,they thinned and shaved the pillars till they were no longer cylinders of marble1 but tender saplings1 or flower-stalks1 slender as spear-shafts4 ,the spandrils are not corbelled beams1 faced with gargoyle monsters1 but perforated supports as to some fairy's cabinet4 ,there is nothing to hold up1 only ivory-patterned walls1 and a honeycombed dome that seems to float in mid-air4 ,,hall ,,of ,,the ,,abencerrages4 ,here it is said that thirty-six cavaliers of the heroic line of ,abencerrage were sacrificed to appease the jealousy or allay the fears of a tyrant4 ,the fountain ran red with the noblest blood of ,granada2 and a deep stain on the marble pavement is pointed out by the cicerone of the pile as a sanguinary record of the massacre4 ,the discolourations must be regarded with the same perfect faith with which one looks upon the traditional stains of ,rizzio's blood on the floor of the chamber of the unhappy ,queen ,mary at ,holyrood4 ,who desires to be sceptical on such points of popular belief8 ,the enlightenment of the happy reader of ,de ,foe's immortal romance--happy in the masterly illusion of the author--robbed him of one of the chief delights of his life4 ,if there is any country in ,europe where it is easy to live in the romantic and fabulous traditions of the past1 it is in legendary1 proud-spirited1 romantic ,spain1 where the old1 magnificent1 barbaric spirit even now contends with modern innovation4 ,in the silent halls of the ,alhambra1 surrounded with the insignia of regal sway1 and vivid with traces of ,oriental voluptuousness1 everything speaks and breathes of the glorious days of ,granada when under the dominion of the ,crescent4 ,in the proudest days of ,moslem domination1 the ,abencerrages were the soul of everything noble and chivalrous4 ,the veterans of the family1 who sat in the royal ,council1 were the foremost to devise those heroic enterprises which carried dismay into the territories of the ,christian2 and what the sages of the family devised1 the young men of the name were prompt to execute4 ,in all services of hazard1 in all adventurous forays1 the ,abencerrages were sure to win the brightest laurels4 ,in those noble recreations1 too1 which bear so close an affinity to war1 still the ,abencerrages carried off the palm4 ,none could equal them in splendour of array1 in gallantry of device1 or in their noble bearing and glorious horsemanship4 ,their open-handed munificence made them the idols of the populace1 while their lofty magnanimity and perfect faith gained them golden opinions from the generous and high-minded2 the 8word of an ,abencerrage0 was a guarantee that never admitted doubt4 ,the main facts connected with the fate of the chieftains of that generous but devoted race seem to have been ascertained1 leaving little doubt of this hall having been the scene of their calamitous end4 ,alas6 that boudoirs made for love and life should witness scenes of hatred and of death2 and let none presume to 8peep and botanize0 over-much1 for nothing is more certain than that heroic blood can never be effaced1 still less if shed in most unnatural murder4 ,nor1 according to ,lady ,macbeth1 will 8all the perfumes of ,arabia0 serve to sweeten the foul deed4 ,the blood at least is genuine to all intentions of romance as that of 8the gentle ,lutenist0 at ,holyrood1 or of ,becket at the shrine of ,canterbury4 ,it behoves us to beware of those dull people who1 deprived of imagination1 pretend to judgment2 and who would abolish the midsummer fairies1 or proscribe old sop2 there is no faith in them4 ,all who visit the ,alhambra are sure to make for the fountain ,illustration3 ,,hall ,,of ,,the ,,abencerrages 7,,beni ,,cerraj74 where the ,abencerrages were beheaded1 the more credulous looking with interest upon the natural reddish-brown veins of the marble1 which are supposed to be indelible blood-stains4 ,it is said that ,boabdil resolved upon the extirpation of the noble family of the ,abencerrages in consequence of the alleged discovery of an intrigue1 including a false charge of infidelity against his gentle queen1 and directed the decapitation of thirty-six of ,illustration3 ,,mosaic--,,hall ,,of ,,the ,,abencerrages4 them in this ,hall4 ,the story has passed into ballads1 dramas1 and romances1 until it has grown too strong to be eradicated4 ,boabdil1 however1 was of a mild and amiable character1 if wavering and irresolute2 and too gracious to have ordered so inhuman a massacre as the execution of thirty-six of not only a gallant1 but a powerful and numerous family1 with many friends4 ,the truth is1 it was ,boabdil's father1 ,muley-,abu-l-,hasen1 represented by both ,christian and ,arabian chroniclers as of a cruel and ferocious nature1 who unjustly put to death some cavaliers of the illustrious line upon suspicion of their being engaged in a conspiracy to dispossess him4 ,it so happens that the fame of ,boabdil the ,unlucky can be cleared of such infamy as the wholesale massacre of the ,abencerrages through direct evidence afforded by a contemporary ,hispano-,moresque ballad1 8,ay de mi ,alhama60 written in #adhb1 and which ,lord ,byron has made familiar by his version1 8,a very mournful ,ballad on the siege and conquest of ,alhama40 ,the fact that ,muley-,abu-l-,hasen in vain invested the castle and town of ,alhama#aa after its capture by the ,marquis of ,cadiz1 and the direct reference in the ballad to its loss1 ascribed to the wrath of ,allah at the wickedness of the ,king1 clearly exonerates ,boabdil from the crime of his father4 99 99 99 99 99 8,by thee were slain1 in evil hour1 ,the ,abencerrage1 ,granada's flower2 ,and strangers were received by thee ,of ,crdova the ,chivalry4 ,woe is me1 ,alhama6 8,and for this1 oh king6 is sent ,on thee a double chastisement3 ,thee and thine1 thy crown and realm1 ,one last wreck shall overwhelm4 ,woe is me1 ,alhama60 99 99 99 99 99 ,with the loss of the two 8,keys0 to ,granada--,loja and ,alhama--both being forthwith heavily garrisoned by the ,illustration3 ,,hall ,,of ,,the ,,abencerrages4 ,illustration3 ,,wooden ,,door1 ,,hall ,,of ,,the ,,abencerrages4 ,illustration3 ,,plate ,,ix4 ,no4 #aj4 ,ornament over arches at the entrance to the ,court of the ,lions4 ,illustration3 ,,plate ,x4 ,no4 #aa4 ,ornament on the walls1 ,hall of the ,abencerrages4 ,illustration3 ,,plate ,,xi4 ,no4 #ab4 ,ornament in panels on the walls1 ,court of the ,mosque4 ,illustration3 ,,plate ,,xii4 ,no4 #ac4 ,spandril of an arch of window1 ,hall of the ,ambassadors4 ,illustration3 ,,plate ,,xiii4 ,no4 #ad4 ,brackets supporting ceiling of the portico1 ,court of the ,lions4 ,illustration3 ,,plate ,,xiv4 ,no4 #ae4 ,small panel in jamb of a window1 ,hall of the ,ambassadors4 ,illustration3 ,,plate ,,xv4 ,no4 #af4 ,small panel in jamb of a window1 ,hall of the ,ambassadors4 ,illustration3 ,,plate ,,xvi4 ,no4 #ag4 ,small panel in jamb of a window1 ,hall of the ,two ,sisters4 ,illustration3 ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,interior ,,view1 ,,taken ,,from ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,ceiling ,,of ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,hall ,,of ,,the ,,abencerrages4 ,illustration3 ,,hall ,,of ,,the ,,abencerrages4 ,illustration3 ,,ceiling ,,of ,,the ,,hall ,,of ,,the ,,abencerrages4 ,illustration3 ,,mosaic1 ,,from ,a ,,fragment ,,in ,,the ,,alhambra4 ,illustration3 ,,mosaic1 ,,north ,,side ,,of ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,chief ,,gate ,,of ,,the ,,alhambra4 ,illustration3 ,,plate ,,xvii4 ,no4 #ah4 ,panel in the upper chamber of the ,house of ,sanchez4 ,illustration3 ,,plate ,,xviii4 ,no4 #ai4 ,soffit of great arch at the entrance of the ,court of the ,fishpond4 ,illustration3 ,,plate ,,xix4 ,no4 #bj4 ,spandril from niche of doorway at the entrance of the ,hall of ,ambassadors1 from the ,sala de la ,barca4 ,illustration3 ,,plate ,,xx4 ,no4 #ba4 ,lintel of a doorway1 ,court of the ,mosque4 ,illustration3 ,,plate ,,xxi4 ,no4 #bb4 ,no4 #bc4 ,capital of ,columns1 ,court of the ,lions4 ,illustration3 ,,plate ,,xxii4 ,no4 #bd4 ,no4 #be4 ,capital of ,columns1 ,court of the ,lions4 ,illustration3 ,,plate ,,xxiii4 ,no4 #bf4 ,,no4 #bg4 ,capital of ,columns1 ,court of ,fishpond4 ,illustration3 ,,plate ,,xxiv4 ,no4 #bh4 ,no4 #bi4 ,no4 #cj4 ,no4 #ca4 ,no4 #cb4 ,no4 #cc4 ,ornament on the ,walls of the windows of 8,lindaraja's0 ,balcony4 ,illustration3 ,,transversal ,,section ,,of ,,the ,,alhambra4 ,illustration3 ,,section ,,showing ,,heights ,illustration3 ,,of ,,the ,,alhambra4 ,illustration3 ,,elevation ,,of ,,the 8,,wine ,,gate40 ,illustration3 ,,the ,,gate ,,of ,,judgment4 ,illustration3 ,,porch ,,of ,,the ,,gate ,,of ,,judgment4 ,illustration3 ,a ,,section ,,of ,,the ,,gate ,,of ,,judgment4 ,illustration3 ,,interior ,,perspective ,,of ,,the ,,alhambra4 ,illustration3 ,,view ,,of ,,the ,,acqueduct1 ,,near ,,the ,,alhambra4 ,illustration3 ,,plate ,,xxv4 ,details of an ,arch1 ,portico of the ,court of ,lions4 ,spandril of the opposite side of ,arch4 ,no4 #cd4 ,court of ,the ,lions4 ,illustration3 ,,plate ,,xxvi4 ,no4 #ce4 ,capitals in the ,hall of ,two ,sisters4 ,illustration3 ,,plate ,,xxvii4 ,section on the line ,a4,b4 ,plan of the ,pendants in the ,angle4 ,no4 #cf4 ,details of the ,great ,arches in the ,hall of the ,bark4 ,illustration3 ,,plate ,,xxviii4 ,no4 #cg4 #d1 #e4 ,arches1 ,court of ,the ,lions4 #a1 #b1 #c1 #f4 ,arches1 ,hall of ,justice4 ,illustration3 ,,plate ,,xxix4 ,no4 #ch4 ,details of ,the ,great ,arches4 ,illustration3 ,,plate ,,xxx4 ,no4 #ci4 #a4 ,hall of ,ambassadors4 #b4 ,court of ,the ,fish ,pond4 #c4 ,hall of ,the ,bark4 #d4 ,hall of ,the ,two ,sisters4 ,illustration3 ,,plate ,,xxxi4 ,no4 #dj4 ,detail of an ,arch1 ,court of ,the ,fish ,pond4 ,illustration3 ,,plate ,,xxxii4 ,no4 #da4 ,detail of an ,arch1 ,portico of ,the ,court of ,lions4 ,illustration3 ,a ,,view ,,of ,,the ,,alhambra ,,from ,,the ,,albaycin4 ,illustration3 ,,gate ,,of ,,justice4 ,christians1 the reduction of the last stronghold of the ,moors became only a question of time4 ,as we know1 the surrender of ,granada took place within four years after the fall of ,loja4 ,but it is not the history of the ,dominion and ,expulsion1 so much as the description of the ,hall of the ,abencerrages1 that demands attention at present4 ,after the glories of the ,sala de las ,dos ,hermanas1 the ,hall of the ,abencerrages1 elegant as it is1 pales somewhat in interest4 ,there are but few inscriptions here4 ,it has been repeatedly 8restored10 and much of the ornament which decorates the walls seems to have been transferred from the ,hall of ,the ,two ,sisters4 ,the arches1 however1 appear in their original state1 and are most beautiful in general form1 as in their surface decoration4 ,the manner in which the arch-form gradually grows out from the shaft of the column is exquisite4 ,in the centre of the ,hall is the famous 8,fountain10 with the waters of which the blood of the ,abencerrage chieftains is said to have mingled4 ,the beautiful wooden doors to the ,hall of the ,abencerrages existed in their places1 and in perfect condition till the summer of #ahcg1 when they were removed and sawn in halves by the then resident ,governor of the ,alhambra for the purpose of stopping a gap in another part of the ,palace2 and1 as they proved too large for the openings to which they were applied1 the superfluous parts were broken up for firewood6 ,the doors are of white wood1 with similar mouldings and ornaments on either side2 the decorations were originally in colour1 traces of which may still be discovered4 ,the folding doors are hung on pivots1 which are let into the socket of a marble slab below1 and above into the soffit of a beam which crosses the colonnade of the ,court of the ,lions4 ,this method of hanging the doors is precisely similar to that adopted in ancient temples1 and is still practised throughout the ,east4 ,the manner in which the bolt secures1 at the same time1 both flaps of the larger doors and the wicket1 is full of ingenuity4 ,don ,rafal ,contreras caused these doors1 or what remained of them1 to be replaced in the position for which they were originally intended4 ,he found the fragments amid the lumber of the palace6 ,his own words are3 8,nous l'avons restaure en #ahef1 l'ayant trouv brise en quatre morceaux1 abandonne dans les magasins du palais0--,they were found1 broken into four pieces1 in the lumber rooms of the palace4 ,,patio ,,de ,,la ,,alberca--,,the ,,court ,,of ,,the ,,fish-,,pond4 ,this ,court was called in former times ,patio de los ,arrayanes--the ,court of the ,myrtles--by reason of its beautiful flowering shrubs which gem either side of the ,fishpond2 trim myrtle hedges1 and orange trees rising beside the water4 ,to enter the ,court of the ,fish-pond is to be straightway translated to the palace of ,haroun-al-raschid3 ,granada changes to ,damascus4 ,the ,moorish arches1 springing from slender palm-tree shafts1 are of bewildering beauty2 the walls1 no longer forbidding blocks of stone1 but pierced trellises1 that turn sunlight and moonlight into patterns resembling so much ,venetian filigree4 8,surely they are needle-work turned to stone10 says a traveller of long ago2 8or some great ,sultn has built them with panels cut from caskets of ,indian ivory1 though the piecing be not seen4 ,the myrtles grow green and glossy round the great marble tank1 #aej feet long1 which flows with mellow water1 in which burnished fish--some apparently red-hot1 others of molten silver--steer1 flirt1 skim1 and splash4 ,never stop to think that the dry1 whity-brown1 tubular-tiled1 sloping roofs ,illustration3 ,,north ,,side ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,illustration3 ,,elevation ,,of ,,an ,,alcove ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,illustration3 ,,elevation ,,of ,,the ,,arcade ,,on ,,the ,,north ,,side ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,illustration3 ,,section ,,through ,,part ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond ,illustration3 ,,and ,,the ,,hall ,,of ,,the ,,ambassadors4 ,illustration3 ,,the ,,baths1 ,,hall ,,of ,,repose4 ,,explanation ,,of ,,the ,,letters ,,of ,,reference ,,in ,,this ,,plate4 ,a ,a ,a4 ,entrances to the quarter of the ,palace containing the baths4 ,b ,b ,b ,b ,b ,b4 ,passages communicating with the different apartments and baths4 ,c ,c4 ,apartments1 looking into4 ,d ,d4 ,a ,court with a fountain in its centre4 ,e ,e ,baths and dressing-rooms4 ,f ,f ,f4 ,warm baths4 ,g ,g ,g4 ,the place where the water was heated4 ,the copper vessels anciently employed for this purpose were sold many years ago by the then ,governor of the ,alhambra for the sum of #ad1jjj reals1 about #cej sterling4 ,from these coppers1 the warm water was conducted between the walls to the different baths by means of pipes communicating with them1 and which are distinctly shown by the white line4 ,i ,i ,i ,i ,i ,i4 ,other baths and apartments4 ,the lines a a a a a a a a a a a designate steps by which the bathers descended into the water4 ,k4 ,the great ,hall of the ,baths4 ,illustration3 ,,ground ,,plan ,,of ,,the ,,baths ,,in ,,the ,,alhambra4 ,illustration3 ,,section ,,of ,,the ,,hall ,,of ,,the ,,baths4 ,illustration3 ,a ,,section ,,of ,,the ,,baths ,,in ,,the ,,alhambra4 ,illustration3 ,,the ,,sult,,na',s ,,bath4 ,illustration3 ,,the ,,sult,n',s ,,bath4 ,illustration3 ,,the ,,hall ,,of ,,the ,,baths4 ,illustration3 ,,ceiling ,,of ,,the ,,hall ,,of ,,the ,,baths4 ,illustration3 ,,longitudinal ,,section ,,through ,,the ,,baths4 ,illustration3 ,,plate ,,xxxiii4 ,no4 #db4 ,cornice to the roof1 ,court of ,the ,mosque4 ,illustration3 ,,plate ,,xxxiv4 ,no4 #dc4 ,divan1 ,court of ,the ,fish ,pond4 ,illustration3 ,,plate ,,xxxv4 ,no4 #dd4 ,actual state of the ,colours4 ,illustration3 ,,plate ,,xxxvi4 ,no4 #de4 ,windows in the ,alcove1 ,hall of ,the ,two ,sisters4 ,illustration3 ,,plate ,,xxxvii4 ,no4 #df4 ,the ,vase4 ,illustration3 ,,plate ,,xxxviii4 ,no4 #dg4 ,details of one of the ,arches1 ,hall of ,justice4 ,illustration3 ,,plate ,,xxxix4 ,no4 #dh4 ,details of the ,arches1 ,hall of the ,abencerrages4 ,illustration3 ,,plate ,,xl4 ,no4 #di4 ,centre ,painting on the ,ceiling1 ,hall of ,justice4 ,illustration3 ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles4 ,illustration3 ,,gallery1 ,,the ,,court ,,of ,,the ,,myrtles4 ,illustration3 ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles4 ,illustration3 ,,details ,,of ,,the ,,gallery ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles4 ,illustration3 ,,court ,,of ,,the ,,fish-,,pond4 ,illustration3 ,,entrance ,,to ,,the ,,court ,,of ,,the ,,fish-,,pond4 ,illustration3 ,,ornament ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond4 ought to be flat1 and are not now ,moorish2 do not pause to imagine the pierced marble balustrade that once walled-in this bathing-place of the dark-skinned people2 nor picture glowing ,bathsebas--,rubens' group of floating1 and laughing ,sultnas1 with female black slaves watching their gambols from under the shady portico4 ,air and water are the perpetual treasures of this place1 and ,i tasted them both gratefully as ,i strode under the pointed arches1 away from the burning lashes of the sun that drove me under cover40 ,illustration3 ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles4 ,the transverse section of the ,court1 looking towards the palace of ,charles ,v4 7see p4 #cef71 forms a beautiful arcade3 the slender columns which support the arches would appear unequal to their superincumbent weight were not the spandrils lightened by perforations4 ,the construction of these arches is remarkable for its simplicity4 ,over the columns1 which are of white marble1 are built brick piers1 and the spandrils of the arches are filled in with tiles placed diagonally4 ,to these are attached perforated plaster ornaments1 which give a singularly light and elegant appearance to the arches1 and at the same time1 by freely admitting currents of air1 distribute a delicious coolness through the ,courts4 ,it will be observed that the ornaments in plaster1 with which the walls of the ,court of the ,fish-pond are covered1 are in a better state of preservation than similar decorations in other parts of the ,palace4 ,the windows over the entrance doorway are formed of ribs of plaster1 and it is thought that these were once filled with stained glass4 ,no traces of such glazing can now be discovered2 the conjecture seems to have arisen from the fact that a wall here1 next the ,hall of ,ambassadors1 has similar blank windows in which small spaces are painted of various colours4 ,between the windows1 and at the angles1 are four escutcheons of the ,kings of ,granada with the oft-repeated motto3 8,there is no ,conqueror but ,god20 the whole being enclosed within a cipher1 formed by the word signifying 8,grace0 written twice in ,cufic characters1 and so interwoven that it may be read from right to left1 and from left to right4 ,on the ribs of the window is the word signifying 8,blessing10 in ,cufic characters1 with this peculiarity1 that the first two letters are enclosed within a cipher formed by the two last4 ,this device also is so ingeniously written that the word may be read both ways4 ,on six escutcheons1 at the sides1 the word signifying 8,blessing0 is treated in the same skilful manner4 ,immediately over the ,mosaic under the gallery is an inscription of twelve verses in ,african characters1 full of ,oriental hyperbole1 but perhaps inferior in composition to those already selected from the ,hall of ,the ,two ,sisters4 ,under the galleries1 at the north and south ends of the ,court1 are four recesses1 profusely ornamented1 elaborate1 and ,illustration3 ,,the ,,court ,,of ,,the ,,fish-,,pond4 beautiful2 well preserved1 and retaining much of their original colour4 ,from amongst the inscriptions of the ,court of the ,fish-pond it may be permitted to print two or three3 8,go and tell true believers that ,divine help and ready victory are reserved for them4 7,from the sixty-first chapter of the ,korn74 8,i am like the nuptial array of a bride1 endowed with every beauty and perfection4 8,truly1 ,ibn ,nasr is the sun1 shining in splendour2 8,may he continue in the noon-tide of his glory even unto the period of his decline40 ,illustration3 ,,gallery ,,in ,,the ,,court ,,of ,,the ,,fish-,,pond2 ,,or1 ,,of ,,the ,,myrtles4 ,in the ,court of the ,fish-pond is an arch which differs in character from all others existing in the ,alhambra3 it has the peculiarity of presenting one surface only of decoration1 with a principal or guiding figure made out by colours4 ,the ornaments bear a much nearer resemblance to natural forms than in other parts of the ,palace2 and the whole arch has more of the ,persian character of decoration4 ,,patio ,,de ,,los ,,leones--,,the ,,court ,,of ,,the ,,lions4 8,from the lower end of the ,court of the ,alberca10 says ,irving1 8we passed through a ,moorish archway into the renowned ,court of ,lions4 ,there is no part of the edifice that ,illustration3 ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions4 gives a more complete idea of its original beauty and magnificence1 for not any portion has suffered so little from the ravages of time4 ,in the centre stands the fountain famous in song and story4 ,the alabaster basins still shed their diamond drops2 and the twelve lions which support them cast forth their crystal streams as in the days of ,boabdil4 ,when one looks upon the fairy tracery of the peristyles1 and the apparently fragile fret-work of the walls1 it is difficult to believe that so much has survived the wear and tear of centuries1 the shocks of earthquake1 the violence of war1 and the quiet1 though no less baneful1 pilferings of the tasteful traveller3 it is almost sufficient to excuse the popular tradition1 that the whole is protected by a magic charm40 ,illustration3 ,,mosaic1 ,,south ,,side ,,of ,,the ,,court ,,of ,,the ,,lions4 ,the ,court of the ,lions1 takes its name from the fountain in the centre supported by twelve sculptured lions4 ,the ,court is a parallelogram of #ajj feet by #ej feet1 and is surrounded by a portico1 with small pavilions at either end4 ,the portico and pavilions consist of #abh columns1 supporting arches of the most delicate and elaborate construction1 which still retain much of their original beauty4 ,the irregularity in the arrangement of the ,illustration3 ,,fountain ,,and ,,east ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions4 columns1 which are placed sometimes singly1 and sometimes in pairs1 does not detract from the general harmony2 but1 on the contrary1 a charming effect is produced by this capricious departure from uniformity4 ,the capitals1 though similar in outline1 offer a great variety in their foliage2 and though the same design is more than once repeated in this ,court1 no attempt appears to have been made towards a symmetrical arrangement4 ,the ceiling of the portico is decorated in the most complex manner1 the stucco being laid on with inimitable delicacy--it is so cunningly handled as to exceed belief4 ,the walls are covered1 to a height of five feet1 with tiles of blue and yellow chequy1 with a border of small escutcheons enamelled blue and gold1 bearing an ,arabic motto on a ,bend4 ,illustration3 ,,the ,,court ,,of ,,the ,,lions4 ,about each arch is arabesque work1 surrounded with a rim of characters1 consisting1 for the most part1 of verses from the ,korn4 ,unhappily1 a modern roof of red tiles disfigures this beautiful ,court1 which is the most highly-prized fountain-court in the ,palace4 ,in the centre of the ,court are the twelve marble lions1 conventionally treated4 ,supported on the backs of the animals is the beautiful basin of the fountain--in form1 a dodecagon--out of which rises a lesser basin4 ,a large volume of water falling into ,illustration3 ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,general ,,view ,,of ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,general ,,view ,,of ,,the ,,court ,,of ,,the ,,lions4 the basins1 once issued from the mouths of the lions to a large reservoir1 whence it was conveyed to the apartments of the ,palace4 ,notwithstanding that these lions exhibit the want of development in the art of sculpture amongst the ,arabs1 they yet possess a spirited1 if primitive1 grace4 ,the inscription around the basin has been variously given3 the rendering of ,pascual de ,gayngos is regarded as the most ,illustration3 ,,little ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,fountain ,,in ,,the ,,court ,,of ,,the ,,lions4 authoritative4 ,the verses1 which may1 perhaps1 consist of twelve or so1 are couched in the usual double-shotted language of the ,oriental4 ,two or three are subjoined3 8,blessed be ,he who gave the ,imam ,mohammed a mansion which in beauty excels all other mansions4 8,look at this solid mass of pearl glistening all around1 which falls within a circle of silvery froth1 and then flows amidst translucent jewels of surpassing loveliness2 exceeding the marble in whiteness1 and the alabaster in transparency4 8,o thou who beholdest these lions couching1 fear not2 life is wanting to enable them to show their fury40 ,the salutary warning here given irresistibly reminds one of 8the shallowest thick-skin of that barren sort0 with whom the mad spirit1 ,robin ,goodfellow1 made such frolic--the immortal ,illustration3 ,a ,,little ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,a ,,peep ,,into ,,the ,,court ,,of ,,the ,,lions4 ,athenian weaver1 who opines--8,to bring in--,god shield us6--a lion among ladies is a most dreadful thing2 for there is not a more fearful wild-fowl than your lion living40 ,yet the admonition may not have been altogether superfluous amongst the beauties of the hareem1 who seldom contemplated graven images4 ,it must not be forgotten1 moreover1 that the ,mohammedans of ,spain were somewhat lax in the matter of obedience to certain precepts of the ,korn4 ,illustration3 ,,general ,,view ,,of ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,plate ,,xli4 ,centre ,ornament of the ,window4 ,dado4 ,dado4 ,pilaster4 ,pilasters4 ,no4 #ej4 ,mosaic ,dado in centre window on the ,n4 side1 ,hall of ,ambassadors4 ,the recess or divan containing these beautiful ,mosaics was1 doubtless1 the throne of the ,moorish kings4 ,the ,mosaics are as perfect as when originally executed1 and seem1 indeed1 to be imperishable4 ,they are formed of baked clay squeezed into moulds of the different figures1 glazed on the surface4 ,illustration3 ,,plate ,,xlii4 ,no4 #ea4 ,mosaic ,dados on pillars between the windows1 ,hall of ,ambassadors4 ,the ,mosaic ,dados on the pillars of the ,hall of ,ambassadors present a great variety in their patterns1 although the component parts are in each the same4 ,illustration3 ,,plate ,,xliv4 ,lining of one of the columns4 ,pilaster4 ,dado4 ,dado4 ,dado4 ,no4 #ec4 ,mosaics in the ,hall of the ,two ,sisters4 ,the beautiful ,mosaic in the centre of this plate is part of the ,dado of the ,hall of the ,two ,sisters4 ,illustration3 ,,plate ,,xlv4 ,pavement of the ,hall of the ,baths4 ,no4 #ed4 ,mosaic ,dado round the internal walls of the ,mosque4 ,mosaics from the ,mosque and the ,hall of the ,baths4 ,the ,mosaic ,dados round the walls of the ,mosque appear to be the only portions of the ancient private ,mosque attached to the ,palace which have been preserved intact in their original situation4 ,the motto of the ,kings of ,granada1 8,there is no conqueror but ,god10 was replaced by 8,nec plus ultra0 of ,charles ,v41 when the ,mosque was converted by him into a chapel4 ,the beautiful ,mosaic at the top of the plate is placed round the fountain of the ,chamber of ,repose of the ,baths1 described elsewhere4 ,illustration3 ,,plate ,,xlvi4 ,no4 #ee4 ,azulejos4 ,painted ,tiles4 ,on the floor of one of the alcoves of the ,hall of ,justice are to be seen the painted tiles delineated in the centre of this plate4 ,illustration3 ,,plate ,,xlvii4 ,no4 #ef4 ,no4 #eg4 ,mosaics in the ,baths4 ,illustration3 ,,plate ,,xlviii4 ,no4 #eh4 ,mosaic from the portico of the ,generalife4 ,illustration3 ,,the ,,court ,,of ,,the ,,lions1 ,,from ,,the ,,west4 ,illustration3 ,,temple ,,in ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,court ,,of ,,lions4 ,illustration3 ,,side ,,elevation ,,of ,,the ,,court ,,of ,,the ,,lions ,,and ,,fountain4 ,illustration3 ,,elevation ,,of ,,the ,,fountain ,,of ,,the ,,lions4 ,illustration3 ,,fountain ,,of ,,lions1 ,,with ,,details ,,of ,,the ,,ornament4 ,illustration3 ,,plan ,,of ,,the ,,basin ,,of ,,the ,,fountain ,,of ,,lions4 ,illustration3 ,,the ,,first ,,six ,,verses ,,of ,,the ,,inscription ,,around ,,the ,,basin ,,of ,,the ,,fountain ,,of ,,lions4 ,illustration3 ,,plate ,,xlix4 ,no4 #ei4 ,blank window1 ,hall of the ,bark4 ,illustration3 ,,plate ,l4 ,no4 #fj4 ,soffit of arch1 ,entrance of the ,hall of ,abencerrages4 ,illustration3 ,,plate ,,li4 ,no4 #fa4 ,cornice at springing of arch of doorway at the entrance of the ,ventana1 ,hall of the ,two ,sisters4 ,illustration3 ,,plate ,,lii4 ,no4 #fb4 ,no4 #fc4 ,borders of ,arches4 ,illustration3 ,,plate ,,liii4 ,no4 #fd4 ,border of ,arches4 ,illustration3 ,,plate ,,liv4 ,no4 #fe4 ,no4 #ff4 ,borders of ,arches4 ,illustration3 ,,plate ,,lv4 ,no4 #fg4 ,ornament in panels on the wall1 ,hall of ,ambassadors4 ,illustration3 ,,plate ,,lvi4 ,no4 #fh4 ,ornaments painted on the pendants1 ,hall of the ,bark4 ,illustration3 ,,the ,,last ,,six ,,verses ,,of ,,the ,,inscription ,,around ,,the ,,basin ,,of ,,the ,,fountain ,,of ,,lions4 ,illustration3 ,,entablature ,,in ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,details ,,of ,,the ,,centre ,,arcade ,,of ,,the ,,court ,,of ,,lions4 ,illustration3 ,,part ,,of ,,panel ,,in ,,the ,,court ,,of ,,lions4 ,illustration3 ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions4 7,from a drawing made about #ahcj74 ,illustration3 ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions 7,,upper ,,portion74 ,illustration3 ,,entrance ,,to ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,longitudinal ,,section ,,of ,,the ,,court ,,of ,,the ,,lions1 ,,taken ,,through ,,the ,,pavilion ,,the ,,roof ,,is ,a ,,modern ,illustration3 ,,at ,,each ,,end ,,of ,,the ,,court1 ,,and ,,exhibiting ,,an ,,elevation ,,of ,,the ,,side ,,porticos4 ,,one1 ,,of ,,red ,,tiles4 ,illustration3 ,,plate ,,lvii4 ,no4 #fi4 ,bands1 side of arches1 ,court of the ,lions4 ,illustration3 ,,plate ,,lviii4 ,no4 #gj4 ,no4 #ga4 ,bands1 side of arches1 ,court of the ,lions4 ,illustration3 ,,plate ,,lix4 ,no4 #gb4 ,ornaments on panels1 ,hall of ,ambassadors4 ,illustration3 ,,plate ,,lx4 ,no4 #gc4 ,ornaments on panels1 ,hall of ,ambassadors4 ,illustration3 ,,plate ,,lxi4 ,no4 #gd4 ,ornaments on panels1 ,hall of ,ambassadors4 ,illustration3 ,,plate ,,lxii4 ,no4 #ge4 ,ornaments on panels1 ,hall of ,ambassadors4 ,illustration3 ,,plate ,,lxiii4 ,no4 #gf4 ,frieze in the upper chamber1 ,house of ,sanchez4 ,illustration3 ,,plate ,,lxiv4 ,no4 #gg4 ,cornice at springing of arches1 windows of the ,hall of ,ambassadors4 ,illustration3 ,,capitals ,,in ,,the ,,court ,,of ,,the ,,lions1 ,,with ,a ,,measure ,,of ,,one ,,metre4 ,although the upper parts of the walls are only coated with plaster1 strengthened with reeds1 centuries of neglect have not sufficed to destroy this slight1 8aerie1 faerie0 thing of filigree1 which has not even the appearance of durability4 ,wherever the destroyer has mutilated the fragile ornaments1 8the temple-haunting ,illustration3 ,,north ,,gallery ,,in ,,the ,,court ,,of ,,the ,,lions4 martlet1 guest of summer10 builds his nest and careers in the delicate air1 breaking1 with his twitter1 the silence of these sunny1 now deserted courts1 once made for ,oriental delights1 and even now the place in which to read the ,arabian ,nights1 or spend a honeymoon-- ,this guest of summer1 ,the temple-haunting martlet1 does approve1 ,by his lov'd mansionry1 that the heaven's breath ,smells wooingly here3 no jutty1 frieze1 ,buttress1 nor coigne of vantage1 but this bird ,hath made his pendent bed1 and procreant cradle2 ,where they most breed and haunt1 ,i have observ'd1 ,the air is delicate4 ,macbeth1 ,act i41 sc4 #f ,,sala ,,de ,,la ,,barca--,,hall ,,of ,,the ,,barque4 ,beyond where the fountain bubbles in the ,court of the ,fish-pond1 is the oblong ,hall of the ,barque1 which is still as radiant with colours as the edge of fading evening cloud4 ,the rivers of poems that fret the walls sing the praises of some long dead ,sultn1 who conquered twenty fortresses1 and whose excellence1 running clear through his great deeds1 was as the silk thread that carries a necklace of pearls4 8,the ceiling of the ,hall of the ,barque10 says ,owen ,jones1 8is a wagon-headed dome of wood1 of the most elaborate patterns1 receiving its support from pendentives of mathematical construction so curious1 that they may be rendered susceptible of combinations as various as the melodies which may be produced from the seven notes of the musical scale2 attesting the wonderful power and effect obtained by the repetition of the most simple elements40 ,alas6 it must be added that this beautiful ,hall was greatly injured by a fire1 which took place in ,september1 #ahij4 ,,sala ,,de ,,los ,,embajadores--,,hall ,,of ,,ambassadors4 ,after traversing the ,hall of the ,barque1 we come upon the ,hall of ,ambassadors--the ,golden ,saloon--with a dome which bursts like a flower-bell upon the sight4 ,the most ,illustration3 ,,entrance ,,to ,,the ,,hall ,,of ,,the ,,barque1 ,,with ,,view ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond1 ,,or ,,of ,,the ,,myrtles4 beautiful thing about these ,moorish domes is1 not their grand poise and balance1 but the airiness of them4 ,they seem mere resting clouds swelling round you and canopying you with colour4 ,you have no sense of their weight or means of permanency4 ,the stalactite ornament1 as it is called1 seems fashioned in emulous rivalry of golden-celled honeycomb1 in which honey still rests2 honey1 dyed by the juices of the flowers from which it has been drawn4 ,the walls are like the leaves of illuminated missals1 framed by cornices of poem and prayer4 ,illustration3 ,,the ,,hall ,,of ,,ambassadors4 ,the ,hall of ,ambassadors is a square of thirty-seven feet1 and is sixty feet high from the floor to the centre of the dome4 ,it is the largest1 as well as the most imposing of the ,halls of the ,alhambra1 though in arrangement and symmetry of details less perfect than the ,hall of ,the ,two ,sisters4 ,inscriptions of verses from the ,korn abound amongst the decorations4 ,the present ceiling of the ,hall of the ,ambassadors is a dome of wood1 ornamented by ribs intersecting each other in various patterns in gold1 on grounds of blue and red4 ,the ceiling is ingenious in construction and beautiful in detail4 ,owen ,jones thinks that an arch of brick was originally thrown across the hall1 which gave way after the completion of the building1 carrying with it an earlier ceiling1 which was afterwards replaced by the present dome4 ,in the centre divan1 on the north side of the ,hall1 there is ,illustration3 ,,mosaic ,,in ,,dado1 ,,hall ,,of ,,ambassadors4 a most beautiful ,mosaic dado1 as perfect as when originally executed1 and which seems to be imperishable4 ,it is formed of baked clay1 squeezed into moulds of the different figures1 glazed on the surface1 and bevelled slightly on the edge4 ,thus1 when necessary1 the ,mosaics were not only easily withdrawn from the moulds1 but1 when united1 they formed a key for the mortar4 ,in this particular recess1 doubtless1 was the throne of ,illustration3 ,,general ,,view ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,general ,,view ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,entrance ,,to ,,the ,,hall ,,of ,,the ,,barque1 ,,the ,,ante-,,room ,,of ,,the ,,hall ,,of ,,ambassadors1 ,,with ,,view ,,of ,,the ,,court ,,of ,,the ,,fish-,,pond4 7,from a drawing made about #ahcj74 ,illustration3 ,,plate ,,lxv4 ,no4 #gh4 ,from the centre arch of the ,court of ,lions4 ,no4 #gi4 ,from the entrance to the ,divan1 ,hall of the ,two ,sisters4 ,spandrils of ,arches4 ,illustration3 ,,plate ,,lxvi4 ,no4 #hj4 ,details of the wood-work of the door to the ,hall of ,abencerrages4 ,illustration3 ,,plate ,,lxvii4 ,no4 #ha4 ,no4 #hb4 ,spandrils of ,arches1 ,hall of ,justice4 ,illustration3 ,,plate ,,lxviii4 ,no4 #hc4 ,ornaments on the walls of the ,hall of the ,ambassadors4 ,illustration3 ,,plate ,,lxix4 ,no4 #hd4 ,from the entrance to the ,court of ,lions from the ,court of the ,fish ,ponds4 ,no4 #he4 ,from the entrance to the ,court of the ,fish ,ponds from the ,hall of the ,bark4 ,spandrils of ,arches4 ,illustration3 ,,plate ,,lxx4 ,no4 #hf4 ,no4 #hg4 ,no4 #hh4 ,no4 #hi4 ,no4 #ij4 ,no4 #ia4 ,no4 #ib4 ,mosaics from the ,hall of ,ambassadors1 ,hall of ,two ,sisters1 and ,hall of ,justice4 ,illustration3 ,,plate ,,lxxi4 ,no4 #ic4 ,plaster ,ornaments1 used as upright and horizontal bands enclosing panels on the walls4 ,illustration3 ,,plate ,,lxxii4 ,no4 #id4 ,no4 #ie4 ,no4 #if4 ,no4 #ig4 ,no4 #ih4 ,no4 #ii4 ,no4 #ajj4 ,mosaics from the ,hall of ,ambassadors1 ,hall of ,two ,sisters1 ,hall of ,justice1 and ,court of the ,fish ,pond4 ,illustration3 ,,perspective ,,view ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,section ,,and ,,elevation ,,of ,,the ,,interior ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,detail ,,in ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,kufic ,,inscriptions1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mosaic ,,on ,,dado ,,of ,,balcony ,,hall ,,of ,,ambassadors ,illustration3 ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mural ,,ornament1 ,,entrance ,,to ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,ornament ,,at ,,the ,,side ,,of ,,doorway1 ,,entrance ,,to ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,plate ,,lxxiii4 ,no4 #aja4 ,panels on walls1 ,tower of the ,captive4 ,illustration3 ,,plate ,,lxxiv4 ,no4 #ajb4 ,blank window1 ,hall of the ,bark4 ,illustration3 ,,plate ,,lxxv4 ,no4 #ajc4 ,rafters of a roof over a doorway now destroyed beneath the ,tocador de la ,reyna4 ,illustration3 ,,plate ,,lxxvi4 ,no4 #ajd ,band at springing of arch at the entrance of ,hall of the ,two ,sisters from the ,court of ,lions4 ,illustration3 ,,plate ,,lxxvii4 ,no4 #aje4 ,panelling of the centre recess1 ,hall of ,ambassadors4 ,illustration3 ,,plate ,,lxxviii4 ,no4 #ajf4 ,part of ceiling of the ,portico of the ,court of the ,fish ,pond4 ,illustration3 ,,plate ,,lxxix4 ,no4 #ajg4 ,blank window1 ,hall of the ,bark4 ,illustration3 ,,plate ,,lxxx4 ,no4 #ajh4 ,ornaments on the walls1 ,house of ,sanchez4 ,illustration3 ,,an ,,arabian ,,ornament1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,an ,,arabian ,,ornament1 ,,entrance ,,to ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,inscriptions ,,and ,,ornament1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,inscriptions ,,in ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mural ,,ornament1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,plate ,,lxxxi4 ,cornice and window in the centre of the ,faade of the ,mosque4 ,illustration3 ,,plate ,,lxxxii4 ,detail of the central part of 8,lindaraja's0 ,balcony4 ,illustration3 ,,plate ,,lxxxiii4 ,lower part of 8,lindaraja's0 ,balcony4 ,illustration3 ,,ornament ,,from ,,the ,,side ,,of ,a ,,window1 ,,north ,,front ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,ornament ,,in ,,the ,,side ,,of ,a ,,window1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,a ,,ceiling ,,in ,,outline1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,the ,,ceiling ,,of ,,the ,,dome ,,laid ,,flat1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,details ,,of ,,glazed ,,tiles ,,in ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mosaic ,,in ,,dado1 ,,east ,,side ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mosaic ,,in ,,dado1 ,,north ,,side ,,of ,,the ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mosaic ,,in ,,dado1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,mosaic ,,in ,,dado1 ,,hall ,,of ,,ambassadors4 the ,moorish kings1 as indicated both by the inscriptions on the walls1 and the extraordinary care bestowed upon the decoration of the recess4 ,the ,mosaic dados present a great variety in their patterns1 the combinations being endless4 8,the colours of blue1 red1 and gold are still to be seen on the capital of the column of the centre window of the ,hall1 but no traces of gold1 or any colour1 have been discovered ,illustration3 ,,ceiling ,,of ,,gallery1 ,,hall ,,of ,,ambassadors4 on the shaft4 ,the same thing occurs in the ,court of the ,fish-pond and the ,court of the ,lions1 but1 in each case1 the harmony of the colouring appears to require that they should be gilt4 ,it is probable that in the restorations which the ,palace underwent during the residence of the ,spanish kings1 it was found much more easy to remove the gold from the columns1 exposing the white marble1 than to incur the expense of re- gilding40 ,such is the opinion of the famous decorative artist1 ,owen ,jones2 but the fondness of the ,oriental for the spotless purity of marble1 and the transparency of alabaster1 so oft expressed in the inscriptions1 forbids its acceptance4 ,in the several alcoves1 or divans1 which surround the ,hall1 the walls are covered with plaster ornaments in relief1 presenting the greatest variety2 the patterns in each divan being different4 ,illustration3 ,,exterior ,,of ,,the ,,mosque 7,,private ,,property74 ,beneath this ,golden ,saloon is a network of dungeon-like passages1 by which1 it is said1 ,sultns escaped in treasonable revolts1 when angry scimitars were glittering in the fountain-courts1 or when the incensed populace were tossing their threatening spears in the humming city below4 ,here is also a prison-cell sort of room1 with whispering holes at each end1 which ,illustration3 ,,plate ,,lxxxiv4 ,detail of the lateral windows in the ,hall of the ,two ,sisters4 ,illustration3 ,,plate ,,lxxxv4 ,details of the front of the ,mosque in the ,harem4 ,illustration3 ,,plate ,,lxxxvi4 ,details of the upper part of 8,lindaraja's0 ,balcony4 ,illustration3 ,,fa,,ade ,,of ,,the ,,mosque4 ,illustration3 ,,elevation ,,of ,,portico ,,adjacent ,,to ,,the ,,mosque4 ,illustration3 ,,details ,,of ,,ornament ,,of ,,kor,n ,,recess ,,near ,,the ,,entrance-,,door ,,of ,,the ,,mosque4 ,illustration3 ,,details ,,of ,,ornament ,,in ,,the ,,court ,,of ,,the ,,mosque4 ,illustration3 ,,details ,,in ,,the ,,court ,,of ,,the ,,mosque1 ,,eastern ,,fa,,ade4 ,illustration3 ,,an ,,arched ,,window ,,of ,,the ,,mosque4 ,illustration3 ,,an ,,arched ,,window ,,of ,,the ,,mosque4 ,illustration3 ,,interior ,,of ,,the ,,mosque4 ,illustration3 ,,interior ,,of ,,the ,,mosque4 ,illustration3 ,,the ,,mosque1 ,,from ,,kor,n ,,recess4 ,illustration3 ,,arab ,,lamp ,,in ,,the ,,mosque4 ,philip the ,second built to amuse the wretched child1 ,don ,carlos4 ,also a vaulted cellar1 where some rude sculpture has been immured by the prudish monks4 ,,patio ,,de ,,la ,,mezquita--,,court ,,of ,,the ,,mosque4 ,the exquisite faade of this ,court is much disfigured by a modern gallery4 ,from the portions which remain1 however1 the general design may be traced with tolerable certainty4 ,the inscriptions are few and unimportant1 consisting1 for the most part1 of the constantly-recurring motto3 8,there is no ,conqueror but ,god10 and some verses from the ,koran4 ,the grand ,mosque of the ,alhambra was built in #acjh by ,mohammed ,,iii41 and was in good preservation until the occupation of the ,french1 who1 says ,don ,pascual de ,gayngos1 entirely destroyed it4 ,it has been thus described by ,ibnu-l-,khattb1 the ,grand ,wizr of ,ysuf ,i43 8,it is ornamented with ,mosaic work1 and exquisite tracery of the most beautiful and intricate patterns1 intermixed with silver flowers and graceful arches1 supported by innumerable pillars of polished marble2 indeed1 what with the solidity of the structure1 which the ,sultn inspected in person1 the elegance of the design1 and the beauty of the proportions1 the building has not its like in this country2 and ,i have frequently heard our best architects say that they had never seen or heard of a building which can be compared to it40 ,,la ,,mezquita--,,the ,,mosque4 ,the old ,mosque1 afterwards a chapel1 was 8purged0 and consecrated by ,ferdinand and ,isabella1 and retains but few traces of its purpose during the ,moorish ,dominion4 ,the door was once overlaid with bronze1 and1 like all the rest of the ,palace1 was stripped and spoiled by generations of guardian thieves1 who allowed no one but themselves to steal4 ,above the door is still the exquisite-laced niche where the ,korn used to be placed by the green-turbaned ,moollahs4 ,near the entrance is an elaborate and beautiful niche1 which was probably the ,mihrb1 or sanctuary of the ,mosque4 ,whilst at his prayers in this ,mihrb1 the martyred ,ysuf--he who built the ,gate of ,justice in #acdh1 and who completed the ,alhambra--fell a victim to the dagger of an assassin in the year #aced4 ,the inscriptions in the ,mosque1 which were dumb to the conquerors1 still protest for the old faith1 and cry aloud from barge-board and netted rafter1 8,be not one of the negligent40 8,god is our refuge in every time of trouble40 ,,los ,,ba,,os--,,the ,,baths4 ,the plan of these ,baths is very similar to the arrangement still used throughout the ,east4 ,illustration3 ,,chamber ,,of ,,repose4 ,from the elegant little saloon at the entrance where the bathers unrobed1 and whither they resorted after the bath1 we pass1 by a circuitous passage1 in which are two smaller baths1 into the general vapour-bath1 paved with white marble1 and lighted with openings in the form of stars1 lined with glazed earthenware4 ,this corresponds with the apartment called by the ,arabs the hararah1 or vapour-bath1 and described in ,lane's ,manners and ,customs of the ,modern ,egyptians2 and it was under the graceful arcades which support the dome that the bathers ,illustration3 ,,chamber ,,of ,,repose4 underwent the attentions of the masseuses who waited on them4 ,from the great hall we pass into a smaller one1 having at each end a marble tank1 used for solitary ablutions4 ,beyond1 at the present day1 an accumulated heap of ruins prevents the recognition of the means for heating the bath4 ,the upper part of the ,chamber of ,repose1 which is supported on marble columns1 forms a gallery with small divans1 in which two persons1 or1 at most1 four1 could be accommodated at ,illustration3 ,,chamber ,,of ,,repose4 the same time2 from which it would appear that the bath was confined entirely to the use of the sovereign and his hareem4 ,the floor is paved with beautiful ,mosaics1 which are in perfect preservation4 ,inscription3 8,what is most to be wondered at is the felicity which awaits men in this palace of delight40 ,los ,baos are well preserved1 for they lie out of the way of ordinary ill-usage4 ,the vapour-bath is lighted from above by small lumbreras1 or 8louvres40 ,,garden ,,of 8,,lindaraja40 ,the ,mirador--,prospect-chamber--of 8,lindaraja0 overlooks this secluded little court or garden1 with its alabaster fountain1 its cypress1 orange1 and citron trees rising from trim ,illustration3 ,,garden ,,of 8,,lindaraja10 ,,and ,,the ,,apartments ,,traditionally ,,said ,,to ,,have ,,been ,,occupied ,,by 8,,lindaraja10 ,a ,,favourite ,,sult,,na4 hedges of myrtles and roses4 ,the ,mirador is a charming little apartment of fifteen feet by ten feet1 or thereabouts1 with three tall windows protected by jalousies4 ,it is ordinarily and ,illustration3 ,,the ,,garden ,,of 8,,lindaraja40 erroneously pointed out as the residence of ,washington ,irving during his abode in the ,palace in #ahbi4 ,his apartments were1 however1 in the ,mihrb ,tower1 now known as the ,tocador de la ,reina4 ,,tocador ,,de ,,la ,,reina--,,the ,,queen',s ,,dressing-,,room-- so called by the ,spaniards1 is about nine feet square4 ,it was1 ,illustration3 ,,mosaic ,,pavement ,,in ,,the ,,queen',s ,,dressing-,,room 7,,tocador ,,de ,,la ,,reina74 in part1 modernised and painted in arabesque by ,charles ,v4 ,in a corner is a marble slab drilled with holes1 through which1 it is said1 perfumes were wafted while the ,queen was dressing4 ,it is not unimportant to locate precisely the dwelling-place of ,washington ,irving during his sojourn in the ,alhambra in #ahbi4 ,it was in the suite of rooms annexed to the ,queen's ,dressing-room that he took up his quarters4 ,the kindly ,american genius1 who regarded ,englishmen as his own kith and kin1 makes it quite plain4 ,he says3 8,on taking up my abode in the ,alhambra1 one end of a suite of empty chambers of modern architecture1 intended for the residence of the ,illustration3 8,,the ,,queen',s ,,dressing-,,room10 ,,at ,,the ,,summit ,,of ,,the ,,mihr,b ,,tower1 ,,with ,,distant ,,view ,,of ,,the ,,generalife4 ,governor1 was fitted up for my reception4 ,it was in front of the ,palace4444 ,i was dissatisfied with being lodged in a modern apartment4444 ,i found1 in a remote gallery1 a door1 communicating apparently with an extensive apartment1 locked against the public4444 ,i procured the key1 however1 without ,illustration3 ,,towers ,,and ,,promenade4 difficulty2 the door opened to a range of vacant chambers of ,european architecture1 though built over a ,moorish arcade4444 ,this fanciful suite of rooms terminated in an open gallery with balustrades1 which ran at right angles with a side of the garden4 ,the whole apartment had a delicacy and elegance in its decorations1 and there was something so choice and sequestered in its situation along with this retired little garden1 that it awakened an interest in its history4 ,i found1 on inquiry1 that it was an apartment fitted up at the time when ,philip ,v4 and the beautiful ,elizabeth of ,parma were expected at the ,alhambra1 and was destined for the ,queen and the ladies of her train4 ,one of the loftiest chambers had been her sleeping-room2 and a narrow staircase leading from it 444 opened to the delightful belvedere1 originally a mirador of the ,moorish ,sultans1 but fitted up as a boudoir for the fair ,elizabeth1 and which still retains the name of the tocador or toilette of the ,queen4 ,the sleeping-room ,i have mentioned1 commanded from one window a prospect of the ,generalife and its embowered terraces4444 ,i determined at once to take up my quarters in this apartment4 ,my determination occasioned great surprise 444 but ,i was not diverted from my humour40 ,,torre ,,de ,,los ,,siete ,,suelos--,,tower ,,of ,,the ,,seven ,,stages4 ,this ,tower is said to descend seven stories under ground4 ,four subterranean chambers have been investigated4 ,divers marvellous tales are related concerning this building1 in which the ,moorish kings are believed to have deposited their treasures4 ,here1 according to fable1 is heard the clash of arms1 and of soldiers seen stationed to guard immense treasures4 ,,la ,,torre ,,de ,,los ,,picos--,,the ,,tower ,,of ,,the ,,peaks-- is a ,moorish postern gate crowned with minarets4 ,the openings in the ,tower for dropping missiles upon assailants are of the time of the ,catholic ,sovereigns4 ,it is said that the ,illustration3 ,,the ,,tower ,,of ,,the ,,peaks4 ,french intended to blow up this ,tower--the holes made by the sappers yet remain--but the procrastination of their agents saved the building4 ,from this postern1 a path1 crossing the ravine1 leads up to the ,generalife4 ,,torre ,,de ,,comares--,,tower ,,of ,,comares4 ,the whole interior of this gigantic ,tower is occupied by the ,hall of the ,ambassadors which is described supra4 ,illustration3 ,,the ,,captive',s ,,tower4 ,illustration3 ,,interior ,,of ,,the ,,infantas ,,tower4 ,illustration3 ,,the ,,infantas ,,tower4 ,illustration3 ,,interior ,,of ,,the ,,infantas ,,tower 7,,ceiling74 ,illustration3 ,,section ,,on ,,the ,,line ,c4 ,d4 ,,of ,,plan4 ,,section ,,on ,,the ,,line ,c4 ,b4 ,,of ,,plan4 ,,sections ,,and ,,plans ,,of ,,the ,,infantas ,,tower4 ,illustration3 ,,room ,,in ,,the ,,torre ,,del ,,cautivo1 ,,or ,,captive',s ,,tower4 ,illustration3 ,,the ,,ladies' ,,tower4 ,illustration3 ,,the ,,homage ,,tower1 ,,ancient ,,arab ,,ruins ,,in ,,the ,,alcaz,,ba4 ,illustration3 ,,granada1 ,,from ,,the ,,homage ,,tower4 ,illustration3 ,,torre ,,de ,,la ,,aqua--,,tower ,,of ,,the ,,aqueduct4 ,illustration3 ,,detail ,,of ,,the ,,only ,,ancient 8,,jalousie0 ,,remaining ,,in ,,the ,,alhambra4 ,,torre ,,de ,,la ,,vela--,,the ,,watch-,,tower4 ,here1 an inscription records1 the ,christian flag was first hoisted by the ,cardinal ,mendoza and his brother4 ,the panorama from the roof of this ,tower is glorious4 ,below1 lies ,granada1 belted with plantations2 beyond1 expands the ,vega1 guarded like an ,eden by a wall of mountains4 ,it is a scene for painters to sketch and for poets to describe4 ,the ,torre de la ,vela is so called1 because on this watch-tower hangs a silver-tongued bell1 which is heard on a still night even at ,loja1 thirty miles away4 ,the bell is rung on #bnd ,january1 the anniversary of the surrender of ,granada4 ,maidens come on this day to strike the bell1 which act ensures a ,illustration3 ,,the ,,infantas ,,tower4 husband1 and of excellence in proportion to the noise made1 which1 it need not be said1 is considerable and continuous4 ,,torre ,,de ,,las ,,infantas--,,tower ,,of ,,the ,,infantas4 ,,torre ,,del ,,cautivo--,,captive',s ,,tower4 ,on the north-east wall of the fortress are several towers partly in ruin1 which retain traces of beautiful decorations in the interior4 ,the ,torre del ,cautivo and the ,torre de las ,infantas are the best preserved4 ,they appear to have formed detached habitations complete in themselves2 and from their position in this retired part of the fortress1 and the extreme beauty of the internal decorations1 there can be little doubt that they were isolated residences of favourite ,sultans4 ,,torre ,,del ,,homenage--,,homage ,,tower4 ,the ,homage ,tower rises at the end of the ,pelota1 or ,fives1 ,court1 the wall of which much disfigures the ,place of the ,cisterns4 ,in this ,homage ,tower is a ,roman votive altar1 embedded by the ,moors in the masonry1 inscribed by 8the grateful ,valerius to his most indulgent wife1 ,cornelia40 ,,torre ,,de ,,la ,,aqua--,,tower ,,of ,,the ,,aqueduct4 ,close to the two ,towers1 ,del ,candil and ,de la ,cautiva1 is the corner ,tower ,de la ,aqua1 where an aqueduct1 stemming the ravine1 supplies the hill with water4 ,,the ,,ladies' ,,tower4 ,the interior of the ,ladies' ,tower was formerly remarkable for an alcove of extraordinary beauty4 ,the ,tower is isolated1 and1 unfortunately1 a tourist purchased it for a trifling sum4 ,after stripping the marvellous decoration--a masterpiece of ,ysuf ,i4--the aforesaid traveller magnanimously presented the denuded carcass to the ,state4 ,,the ,,museum4 ,in a chamber near to the entrance of the ,court of the ,lions1 a collection of ,moorish remains has been brought together4 ,a conspicuous object is the marble sarcophagus1 or tank1 brought from the ,alcazba1 with basso-relievos of animals2 ,illustration3 ,,details ,,of ,,the ,,entrance ,,door ,,to ,,the ,,museum ,,of ,,the ,,alhambra4 among them the 8deer-slaying lion10 which occurs so often in ,greek art1 and1 like the ,mithraic daughter of the bull1 may be the symbol of some hieratic mystery1 possibly the triumph of the evil principle4 ,it is difficult to say whether this rude ,illustration3 ,,bas-,,relief1 ,,now ,,in ,,the ,,museum ,,of ,,the ,,alhambra4 ,illustration3 ,,the ,,same ,,subject ,,from ,,an ,,engraving ,,in ,,murphy',s ,,arabian ,,antiquities4 sculpture is antique or ,moorish4 ,an ,arabic inscription is carried round the border1 but this may be later than the carving2 at all events1 stags are animals connected by the ,orientals with the fountain--8,as the hart panteth for the water-brooks0--and the ,spanish ,moors1 among other departures from strict ,moslem rules1 did not reject either paintings or carvings of living objects4 ,the splendid vase1 el jarro1 has been brought hither from the ,hall of the ,two ,sisters1 and is described at page #gf1 with a plate at page #ie4 ,,palace ,,of ,,charles ,v4 ,on one side of the ,plaza de los ,algibes--,place of the ,illustration3 ,,palace ,,of ,,charles ,v4 ,cisterns--is an isolated ,moorish tower called ,la ,torre del ,vino1 built in #acde1 by ,ysuf ,i41 and remarkable for its exquisite arch1 called the 8,wine ,gate0 7see page #acc74 ,opposite is the large ,palace begun by ,charles ,v41 great in conception and impotent in conclusion1 unfurnished and roofless4 ,to make way for this edifice1 ,charles destroyed large portions of what the ,moors had raised1 tearing down whole ranges of the ,alhambra4 ,illustration3 ,,elevation ,,and ,,section ,,of ,,the ,,palace ,,of ,,charles ,v4 ,illustration3 ,,interior1 ,,palace ,,of ,,charles ,v4 ,illustration3 ,,part ,,of ,,exterior1 ,,palace ,,of ,,charles ,v4 ,this pile of buildings1 commenced for ,charles ,v41 was never finished1 in consequence of his frequent absence1 occasioned by the almost perpetual wars in which he was engaged1 particularly in his efforts to suppress the insurrections of the ,moors in the ,alpujarras1 and elsewhere4#ab ,the spot chosen for ,illustration3 ,,roman ,,court1 ,,palace ,,of ,,charles ,v4 the site of the ,palace commands a most beautiful view of the city of ,granada1 as well as its surrounding ,vega4 ,as a specimen of ,spanish architecture1 it reflects the highest credit on ,pedro ,machuca1 who began it in #aebf4 ,it is1 in every way1 adapted to the climate2 and its interior1 which1 in its chief feature1 takes a circular form1 is spacious and splendid4 ,in any other situation the ,palace of ,charles ,v4 would justly excite admiration3 but here it is misplaced4 ,with all its grandeur and architectural excellence1 ,washington ,irving could only look upon the structure as 8an arrogant intrusion40 ,it is falling rapidly to decay4 ,the walls are crumbling1 the wood-work is rotten1 and the splendid apartments--all that resulted from an intention to eclipse the palace of the ,moslem kings--are given up to bats and owls4 ,this projected ,palace1 begun in #aebf1 progressed slowly until #afcc1 and was then abandoned4 ,whatever beauty there is in the ,spanish ,palace at ,granada1 is external4 ,on the other hand1 the ,moors were content with the beauty of the interior of the ,alhambra4 ,illustration3 ,plan of the ,alhambra ,palace at ,granada4 ,specially drawn for ,m ,albert ,f4 ,calvert's book on the ,alhambra1 from measurements by the late ,m4 ,jules ,goury ,illustration3 ,,ground-,,floor ,,plan ,,of ,,the ,,alhambra1 ,,and ,,of ,,the ,,foundations ,,of ,,the ,,palace ,,of ,,charles ,v4 ,illustration3 ,,plan ,,of ,,the ,,palace ,,of ,,charles ,v41 ,,and ,,of ,,the ,,subterraneous ,,vaults ,,of ,,the ,,alhambra4 ,illustration3 ,,hall ,,of ,,justice4 ,illustration3 ,,sunk ,,lines ,,on ,,the ,,walls1 ,,hall ,,of ,,justice ,,and ,,court ,,of ,,the ,,lions4 ,illustration3 ,,frieze ,,in ,,the ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,panel ,,on ,,jambs ,,of ,,doorways1 ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,ornament ,,in ,,panels1 ,,hall ,,of ,,the ,,barque4 ,illustration3 ,,ornament ,,in ,,panels1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,cornice ,,over ,,columns1 ,,court ,,of ,,the ,,lions4 ,illustration3 ,,frieze ,,over ,,columns1 ,,court ,,of ,,the ,,lions4 ,illustration3 ,,band ,,round ,,panels ,,in ,,windows1 ,,hall ,,of ,,the ,,two ,,sisters4 ,illustration3 ,,panelling ,,in ,,windows1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,ornament ,,in ,,panels1 ,,court ,,of ,,the ,,mosque4 ,illustration3 ,,ornaments ,,at ,,the ,,junctions ,,of ,,inscriptions1 ,,court ,,of ,,the ,,lions ,,and ,,court ,,of ,,the ,,fish-,,pond4 ,illustration3 ,,sunk ,,lines ,,on ,,the ,,walls1 ,,house ,,of ,,the ,,commandant4 ,illustration3 ,,ornament ,,in ,,panels1 ,,hall ,,of ,,ambassadors4 ,illustration3 ,,details ,,of ,,the ,,ornaments ,,which ,,are ,,introduced ,,into ,,the ,,painting ,,over ,,the ,,centre ,,alcove ,,of ,,the ,,hall ,,of ,,justice4 ,,these ,,ornaments1 ,,being ,,of ,a ,,strictly ,,moorish ,,character1 ,,strongly ,,support ,,the ,,opinion ,,that ,,the ,,paintings ,,on ,,the ,,ceilings ,,of ,,the ,,alcoves ,,of ,,the ,,hall ,,of ,,justice ,,are ,,the ,,work ,,of ,,moorish ,,artists4 ,illustration3 ,,details ,,and ,,arabian ,,inscriptions4 ,illustration3 ,,details ,,of ,,arabian ,,work4 ,illustration3 ,,details1 ,,and ,,inscriptions1 ,,and ,,arabian ,,chapiters4 ,illustration3 ,,details ,,of ,,arabian ,,work4 ,the ,generalife4 ,the ,generalife is called by the ,spaniards ,cuarto ,real1 signifying a diminutive royal palace--an appanage1 or 8fourth part0 of the ,alhambra4 ,in point of situation1 the royal villa1 or 8pleasaunce10 of the ,moorish ,kings of ,granada1 is fully equal to the site chosen for the erection of the ,alhambra4 ,it stands upon an acclivity1 behind which are lovely gardens1 extensively timbered with trees of gigantic growth1 where nightingales sing themselves hoarse in shrubberies rendered luxuriant by soft1 refreshing rivulets4 ,in the ,generalife may be seen many ,cufic inscriptions3 the white tiles with golden scrolls occur nowhere else4 ,the ,cuarto ,real and its beautiful gardens once belonged to ,dalahorra1 mother of 8,muley ,hasen10 and within three months of the capitulation of ,granada they were ceded to ,alonzo de ,valiza1 prior of ,santa ,cruz of ,avila4 ,ford made an abstract of the original conveyance by which we learn how ,alonzo de ,valiza took possession4 8,don ,alonzo entered the garden pavilion1 affirming loudly that he had made an entry2 next1 he opened and shut the door1 locking it1 and giving the key into the custody of one ,macafreto1 a well-known householder of ,granada2 he then went into the garden1 where he severed the branch of a tree and dug up some earth with a spade1 thus exercising his rights of proprietorship40 ,such was the practice of conveyancing in the time of the ,moors4 ,a gateway of the ,cuarto ,real1 called ,puerta del ,pescado1 is of ,moorish origin1 and has three arches4 ,a picturesque ravine divides the hill of the ,alhambra from the ,sierra del ,sol4 ,here1 the approach is under a high embowered avenue of fig trees and myrtles4 ,the situation of the ,generalife--,jennatu-l-'arif--#ac 8,the ,garden of the ,architect0--proved so entrancing to the ,sultn ,isma'il-,ibn ,faraj that he was not at rest until he had erected this mountain villa as an abode for the 8,light of his ,hareem10 a summer-house1 devoted to seclusion1 pleasure1 and luxury3 8,when free and uncrown'd as the ,conqueror rov'd ,by the banks of that lake1 with his only belov'd1 ,he saw1 in the wreaths she would playfully snatch ,from the hedges1 a glory his crown could not match1 ,and preferr'd in his heart the least ringlet that curl'd ,down her exquisite neck to the throne of the world40 ,tom ,moore4 ,once again the pages of the ,grand ,wizr ,ibnu-l-,khattb furnish testimony at first hand of transactions in which his ungrateful master1 ,mohammed ,v41 was involved1 and who owed his safety to an accidental visit to the ,generalife4 ,a conspiracy1 having for its object the dethronement of ,mohammed ,v41 and the usurpation of his half-brother1 ,isma'il1 succeeded only too well4 ,the mother of ,isma'il1 soon after the death of ,ysuf ,i41 when ,mohammed had rightfully ascended the throne of ,granada1 created a party against the monarch1 and had attached to her faction all the discontented4 ,the castle of the ,alhambra was surprised in ,august1 #acei4 ,the conspirators1 having liberated ,isma'il from his place of confinement1 mounted him upon a horse and proclaimed him through ,illustration3 ,,ground ,,plan ,,of ,,the ,,generalife ,,at ,,granada4 ,a4 ,advanced parts4 ,b4 ,the ,inner ,gallery1 commanding a view of the gardens4 ,c ,c ,c ,c4 ,terraces and ,aqueducts4 ,d ,d ,d1 ,e ,e4 ,the surrounding country4 ,illustration3 ,,the ,,generalife4 the city as their ,sultn4 ,how ,mohammed had the good fortune to escape is thus set forth by his ,wizr3 8,at the time these events were taking place1 the ,sultn ,mohammed was absent from the ,alhambra1 having gone1 together with a son of his1 to reside at a delightful country seat close to ,granada1 called ,jennatu-l-'arif1 a spot well known for the luxuriance of its trees1 which never admit the rays of the sun1 ,illustration3 ,,the ,,generalife4 as well as for the healthfulness of the air1 which is continually refreshed by running streams of limpid water4 ,this garden is only separated from the royal residence by a high and strong wall1 defended by a deep moat4 ,in this place the ,sultn was suddenly awakened by the clatter of arms1 the cries of the assailants1 and the beating of drums in the distance4 ,not knowing what caused the tumult1 ,mohammed went out in the direction of the ,alhambra2 but1 finding that the conspirators occupied all the avenues1 he retraced his steps1 and ,allah was pleased to provide for his salvation2 for1 having mounted a fleet horse1 which was always kept saddled and prepared for him1 he galloped off to ,guadix1 where he arrived safely the same morning1 and presented himself to the governor of the castle1 who was very far from suspecting what had happened4 ,mohammed was immediately waited upon by the chief inhabitants of the place who all swore to protect him1 so that he not only reigned undisturbed over ,guadix and its immediate neighbourhood1 but soon found himself at the head of devoted followers who hastened to him from all parts40 ,meanwhile1 his brother1 the usurper1 despatched an embassy to the ,king of ,castile1 offering to renew the treaty of peace then existing between the two countries4 ,the ,castilian ,king 7,pedro ,i471 happening then to be at war with the people of ,barcelona1 readily assented to the proposal1 and ratified the usurper's occupation of ,granada4 ,isma'il1 however1 did not long enjoy the power he had seized4 ,he was besieged in the ,alhambra by ,ab ',abdillah1 afterwards ,mohammed ,,vi41 taken prisoner1 and put to death1 together with his brother1 ,kayes1 in #acfj4 ,the history of the dethroned king1 ,mohammed ,v41 is particularly interesting for the reason that he it was who put the finishing touches to the decoration of the ,alhambra1 after the work was interrupted by the assassination of his father1 ,ysuf ,i4 ,immediately upon the death of ,isma'il1 ,mohammed ,,vi4 was proclaimed king1 and reigned for about two years1 at the end of which period1 seeing himself pressed on the one side by the rightful sovereign who burned to revenge the outrage done to him and recover the throne of his ancestors2 and harassed1 on the other hand1 by ,pedro1 ,king of ,castile2 he formed the strange ,illustration3 ,a ,,view ,,of ,,the ,,royal ,,villa ,,of ,,the ,,generalife ,,at ,,granada4 ,illustration3 ,,transverse ,,section ,,of ,,the ,,royal ,,villa ,,of ,,the ,,generalife ,,at ,,granada4 resolution of throwing himself upon the protection of the latter1 and repairing to his ,court4 8,he might just as well10 says the ,wizr1 8have thrown himself into the jaws of a hungry tiger thirsting for blood1 for no sooner had the infidel dog cast his eyes on the countless treasures which ,mohammed and his chiefs had brought with them1 than he conceived the wicked design of murdering them and appropriating their riches2 on the second day of ,rejeb1 #gfc 7,april #bg1 ,a4,d4 #acfb7 he was put to death with all his followers1 at a place called ,tablada1 close to ,seville40 ,but to return to the dethroned ,sultn1 ,mohammed ,v41 whose history is highly romantic4 ,the people of ,guadix continued their allegiance1 protected his person1 and swore to devote their lives to his cause4 ,pedro was but lukewarm in his behalf2 and ,mohammed1 obtaining only vague promises from the ,christian ,king1 crossed over to ,fez at the invitation of the ,sultn of ,western ,africa 7,ibnu-l-,khattb1 in his life of ,mohammed ,v41 gives the details of ,illustration3 ,,the ,,generalife4 this journey71 and made a public entrance into ,fez1 where he was received with every mark of distinction4 ,after a long sojourn with the ,sultn1 ,mohammed returned to ,andalus in great state with a large number of followers1 his adherents greatly increasing on his arrival at ,guadix4 ,all ranks flocked to his standard1 the presence of the long-absent and popular sovereign infusing new vigour amongst the troops4 ,the whole of the ,gharbia1 or ,western districts1 submitted to him4 ,he was then enabled to take ,malaga and to march upon ,granada1 which surrendered without opposition1 and he thus saw himself once again in possession of his dominions4 ,his triumphant entry into ,granada took place ,april #fth1 ,a4,d4 #acfb1 immediately before the death of the usurper1 ,mohammed ,,vi41 at the hands of ,king ,pedro4 ,mohammed ,v4 reigned until the year #acia1 when he was succeeded by his son1 ,ysuf ,,ii4 99 99 99 99 99 ,to reach the summer resort of the ,moorish ,kings from the ,alhambra1 the better way is to leave the ,palace by the ,torre del ,picos--,tower of the ,peaks1 or minarets--and thus approach the tall white towers and long arcades of the ,generalife4 ,to wander amidst its gardens and groves in the most sultry season is to enjoy a still more breezy region than that of the ,alhambra4 ,the ,generalife is a confluence of waters3 the canal of the ,darro empties its full virgin stream1 and at times boils under evergreen arches through the ,acequia ,court4#ad ,in contemplation of its beauty1 the present is forgotten in the past2 old-world echoes still reverberate through the bemyrtled ,courts1 where the many flowers which enamel its terraces and aqueducts tranquilly attest that once a garden smiled3 8,cypress and ivy1 weed and wall-flower grown ,matted and mass'd together1 hillocks heap'd ,on what were chambers1 arch crush'd1 column strown ,in fragments1 chok'd up vaults1 and frescos steep'd ,in subterranean damps1 where the owl peep'd1 ,deeming it midnight3 ,temples1 baths1 or halls8 ,pronounce who can2 for all that ,learning reap'd ,from her research hath been1 that these are walls--0 ,childe ,harold's ,pilgrimage1 ,canto ,,iv4 ,illustration3 ,,garden ,,of ,,the ,,generalife4 ,illustration3 ,,perspective ,,view ,,of ,,the ,,garden ,,of ,,the ,,generalife4 ,illustration3 ,,elevation ,,and ,,ground ,,plan ,,of ,,the ,,portico ,,of ,,the ,,generalife4 ,what is pointed out as 8the trysting place of the ,sultna10 is a grove of cypress trees1 enormous in their proportions1 and old as the ,moors themselves4 ,the beautiful ,zoraya1 surnamed 8,the ,morning ,star10 to whom reference has been already made1 is said to have been discovered under their spreading branches with her lover1 the ,abencerrage1 but this is a calumny of the ,romanceros1 and they are false witnesses4 ,the tradition is1 but with little to substantiate it1 that the ,sultna was condemned to be burnt alive1 if1 ,illustration3 ,,mosaic1 ,,portico ,,of ,,the ,,generalife4 within thirty days1 she did not produce four knights to defend her cause against her four accusers4 ,the fatal day arrived2 no knights appeared1 when1 just at the supreme moment1 there came upon the scene ,don ,juan de ,chacon1 ,lord of ,carthagena 7whom she had implored to become her champion7 accompanied by three other ,christian knights1 all in ,saracenic armour4 ,they fought and conquered1 and the last of the conspirators1 with his dying breath1 confessed his invention of the false charge against the ,abencerrage and the innocent ,sultna4 ,the reader who is desirous of perusing the circumstantial narrative of this supposed transaction may be referred to the late ,mr4 ,henry ,swinburne's account in his ,travels in ,spain1 while ,mr4 ,peyron1 in his ,essays on ,spain1 has given a translation of an ,arabian document purporting to be an official report concerning it4 ,upon the naked summit of the height above the ,generalife are some shapeless ruins1 known as the ,silla del ,moro--the seat of the ,moor--said to have been a point of observation of ,boabdil1 the ,unlucky1 while an insurrection was raging in the city below4 ,an apocryphal portrait of ,boabdil1 ,el ,rey ,chico1 hangs in the picture gallery of the ,generalife4 ,the face is mild1 handsome1 and somewhat melancholy1 with a fair complexion and yellow hair4 ,other indifferent paintings are to be seen in the gallery1 including those of ,ferdinand and ,isabella4 ,the genealogical tree of the ,marquis of ,campotejar of the ,grimalda ,gentili family1 better known as ,pallavicini1 of ,genoa1 is exhibited in the picture gallery4 ,the villa now belongs to the ,marquis1 who1 being an absentee1 has placed the palace under the care of an administrador4 ,the founder of the ,grimaldi family was one ,cidi ,aya1 a ,moorish prince1 who was of service to ,ferdinand on the expulsion of the ,moors1 at which time he became a ,christian knight under the name of ,don ,pedro4 ,his son1 ,don ,aixa1 is represented in the pedigree hanging in the picture gallery1 trampling1 like a renegade1 on the ensigns of his ancestors4 ,an enormous weapon1 traditionally known as 8,the ,sword of ,boabdil10 having a beautifully enamelled sheath enriched with gold and silver work1 is preserved in the office of the ,italian ,consulate at ,granada4 ,the decorations of the ,generalife are in no respect inferior to those of the ,alhambra2 the wood-work is of nogal1 or ,spanish chestnut1 and1 where it has not been wantonly injured1 is in its original condition4 ,it is thought that the ,moors preserved their wood-work by coating it with a substance called ,illustration3 ,,front ,,view ,,of ,,the ,,portico ,,of ,,the ,,generalife4 ,illustration3 ,a ,,ceiling ,,in ,,the ,,generalife4 ,illustration3 ,,the ,,generalife4 ,,entrance ,,to ,,the ,,gallery ,,of ,,retratos 7,,portrait ,,gallery74 ,illustration3 ,,the ,,generalife4 ,,gallery ,,in ,,the ,,acequia ,,court4 colle and almaqu1 i4e41 size mixed with a reddish earth1 and rendered obnoxious to insects4 ,the black lines which ornament the wood-work are believed to have been traced with a hot iron4 ,illustration3 ,,gallery ,,in ,,the ,,generalife4 ,nothing can exceed the symmetry of the ,portico of the ,generalife4 ,the columns are of white marble1 surmounted by arches and arabesques4 ,the inscription1 many times repeated1 and running along the whole front of the ,portico1 is that which occurs so frequently in the ,alhambra1 8,there is no conqueror but ,god40 ,the dado has a very rich effect1 the colours being black1 blue1 gold1 scarlet1 and green4 ,the transverse section of the ,royal ,villa1 shown in the plate at p4 #daa1 gives an idea of the beauty of the interior decorations4 ,the ceiling of the chief apartment is a chef-d'uvre of ,arabian workmanship2 the exquisite delicacy and consummate taste displayed by the artist must be seen before a full appreciation can be acquired4 ,the ceiling is delineated at p4 #dbe4 ,the ,acequia ,court reminds the observer of the ,court of the ,fishpond2 or of ,myrtles1 in the ,alhambra4 ,although of no such great dimensions1 similar arcades1 galleries1 and fountains1 are here seen in profusion4 ,the slender pillars and gossamer-perforated fabrics are1 as in the case of the greater ,palace1 like nothing so much as our conception of fairy-work1 rather a dream of beauty than the production of human hands4 ,,la ,,casa ,,del ,,carbon--,,the ,,charcoal ,,house4 ,halfway down the ,zacatin1 which was1 in ,moorish times1 the bazaar1 or market1 of ,granada--then alive with busy silversmiths1 and with silk merchants1 who offered the most wondrous productions of the loom--stands whatever remains of the elegant palace known as the ,charcoal ,house1 from having been appropriated to the sale of that commonplace article4 ,the edifice1 until recent times1 bore the name by which it had been known for centuries1 viz43 ,la ,casa del ,gallo de ,viento--,the ,weather-cock ,house4 ,there is a tradition that the palace was built by ,bds ,ibn ,hbus1 the third ,sultn of ,granada of the ,zeyrite dynasty1 about #ajgj ,a4,d41 by whose direction a vane was made in the ,illustration3 ,,the ,,acequia ,,court1 ,,in ,,the ,,generalife4 ,illustration3 ,,the ,,acequia ,,court ,,in ,,the ,,generalife1 ,,from ,,the ,,main ,,entrance4 ,illustration3 ,,the ,,acequia ,,court ,,in ,,the ,,generalife4 ,illustration3 ,a ,,corner ,,of ,,the ,,acequia ,,court ,,in ,,the ,,generalife4 ,illustration3 ,,cypress ,,court ,,in ,,the ,,generalife4 ,illustration3 ,,gallery ,,of ,,the ,,acequia ,,court ,,in ,,the ,,generalife4 shape of a warrior mounted on a steed1 with a shield and levelled spear in his hands4 ,al-makkar tells us that he read in the manuscript of a learned ,moorish historian the following anecdote concerning it3 8,i was told by the ,faquih ,sd ,hasan 444 that he was present at the taking down of the talisman1 known as the weather-cock1 which once stood on the top of the old ,kassabah--fortified enclosure--at ,granada1 and was removed on account of the improvements and repairs about to be made in that building4 ,i saw it with my own eyes2 it was of heptagonal shape1 and bore the following ,arabic inscription in verse3 8,the palace at fair ,granada presents to the eye of the observer a talisman turning round with the succession of time4 8,the horseman on its weather-cock1 although a solid body1 turns with every wind4 8,this to the wise man1 reveals many a mystery4 8,indeed1 after subsisting a short time1 a calamity shall come which shall ruin both the palace and its owner4 8,thus shall ,andalus vanish one day60 ,the archway-entrance to the ,casa del ,carbon is very richly decorated1 as may be seen by the illustration at p4 #ddc1 but the interior has been greatly interfered with and disfigured4 ,below1 is a subterranean passage1 said to communicate with the ,alhambra2 but the ,duke d',abrantes1 who owned the ,casa1 regarded such means of communication as 8uncanny10 and blocked up the passage4 ,an inspection of the ,arabic title-deeds to this interesting property1 which are still extant1 would amply repay the pains of conveyancing amateurs4 ,,la ,,casa ,,sanchez--,,the ,,house ,,of ,,sanchez4 ,la ,casa ,sanchez1 so-called from having been the dwelling of an honest muleteer of that name1 was once one of the most picturesque and most ,moorish of dwellings4 ,but1 alas6 in the year #ahcg1 the whole front was 8restored0 and 8beautified10 and an ancient fish-pond1 similar to that of the ,court of ,myrtles1 was filled up and converted into a garden by one of the resident officers of the ,palace4 ,the ruthless empleado1 who caused the ,moorish doors of the ,hall of the ,abencerrages to be sawn asunder1 permitted also this outrage by a man of equal ,illustration3 ,,mosaic ,,pavement ,,in ,,the ,,dressing-,,room ,,of ,,the ,,sult,,na4 taste with himself1 who ruined the little architectural gem4 ,the ruin yet offers a specimen of minute and beautiful tarkish--stucco-work--that even the lovely examples of the ,alhambra itself cannot surpass4 ,an illustration at p4 #dde1 from a drawing of about the year #ahcj1 'ere the spoiler came1 will give an idea of the departed beauty of the jewelled building4 ,illustration3 ,,sabre ,,of ,,the ,,last ,,moorish ,,king ,,of ,,granada1 ,,commonly ,,called 8,,the ,,sword ,,of ,,boabdil40 ,,blankpage ,illustration3 ,,elevation ,,of ,,the ,,casa ,,del ,,carbon1 ,,or 8,,house ,,of ,,carbon10 ,,once ,,known ,,as ,,the ,,house ,,of ,,the ,,weather-,,cock4 ,illustration3 ,,house ,,of ,,sanchez4 ,illustration3 ,,plan ,,and ,,section ,,of ,,the ,,great ,,cistern ,,in ,,the ,,alhambra4 ,,blankpage ,,appendix4 ,moresco-,spanish ,ballads4 ,selected from the ,translations of ,john ,gibson ,lockhart4 ,lockhart's intention was to furnish the ,english reader with some notion of that old ,spanish minstrelsy preserved in the different ,cancioneros and ,romanceros of the ,sixteenth ,century2 he owns1 however1 than only a ,spaniard can achieve for his native chansons what ,percy1 ,ellis1 or ,ritson has done for ,english ballads4 ,until such a ,spanish editor arises1 it seems impossible to determine to what period the composition of the oldest ,spanish ballads now extant ought to be referred4 ,the first collection of romantic ,spanish ballads1 that of ,ferdinand de ,castillo1 was published so early as #aeaj2 and1 as the title of the book declares that the volume contains the ancient and modern songs of the ,troubadours of ,spain1 it is clear that a certain number of the pieces were then considered ancient4 ,there are not wanting circumstances which would seem to establish for many of the ,spanish ballads a claim to antiquity much higher than is to be inferred from this date2 for1 in the ,general ,chronicle of ,spain1 which was compiled in the fourteenth century at the instance of ,alfonso the ,wise1 allusions are constantly made to the popular songs of the minstrels1 or ,joglares4 ,one thing is certain1 that the ,spaniards are in possession of the oldest1 as well as the largest1 collection of popular ballad poetry1 properly so called1 than is to be found in the literature of any other ,european nation2 and ,lockhart very pertinently puts the enquiry1 8,had there been published at ,london1 in the reign of our eighth ,henry1 a vast collection of ,english ballads about the wars of the ,plantagenets1 what illustration and annotation would not that collection have received ere now80 ,it is fair1 perhaps1 to conclude that a great and remarkable influence was exerted over ,spanish thought and feeling--and1 therefore1 over ,spanish language and poetry--by the influx of those ,oriental tribes who occupied1 for long centuries1 the fairest provinces of ,spain2 particularly when it is remembered that the ,christian youth studied freely and honourably at the feet of ,jewish and ,mohammedan philosophers4 ,throughout the oldest ,spanish ballads there breathes a spirit of charity towards their ,moorish enemies1 for1 in spite of adverse faith1 in spite of adverse interests1 they had much in common4 ,loves1 and sports--nay1 sometimes their haughtiest recollections--were in common2 and even their heroes were the same3 ,bernardo del ,carpio1 ,fernan ,gonzalez1 the ,cid himself1 had1 at some period of their lives1 fought beneath the standard of the ,crescent1 and the minstrels of either nation had equal pride in the celebration of their prowess4 ,even in the ballads most exclusively devoted to the records of feats of ,spanish heroism1 it is quite common to find some handsome compliment paid to the ,moors4 ,and when1 at a later period1 the conquest of ,granada had mingled the ,spaniards with the persons and manners of the ,moors1 the ,spanish ballad-mongers still celebrated the achievements of their ,saracen rivals2 and the compliment towards 8the ,knights of ,granada1 gentlemen1 albeit ,moors10 ,caballeros ,granadinos ,aunque ,moros hijos d'algo1 must have been extremely gratifying to the defeated4 ,the ballads of ,moorish origin are rather of the romantic than the historical class4 ,they were sung in the villages of ,andalusia in either language1 but to the same tunes1 and listened to with equal pleasure by ,mussulman and ,christian4 ,in these strains1 says ,lockhart1 whatever merits or demerits they may possess1 they present a lively picture of the life of the ,arabian ,spaniard4 ,we see him as he was in reality1 8like steel among weapons--like wax among women40 ,there came1 indeed1 a time when the fondness of the ,spaniards for their ,moorish ballads was made a matter of reproach2 but this was not till long after the period when ,spanish bravery had recovered the last fragments of the ,peninsula from the ,moslem4 ,the greater part of the ,moorish ballads refer to the period immediately preceding1 and at the time of the downfall of the throne of ,granada4 ,the amours of that splendid court2 the bull fights1 and other spectacular displays in which its lords and ladies delighted no less than those of the ,christian courts of ,spain2 the feuds of the two great families of the ,zegris and the ,abencerrages1 which contributed so largely to the ruin of the ,moorish cause2 and the incidents of the last war1 in which the power of the ,moslem was entirely overthrown by the arms of ,ferdinand and ,isabella4 ,the ballad1 composed on the departure from ,granada of the ,moors1 is a specimen of romantic minstrelsy which has never depended on historic truth4 ,the allusion in the third stanza to the old white beard of the ,moorish king seems to favour the conjecture that 8,muley ,hasen10 and not his son ,boabdil1 surrendered the keys of the fortress4 8,,the ,,flight ,,from ,,granada40 ,there was crying in ,granada when the sun was going down-- ,some calling on the ,trinity--some calling on ,mahoun6 ,here passed away the ,korn--there in the ,cross was borne-- ,and here was heard the ,christian bell1 and there the ,moorish horn2 ,te ,deum ,laudamus6 was up the ,alcala sung3 ,down from th' ,alhambra's minarets were all the crescents flung2 ,the arms thereon of ,aragon they with ,castile's display2 ,one king comes in in triumph--one weeping goes away6 ,thus cried the weeper1 while his hands his old white beard did tear1 8,farewell1 farewell1 ,granada6 thou city without peer6 ,woe1 woe thou pride of heathendom6 seven hundred years and more ,have gone since first the faithful thy royal sceptre bore6 8,thou wert the happy mother of a high renownd race2 ,within thee dwelt a haughty line that now go from their place2 ,within thee fearless knights did dwell1 who fought with mickle glee ,the enemies of proud ,castile--the bane of ,christientie6 8,the mother of fair dames wert thou1 of truth and beauty rare1 ,into whose arms did courteous knights for solace sweet repair2 ,for whose dear sakes the gallants of ,afric made display ,of might in joust and battle on many a bloody day6 8,here gallants held it little thing for ladies' sake to die1 ,or for the ,prophet's honour1 and pride of ,soldanry3 ,for here did valour flourish1 and deeds of warlike might ,ennobled lordly palaces1 in which was our delight4 8,the gardens of thy ,vega1 its fields and blooming bowers-- ,woe1 woe6 ,i see their beauty gone1 and scatter'd all their flowers ,no reverence can he claim1 the king that such a land hath lost ,on charger never can he ride1 nor be heard among the host2 ,but in some dark and dismal place1 where none his face may see1 ,there1 weeping and lamenting1 alone that king should be60 ,thus spake ,granada's king as he was riding to the sea1 ,about to cross ,gibraltar's ,strait away to ,barbary3 ,thus he in heaviness of soul unto his queen did cry4-- 7,he had stopp'd and ta'en her in his arms1 for together they did fly74 8,unhappy king6 whose craven soul can brook0--7she 'gan reply7 8,to leave behind ,granada--who hast not heart to die-- ,now for the love ,i bore thy youth1 thee gladly could ,i slay6 ,for what is life to leave when such a crown is cast away80 ,,the ,,death ,,of ,,don ,,alonzo ,,of ,,aguilar4 ,the ,catholic zeal of ,ferdinand and ,isabella was gratified by the external conversion at least of great part of the ,moors of ,granada2 but the inhabitants of the ,sierra of ,alpujarra1 to which the remnant of the ,moors had retired1 resisted every effort of the priests who were sent among them1 so that the order for baptism was at length enforced by arms4 ,these ,moorish mountaineers resisted strenuously1 but were at length subdued1 and1 in great part1 extirpated4 ,amongst many severe losses sustained by the ,spanish forces in this guerilla warfare1 was that recorded in the following ballad4 ,the tragic story has been made familiar to ,english readers by the ,bishop of ,dromore's exquisite version of 8,rio ,verde6 ,rio ,verde60 ,fernando1 king of ,aragon1 before ,granada lies1 ,with dukes and barons many a one1 and champions of emprise2 ,with all the captains of ,castile that serve his lady's crown1 ,he drives ,boabdil from his gates1 and plucks the ,crescent down4 ,the ,cross is rear'd upon the towers1 for our ,redeemer's sake6 ,the king assembles all his powers1 his triumph to partake2 ,yet at the royal banquet1 there's trouble in his eye-- 8,now speak thy wish1 it shall be done1 great king60 the lordings cry4 ,then spake ,fernando3 8,hear1 grandees6 which of ye all will go1 ,and give my banner in the breeze of ,alpujar to blow8 ,those heights along1 the ,moors are strong2 now who1 by dawn of day1 ,will plant the ,cross their cliffs among1 and drive the dogs away80 ,then champion on champion high1 and count on count doth look2 ,and falt'ring is the tongue of lord1 and pale the cheek of duke2 ,till starts up brave ,alonzo1 the knight of ,aguilar1 ,the lowmost at the royal board1 but foremost still in war4 ,and thus he speaks3 8,i pray1 my lord1 that none but ,i may go3 ,for ,i made promise to the queen1 your consort1 long ago1 ,that ere the war should have an end1 ,i1 for her royal charms1 ,and for my duty to her grace1 would show some feat of arms60 ,much joy'd the king these words to hear--he bids ,alonzo speed2 ,and long before the revel's o'er the knight is on his steed2 ,alonzo's on his milk-white steed1 with horsemen in his train1 ,a thousand horse1 a chosen band1 ere dawn the hills to gain4 ,they ride along the darkling ways1 they gallop thro' the night2 ,they reach ,nevada ere the cock hath harbinger'd the light2 ,but ere they've climb'd that steep ravine1 the east is glowing red1 ,and the ,moors their lances bright have seen1 and ,christian banners spread4 ,beyond the sands1 between the rocks1 where the old cork-trees grow1 ,the path is rough1 and mounted men must singly march and slow2 ,there1 o'er the path1 the heathen range their ambuscado's line1 ,high up they wait for ,aguilar1 as the day begins to shine4 ,there1 nought avails the eagle-eye1 the guardian of ,castile1 ,the eye of wisdom1 nor the heart that fear might never feel1 ,the arm of strength1 that wielded well the strong mace in the fray1 ,nor the broad plate1 from whence the edge of faulchion glanced away4 ,not knightly valour there avails1 nor skill of horse and spear2 ,for rock on rock comes rumbling down from cliff and cavern drear2 ,down--down like driving hail they come1 and horse and horsemen die2 ,like cattle whose despair is dumb when the fierce lightnings fly4 ,alonzo1 with a handful more1 escapes into the field1 ,there1 like a lion1 stands at bay1 in vain besought to yield2 ,a thousand foes around are seen1 but none draw near to fight2 ,afar1 with bolt and javelin1 they pierce the steadfast knight4 ,a hundred and a hundred darts are hissing round his head2 ,had ,aguilar a thousand hearts1 their blood had all been shed2 ,faint1 and more faint1 he staggers upon the slippery sod1 ,at last his back is to the earth1 he gives his soul to ,god6 ,with that the ,moors plucked up their hearts to gaze upon his face1 ,and caitiffs mangled where he lay the scourge of ,afric's race2 ,to woody ,oxijera then the gallant corpse they drew1 ,and there1 upon the village green1 they laid him out to view4 ,upon the village-green he lay1 as the moon was shining clear1 ,and all the village damsels to look on him drew near2 ,they stood around him all a-gaze1 beside a big oak-tree1 ,and much his beauty they did praise1 tho' mangled sore was he4 ,now1 so it fell1 a ,christian dame1 that knew ,alonzo well1 ,not far from ,oxijera did as a captive dwell1 ,and hearing all the marvels1 across the woods came she1 ,to look upon this ,christian corpse1 and wash it decently4 ,she look'd upon him1 and she knew the face of ,aguilar1 ,although his beauty was defac'd with many a ghastly scar1 ,she knew him1 and she cursed the dogs that pierced him from afar1 ,and mangled him when he was slain--the ,moors of ,alpujar4 ,the ,moorish maidens1 while she spake1 around her silence kept1 ,but her master dragged the dame away--then loud and long they wept2 ,they washed the blood1 with many a tear1 from dint of dart and arrow1 ,and buried him near the waters clear of the brook of ,alpujarra4 ,,the ,,bull-,,fight ,,of ,,gazul4 ,gazul is the name of one of the ,moorish heroes who figure in the 8,historia de las ,guerras ,civiles de ,granada40 ,the following is one of many ballads in which the dexterity of ,moorish cavaliers in the ,bull-fight is described4 ,the reader will observe that the shape1 activity1 and resolution of the animal destined to furnish the amusement of the spectators1 are enlarged upon1 just as the qualities of a modern racehorse might be amongst ourselves--nor is the bull without his name4 ,the day of the ,baptist is a festival of the ,mussulmans1 as well as amongst ,christians3 ,king ,almanzor of ,granada1 he hath bid the trumpet sound1 ,he hath summon'd all the ,moorish lords1 from the hills and plains around2 ,from ,vega and ,sierra1 from ,betis and ,xenil1 ,they have come with helm and cuirass of gold and twisted steel4 ',tis the holy ,baptist's feast they hold in royalty and state1 ,and they have closed the spacious lists1 beside the ,alhambra's gate2 ,in gowns of black with silver laced1 within the tented ring1 ,eight ,moors to fight the bull are placed1 in presence of the ,king4 ,eight ,moorish lords of valour tried1 with stalwart arm and true1 ,the onset of the beasts abide1 as they come rushing through2 ,the deeds they've done1 the spoils they've won1 fill all with hope and trust ,yet1 'ere high in heaven appears the sun1 they all have bit the dust6 ,then sounds the trumpet clearly1 then clangs the loud tambour1 ,make room1 make room for ,gazul6--throw wide1 throw wide the door6 ,blow1 blow the trumpet clearer still6 more loudly strike the drum6 ,the ,alcayd of ,algava to fight the bull doth come4 ,and first before the ,king he passed1 with reverence stooping low1 ,and next he bowed him to the ,queen and th' ,infantas all a-rowe2 ,then to his lady's grace he turned1 and she to him did throw ,a scarf from out her balcony was whiter than the snow4 ,with the life-blood of the slaughtered lords all slippery is the sand1 ,yet proudly in the centre hath ,gazul ta'en his stand2 ,and ladies look with heaving breast1 and lords with anxious eye1 ,but firmly he extends his arm--his look is calm and high4 ,three bulls against the knight are loosed1 and two come roaring on1 ,he rises high in stirrup1 forth stretching his rejn2 ,each furious beast upon the breast he deals him such a blow1 ,he blindly totters and gives back across the sand to go4 8,turn1 ,gazul1 turn60 the people cry3 the third comes up behind1 ,low to the sand his head holds he1 his nostrils snuff the wind2 ,the mountaineers that lead the steers without stand whispering low1 8,now thinks this proud ,alcayd to stun ,harpado so80 ,from ,guadiana comes he not1 he comes not from ,xenil1 ,from ,gaudalarif of the plain1 or ,barves of the hill2 ,but where from out the forest burst ,xarama's waters clear1 ,beneath the oak-trees was he nursed1 this proud and stately steer4 ,dark is his hide on either side1 but the blood within doth boil1 ,and the dun hide glows1 as if on fire1 as he paws to the turmoil4 ,his eyes are jet1 and they are set in crystal rings of snow2 ,but now they stare with one red glare of brass upon the foe4 ,upon the forehead of the bull the horns stand close and near1 ,from out the broad and wrinkled skull like daggers they appear2 ,his neck is massy1 like the trunk of some old knotted tree1 ,whereon the monster's shaggy mane1 like billows curled1 ye see1 ,his legs are short1 his hams are thick1 his hoofs are black as night1 ,like a strong flail he holds his tail in fierceness of his might2 ,like something molten out of iron1 or hewn from forth the rock1 ,harpado of ,xarama stands1 to bide the ,alcayd's shock4 ,now stops the drum2 close1 close they come2 thrice meet1 and thrice give back2 ,the white foam of ,harpado lies on the charger's breast of black2 ,the white foam of the charger on ,harpado's front of dun2 ,once more advance upon his lance--once more1 thou fearless one6 ,once more1 once more6 in dust and gore to ruin must thou reel6 ,in vain1 in vain thou tearest the sand with furious heel6 ,in vain1 in vain1 thou noble beast6 ,i see1 ,i see thee stagger1 ,now keen and cold thy neck must hold the stern ,alcayd's dagger6 ,they have slipped a noose around his feet1 six horses are brought in1 ,and away they drag ,harpado with a loud and joyful din2 ,now stoop thee1 lady1 from thy stand1 and the ring of price bestow1 ,upon ,gazul of ,algava1 that hath laid ,harpado low4 ,,the ,,bridal ,,of ,,andalla4 ,the following exquisitely tender ballad has been often imitated by modern poets3 8,rise up1 rise up1 ,xarifa6 lay the golden cushion down2 ,rise up1 come to the window1 and gaze with all the town6 ,from gay guitar and violin the silver notes are flowing1 ,and the dulcet lute doth speak between the trumpet's lordly blowing2 ,and banners bright from lattice light are waving everywhere1 ,and the tall1 tall plume of our cousin's bridegroom floats proudly in the air2 ,rise up1 rise up1 ,xarifa6 lay the golden cushion down3 ,rise up1 come to the window1 and gaze with all the town6 8,arise1 arise ,xarifa6 ,i see ,andalla's face-- ,he bends him to the people with a calm and princely grace2 ,through all the land of ,xeres and banks of ,guadalquivir1 ,rode forth bridegroom so brave as he1 so brave and lovely never1 ,yon tall plume waving o'er his brow1 of purple mixed with white1 ,i guess 'twas wreathed by ,zara1 whom he will wed to-night3-- ,rise up1 rise up1 ,xarifa6 lay the golden cushion down3 ,rise up1 come to the window1 and gaze with all the town6 8,what aileth thee1 ,xarifa8 what makes thine eyes look down8 ,why stay ye from the window far1 nor gaze with all the town8 ,i've heard you say on many a day1 and sure you said the truth1 ,andalla rides without a peer1 'mong all ,granada's youth2 ,without a peer he rideth1 and yon milk-white horse doth go ,beneath his stately master1 with a stately step and slow3-- ,then rise1 oh6 rise1 ,xarifa6 lay the golden cushion down2 ,unseen here through the lattice1 you may gaze with all the town60 ,the ,zegri lady rose not1 nor laid her cushion down1 ,nor came she to the window to gaze with all the town2 ,but though her eyes dwelt on her knee1 in vain her fingers strove1 ,and though her needle press'd the silk1 no flower ,xarifa wove2 ,one bonny rosebud she had traced1 before the noise drew nigh2 ,that bonny bud a tear effaced1 slow drooping from her eye4 8,no1 no60 she sighs2 8bid me not rise1 nor lay my cushion down1 ,to gaze upon ,andalla with all the gazing town60 8,why rise ye not1 ,xarifa8 nor lay your cushion down8 ,why gaze ye not1 ,xarifa1 with all the gazing town8 ,hear1 hear the trumpet1 how it swells1 and how the people cry6 ,he steps at ,zara's palace-gate--why sit ye still8--oh1 why80 8,at ,zara's gate stops ,zara's mate2 in him shall ,i discover ,the dark-eyed youth pledged me his truth with tears1 and was my lover8 ,i will not rise1 with weary eyes1 nor lay my cushion down1 ,to gaze on false ,andalla with all the gazing town60 ,,zara',s ,,ear-,,rings4 8,my ear-rings6 my ear-rings6 they've dropped into the well1 ,and what to say to ,msa1 ,i cannot1 cannot tell20 ',twas thus1 ,granada's fountain by1 spoke ,albuharez' daughter-- 8,the well is deep--far down they lie1 beneath the cold blue water2 ,to me did ,msa give them1 when he spake his sad farewell1 ,and what to say when he comes back1 alas6 ,i cannot tell4 8,my ear-rings6 my ear-rings6--they were pearls1 in silver set1 ,that1 when my ,moor was far away1 ,i ne'er should him forget2 ,that ,i ne'er to another tongue should list1 nor smile on other's tale1 ,but remember he my lips had kissed1 pure as those ear-rings pale1 ,when he comes back1 and hears that ,i have dropped them in the well1 ,oh6 what will ,msa think of me6--,i cannot1 cannot tell6 8,my ear-rings6 my ear-rings6--he'll say they should have been1 ,not of pearl and of silver1 but of gold and glittering sheen1 ,of jasper and of onyx1 and of diamond shining clear1 ,changing to the changing light1 with radiance insincere2 ,that changeful mind unchanging gems are not befitting well2 ,thus will he think--and what to say1 alas6 ,i cannot tell4 8,he'll think1 when ,i to market went1 ,i loitered by the way2 ,he'll think a willing ear ,i lent to all the lads might say2 ,he'll think some other lover's hand among my tresses noosed1 ,from the ears where he had placed them my rings of pearl unloosed2 ,he'll think1 when ,i was sporting so beside this marble well1 ,my pearls fell in--and what to say1 alas6 ,i cannot tell4 8,he'll say1 ,i am a woman1 and we are all the same2 ,he'll say1 ,i loved1 when he was here1 to whisper of his flame1 ,but1 when he went to ,tunis1 my virgin troth had broken1 ,and thought no more of ,msa1 and cared not for his token4 ,my ear-rings6 my ear-rings6 oh1 luckless1 luckless well6 ,for what to say to ,msa1 alas6 ,i cannot tell4 8,i'll tell the truth to ,msa--and ,i hope he will believe1 ,that ,i thought of him at morning1 and thought of him at eve3 ,that1 musing on my lover1 when down the sun was gone1 ,his ear-rings in my hand ,i held1 by the fountain all alone2 ,and that my mind was o'er the sea1 when from my hand they fell1 ,and that deep his love lies near my heart1 as they lie in the well60 ,,the ,,lamentation ,,for ,,celin4 ,at the gate of old ,granada1 when all its bolts are barred1 ,at twilight1 at the ,vega-gate1 there is a trampling heard2 ,there is a trampling heard1 as of horses treading slow1 ,and a weeping voice of women1 and a heavy sound of woe6 8,what tower is fallen1 what star is set1 what chief comes here bewailing80 8,a tower is fallen1 a star is set6--,alas6 alas for ,celin60 ,three times they knock1 three times they cry1 and wide the doors they throw2 ,dejectedly they enter1 and mournfully they go2 ,in gloomy lines they mustering stand1 beneath the hollow porch1 ,each horseman grasping in his hand a black and flaming torch2 ,wet is each eye as they go by1 and all around is wailing1 ,for all have heard the misery4--,alas6 alas for ,celin6 ,him1 yesterday1 a ,moor did slay1 of ,ben-cerraji's blood-- ',twas at the solemn jousting--around the nobles stood2 ,the nobles of the land were by1 and ladies bright and fair ,looked from their latticed windows1 the haughty sight to share2 ,but now the nobles all lament--the ladies are bewailing-- ,he was ,granada's darling knight4--,alas6 alas for ,celin6 ,before him ride his vassals1 in order two by two1 ,with ashes on their turbans spread1 most pitiful to view2 ,behind him his four sisters1 each wrapped in sable veil1 ,between the tambour's dismal strokes take up their doleful tale2 ,when stops the muffled drum1 ye hear their brotherless bewailing1 ,and all the people1 far and near1 cry--8,alas6 alas for ,celin60 ,oh6 lovely lies he on the bier1 above the purple pall1 ,the flower of all ,granada's youth1 the loveliest of them all3 ,his dark1 dark eyes are closed1 his rosy lip is pale1 ,the crust of blood lies black and dim upon his burnished mail2 ,and evermore the hoarse tambour breaks in upon their wailing1 ,its sound is like no earthly sound--,alas6 alas for ,celin6 ,the ,moorish maid at the lattice stands1 the ,moor stands at his door2 ,one maid is wringing of her hands1 and one is weeping sore2 ,down to the dust men bow their heads1 and ashes black they strew ,upon their broidered garments1 of crimson1 green1 and blue2 ,before each gate the bier stands still1 then bursts the loud bewailing1 ,from door and lattice high and low--8,alas6 alas for ,celin60 ,an old1 old woman cometh forth1 when she hears the people cry-- ,her hair is white as silver1 like horn her glazing eye3 ',twas she that nursed him at her breast--that nursed him long ago2 ,she knows not whom they all lament1 but soon she well shall know6 ,with one deep shriek1 she thro' doth break1 when her ears receive their wailing1 8,let me kiss my ,celin ere ,i die4--,alas6 alas for ,celin60 ,illustration3 ,,arch ,,of ,,the ,,wine ,,gate4 ,illustration3 ,,plan1 ,,elevation1 ,,and ,,details ,,of ,,the ,,gate ,,of ,,justice4 ,illustration3 ,,transverse ,,section ,,of ,,the ,,hall ,,of ,,justice4 ,illustration3 ,,fa,,ade ,,of ,,the ,,mosque4 ,illustration3 ,,section ,,of ,,the ,,pavilion ,,in ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,detail ,,of ,,the ,,central ,,arch ,,of ,,the ,,court ,,of ,,the ,,lions4 ,illustration3 ,,interior ,,of ,,the ,,balcony ,,of ,,lindaraja4 ,illustration3 ,,transverse ,,section ,,of ,,the ,,mosque4 ,index4 ,frontispiece ,dedication ,preface1 v41 vii4 ,preface ,to ,second ,edition ,introduction1 xxv4-liv4 ,abencerrages1 #aj1 #ajc-aab1 #adi1 #aej ,abou ,hud1 #bb ,abu-l-hasen1 ,king of ,granada 7father of ,boabdil71 #aj1 #ad1 #ag1 #ah ,abu' ,abdillah 7,boabdil71 #aj1 #ag1 #ah1 #ajg1 #ajh1 #dbb ,acequia ,court1 #dad4 ,alcarraza1 xxxvi4 ,alcazba1 xxxv4 ,alfonso ,,xiii41 ,king of ,spain1 xxxi41 #ba ,alfonso the ,wise1 #ddi ,algibes1 xxxv4 ,alhama1 #ajh ,alhambra3--,album1 ix42 ,begun1 #bf2 ,completed1 #cb2 ,diagrams of ,principle of ,ornament1 xlv42 ,exterior1 #d2 ,fire in the ,hall of the ,barque1 viii42 ,frets1 xli41 xlii42 ,courts1 ,halls1 and ,towers of1 #ce2 ,inscriptions1 ,mosaics1 and ,panels1 xxxv41 xxxvi42 ,miscellaneous ,ornament1 xlvii42 ,museum in the1 #ceb-cef2 ,ornament1 xli42 ,pavements1 xxxix41 xl42 ,vases1 #gg1 #ie1 #ii2 ,views of1 #c1 #e1 #g4 ,see also 8,list of ,illustrations0 in front of volume ,al-makkar1 xxx41 xxxi41 #dci ,alonzo ,x41 #bf ,alonzo de ,valiza1 #dja ,alonzo ,,xi41 #cj1 #ca ,ambassadors1 ,hall of1 #bh1 #bdd-cjd 8,andalus10 ,etymology of1 xxxi4 ,andalusians1 ,superiority of1 xxx4 ,antigedades ,arabes de ,espaa1 #bj ,appendix1 #ddi ,ayeshah1 #aj ,azulejo ,tiles1 xxxix4 ,bacon1 ,lord1 #ac ,bds ,ibn ,hbus1 #dcj ,ballads3--,moresco-,spanish1 #ddi2 ,the ,flight from ,granada1 #dea1 #deb2 ,the ,death of ,don ,alonzo de ,aguilar1 #dec1 #dee2 ,the ,bull-,fight of ,gazul1 #dee1 #deg2 ,the ,bridal of ,andalla1 #deg1 #deh2 ,zara's ,ear-rings1 #deh1 #dei2 ,the ,lamentation for ,celin1 #dei1 #dfj ,barnardo del ,carpio1 #dej ,barque1 ,hall of the1 #bdd ,bas-relief1 #cee ,baths1 ,the1 #bh1 #ca1 #cbd-cbg ,boabdil1 see ,abu' ,abdillah ,cabra1 ,count of1 #ag ,campotejar1 ,marquis of1 #dbb ,casa del ,carbon1 #dcj1 #dci ,casa del ,gallo de ,viento1 #dcj ,casa ,sanchez1 #dci ,casa ,real1 the ,spanish name for the ,alhambra1 xxxii4 ,cathedral of ,granada1 #ac ,charcoal1 ,house of1 #dcj1 #dci ,charles ,v41 xxxv41 #ai1 #cef1 #cfd ,charles ,martel1 #b ,cid1 ,the1 8el ,campeador10 #dej ,cisterns1 ,place of the1 xxxv41 #cef ,colours employed by the ,moors1 liii4 ,columbus1 #ac ,contreras1 ,don ,mariano1 viii41 xxxii4 ,contreras1 ,don ,raphal1 viii41 ix41 xxxii4 ,conveyancing1 ,curious practice of1 #dja ,coppe1 ,henry1 xl4 ,crdova1 #d1 #ag ,cuarto ,real1 see ,generalife ,d',abrantes1 ,duke1 #dci ,darro1 #aj1 #dad ,de ,solis1 ,isabel1 #h1 #i ,dolgorouki1 ,prince1 vii4 ,dozy1 ,professor1 ix41 xxx41 xl4 ,elizabeth of ,parma1 #ai1 #cce ,english ,elms at ,granada1 #ce ,ez-zaghal1 #aj1 #ah ,ferdinand1 the ,saint1 #bc1 #bd1 #bf ,ferdinand ,,vii41 #ce ,ferdinand and ,isabella1 #aj1 #ac1 #ag1 #ah1 #ai1 #dbb ,fernando of ,talavera1 ,archbishop of ,granada1 #ad ,fish-pond1 ,court of the1 xxxv41 #bh1 #cb1 #aej1 #aia1 #aib1 #aie ,ford1 ,richard1 ix41 #ac1 #ce1 #dja ,gayngos1 ,don ,pascual de1 ix41 xxx41 xxxi41 xl41 #cbc ,geb-al-,trik1 #a1 #e ,generalife1 ,the1 #dja1 #djb1 #dad1 #dbb1 #dbi1 #dcj1 #dci ,gibraltar1 #a ,gold ,coin of ,mohammed ,i41 #bj1 #ba ,gonzalez1 ,fernan1 of ,castile1 #dej ,goury1 ,jules1 xlv41 lv41 #dh ,granada1 xxix41 #b1 #d1 #f1 #i1 #ae1 #dad ,guadix1 #djh1 #dac ,homage ,tower1 #ceb ,ibnu ,batttah1 xxviii4 ,ibnu-l-khattib1 xxviii41 xxix41 #djb1 #dac ,illustrations1 ,list of1 xi4-xix4 ,illustrations1 ,list of coloured1 xxii4-xxv4 ,irving1 ,washington1 ix41 xl41 #g1 #ai1 #cg1 #cca1 #cce1 #cfd ,isabella and ,ferdinand1 #aj1 #ac1 #ag1 #ah1 #ai ,isabel de ,solis1 8,the ,captive10 #h1 #i1 #aa ,isma'il-,ibn-,faraj1 #djb ,jaen1 #bc ,james the ,conqueror1 #bc ,jennatu-l-'arif1 see ,generalife ,jones1 ,owen1 viii41 xliv41 lv4 ,justice1 ,gate of1 xxxv41 #bh1 #bi1 #cf1 #cg1 #ch ,justice1 ,hall of1 #ch1 #da1 #db1 #dg1 #dh1 #fe ,katherine of ,aragon1 #ac1 #ch ,ladies' ,tower1 #ceb ,lane-,poole1 ,stanley1 ix4 ,lerma1 ,duke of1 #f ,lewis1 ,john ,f41 viii4 8,lindaraja10 #fg1 #ga1 #cbh1 #cbi ,lions1 ,court of the1 #aie-bdd ,lockhart1 ,j4 ,g41 #ddi-dfj ,lucena1 #aj1 #ag ,macafreto1 #dja ,machuca1 ,pedro1 #cfd ,malaga1 #ah1 #bi1 #dad ,martos1 #aj ,mint within the ,alhambra1 #bj ,mohammed ,i41 xxvii41 #bj1 #ba1 #bb1 #bd1 #be1 #bg1 #ea ,mohammed ,v41 xxvii41 #djb1 #djg1 #djh1 #dac ,mohammed ,,vi41 #djh1 #dac1 #dad ,mohammed ,,xii4 7,ez-zaghal71 #aj1 #ah ,moorish ,ornament1 xli4-liii4 ,moors1 ,final ,expulsion of the1 #e 8,morning ,star10 #aj ,mosque1 ,the1 #di1 #cjd-cbd ,motto of ,mohammed ,i4 and his successors1 #be1 #ea ,muhammed ,hayat ,khan1 xli4 ,muley ,hasen1 see ,abu-l-hasen1 ,king of ,granada ,murphy1 ,j4 ,c41 viii41 lv4 ,musa1 #e1 and foot-note ,museum of the ,alhambra1 #ceb1 #cef2 ,bas-relief1 #cee2 ,vase1 #gg1 #ie ,pedro ,i41 #djh1 #dac1 #dad ,peninsular ,war1 #ai ,peyron1 ,mr41 #dbb ,philip of ,castile1 #bg ,philip ,,iii41 #f ,philip ,v41 #ai1 #cce ,queen's ,dressing-room1 #cca ,saint ,ferdinand1 ,academy of1 #bj ,sanchez1 ,house of1 #dci ,salado1 ,battle of1 #bi ,seville1 #d1 #bd1 #bf ,silla del ,moro1 #dbb ,swinburne1 ,henry1 #dbb ,tablada1 #dac 8,tanto ,monta10 lv4 ,tarif1 #a ,trik1 #a1 #e ,tendilla1 ,count of1 #ad1 #ag ,tours1 #a ,tower of 8,the ,captive10 #cea1 #ceb ,tower of ,comares1 #ccf1 see ,hall of ,ambassadors ,tower of the ,infantas1 #cea1 #ceb ,tower of the ,peaks1 #ccf1 #dad ,tower of the ,seven ,stages1 #cce ,two ,sisters1 ,hall of the1 #bh1 #cj1 #fe-ajc2 ,verses in the1 #gj-ge ,vega1 or ,plain of ,granada1 #i ,votive ,altar 7,roman71 ,embedded in the ,masonry of the ,alhambra1 #ceb ,watt1 ,h4 ,e41 xli4 ,weather-cock1 ,house of the1 #dcj1 #dci ,weld 7,sultn71 #e ,wellington1 ,duke of1 #ce 8,wine ,gate10 xxxv41 #bh1 #bi1 #cef ,ximenez1 #ac ,yonge1 ,charlotte ,m41 xli4 ,ysuf1 ,i4 7,abu-el-,hejaj71 xxvii41 xxix41 #bh-cd1 #djb ,ysuf ,,ii41 #dad ,zacatin1 #dcj ,zw1 xxvii4 ,zegris1 #aj ,zoraya1 the 8,morning ,star10 #aj 99 99 99 99 99 ,,the ,,alhambra ,,by ,,albert ,f4 ,,calvert ,,uniform ,,with 8,,moorish ,,remains ,,in ,,spain0 ,,some ,,press ,,opinions 8,a remarkable representation of the chief features of a building that has been1 for six centuries1 one of the wonders of the world40--,times4 8,the standard work upon a splendid subject40--,daily ,telegraph4 8,affords an inviting opportunity of studying this beautiful example of ,moorish art40--,morning ,post4 8,a treasure to the student of decorative art40--,morning ,advertiser4 8,seems to have been a labour of love40--,sporting ,life4 8,superb pictorial guide40--,sportsman4 8,it is a book apart40--,manchester ,courier4 8,the final book on the ,alhambra40--,sussex ,daily ,news4 8,takes high rank among the lavish books40--,financial ,news4 8,among the most important art books which have been published40--,globe4 8,for any adequate idea of its beauty one must go to the book itself40--,echo4 8,altogether an attractive volume40--,sunday ,special4 8,exercises on the reader something of the fascination which inspired its production40--,observer4 8,will contribute as much as anything to bringing home to men's minds the greatness of the ,moors40--,reynolds4 8,helps one to realise the wonder and the glory of the ,alhambra in a way that few other books can do40--,lloyds4 8,as a history it is conciseness itself40--,outlook4 8,the coloured plates 444 alone are worth the price of the volume40--,academy4 8,a monumental work40--,bristol ,mercury4 8,a notable work of art40--,lowestoft ,standard4 8,it is the last word on the subject40--,nottingham ,express4 8,one of the most sumptuous of modern tomes40--,newcastle ,chronicle4 8,the most adequate illustrated souvenir40--,scotsman4 8,a remarkable masterpiece of book production40--,eastern ,daily ,press4 8,a magnificent work40--,melbourne ,age4 8,few writers would be better qualified to describe the ,alhambra40--,bookseller4 8,the most complete record 444 which has ever been contemplated1 much less attempted40--,british ,architect4 8,one of the most magnificent books ever issued from the ,english ,press40--,building ,world4 8,in every way well produced40--,building ,news4 8,instructive and attractive40--,field4 8,we have seldom had a more pleasurable task than that of reviewing it40--,commercial ,intelligence4 8,a fitting memorial of one of the greatest of human achievements40--,review of ,reviews4 8,we shall be surprised if collectors of valuable books on art do not rush to become possessed of it40--,public ,opinion4 8,artistically excellent40--,guardian4 8,quite the most beautiful book upon the ,alhambra issued in ,england40--,sphere4 8,one of the most artistic productions of the year40--,publishers' ,circular4 8,one of the most detailed and sumptuous works on the ,alhambra that has come under our notice40--,yachtsman4 8,it may be doubted if ,irving or any other visitor would perceive as much of the beauty of the ,alhambra40--,liverpool ,courier4 8,a monumental work 444 perfect in description and equally perfect in artistic illustration40--,sheffield ,telegraph4 8,at once an instruction and a delight40--,lancashire ,post4 8,will afford 444 exquisite delight40--,western ,daily ,press4 8,an ineffable delight to every lover of the beautiful40--,dundee ,advertiser4 8,very exceptional interest and attractiveness40--,glasgow ,herald4 8,a perfect treasure of beauty and delight40--,keighley ,news4 8,one of the most beautiful books of modern times40--,ely ,gazette4 8,no traveller could desire a more sumptuous remembrancer40--,to-day4 8,a very handsome art-work40--,melbourne ,argus4 ,,moorish ,,remains ,,in ,,spain ,,by ,,albert ,f4 ,,calvert ,,uniform ,,with 8,,the ,,alhambra0 ,,some ,,press ,,notices 8,this book is certainly a store-house of ,moorish ornament2 of plates and illustrations there are literally hundreds1 numbers of them printed in colours and gold1 drawn out geometrically4444 ,the wealth of illustration cannot be gainsaid2 and with it ,mr4 ,,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 designs1 so amazing in their ultimate intricacy4 ,in a series of diagrams1 nearly two hundred in number1 the astonishing complexity of the designs based on the triangle1 rectangle1 pentagon1 and hexagon is unravelled with a completeness that surpasses anything of the sort with which we are acquainted4 ,it is an excellent piece of work1 which gives ,mr4 ,,calvert',s book a real value of its own40--,times4 8,mr4 ,,albert ,f4 ,,calvert has in this sumptuous volume produced an artistic chef d'uvre as well as a deeply interesting historical treatise on one of the most picturesque periods of ,european history4 ,here we have in a series of graphic word-pictures the marvellous exploits of the ,moors in the ,peninsula1 the foundation of an empire which lasted for several centuries1 and has left marks of its eminence in arts and in learning1 in a record of brilliant scholars and in architectural remains which are still the wonder of travellers4 ,the influence of ,moorish art is still felt among nations to whom the word ,saracen is but a name1 and ,mr4 ,,calvert has performed a useful work in bringing together for the benefit of artists and students the masterpieces which the ravages of time1 neglect1 and hatred have still spared in ,spain4444 ,mr4 ,,calvert deals in these pages with ,cordova1 ,seville1 and ,toledo1 and gives us drawings of the most famous ,moorish buildings therein1 with complete details of the wonderful decorative art lavished upon them by now forgotten architects and artists4 ,these are faithfully reproduced in the illustrations1 which form a veritable treasure-house of suggestion for moderns4 ,the author has1 indeed1 brought ,spain to the doors of ,englishmen who are unable to visit that country1 and placed its treasures fully before them4 ,it only remains to add that the volume is produced in a style worthy of the object40--,daily ,telegraph4 8,a volume which is not only rich in elaborate reproductions of ,moorish designs in outline and colour1 but is animated by a warm admiration for the great race which has left us so many tributes to beauty4 ,modestly as ,mr4 ,,calvert states his claims1 the reader should not neglect his eloquent introduction1 in which he reminds us that it was to the ,moslem ,spain first owed some permanent national organisation4444 ,the present condition of the monuments which remain is briefly described in subsequent chapters dealing with ,cordova1 ,seville1 and ,toledo4 ,mr4 ,,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 achievement4 ,he shows how little there is of this time in ,seville1 though ,spanish taste endeavoured to maintain the tradition for four centuries after the ,moorish spirit had given way before the conquering ,christian40--,morning ,post4 8,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 describes2 while the illustrations1 which include upwards of eighty coloured plates1 and an immense number of photographic halftones1 are exceptionally good40--,standard4 8,an examination of the book reveals at once the fact that it is very well illustrated2 while the author brings to his work an unmistakable freshness and vigour1 brought about by prolonged visits to the places described1 and gives evidence of the possession of the observing eye and a facility for expressive description40--,evening ,standard4 8,it is really impossible to do justice1 in a journal of this kind1 to the sumptuous volume 7its price is two guineas and the book is worth it7 before us4 ,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 assistance1 in order to reproduce them in a special edition de luxe of the 8,p4,m4,g40 ,inasmuch as that is not to be done1 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 common4444 ,the making of this book must1 surely1 have been a labour of love2 and love's labour has certainly not been lost40--,pall ,mall ,gazette4 8,qui multum peregrinatur1 raro sanctificatur runs the old monkish saw2 but we find its living contradiction in ,mr4 ,,calvert4 ,this modern ,jason set out to ,western ,australia in quest of gold4 ,adventuring into deserts1 he found what he sought and returned home content1 only to set forth again on further pilgrimages2 which1 if the evidence of our eyes is to be trusted1 have resulted in the discovery of still more gold4 ,verily there is a profusion of it in this book2 but its liberal use has paid the fee of sanctification4 ,we cheerfully admit ,mr4 ,,calvert into the ranks of those whom posterity will applaud for delightful yet unprofitable work40--,outlook4 8,this valuable and profusely-illustrated volume is designed to be the companion and complementary volume to the same author's work on the ,alhambra4444 ,mr4 ,,calvert',s frequent and protracted visits to ,spain caused him to realise that the ,moors were not a one-city nation1 and that there were splendid remains of earlier ,mohammedan architecture and decoration in ,cordova1 ,seville1 and ,toledo4 ,moorish work of these three cities forms the theme of the present volume1 in which1 as in the book on the ,alhambra1 the letterpress is made subservient to the illustrations4 ,the supply of pictures is at once lavish and excellent4444 ,the colouring and the elaboration of the designs of various schemes of ,moorish ornamentation1 apart from general architectural effects1 are often marvellous1 and almost bewildering1 both in the boldness of their conception and in the intricacy of their pattern40--,guardian4 8,mr4 ,,calvert has produced a beautiful book4444 ,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 ,seville3 and this is probably the highest compliment we could pay to the book or its author40--,academy4 8,this is one of the books to which a simply literary review cannot pretend to do justice4 ,mr4 ,,calvert gives a brief record of the ,moorish conquest of ,spain1 but the main purpose of his book is to bring before the ,english reader the art1 architectural and decorative1 of the people4444 ,in this volume he deals with and presents1 with great wealth of illustration1 the relics of their achievement in ,cordova1 ,seville1 and ,toledo4444 ,the book seems worthy of the subject1 and we would gladly give a more effective description of its many beauties40--,spectator4 8,as a production it is1 without doubt1 one of the most beautiful we have seen1 the illustrations and colour printing1 being exquisite4 ,the author evidently knows his subject well1 as the description in detail of ,cordova1 ,seville1 and ,toledo range far and above any other publication4 ,it is certainly one of the most interesting books of the year40--,crown4 8,a truly sumptuous volume40--,speaker4 8,this sumptuous volume40--,westminster ,gazette4 8,scholarly and richly illustrated volume4444 ,although he himself deprecates the value of the essays accompanying the illustrations of his book1 declaring his purpose to have been rather to present a picture than to chronicle the romances of ,spanish-,morisco art1 ,mr4 ,,calvert has given a very complete and deeply-interesting account of the evolution of that art1 which he has skilfully combined with a condensed history of the people who produced it40--,connoisseur4 8,just when the new ,spanish marriage is attracting attention to a country of departed greatness1 ,mr4 ,,calvert',s volume appears with the courtliest of dedications to ,his ,majesty ,alfonso ,,xiii4 ,in many respects this handsome volume is a timely wedding present for his ,spanish ,majesty1 as it is a gorgeous literary tribute to the beauty of the jewels in the ,spanish ,crown--,cordova1 ,seville1 and ,toledo4 ,mr4 ,,calvert is an enthusiast and an antiquary4444 ,the author himself allows us to regard his volume in the main as a picture book1 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 bestowed4 ,the coloured plates are gorgeous rather than delicate2 for that we must thank the ,moors1 and marvel at the inventiveness of their artist geometricians40--,antiquary4 8,already in his ,alhambra ,mr4 ,,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 builders4 ,the present volume deals chiefly with the ,cathedral ,mosque of ,cordova1 the ,alcazar of ,seville1 and the less important relics of ,moorish art at ,toledo1 bringing vividly before the imagination the almost bewildering richness of design1 with the infinite variety1 yet intrinsic simplicity1 of decorative motives1 that set the art of the ,moors apart from that of any other people1 the creators of the marvellous palaces and tombs of ,india not excepted4444 ,though ,mr4 ,,calvert relies mainly on the copious illustrations of his book to impress upon the spectator the beauty of the survivals of ,moorish art in ,spain1 he supplements his descriptions of them with a history of the ,moors during the eight centuries of the domination in ,spain4 ,to the actual story of the three typical towns selected ,mr4 ,,calvert has added a very interesting and richly-illustrated chapter on the general principles of ,arab ornament40--,studio4 8,an interesting1 well-written1 and illuminative work1 sumptuously illustrated and tasteful alike in method and detail4 ,mr4 ,,calvert is to be heartily congratulated4 ,his admirable work on the ,alhambra1 to which the present volume is designed to be complementary1 showed him to be not merely a careful and appreciative student of ,moorish art1 but a connoisseur possessed of remarkable powers of discrimination4 ,of the new book before us we can at once say that it is in every way worthy of its fascinating subject1 and a fitting companion to its predecessor4444 ,the exquisiteness of the ,mosque ,cathedral of ,cordova1 and the superb tracery and decoration of the ,alcazar of ,seville1 are here adequately revealed1 perhaps for the first time4 ,indeed1 to the traveller familiar with these wonders of ,moorish delicacy1 the present volume will reveal new beauties4 ,mr4 ,,calvert1 as in his previous work1 has made his letterpress subservient to his illustrations1 and the illustrations are given with a minuteness and faithfulness of detail and colour1 which will be particularly appreciated and acknowledged by those who are most acquainted with the subjects themselves40--,liverpool ,post4 8,for his history and description of the mark which the ,moor has left on ,toledo1 ,cordova1 and ,seville1 ,mr4 ,,calvert has consulted many authorities1 and has produced a useful and well-written letterpress which is in style touched by the colour and romance of the subject4444 ,certainly the marvellous loveliness and richness and intricacy of detail1 as well as the vastness of extent of boldness of conception of the relics of ,moorish art in the three cities named1 could not be more fully and vividly brought before the eyes than in this series of illustrations4444 ,the great feature of the book is the series of eighty full-page coloured plates1 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 ,spain1 are shown with remarkable vividness and fidelity40--,scotsman4 8,it is only fitting that this important volume has been dedicated to the ,king of ,spain1 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 culture4444 ,the illustrations are such a prominent feature of this volume that they claim our first attention4 ,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 prepared4 ,there are some hundreds of them1 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 work4 ,the other illustrations are so numerous and well chosen as to give a perfect series of pictures of every portion of these ,moorish buildings4 ,details of tracery1 capitals of pillars1 sections of friezes1 decorations and roofs are pictured with absolute faithfulness1 and as a treasure-house of ,moorish art this book and its predecessor are1 and will probably remain1 unique4 ,but by modestly remarking in his preface that he has made the letterpress subservient to the illustrations1 the author has done himself a great injustice4 ,not only is the book carefully thought out and well arranged1 but it is written in a most sympathetic spirit1 and abounds in passages of real eloquence40--,birmingham ,daily ,post4 8,this handsome volume is the complement of ,mr4 ,,calvert',s work on the ,alhambra1 and1 like its predecessor1 is lavishly illustrated4444 ,the illustrations have been chosen with excellent taste1 and executed with considerable skill4444 ,it would be difficult to find anything more representative in their respective ways40--,manchester ,guardian4 ,,impressions ,,of ,,spain ,,by ,,albert ,f4 ,,calvert #hvo4 #ajs4 #f;d4 ,,net ,,some ,,press ,,opinions 8,covers a great deal of ground1 and treats a great many subjects40--,times4 8,is full of that true knowledge which comes of sympathy1 and is both more trustworthy and more agreeable than many more pretentious volumes40--,morning ,post4 8,mr4 ,,calvert lends to his theme freshness of colour1 detail1 and good judgment40--,daily ,mail4 8,no work of recent times so adequately depicts ,spain and its people with so sympathetic an appreciation of its greatness and charm40--,daily ,news4 8,its charm consists in the author's whole-hearted enthusiasm for his subject4444 ,must infect the most hostile reader40--,pall ,mall ,gazette4 8,a most acceptable addition to the literature of travel40--,morning ,advertiser4 8,we can heartily recommend this book40--,field4 8,can be honestly recommended to anyone desirous of acquiring a knowledge of ,spain40--,court ,circular4 8,the author may be congratulated on a work that is by far the best he has produced40--,mining ,journal4 8,ought to be in the hands of everyone who would know something of the most maligned1 and possibly1 the most delectable country in ,europe40--,bookseller4 8,wholly charming40--,commercial ,intelligence4 8,cannot fail to stimulate interest in so fascinating a country40--,shipping ,gazette4 8,rarely have we seen a book that afforded us greater interest and pleasure40--,chamber of ,commerce ,journal4 8,mr4 ,,calvert',s first aim has been to supply reliable information 444 there can be no two opinions that he has succeeded40--,aberdeen ,evening ,express4 8,a magnificent volume 444 the best which has been published abroad concerning ,spain40--,el ,vanguardi 7,barcelona74 8,an exquisitely tasteful volume40--,el ,diaro 7,barcelona74 8,written in a spirit of impartiality and justice worthy of all eulogy40--,diario de ,barcelona4 8,to follow ,mr4 ,,calvert 444 is to be stirred with the keen desire to see something in person of this ancient and always remarkable country40--,leeds ,mercury4 8,mr4 ,,calvert',s interest is fresh and warm1 and he is frankly enthusiastic about his subject40--,western ,mail4 8,a very interesting series of pen pictures40--,birmingham ,daily ,mail4 8,gives evidence of keen observation and power of deduction40--,western ,daily ,press4 8,those who have read ,mr4 ,,calvert',s books on ,australia will be eager to welcome this new book from the same pen 444 the same happy and skilful picturing power40--,western ,morning ,news4 8,makes surprisingly pleasant reading40--,hull ,daily ,mail4 8,has many claims to favourable notice40--,ilford ,guardian4 8,a vivid presentation of the country40--,bristol ,mercury4 8,very sympathetic and very well informed40--,midland ,counties ,herald4 8,one feels a strong desire to go to ,spain1 if only to share some of the pleasure which the author has experienced40--,preston ,guardian4 8,a remarkable1 beautiful and useful addition to the literature of ,spanish travel40--,east ,anglian ,times4 8,contrives1 without becoming prosy or dull in the slightest degree1 to convey an immense amount of information40--,scotsman4 8,full of colour and variety40--,glasgow ,herald4 8,fascinating because of its simplicity and realism40--,dundee ,advertiser4 8,the work of a great traveller4444 ,one of the most readable books of its kind we have come across40--,irish ,times4 8,the whole of ,spain will assuredly be grateful to the author for the publication of this volume40--,la ,publicidad 7,madrid74 8,the author has rendered our country service by the publication of this work40--,el ,graduador 7,alicante74 8,there is much of truth and justice in this study40--,el ,nervion 7,bilbao74 ,,life ,,of ,,cervantes ,,by ,,albert ,f4 ,,calvert ,,crown ,,octavo4 #cs4 #f;d4 ,,net ,,some ,,press ,,opinions 8,a popular and accessible account of the career of ,cervantes40--,daily ,chronicle4 8,an admirable1 condensed biography40--,daily ,news4 8,will appeal to a large number of readers40--,morning ,post4 8,mr4 ,,calvert is to be congratulated40--,standard4 8,a very readable and pleasant account of one of the greatest writers of all time40--,morning ,leader4 8,we recommend the book to all those to whom ,cervantes is more than a mere name40--,westminster ,gazette4 8,a timely production 444 written in a straightforward1 unaffected style 444 supplies sufficient data to form a useful and readable narrative40--,globe4 8,the illustrations include 444 a fascinating collection of title-pages and illustrations from the various editions of ,don ,quixote40--,star4 8,nothing could be more useful than this careful and authoritative book40--,vanity ,fair4 8,is made trebly interesting by the very complete set of ,cervantes' portraits it contains40--,black and ,white4 8,nothing better could be desired40--,literary ,world4 8,it is very well written 444 a really capital and most interesting little book40--,queen4 8,thoroughly interesting and readable 444 contains a wealth of information which should be greatly appreciated by all lovers of the chivalrous knight40--,dublin ,express4 8,a most interesting resum of all the facts up to the present time known40--,el ,nervion 7,bilbao74 8,a complete and conscientious study4444 ,the most notable work dedicated to the immortal author of ,don ,quixote that has been published in ,england40--,el ,graduador 7,alicante74 8,an excellent little volume40--,graphic4 8,a well-written book 444 specially valuable for the collection of the proverbs of ,cervantes40--,christian ,leader4 8,terse and brief4444 ,the work of an enthusiast who does not surrender his critical position1 a careful historian1 whose living interest in life is not stifled by his absorption in detail40--,christian ,world4 8,those who have been interested in ,cervantes 444 could not do better than get it40--,society ,pictorial4 8,a very timely little volume 444 full of information and of convenient compass40--,onlooker4 8,a handy1 compendious life40--,rapid ,review4 8,mr4 ,,calvert1 who is an appreciative writer1 has condensed his subject-matter1 and given it an accurate1 concise1 and readable form40--,hampstead ,express4 8,not the least interesting part of the volume consists of the illustrations40--,glasgow ,herald4 8,there is room at the present moment for this very readable account40--,dundee ,advertiser4 8,can be heartily recommended to all who want to know something of the life of ,cervantes40--,nottingham ,express4 8,mr4 ,,calvert is entitled to the gratitude of book lovers for his industrious devotion at one of the greatest literary shrines40--,birmingham ,post4 8,more than a biographical account 444 the figure of ,cervantes receives such a setting as only a man of letters and a scholar could give it40--,bristol ,mercury4 8,most excellent and attractive 444 written with fulness of knowledge and refined appreciation of the merits of ,spain's greatest romancer40--,yorkshire ,daily ,post4 8,no ,spaniard could have written it with more conscientiousness and enthusiasm4444 ,all the plates are exquisite1 and1 as the historical narrative leaves nothing to be desired1 the book constitutes a most opportune literary jewel40--,el ,defensor 7,granada74 ,,footnotes3 #a ,formerly ,illiberis1 the ,roman town at the foot of the ,sierra ,nevada1 about six miles from ,granada4 #b ,kilaat ,al-hamra1 the red castle4 #c ,shenl is the ,singilis of the ,romans4 ,the name of another 8considerable stream0 of ,granada--the ,darro--is derived from ,hadroh in ,arabic1 probably from ,hadr1 which means the rapidity with which a swollen river comes down from the mountains2 a description well defining the character of the river ,darro1 which rushes down the hill-side and comes boiling along its channel at the foot4 #d ,the ,moors were not finally expelled from ,spain until #afaj4 #e ,it is a little singular that not only the ,arab ,governor of ,north ,africa1 ,viceroy of the ,caliph ,welid1 who despatched from ,ceuta the invading forces under ,tarif and ,geb-al-,tarik1 bore this name2 but1 eight centuries afterwards1 the gallant hero who alone was able to rouse the lethargic ,boabdil from his stupor to make a last stand for ,islam1 bore it also4 ,the name of ,musa of ,granada must always be honoured as that of a fearless knight who1 disdaining to surrender1 at the last rode through a score of ,christian knights1 killing many of them2 and1 when too weak to continue the struggle1 threw himself1 encumbered with armour1 into the river ,xenil1 thus meeting his end4 #f ,the ,conde de ,tendilla1 the first ,alcayde of the ,alhambra1 raised the tomb to be seen in the ,cathedral of ,granada1 where lies ,fernando 8the ,good10 of ,talavera1 first ,archbishop of ,granada1 who died #adth ,may1 #aejg4 ,the ,count inscribed it 8,amicus ,amico40 #g 8,boabdil0 is a corruption of ,abu' ,abdillah1 or ,boabdila1 as the ,spaniards pronounced the name4 ,he was1 in addition to his sobriquet of 8the ,unlucky10 also called ,as-sagher1 or 8the lesser0 7el rey chico71 to distinguish him from his uncle and successor1 ,abu' ,abdillah 7,mohammed ,,xii47 #h ,in the ,hall of the ,ambassadors1 or ,golden ,saloon1 is an inscription referring to this3--8,the best praise be given to ,allah6 ,i will remove all the effects of an ,evil ,eye upon our master ,ysuf40 #i ,edited by ,pablo ,lozano4 ,the antiquities and history of the ,moorish domination in ,spain remained unheeded until representations were made that research and accurate delineation would alone make their monuments intelligible4 ,the ,royal ,academy of ,st4 ,ferdinand was commissioned to make drawings of the ,palace of the ,alhambra and of the ,mosque of ,crdova4 ,the result of their labours were published at ,madrid1 in #aghj1 in a folio volume entitled as above1 with sixteen plates of ,arabic designs1 accompanied by a few pages of letterpress4 ,it is an exceedingly rare volume4 #aj ,madrid1 #aghj 7already referred to74 #aa ,the ,moorish fortress of ,alhama was rightly regarded as one of the two 8,keys0 of ,granada1 ,loja--the ,lsha of the ,moors--ranking as the other4 ,loja was besieged by ,ferdinand and ,isabella1 and captured1 in #adhh1 after thirty-four days' investment2 chiefly1 it is said1 by the aid of ,english archers under ,earl ,rivers1 son of ,anthony ,wydeville1 brother to ,elizabeth1 ,queen of our ,edward ,,iv4 ,alhama had fallen #bhth ,february1 #adhb1 and its loss is the subject of the ballad referred to4 #ab ,such1 at least1 are the reasons given for the abandonment of the gigantic blocks of stone which were heaped up by ,charles to rival the unsurpassable4 ,it is said1 however1 that repeated shocks of earthquake frightened him out of the enterprise4 #ac ,al-'arif1 in ,spanish1 ,alarife1 means 8an inspector of public works02 and1 according to ,ibnu-l-,khattb1 the ,grand ,wizr of ,ysuf ,i41 and of his son1 ,mohammed ,v41 the site of the ,generalife belonged to a person of that profession before it passed into the hands of the ,sultn ,isma'il-,ibn-,faraj1 who1 in ,a4,d4 #acbj1 bought the land for a large sum1 and built the palace as a delightful retreat from the cares of ,state4 #ad ,acequia ,court4 ,the ,arab word is ,skiyyah1 whence the ,spanish ,acequia is derived4 ,the word means an artificial or diverted running stream in a garden2 or1 a canal for the purpose of irrigation4