Chapter II: Preface: To Second Edition (1)

The compilation of a book of this kind reveals in the author a refreshing optimism which does not always survive the ordeal of publication, and it is perhaps out of sympathy with the misgivings that assail him as he approaches the bar of public and critical opinion, that convention cedes to him the privilege of making some apology for the faith that is in him. In his preface he is permitted to explain himself, and this _apologia_ or justification, call it which you will, stands as the last word in his own defence. But the demand for a further edition is the outcome of an amiable conspiracy on the part of the public, and it is not required of the author to explain, justify, or excuse an issue for which he is not directly responsible. Any revision or amplification, however, which is to be found in a second impression, may be briefly referred to, and at the same time tradition allows him to express the feelings of gratitude and gratification that the occasion inspires. It has been my ambition to acknowledge the favour with which this book has been received, by having this edition produced with the greatest care on special paper, and by the addition of a number of new illustrations, including some half-tone and coloured plates reproduced from the _Monumentos Arquitectonicos de España_ and others, which I have acquired since it was first produced. It will be seen that several of the coloured pictures illustrate designs which are common to the Arabian ornamentation to be found in Cordova and Seville, and as being representative of the Moresco work of the period, they also appear in the companion volume on “Moorish Remains in Spain,” but it may be stated that the whole of the plates reproduced here are from photographs and drawings secured, or specially made to illustrate _The Alhambra_. In its pictorial appeal it has been my ambition to make this edition as worthy of its subject as means and ability permit, and I offer this assurance as an earnest of my sincere appreciation of the generous manner in which the Press and public rewarded my previous effort.

A. F. C.

List of Illustrations.

PAGE

FRONTISPIECE

PANELS AND INSCRIPTIONS IN THE ALHAMBRA xxxiii.

VARIOUS MOSAICS FROM THE ALHAMBRA xxxvii.

PANEL ORNAMENT IN THE ALHAMBRA xxxix.

FRET.--FIG. 1. FORMED BY THE INTERLACING OF LINES xli.

FRET.--FIG. 2. FORMED BY THE INTERLACING OF LINES xlii.

PLAN OF GENERAL CONSTRUCTION OF CENTRAL ORNAMENT OF CEILINGS xliii.

SECTION OF THE COLUMNS AND ARCHES OF GENERAL CONSTRUCTION IN THE PALACE xliv.

DIAGRAMS xlv.

MISCELLANEOUS ORNAMENT IN THE ALHAMBRA xlvii.

CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA xlix.

CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA li.

VIEW OF GRANADA, SHOWING THE ALHAMBRA AND THE SIERRA NEVADA 2

GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLAS 3

PART OF THE ALHAMBRA, EXTERIOR 4

THE ALHAMBRA AND THE SIERRA NEVADA 5

ASCENT TO THE ALHAMBRA BY THE CUESTA DEL REY CHICO--LESSER KING HILL 7

BALCONY OF THE “CAPTIVE” (ISABEL DE SOLIS), OVERLOOKING THE VEGA, OR PLAIN, OF GRANADA 8

ALCOVE OF THE “CAPTIVE” 9

INTERIOR OF THE “CAPTIVE’S” TOWER 11

THE GOTHIC INSCRIPTION SET UP IN THE ALHAMBRA BY THE COUNT OF TENDILLA, TO COMMEMORATE THE SURRENDER OF THE FORTRESS IN 1492 14

THE SURRENDER OF GRANADA BY BOABDIL TO FERDINAND AND ISABELLA, JANUARY 2ND, 1492 15

GOLD COIN (OBVERSE AND REVERSE) OF MOHAMMED I., THE FOUNDER OF THE ALHAMBRA, WHO REIGNED 1232-1272 A.D. 21

“WA LA GHALIB ILA ALÁ!”--THERE IS NO CONQUEROR BUT GOD!--THE FAMOUS MOTTO, IN KUFIC CHARACTERS, OF MOHAMMED I. AND HIS SUCCESSORS, WHICH IS INSCRIBED ON THE WALLS OF THE ALHAMBRA IN COUNTLESS REPETITION 25, 51

THE WINE GATE, ATTRIBUTED TO YÚSUF I. 29

HALL OF THE TWO SISTERS FROM THE ENTRANCE DOOR, BUILT BY YÚSUF I. 30

THE SULTÁN’S BATH, CONSTRUCTED BY YÚSUF I. 31

COURT OF MYRTLES, OR OF THE FISH-POND, FORMED BY YÚSUF I. 32

THE KORÁN RECESS IN THE MOSQUE, THE SCENE OF YÚSUF’S ASSASSINATION 33

THE GATE OF JUSTICE, ERECTED BY YÚSUF I. 37

HALL OF JUSTICE AND COURT OF THE LIONS 39

HALL OF JUSTICE 41, 43

HALL OF JUSTICE, SHOWING FOUNTAIN OF COURT OF THE LIONS 42

HALL OF JUSTICE AND PART OF COURT OF THE LIONS 45

HALL OF JUSTICE.--THREE FIGURES FROM THE PICTURE OF THE MOORISH TRIBUNAL 45

PART OF PICTURE IN THE HALL OF JUSTICE REPRESENTING A CHRISTIAN KNIGHT RESCUING A MAIDEN FROM A WICKED MAGICIAN, OR WILD-MAN-O’-THE-WOODS. THE CHRISTIAN KNIGHT IS, IN TURN, SLAIN BY A MOORISH WARRIOR 47

HALL OF JUSTICE.--MOOR’S HEAD 48

FAÇADE, COURT OF THE MOSQUE, BUILT BY YÚSUF I. 49

ELEVATION OF THE ANCIENT GATE OF JUSTICE 53

SECTIONS OF THE HALL OF JUSTICE 55

PAINTINGS ON THE CEILING OF THE HALL OF JUSTICE 57, 59

PART OF PICTURE IN THE HALL OF JUSTICE.--THE MOOR’S RETURN FROM HUNTING 61

HALL OF JUSTICE.--THE DEATH OF THE LION AT THE HANDS OF A CHRISTIAN KNIGHT 63

PART OF PICTURE IN HALL OF JUSTICE.--MOORISH HUNTSMAN SLAYING THE WILD BOAR 63

ENTRANCE TO HALL OF THE TWO SISTERS, FROM THE COURT OF LIONS 65

HALL OF THE TWO SISTERS, FROM ENTRANCE DOOR 66

HALL OF THE TWO SISTERS 67, 79, 113

UPPER BALCONY OF THE HALL OF THE TWO SISTERS 68

HALL OF THE TWO SISTERS, FROM THE “LINDARAJA” BALCONY 69

BALCONY OF THE FAVOURITE, “LINDARAJA” 71

DETAILS OF THE GLAZED TILES IN THE DADO OF THE HALL OF THE TWO SISTERS 73

THE FAVOURITE’S BALCONY 76

EL JARRO. THE ARABIAN VASE AND NICHE IN WHICH IT FORMERLY STOOD, HALL OF THE TWO SISTERS. THE VASE, CONSIDERABLY MUTILATED, IS NOW IN THE MUSEUM OF THE PALACE 77, 95

HALL OF THE TWO SISTERS 79

VIEW IN THE HALL OF THE TWO SISTERS 81

DETAIL OF THE UPPER STORY, HALL OF THE TWO SISTERS 83

SECTION OF THE HALL OF THE TWO SISTERS, AND SECTION OF PART OF THE COURT OF THE LIONS 84, 85

INSCRIPTIONS IN THE HALL OF THE TWO SISTERS 87, 89

PANEL, ORNAMENT, AND INSCRIPTIONS IN THE HALL OF THE TWO SISTERS 91

DETAILS ON THE FRONT OF “LINDARAJA’S” BALCONY 93

DETAILS AT THE EXIT OF THE HALL OF THE TWO SISTERS 97

AN ARAB VASE OF THE XIVTH CENTURY IN THE NICHE WHEREIN IT STOOD UNTIL THE YEAR 1837 99

MOSAIC IN DADO OF THE ENTRANCE TO THE HALL OF THE TWO SISTERS 100

MOSAIC IN DADO OF RECESS, HALL OF THE TWO SISTERS 101

MOSAIC IN DADO, HALL OF THE TWO SISTERS 101

HALL OF THE ABENCERRAGES (BENI CERRAJ) 105

MOSAIC--HALL OF THE ABENCERRAGES 107

HALL OF THE ABENCERRAGES 109, 119, 121

WOODEN DOOR, HALL OF THE ABENCERRAGES 111

INTERIOR VIEW, TAKEN FROM THE HALL OF THE TWO SISTERS 115

CEILING OF THE HALL OF THE TWO SISTERS 117

CEILING OF THE HALL OF THE ABENCERRAGES 124

MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA 125

MOSAIC, NORTH SIDE OF THE COURT OF THE LIONS 125

CHIEF GATE OF THE ALHAMBRA 127

TRANSVERSAL SECTION OF THE ALHAMBRA 129

SECTION SHOWING HEIGHTS OF THE ALHAMBRA 131

ELEVATION OF THE “WINE GATE” 133

THE GATE OF JUDGMENT 135

PORCH OF THE GATE OF JUDGMENT 137

A SECTION OF THE GATE OF JUDGMENT 139

INTERIOR PERSPECTIVE OF THE ALHAMBRA 141

VIEW OF THE AQUEDUCT, NEAR THE ALHAMBRA 143

A VIEW OF THE ALHAMBRA FROM THE ALBAYCIN 145

GATE OF JUSTICE 147

NORTH SIDE OF THE COURT OF THE FISH-POND 151

ELEVATION OF AN ALCOVE IN THE COURT OF THE FISH-POND 153

ELEVATION OF THE ARCADE ON THE NORTH SIDE OF THE COURT OF THE FISH-POND 155

SECTION THROUGH PART OF THE COURT OF THE FISH-POND AND THE HALL OF THE AMBASSADORS 157

THE BATHS; HALL OF REPOSE 159

GROUND PLAN OF THE BATHS IN THE ALHAMBRA 161

SECTION OF THE HALL OF THE BATHS 163

A SECTION OF THE BATHS IN THE ALHAMBRA 165

THE SULTÁNA’S BATH 167

THE SULTÁN’S BATH 169

THE HALL OF THE BATHS 171

CEILING OF THE HALL OF THE BATHS 173

LONGITUDINAL SECTION THROUGH THE BATHS 175

THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 177, 181, 191

GALLERY, THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 179

DETAILS OF THE GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 183

COURT OF THE FISH-POND 185, 193

ENTRANCE TO THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 187

ORNAMENT IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 189

GALLERY IN THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 195

ENTRANCE TO THE COURT OF THE LIONS 196

MOSAIC, SOUTH SIDE OF THE COURT OF THE LIONS 196

FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS 197

THE COURT OF THE LIONS 198, 199, 201, 213

GENERAL VIEW OF THE COURT OF THE LIONS 203, 207

LITTLE TEMPLE IN THE COURT OF THE LIONS 205

FOUNTAIN IN THE COURT OF THE LIONS 205

A LITTLE TEMPLE IN THE COURT OF THE LIONS 206

A PEEP INTO THE COURT OF THE LIONS 206

THE COURT OF THE LIONS, FROM THE WEST 209

TEMPLE IN THE COURT OF THE LIONS 211

SIDE ELEVATION OF THE COURT OF THE LIONS AND FOUNTAIN 215

ELEVATION OF THE FOUNTAIN OF THE LIONS 217

FOUNTAIN OF THE LIONS, WITH DETAILS OF THE ORNAMENT 219

PLAN OF THE BASIN OF THE FOUNTAIN OF THE LIONS 221

THE FIRST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN OF THE LIONS 223

THE LAST SIX VERSES OF THE INSCRIPTION AROUND THE BASIN OF THE FOUNTAIN OF THE LIONS 225

ENTABLATURE IN THE COURT OF THE LIONS 227

DETAILS OF THE CENTRE ARCADE OF THE COURT OF THE LIONS 229

PART OF PANEL IN THE COURT OF THE LIONS 231

ENTRANCE TO THE COURT OF THE LIONS 233, 237

ENTRANCE TO THE COURT OF THE LIONS (UPPER PORTION) 235

LONGITUDINAL SECTION OF THE COURT OF THE LIONS, TAKEN THROUGH THE PAVILION AT EACH END OF THE COURT, AND EXHIBITING AN ELEVATION OF THE SIDE PORTICOS 238, 239

CAPITALS IN THE COURT OF THE LIONS, WITH A MEASURE OF ONE METRE 241

NORTH GALLERY IN THE COURT OF THE LIONS 243

ENTRANCE TO THE HALL OF THE BARQUE, WITH VIEW OF THE COURT OF THE FISH-POND; OR, OF THE MYRTLES 245

THE HALL OF AMBASSADORS 247, 253

MOSAIC IN DADO, HALL OF AMBASSADORS 248

GENERAL VIEW OF THE HALL OF AMBASSADORS 249, 251

ENTRANCE TO THE HALL OF THE BARQUE, THE ANTE-ROOM OF THE HALL OF AMBASSADORS 255

PERSPECTIVE VIEW OF THE HALL OF AMBASSADORS 257

SECTION AND ELEVATION OF THE INTERIOR OF THE HALL OF AMBASSADORS 259

DETAIL IN THE HALL OF AMBASSADORS 261

KUFIC INSCRIPTIONS, HALL OF AMBASSADORS 263

MOSAIC ON DADO OF BALCONY, HALL OF AMBASSADORS 265

ORNAMENT FROM THE SIDE OF A WINDOW, HALL OF AMBASSADORS 267, 279, 285, 287

MURAL ORNAMENT, ENTRANCE TO THE HALL OF AMBASSADORS 269

ORNAMENT AT THE SIDE OF DOORWAY, ENTRANCE TO THE HALL OF AMBASSADORS 271

AN ARABIAN ORNAMENT, HALL OF AMBASSADORS 273

AN ARABIAN ORNAMENT, ENTRANCE TO THE HALL OF AMBASSADORS 275

INSCRIPTIONS AND ORNAMENT, HALL OF AMBASSADORS 277

INSCRIPTIONS IN THE HALL OF AMBASSADORS 281

MURAL ORNAMENT, HALL OF AMBASSADORS 283

ORNAMENT FROM THE SIDE OF A WINDOW, NORTH FRONT OF THE HALL OF AMBASSADORS 289

ORNAMENT IN THE SIDE OF A WINDOW, HALL OF AMBASSADORS 291

A CEILING IN OUTLINE, HALL OF AMBASSADORS 293

THE CEILING OF THE DOME LAID FLAT, HALL OF AMBASSADORS 295

DETAILS OF GLAZED TILES IN THE HALL OF AMBASSADORS 297

MOSAIC IN DADO, EAST SIDE OF THE HALL OF AMBASSADORS 299

MOSAIC IN DADO, NORTH SIDE OF THE HALL OF AMBASSADORS 299

MOSAICS IN DADO, HALL OF AMBASSADORS 301

CEILING OF GALLERY, HALL OF AMBASSADORS 303

EXTERIOR OF THE MOSQUE (PRIVATE PROPERTY) 304

FAÇADE OF THE MOSQUE 305

ELEVATION OF PORTICO ADJACENT TO THE MOSQUE 307

DETAILS OF ORNAMENT OF KORÁN RECESS NEAR THE ENTRANCE DOOR OF THE MOSQUE 309

DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE 311

DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE 313

ARCHED WINDOWS OF THE MOSQUE 315

INTERIOR OF THE MOSQUE 317, 319

THE MOSQUE, FROM KORÁN RECESS 319

ARAB LAMP IN THE MOSQUE 321

CHAMBER OF REPOSE 324, 325, 327

GARDEN OF “LINDARAJA,” AND THE APARTMENTS TRADITIONALLY SAID TO HAVE BEEN OCCUPIED BY “LINDARAJA,” A FAVOURITE SULTÁNA 328

THE GARDEN OF “LINDARAJA” 329

MOSAIC PAVEMENT IN THE QUEEN’S DRESSING-ROOM (TOCADOR DE LA REINA) 331, 440

“THE QUEEN’S DRESSING-ROOM,” AT THE SUMMIT OF THE MIHRÁB TOWER, WITH DISTANT VIEW OF THE GENERALIFE 332

TOWERS AND PROMENADE 333

THE TOWER OF THE PEAKS 336

THE HOMAGE TOWER, ANCIENT ARAB RUINS IN THE ALCAZÁBA 337

GRANADA, FROM THE HOMAGE TOWER 337

THE CAPTIVE’S TOWER 339

INTERIOR OF THE INFANTAS TOWER 339

TOWER OF INFANTAS 341, 345

INTERIOR OF THE INFANTAS TOWER (CEILING) 343

ROOM IN THE TORRE DEL CAUTIVO, OR CAPTIVE’S TOWER 347

THE LADIES’ TOWER 347

TORRE DE LA AQUA--TOWER OF THE AQUEDUCT 349

DETAIL OF THE ONLY ANCIENT JALOUSIE REMAINING IN THE ALHAMBRA 349

THE INFANTAS TOWER 351

DETAILS OF THE ENTRANCE DOOR TO THE MUSEUM 353

BAS-RELIEF, NOW IN THE MUSEUM OF THE ALHAMBRA 355

BAS-RELIEF, FROM AN ENGRAVING IN MURPHY’S ARABIAN ANTIQUITIES 355

PALACE OF CHARLES V. 356, 361

ELEVATION OF SECTION OF THE PALACE OF CHARLES V. 357

INTERIOR, PALACE OF CHARLES V. 359

ROMAN COURT, PALACE OF CHARLES V. 363

PLAN OF THE ALHAMBRA 365

GROUND FLOOR PLAN OF THE ALHAMBRA, AND OF THE FOUNDATIONS OF THE PALACE OF CHARLES V. 367

PLAN OF THE PALACE OF CHARLES V., AND OF THE SUBTERRANEAN VAULTS OF THE ALHAMBRA 369

HALL OF JUSTICE 371

SUNK LINES ON THE WALLS, HALL OF JUSTICE AND COURT OF THE LIONS 373

FRIEZE IN THE HALL OF THE TWO SISTERS 375

PANEL ON JAMBS OF DOORWAYS, HALL OF THE TWO SISTERS 375

ORNAMENT IN PANELS, HALL OF THE BARQUE 377

ORNAMENT IN PANELS, HALL OF AMBASSADORS 377

CORNICE OVER COLUMNS, COURT OF THE LIONS 379

FRIEZE OVER COLUMNS, COURT OF THE LIONS 379

BAND ROUND PANELS IN WINDOWS, HALL OF THE TWO SISTERS 381

PANELLING IN WINDOWS, HALL OF AMBASSADORS 381

ORNAMENT IN PANELS, COURT OF THE MOSQUE 383

ORNAMENTS AT THE JUNCTIONS OF INSCRIPTIONS, COURT OF THE LIONS, AND COURT OF THE FISH-POND 385

SUNK LINES ON THE WALLS, HOUSE OF THE COMMANDANT 387

ORNAMENT IN PANELS, HALL OF AMBASSADORS 389

DETAILS OF THE ORNAMENTS WHICH ARE INTRODUCED INTO THE PAINTING OVER THE CENTRE ALCOVE OF THE HALL OF JUSTICE 391

DETAILS AND ARABIAN INSCRIPTIONS 393

DETAILS OF ARABIAN WORK 395

DETAILS AND INSCRIPTIONS AND ARABIAN CHAPITERS 397

DETAILS OF ARABIAN WORK 399

GROUND PLAN OF THE GENERALIFE AT GRANADA 403

THE GENERALIFE 405, 407, 413

A VIEW OF THE ROYAL VILLA OF THE GENERALIFE AT GRANADA 409

TRANSVERSE SECTION OF THE ROYAL VILLA OF THE GENERALIFE AT GRANADA 411

GARDEN OF THE GENERALIFE 415

PERSPECTIVE VIEW OF THE GARDEN OF THE GENERALIFE 417

ELEVATION AND GROUND PLAN OF THE PORTICO OF THE GENERALIFE 419

MOSAIC, PORTICO OF THE GENERALIFE 421

FRONT VIEW OF THE PORTICO OF THE GENERALIFE 423

A CEILING IN THE GENERALIFE 425

GENERALIFE (PORTRAIT GALLERY), ENTRANCE TO THE GALLERY OF RETRATOS 427

GALLERY IN THE ACEQUIA COURT, GENERALIFE 427, 437

GALLERY IN THE GENERALIFE 429

THE ACEQUIA COURT, GENERALIFE 431, 435

THE ACEQUIA COURT, FROM THE MAIN ENTRANCE, GENERALIFE 433

A CORNER OF THE ACEQUIA COURT, GENERALIFE 435

CYPRESS COURT, GENERALIFE 437

MOSAIC PAVEMENT IN THE DRESSING-ROOM OF THE SULTÁNA 440

SABRE OF THE LAST MOORISH KING OF GRANADA 441

ELEVATION OF THE CASA DEL CARBON, OR “HOUSE OF CARBON,” ONCE KNOWN AS THE HOUSE OF THE WEATHER-COCK 443

HOUSE OF SANCHEZ 445

PLAN AND SECTION OF THE GREAT CISTERN IN THE ALHAMBRA 447

List of Coloured Illustrations.

PLATE. NO. DESCRIPTION.

I. 1 ORNAMENT IN PANELS ON THE WALLS, HALL OF AMBASSADORS.

II. 2 SOFFITT OF AN ARCH, COURT OF THE FISH-POND.

III. 3 ORNAMENT OVER DOORWAY AT THE ENTRANCE, COURT OF
THE LIONS.

IV. 4 ORNAMENT IN DOORWAY AT THE ENTRANCE TO THE VENETA,
HALL OF THE TWO SISTERS.

V. 5 ORNAMENT ON THE SIDE OF WINDOWS, UPPER STOREY, HALL
OF THE TWO SISTERS.

VI. 6 ORNAMENT IN SPANDRILS OF ARCHES, HALL OF THE TWO
SISTERS.

VI. 7 ORNAMENTS IN SPANDRILS OF ARCHES, HALL OF THE ABENCERRAGES.

VII. 8 ORNAMENTS IN PANELS, HALL OF THE AMBASSADORS.

VIII. 9 ORNAMENTS IN PANELS, COURT OF THE MOSQUE.

IX. 10 ORNAMENT OVER ARCHES AT THE ENTRANCE TO THE COURT
OF THE LIONS.

X. 11 ORNAMENT ON THE WALLS, HALL OF THE ABENCERRAGES.

XI. 12 ORNAMENT IN PANELS ON THE WALLS, COURT OF THE MOSQUE.

XII. 13 SPANDRIL OF AN ARCH OF WINDOW, HALL OF AMBASSADORS.

XIII. 14 BRACKETS SUPPORTING CEILING OF THE PORTICO, COURT OF
THE LIONS.

XIV. 15 SMALL PANEL IN JAMB OF A WINDOW, HALL OF AMBASSADORS.

XV. 16 SMALL PANEL IN JAMB OF A WINDOW, HALL OF AMBASSADORS.

XVI. 17 SMALL PANEL IN JAMB OF A WINDOW, HALL OF THE TWO
SISTERS.

XVII. 18 PANEL IN THE UPPER CHAMBER OF THE HOUSE OF SANCHEZ.

XVIII. 19 SOFFITT OF GREAT ARCH AT THE ENTRANCE OF THE COURT
OF THE FISH-POND.

XIX. 20 SPANDRIL FROM NICHE OF DOORWAY AT THE ENTRANCE OF
THE HALL OF AMBASSADORS, FROM THE HALL OF THE
BARK.

XX. 21 LINTEL OF A DOORWAY, COURT OF THE MOSQUE.

XXI. 22 CAPITAL OF COLUMNS, COURT OF THE LIONS.

XXI. 23 CAPITAL OF COLUMNS, COURT OF THE LIONS.

XXII. 24 CAPITAL OF COLUMNS, COURT OF THE LIONS.

XXII. 25 CAPITAL OF COLUMNS, COURT OF THE LIONS.

XXIII. 26 CAPITAL OF COLUMNS, COURT OF THE FISH-POND.

XXIII. 27 CAPITAL OF COLUMNS, COURT OF THE FISH-POND.

XXIV. 28 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.

XXIV. 29 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.

XXIV. 30 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.

XXIV. 31 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.

XXIV. 32 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.

XXIV. 33 ORNAMENT ON THE WALLS OF THE WINDOWS OF “LINDA-RAJA’S”
BALCONY.

XXV. 34 COURT OF THE LIONS.

XXVI. 35 CAPITALS IN THE HALL OF TWO SISTERS.

XXVII. 36 DETAILS OF THE GREAT ARCHES IN THE HALL OF THE BARK.

XXVIII. 37 ARCHES, COURT OF THE LIONS AND HALL OF JUSTICE.

XXIX. 38 DETAILS OF THE GREAT ARCHES.

XXX. 39 FRETS FROM DIFFERENT HALLS.

XXXI. 40 DETAIL OF AN ARCH, COURT OF THE FISH-POND.

XXXII. 41 DETAIL OF AN ARCH, PORTICO OF THE COURT OF LIONS.

XXXIII. 42 CORNICE OF THE ROOF, COURT OF THE MOSQUE.

XXXIV. 43 DIVAN, COURT OF THE FISH-POND.

XXXV. 44 ACTUAL STATE OF THE COLOURS.

XXXVI. 45 WINDOWS IN THE ALCOVE, HALL OF THE TWO SISTERS.

XXXVII. 46 THE VASE.

XXXVIII. 47 DETAILS OF ONE OF THE ARCHES, HALL OF JUSTICE.

XXXIX. 48 DETAILS OF THE ARCHES, HALL OF THE ABENDERRAGES.

XL. 49 CENTRE PAINTING ON THE CEILING, HALL OF JUSTICE.

XLI. 50 MOSAIC DADO IN CENTRE WINDOW ON THE NORTH SIDE,
HALL OF AMBASSADORS.

XLII. 51 MOSAIC DADOS ON PILLARS BETWEEN THE WINDOWS, HALL
OF AMBASSADORS.

XLIII. 52 MOSAIC DADOS ON PILLARS BETWEEN THE WINDOWS, HALL
OF AMBASSADORS.

XLIV. 53 MOSAICS IN THE HALL OF THE TWO SISTERS.

XLV. 54 MOSAIC DADO ROUND THE INTERNAL WALLS OF THE MOSQUE.

XLVI. 55 AZULEJOS. PAINTED TILES.

XLVII. 56 MOSAIC IN THE BATHS.

XLVII. 57 MOSAIC IN THE BATHS.

XLVIII. 58 MOSIAC FROM THE PORTICO OF THE GENERALIFE.

XLIX. 59 BLANK WINDOW, HALL OF THE BARK.

L. 60 SOFFITT OF ARCH, ENTRANCE OF THE HALL OF ABENDERRAGES.

LI. 61 CORNICE AT SPRINGING OF ARCH OF DOORWAY AT THE
ENTRANCE OF THE VENTANA, HALL OF THE TWO SISTERS.

LII. 62 BORDER OF ARCHES.

LII. 63 BORDER OF ARCHES.

LIII. 64 BORDER OF ARCHES.

LIV. 65 BORDER OF ARCHES.

LIV. 66 BORDER OF ARCHES.

LV. 67 ORNAMENT IN PANELS ON THE WALL, HALL OF AMBASSADORS.

LVI. 68 ORNAMENTS PAINTED ON THE PENDANTS, HALL OF THE BARK.

LVI. 69 BANDS, SIDE OF ARCHES, COURT OF THE LIONS.

LVIII. 70 BANDS, SIDE OF ARCHES, COURT OF THE LIONS.

LVIII. 71 BANDS, SIDE OF ARCHES, COURT OF THE LIONS.

LIX. 72 ORNAMENTS ON PANEL, HALL OF AMBASSADORS.

LX. 73 ORNAMENTS ON PANELS, HALL OF AMBASSADORS.

LXI. 74 ORNAMENTS ON PANELS, HALL OF AMBASSADORS.

LXII. 75 ORNAMENTS ON PANELS, HALL OF AMBASSADORS.

LXIII. 76 FRIEZE IN THE UPPER CHAMBER, HOUSE OF SANCHEZ.

LXIV. 77 CORNICE AT SPRINGING OF ARCHES, WINDOWS OF THE HALL OF AMBASSADORS.

LXV. 78 SPANDRIL OF ARCH. FROM THE CENTRE ARCH OF THE COURT OF THE LIONS.

LXV. 79 SPANDRIL OF ARCH. FROM THE ENTRANCE TO THE DIVAN, HALL OF THE TWO SISTERS.

LXVI. 80 DETAILS OF THE WOOD-WORK OF THE DOOR TO THE HALL OF ABENCERRAGES.

LXVII. 81 SPANDRIL OF ARCH. HALL OF JUSTICE.

LXVII. 82 SPANDRIL OF ARCH. HALL OF JUSTICE.

LXVIII. 83 ORNAMENTS ON THE WALLS OF THE HALL OF AMBASSADORS.

LXIX. 84 SPANDRIL OF ARCH. FROM THE ENTRANCE TO THE COURT OF LIONS FROM THE COURT OF THE FISH-POND.

LXIX. 85 SPANDRIL OF ARCH. FROM THE ENTRANCE TO THE COURT OF THE FISH-POND FROM THE HALL OF THE BARK.

LXX. 86 MOSAIC. PILASTER, HALL OF AMBASSADORS.

LXX. 87 MOSAIC. DADO, HALL OF AMBASSADORS.

LXX. 88 MOSAIC. DADO, HALL OF THE TWO SISTERS.

LXX. 89 MOSAIC. PILASTER, HALL OF AMBASSADORS.

LXX. 90 MOSAIC. DADO, HALL OF THE TWO SISTERS.

LXX. 91 MOSAIC. DADO, HALL OF THE TWO SISTERS.

LXX. 92 MOSAIC. PILASTER, HALL OF AMBASSADORS.

LXXI. 93 PLASTER ORNAMENTS, USED AS UPRIGHT AND HORIZONTAL BANDS ENCLOSING PANELS ON THE WALLS.

LXXII. 94 MOSAIC. DADO, HALL OF AMBASSADORS.

LXXII. 95 MOSAIC. DADO, HALL OF AMBASSADORS.

LXXII. 96 MOSAIC. DADO, IN CENTRE WINDOW, HALL OF AMBASSADORS.

LXXII. 97 MOSAIC. FROM A COLUMN, HALL OF JUSTICE.

LXXII. 98 MOSAIC. DADO IN THE BATHS.

LXXII. 99 MOSAIC. DADO IN DIVAN, COURT OF THE FISH-POND.

LXXII. 100 MOSAIC. DADO, HALL OF THE TWO SISTERS.

LXXIII. 101 PANELS ON WALLS, TOWER OF THE CAPTIVE.

LXXIV. 102 BLANK WINDOW, HALL OF THE BARK.

LXXV. 103 RAFTERS OF A ROOF OVER A DOORWAY NOW DESTROYED BENEATH THE TOCADOR DE LA REYNA.

LXXVI. 104 BAND AT SPRINGING OF ARCH AT THE ENTRANCE OF THE HALL OF THE TWO SISTERS FROM THE COURT OF LIONS.

LXXVII. 105 PANELLING OF THE CENTRE RECESS, HALL OF AMBASSADORS.

LXXVIII. 106 PART OF CEILING OF THE PORTICO OF THE COURT OF THE FISH-POND.

LXXIX. 107 BLANK WINDOW, HALL OF THE BARK.

LXXX. 108 ORNAMENTS ON THE WALLS, HOUSE OF SANCHEZ.

“Andalus” is the name given by the Moors to that part of the Spanish Peninsula wherein they were all-powerful for eight centuries. Andalus comprehended the four kingdoms of Seville, Córdova, Jaen, and Granada. (_Los Cuatro Reinos de Andalusia._)

About the year 403 of the Hegira (A.D. 1012) Granada first acquired importance. Záwí, the African chief who then ruled in Andalusia from Malaga to Almeria, declared himself independent, and transferred the seat of government from Elvira[1] to Granada. Little by little the whole population migrated to the new capital, so that Elvira dwindled to an insignificant village, whilst Granada rose to be a magnificent city, culminating in grandeur and importance during the reigns of three enlightened sovereigns of the _Beni Nasr_ dynasty--Mohammed the First (_Al-ghálib-billah_, A.D. 1232-1272), who commenced the Alhambra;[2] Yúsuf the First (A.D. 1333), who added greatly to its beauty, and is regarded as the monarch who completed the building; and Mohammed the Fifth (_Al-ghaní-billah_), son of Yúsuf, who succeeded to the throne upon the assassination of his father in 1354, and who finished the decorations of many of the Courts and Halls of the Palace.

One of the earliest extant references to Granada is contained in the MS. of _Ibnu Battúttah_, the Moslem traveller, who wrote in the fourteenth century. About the year 1360 _Ibnu Battúttah_ journeyed from Morocco to Andalus, and visited Granada, which he thus describes: “Granada is the capital of Andalus, and the husband of its cities; its environs are a delightful garden, covering a space of forty miles, and have not their equal in the world. It is intersected by the well-known river _Sheníl_[3] (Xenil) and other considerable streams, and surrounded on every side by orchards, gardens, groves, palaces, and vineyards. One of the most pleasant spots in its neighbourhood is that known by the name of _’Aynu-l-adamar_--the fountain of tears--which is a spring of cold and limpid water placed in the midst of delightful groves and gardens.” The suburb of Granada here referred to, preserves to this day its Arabic name corrupted into _Dinamar_, or _Adinamar_. It is a pleasant and much-frequented spot, close to Granada.

The city of Granada was held in the highest estimation by Andalusian poets. One ancient eulogist says: “If that city could reckon no other honour but of having been the birthplace of the Wizír _Ibnu-l-khattíb_, that alone would be sufficient. But Granada has not its like in the world: neither Cairo, Baghdád, nor Damascus can compete with it; we can only give an idea of its worth by comparing it to a beautiful bride, of whose dower it should form part.”

The mention of the celebrated Wizír, _Ibnu-l-khattíb_, brings to mind a particularly interesting figure in the history of the Alhambra, for to him we owe the composition of many of the poems inscribed upon its walls. He flourished A.D. 1313-1374. Amongst other works of the highest value, of which he was the author, is a biographical dictionary of illustrious Granadians. At an early age he attracted the notice of Yúsuf I., who promoted him through many offices of the State, until he became that Sultán’s Grand Wizír, in which capacity he served his master faithfully and long. After the death of Yúsuf, he retained his high office of Wizír under Mohammed V. for twenty years, when the hostility of his foes brought upon him the suspicion of disloyalty. He was thrown into prison, and strangled by order of Mohammed. “Thus,” says an admiring biographer, “perished the phœnix of the age, the prince of poets and historians of his time, and the model of Wizírs.”

The unfortunate _Ibnu-l-khattíb_ possessed, in the highest degree, the faculty of improvisation. It is related that he was sent on an embassy by Mohammed V. to implore the aid of _Fáris_, Sultán of Fez, against the Christians. On entering the Hall of Audience, and before he delivered his message, he uttered some verses which called forth the admiration of all present, and were so much approved by the Sultán, that before listening to what the Ambassador had to say on affairs of State, he exclaimed: “By Allah! I know not the object of thy visit; but whatever it may be, I grant the request.” In concluding the anecdote, the narrator adds: “This circumstance elicited from the celebrated _Kádí_, _Abú-l-kásim Ash-Sheríf_, who formed part of the embassy, the very just remark that never until that time had there been an ambassador who attained the object of his mission before he had made it known!”

The Mohammedans in Spain, whether considered as the enthusiastic warriors whose victorious arms spread terror and consternation, or as the cultivated race who acted as the pioneers of art, letters, and civilisation, are entitled to a prominent place in the annals of Europe. But, instead of being commended to the gratitude of succeeding ages, as they assuredly deserved to be, the Arabs have been too frequently charged with corrupting the infancy of modern literature; and this, in the face of the verdict of a high authority on the literature of the Spanish Moslems, who has declared that the material he cites proves the superiority of the Andalusians to every other nation.

Spanish historians have always manifested contempt for the writings of the Arabs. Rejecting the means afforded them by abundant Moorish records, they have compiled their histories from one-sided national authorities, disdaining to cast a glance on writings of the enemies of their country and religion. The effects of such illiberality need scarcely be pointed out. The history of Spain, during the Middle Ages, has been, and still is, notwithstanding the labours of modern critics, a tissue of fable and contradiction.

Nevertheless, it was reserved for a Spaniard--Don Pascual de Gayángos--to give to the world the true history of the Mohammedans in Spain. He fixed upon the manuscript account of _Ahmed Ibn Mohammed Al-makkarí_, which gives an uninterrupted narrative of the conquests, wars, and settlements of the Spanish Moslems from their first invasion of the Peninsula to their final expulsion; and Don Pascual so enriches his author’s text with a mass of notes and illustrations that the work forms, if not the only, certainly the most valuable history of the Arabs in Spain--even the recondite production of the German _savant_, the late Dr. R. Dozy, of Leyden, _Histoire des Musulmans d’Espagne_, yields on the score of usefulness.

_Al-makkarí_ wrote at the close of the sixteenth century. His life was spent in literary pursuits, and in the society of the learned. He appears to have resembled our own John Aubrey in his genius for taking the greatest pains to collect his material from the most authentic sources at his command; and, if he sometimes falls into slight inaccuracies, his editor--Don Pascual--promptly sets the matter right in a note of profound and judicious scholarship. That portion of _Al-makkarí_ which most concerns the present volume is contained in the second part of his work, and consists of extracts from various Arab authors relating to the history of the kingdom of Granada. In a note upon the etymology of the name “Andalus,” _Al-makkarí_ derives it from _Andalosh_, a Moorish corruption for _Vandalocii_ (Vandals), with which attribution Don Pascual seems to agree. _Al-makkarí_ concludes his history with a pious ejaculation for the re-occupation of the country: “May Allah restore it entire to the Moslems!”

It is to be lamented that an ungenerous spirit actuated the authorities in Madrid at the time Gayángos was preparing his monumental work (_circa_ 1840). In his own land, the assistance he had every right to expect, was withheld! He tells us that he petitioned the Ministers of Her Catholic Majesty for permission to visit the Library of the Escorial, and he finds himself called upon to disclose a fact very painful to his feelings. Don Pascual’s own words are: “Strange to say, notwithstanding repeated applications, and the interference of persons high in rank and influence, my request was positively denied, professedly on the plea that the Library could not be opened, a contention having arisen between the Government and the Royal Household as to the possession of it!” Under the enlightened rule of King Alfonso XIII. such treatment has become impossible: all that remains of the literature, the splendid monuments of Arabian architecture, indeed everything which exhibits memorials of the graceful people who have passed away, is now open to the antiquary or the artist, and zealously guarded with the most reverent care. No longer is there danger of wanton spoliation of the ancient palace of the Moorish Kings of Granada. The effort now is to retard the inevitable process of decay. The late Señor Raphaél Contreras occupied himself for thirty-seven years in an attempt to restore the defaced or partially-destroyed arabesques of the Alhambra. In the course of his labour of love, it was his good fortune to be rewarded, from time to time, by the discovery of inscriptions which had long lain hidden; and his exertions were further recompensed by the happiness of lighting upon and replacing parts of mutilated ornament and portions of the edifice itself which had become dislodged by accident or rapine, thus saving somewhat from the deluge of time.

The result of his research and discovery Don Raphaél placed before the public in a scholarly work, entitled, _Etude Déscriptive des Monuments Arabes_, published at Madrid, and which reached its fourth edition in 1889.

A separate, or supplementary volume was promised, which should treat of Arabic Inscriptions remaining in Seville, Córdova, and more particularly in Granada, belonging to the most important period of the Mohammedan Domination in those parts of the Peninsula. It is greatly to be hoped that the work may make its appearance under the auspices of his son, Don Mariano Contreras, the present Conservator of the Alhambra.

That portion of the Alhambra, called the _Casa Real_, or Royal House, appears to be but a very small part of the ancient Palace of the Moorish Kings of Granada. It is to be regretted that no traces exist at the present day by which its limits can be accurately defined; but we may judge, from the gallery of

two stories at the southern end of the Court of the Fish-pond, which still remains, that the part of the Moorish building destroyed to make way for the Palace of Charles V., must have been of considerable consequence. No traces of the numerous apartments, which must have been required for guards and attendants, now exist; and a most important feature--the hareem--is wanting.

The Alhambra, occupying the plateau of the _Monte de la Assabica_, is situated at one extremity of the city of Granada, above which it rises like the Acropolis at Athens. The usual entrance is by the Gate of Justice. From the Gate of Justice we pass the _Puerta del Vino_, or Wine Gate, to the large square called the _Plaza de los Algibes_, or Place of the Cisterns. On the right is the Palace of Charles V.; beyond, but without revealing any indication of its internal beauty, is the _Casa Real_; on the left of the Place of the Cisterns is the _Alcazába_--_Kussábah_, the citadel--long used as a place of detention for convicts. There are several ruined towers here, which are, perhaps, the remains of the most ancient part of the fortress.

The severe and striking aspect of the towers with which the walls of the fortress are studded, arouses no suspicion of the art and luxury enshrined within; they are formed to impress the beholder with respect for the power and majesty of the King; whilst within, the fragrant shrubs and running streams, the porcelains, Mosaics, and gilded stucco work, and particularly the pious inscriptions which are in such profusion upon the walls, constantly reminded the sovereign how all that ministered to his happiness was the gift of Allah.

The inscriptions are of three sorts--“_ayát_,” _i.e._, verses from the Korán; “_asjá_,” pious or devout sentences not taken from the Korán; and, thirdly, “_ash’ár_,” poems in praise of the builders or owners of the Palace. Those belonging to either of the first two classes are generally written in the Cufic character, and the letters are often so shaped as to present a uniform appearance from both sides, and make the inscription readable from the right to the left, and _vice versa_, or upwards and downwards.

The innumerable sentences abounding everywhere in the Alhambra are so harmonious and interweaving--producing such cross-lights of poetry and praise, merging naturally and gracefully when the mind is torpid or indifferent to them, into mere surface ornament--that they are never out of place, but present always an unsatiating charm. Once, at least, an inscription in the Palace has settled a dull controversy respecting the use of the many small, highly-decorated recesses which are seen in the apartments. On each side of the ante-room of the Hall of the Ambassadors is one of these recesses resembling the piscinæ of our cathedrals. Blundering wise men insistently averred that these niches were used by suppliants as receptacles for their slippers before entering to an audience, until an Arabic scholar pointed to an inscription round the aperture, which reads: “_If anyone approach me complaining of thirst, he will receive cool and limpid water, sweet and pure._” Any Spaniard ought to have known that here were the places of the _Alcarraza_, or porous earthen bottles common to all comers, even as they may now be found in the halls of some Andalusian gentlemen.

Such a niche and water-vase are represented in this volume at page 77.

“Is the Alhambra,” asks Ford, “a palace of the _Arabian Nights_, or only a tawdry ruin bedaubed with faded colour? And what of the colour as it exists? Is it emeraldine or plaited flowers? No, in sober truth, the colour is dim and faded; buried in some places under white flaky icicles of whitewash, or blurred and besmirched as a dead butterfly’s wing. Here and

there are revived bright scraps of azure, gold, and vermilion; but generally dull of outline, and dim in low, deep, shadow tone.”

Where the Moorish work is imitated, greens and purples obtrude, to demonstrate how inferior is modern decorative skill to the genius of the ancient Arabs. The dados, or low wainscotings, are of square, glazed tiles, which form a glittering breast-high coat of mail up to the lower third of the Palace

walls. Here the colours are the same as those of the old Majolica ware. Sometimes these _Azulejo_ tiles, with their low-toned enamel colours, are formed into pillars, or pave the floors in squares of _fleurs-de-lis_, or other heraldic emblems. In these dados, colour is seen in the shade. The Moors wanted shade in a country where the sun is solid fire--the colours deep, soft, and subdued as in an Arabian carpet.

The present pavement of the halls and courts of the Palace is either of white marble, as in the Hall of The Two Sisters and Hall of the Abencerrages, or of brick. Seldom, however, does it appear to be the original flooring, as in many places it is considerably above the ancient level, concealing the lower part of the Mosaic dados. On the pavement of one of the alcoves of the Hall of Justice are still to be seen painted tiles which seem to suggest a style of flooring more in harmony with the general decoration of the Halls and Courts than either those of marble or of brick. This deduction has been objected to by persons conversant with the manners and customs of the Mohammedans, who contend that it is impossible that these tiles--on which the name of God is written--should have been trodden under foot. But it should be borne in mind that the Arabs of Spain allowed themselves considerable laxity in observing the behests of the Korán--as is evidenced by the fountain in the Court of Lions, the bas-relief in the Museum of the Palace, and the paintings in the Hall of Justice.

For the student who desires to pursue exhaustively the history of the Moors in Spain, there are but two trustworthy authorities--Don Pascual de Gayángos, the Spanish Orientalist and historian, and Dr. R. Dozy, of Leyden. Don Pascual’s translation of _Al-makkarí_ has been largely drawn upon in the compilation of the present volume, as also the “Handbook” and “Gatherings” of Richard Ford (1845 and onward), which form the bases of the indispensable Murray’s _Guide_. For the last days of the Moslems in Spain, Sir William Stirling-Maxwell’s _Don John of Austria_ must be read. The fascinating volumes of Washington Irving will, of course, continue to delight so long as the English language endures, and no better companions can be wished for on the spot where they were written than his stories of _The Alhambra_ and _The Conquest of Granada_. Mr. Henry Coppeé’s _History of the Conquest of Spain by the Arab Moors_, in two volumes, _Boston_ (Mass.), 1881; Miss Charlotte Yonge’s _Christians and Moors in Spain_; Mr. H. E. Watt’s _Spain from the Moorish Conquest to the Fall of Granada_; the concise _Rise and Fall of the Muslim Empire in Spain_, by our fellow-subject, Muhammed Hayat Khan, Lahore, 1897; and Mr. Stanley Lane-Poole’s _The Moors in Spain_ should be consulted.

ORNAMENT.

However much disguised, the whole ornamentation of the Moors is constructed geometrically.

It is probable that the immense variety of Moorish ornaments, which are formed by the intersection of equi-distant lines, could be traced through the Arabian to the Greek fret.

The Moorish system of decoration reached its culminating point in the ornament of the Alhambra. Owen Jones says: “The Alhambra is at the very summit of perfection of Moorish art ... every principle which we can derive from the study of the ornamental art of any other people is not only ever present here, but was by the Moors more universally and truly obeyed. We find in the Alhambra the speaking art of the Egyptians, the natural grace and refinement of the Greeks, the geometrical combination of the Romans, the Byzantines, and the Arabs.

The ornament wanted but one charm, which was the peculiar feature of the Egyptian ornament--symbolism. This, the religion of the Moors forbade.”

The decoration of the Alhambra is peculiarly appropriate--the circumstances of the people rendered the ornament beautiful for that reason--when transplanted, though it loses nothing of its loveliness, it becomes inexpressive.

The Moors ever regarded what architects hold to be the first principle of architecture--to decorate construction--never to construct decoration. In Moorish architecture, not only does the decoration arise naturally from the construction, but the constructive idea is carried out in every detail of the ornamentation of the surface. A superfluous, or useless ornament is never found in Moorish decoration; every ornament arises quietly and naturally from the surface decorated.

The general forms were first cared for; these were sub-divided by general lines; the interstices were then filled in with ornament again to be sub-divided and enriched for closer inspection. The principle was carried out with the greatest refinement, and the harmony and beauty of all Moorish ornamentation derive success from its observance. The greatest distinction was thus obtained; the detail never interfering with the general form. When seen at a distance, the main lines strike the eye; on nearer approach, the detail comes into the composition; upon yet closer inspection, further detail is seen on the surface of the ornaments themselves.

To the builders of the Alhambra, harmony of form consisted in the proper balancing and contrast of the straight, the inclined, and the curved.

As in colour, there can be no composition in which either of the three primary colours is wanting, so in form, whether structural or decorative, there can be no perfect composition in which either of the three primary figures is lacking; variety and harmony in composition and design depend on the pre-dominance and subordination of the three.

In his monumental work on the ornamentation of the Alhambra, the late Owen Jones, who spent many years at Granada in collaboration with his friend, M. Jules Goury, the eminent French architect, studying the Palace of the Western Caliphs, furnishes diagrams in support of this conclusion, which are here reproduced; and, furthermore, says: “In

surface decoration, any arrangement of forms, as at A., consisting only of straight lines, is monotonous, and affords but imperfect pleasure; but, introduce lines which tend to carry the eye towards the angles, as at B., and you have at once an additional pleasure.

“Then add lines giving a circular tendency, as at C., and you have now complete harmony: in this case the square is the leading form or tonic; the angular and curved are subordinate.

“We may produce the same result in adopting an angular composition, as at D., add the lines as at E., and we at once correct the tendency to follow only the angular direction of the inclined lines; but, unite these by circles as at F., and we have harmony still more nearly perfect, _i.e._, repose, for the eye has now no longer any want that could be supplied.”

Still, compositions distributed in equal lines or divisions will be less beautiful than those which require a greater mental effort to appreciate them: proportions the most difficult for the eye to detect will be the most agreeable.

In surface decoration by the Moors, lines flow from a parent stem: every ornament, however distant, can be traced to its branch and root; they have the happy art of so adapting the ornament to the surface decorated, that the ornament as often appears to have suggested the general form as to have been suggested by it. In all cases we find the foliage flowing out of a parent stem, and we are never offended, as in modern practice, by the random introduction of an ornament set down without a reason for its existence. However irregular the space they have to fill, they always commence by dividing it into equal areas, and round these trunk lines they fill in their detail, but invariably return to their parent stem.

The Moors also followed another principle, that of radiation from the parent stem, as we may see exemplified in nature by the human hand, or in a chestnut leaf. When style becomes debased, neither of these laws is followed; as in Elizabethan ornament, where nothing is continuous, nothing radiates, all is haphazard.

All junctions of curved lines with curved, or of curved with straight, should be tangential to each other. The Oriental practice always accords with this principle. Many of their ornaments are on the principle which is observable in the lines of a feather and in the articulations of a leaf; and to this is due that additional charm found in all perfect ornamentation, which is called “the graceful.”

A further charm is found in the works of the Arabs and Moors from their conventional treatment of ornament, which, forbidden as they were by their creed to represent living forms, they carried to the highest perfection. They ever worked as Nature works, but always avoided a direct transcript; they took her principles, but did not attempt to copy her works.

It is true that the Arabs in Spain, as already pointed out, once or twice allowed themselves to disregard the behests of the Korán, as instanced in the Fountain of Lions, and the bas-relief which is now preserved in the Museum of the Alhambra; but the Mohammedan mosques of Egypt, India, and Spain, show everywhere the calm, voluptuous translation of the doctrines of the Korán: an art in unison with its imaginative and poetic teachings which led them to adorn their temples in a manner peculiar to themselves.

COLOUR.

The colours employed by the Moors on their stucco work were in all cases, the primaries--blue, red, and yellow (gold). The secondary colours--purple, green, and orange, occur only in the Mosaic dados; which, being near the eye, formed a point of repose from the more brilliant colouring above. It is true that, at the present day, the grounds of many of the ornaments are found to be green; it will readily be seen, however, on a minute examination, that the colour originally employed was blue, which, being a metallic pigment, has become green from the effects of time. This is proved by the presence of particles of blue colour, which occur everywhere in the crevices: in the “restorations” also, which were made by the Catholic kings, green and purple were freely used.

The colouring of the Courts and Halls of the Alhambra was carried out on so perfect a motive, that anyone who cares to make this a study, can, with almost absolute certainty, on being shown for the first time a piece of Moorish ornament in white, define at once the manner in which it was coloured. So completely were all the architectural forms designed, with reference to their subsequent colouring, that the surface alone will indicate the colours they were destined to receive.

Notwithstanding the fact that the Moors, in their marvellous system of decoration, worked on fixed rules, the effect of their infinite variety leaves the observer under the impression that they arrived at their amazing achievements by instinct, to which centuries of refinement had brought them. One person may naturally sing in tune as another does by acquired knowledge. The happier state, however, is where knowledge ministers to instinct, and this must have been the case with the Moors. Their poet exhorts us to attentively contemplate the adornments of the Palace, and so reap the benefit of a commentary on decoration; this invitation seems to imply that there was in their works something to be learned as well as much that might be felt.

Mr. Owen Jones admits that there is no authority for the gilding of the columns: wherever the columns are of marble, the shafts are always free from traces of colour of any kind. Gold, blue, and red are still seen on most of the capitals, and, in some cases, the plaster half-columns against the walls are covered by mosaic of a small pattern in glazed earthenware. Nevertheless, the eminent authority on decoration is strongly of opinion that the marble shafts could never have been, originally, left entirely white; and, furthermore, he thinks that the general harmony of the colouring above forbids such a supposition; but the conclusion seems to be erroneous, when it is remembered that the shafts of the columns are compared, in the graceful hyperbole of the Inscriptions, to “transparent crystal;” and, again, “when struck by the earliest beams of the rising sun, maybe likened to many blocks of pearl.” Therefore, in view of the poetic reference by Moorish versifiers, and the utter absence of any trace of colour on the marble, 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 Jones. It should be recorded here that the book alluded to is dedicated “To the Memory of Jules Goury, Architect, who died of Cholera, at Granada, August 28th, 1834, whilst engaged in preparing the original drawings for this work.”

Amongst the illustrations appearing on p. xlix. _supra_, which principally consist of cornices, capitals, and columns in the Alhambra, is a motto in Roman characters: TĀTO·MŌTA--Tanto Monta--pertaining to Ferdinand and Isabella, and which is somewhat out of place in a page otherwise devoted to Moorish ornament. The motto, of course, signifies _tantamount_, and is meant to express an equality in power between the two Sovereigns; Isabella zealously maintaining that her right of exercising the royal authority was equivalent to that of her royal consort: “_Tanto monta Isabella que Hernando, Hernando que Isabella_”--of equal worth are Isabella and Ferdinand. The motto appears in relief in the Court of the Lions.

Acknowledgment is made to the work of the late James Cavanah Murphy, _Arabian Antiquities of Spain_, Lond., 1815, to which source we are indebted for some of the illustrations to the present volume. Mr. Murphy faithfully delineated, and admirably engraved the arabesques and mosaics of the superb Courts and Halls of the Palace of the Alhambra at Granada.

For the rest, it may be said that a vast number of plates have been specially prepared for the present volume; 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 world.

“I PRAY YOU, LET US SATISFY OUR EYES
WITH THE MEMORIALS AND THE THINGS OF FAME
THAT DO RENOWN THIS CITY.”

_Twelfth Night, Act III., sc. 3._

The Alhambra.

The ancient citadel and residence of the Moorish monarchs of Granada is, indisputably, the most curious, and in some ways the most marvellous building that exists in the whole world. In its period, its architectural style, and artistic effect, it is not without its counterpart in Southern Spain; but the Alhambra was conceived and constructed on so colossal a scale that it is accepted as the last word in Arabian workmanship. From the outside it appears to be a forbidding fortress, and, indeed, its walls are of prodigious strength; but within it is a palace that was once the most voluptuous in the makings and imaginings of man, and in which everything was made subservient to luxury.

The singular fortunes of the Arabian, or Moresco-Spaniards, whose whole existence is a tale that is told, certainly forms one of the most anomalous, yet splendid episodes in history. Potent and durable as was their dominion, we have no one distinct title by which to designate them. They were a nation, as it were, without a legitimate country or a name: a remote wave of the great Arabian inundation cast upon the shores of Europe. From the year 710, when the Arab general Tarif landed at the port which bears his name, and plundered Algeciras, to be succeeded in the following year by a greater soldier, Geb-al-Tarik, whose name survives in the title of “The Rock”--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 Egypt. Nay, had they not been checked on the Plains of Tours by Charles _Martel_, who that day gained his _sobriquet_--“The Hammerer”--all France, all Europe might have succumbed to the ravages of the Saracenic warriors as completely as the empires of the East were made to yield, and the crescent might have glittered on the fanes of Paris and of London.

Repelled within the limits of the Pyrenees, the mixed hordes of Asia and Africa that formed this great irruption, gave up the Moslem principle of conquest, and sought to establish in Spain a peaceable and permanent dominion. As conquerors, their heroism was only equalled by their moderation; and in

both, for a time, they excelled the nations with whom they contended. Severed from their native homes, they loved the land given them, as they supposed, by Allah, and strove to adorn it with all that could minister to the happiness of man. By a system of wise and equitable laws they formed an empire unrivalled for its prosperity by any of the empires of Christendom, and diligently drew around them the graces and refinements that marked the Arabian empire in the East at the time of its