Part 1

THE ALHAMBRA

HE WHO SEVILLA HAS NOT SEEN HAS NOT SEEN A MARVEL GREAT; WHO TO GRANADA HAS NOT BEEN CAN HAVE NOTHING TO RELATE.

_Spanish Popular Rhyme._

E. Goodman and Son, The Phœnix Press, Taunton.

TO

HIS MAJESTY KING ALFONSO XIII.

SIRE,

The great interest your Majesty has evinced in the Moorish Monuments which adorn your Majesty’s loyal and noble country, and the gracious appreciation with which you were pleased to regard my first work on The Alhambra, inspired me with the presumption to solicit the honour of your Majesty’s August Patronage for this volume, which is humbly dedicated to your Majesty agreeably to your gracious permission, by

Your Majesty’s humble Servant,

ALBERT F. CALVERT.

PREFACE

Although the admission may be construed by the censorious as betraying a lack of becoming diffidence, I am tempted to believe that no apology will be demanded for the publication of this volume by that section of the reading public for which it has been chiefly compiled. My temerity goes even further, and I anticipate with some confidence that visitors to the Alhambra, and pilgrims to that glorious Mecca of Moorish workmanship will recognise in this book an earnest attempt to supply a long-felt want. When I paid my first visit to Granada some years ago, I was surprised and disappointed to find that no such thing as an even fairly adequate illustrated souvenir of this “city of the dawn” was to be obtained. Many tomes, costly and valuable (not necessarily the same thing), have been written to place on record the wonders of “the glorious sanctuary of Spain,” but these are beyond the reach of the general public. Many beautiful pictures have caught odd ecstasies of this superb and perfectly harmonised palace of art, but these impressions are not available to the ordinary tourist.

What is wanted, as I imagine, is a concise history and description of the Alhambra, illustrated with a series of pictures constituting a tangible remembrancer of the delights of this Granadian paradise

“Where glory rests ’tween laurels, A torch to give thee light!”

The Alhambra may be likened to an exquisite opera which can only be appreciated to the full when one is under the spell of its magic influence. But as the witchery of an inspired score can be recalled by the sound of an air whistled in the street, so--it is my hope--the pale ghost of this Moorish fairy-land may live again in the memories of travellers through the medium of this pictorial epitome.

I desire, however, to submit an explanation--or excuse--for the unusual form in which this volume is issued. At the commencement of my work I experienced no little difficulty in collecting the requisite illustrations, for most of the obtainable photographs were ill-chosen and but carelessly developed, and I was compelled to press my own cameras into the service of my scheme. But when my designs became known, I was inundated with offers of pictures of every description until the embarrassment of artistic treasures entirely upset the original purpose of my book. Artists placed their studies at my disposal; collectors begged me, with irresistible Spanish courtesy, to regard their galleries as my own; and students directed my attention to little known publications on the subject.

Don Mariano Contreras, Conservator of the Alhambra, the son of the gifted Raphaël Contreras, who devoted thirty-seven years of his life to the restoration of the Palace--gave me the benefit of his knowledge of this unique treasure-house of art; and I have also laid under contribution the beautiful plates of Owen Jones, who disposed of a Welsh inheritance in order to produce his great work on the _Plans, Elevations, Sections and Details of the Alhambra_. Jones’s _Grammar of Ornament_, which has been described as “beautiful enough to be the horn-book of the Angels,” also contains the result of his researches in the Alhambra, which occupied him for the greater part of eleven years. A selection of these illustrations is here rescued from the obscurity of public libraries and the inaccessible recesses of private collections. The inclusion of John F. Lewis’s drawings, and the reproduction of a series of pictures by James C. Murphy, who spent seven years in the study of the artistic marvels of the Alhambra, I do not feel called upon to defend. The photographs, several of which were placed at my disposal by Don Rafaël Garzón, represent the buildings as they appear to-day; the drawings were made before the Palace was damaged by the disastrous fire of September, 1890.

For the historical portions of the description contained in the letterpress I have levied tribute on a variety of authors. _The History of the Mohammedan Dynasties in Spain_, by the learned Spanish Orientalist, Don Pascual de Gayángos; Raphaël Contreras’ _Etude Descriptive des Monuments Arabes_; Richard Ford’s reverent appreciations; Dr. R. Dozy’s history; Mr. Stanley Lane-Poole’s _The Moors in Spain_; Washington Irving’s fascinating writings; and _The Alhambra Album_, presented by Prince Dolgorouki in 1829, containing the autographs, poems and thoughts of succeeding generations of visitors to Granada, these and many others have been drawn upon in the following pages.

But the multiplicity of my illustrations convinced me that if I adhered to my idea of furnishing an amount of letterpress sufficient to “carry” the blocks, I should only end in producing a book that would tax the physical endurance of my readers by reason of its bulk, and exhaust their patience with a tedious superabundance of minute descriptive pabulum. I resolved, therefore, to give pride of place to the pictorial side of the volume; to abandon the traditions regulating the proportions of prose to pictures; and make my appeal to the public by the beauty and variety of the illustrations I have collected, and the immensity of elaborate letterpress which I have not written.

A. F. C.

“ROYSTON,”

HAMPSTEAD, N.W., 1904.

PREFACE TO SECOND EDITION

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

A. F. C.

List of Illustrations.

PAGE

FRONTISPIECE

PANELS AND INSCRIPTIONS IN THE ALHAMBRA xxxiii.

VARIOUS MOSAICS FROM THE ALHAMBRA xxxvii.

PANEL ORNAMENT IN THE ALHAMBRA xxxix.

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

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

PLAN OF GENERAL CONSTRUCTION OF CENTRAL ORNAMENT OF CEILINGS xliii.

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

DIAGRAMS xlv.

MISCELLANEOUS ORNAMENT IN THE ALHAMBRA xlvii.

CORNICES, CAPITALS, AND COLUMNS IN THE ALHAMBRA xlix.

CAPITALS FROM THE COURTS AND HALLS OF THE ALHAMBRA li.

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

GENERAL VIEW OF THE ALHAMBRA FROM SAN NICOLAS 3

PART OF THE ALHAMBRA, EXTERIOR 4

THE ALHAMBRA AND THE SIERRA NEVADA 5

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

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

ALCOVE OF THE “CAPTIVE” 9

INTERIOR OF THE “CAPTIVE’S” TOWER 11

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

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

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

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

THE WINE GATE, ATTRIBUTED TO YÚSUF I. 29

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

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

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

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

THE GATE OF JUSTICE, ERECTED BY YÚSUF I. 37

HALL OF JUSTICE AND COURT OF THE LIONS 39

HALL OF JUSTICE 41, 43

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

HALL OF JUSTICE AND PART OF COURT OF THE LIONS 45

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

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

HALL OF JUSTICE.--MOOR’S HEAD 48

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

ELEVATION OF THE ANCIENT GATE OF JUSTICE 53

SECTIONS OF THE HALL OF JUSTICE 55

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

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

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

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

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

HALL OF THE TWO SISTERS, FROM ENTRANCE DOOR 66

HALL OF THE TWO SISTERS 67, 79, 113

UPPER BALCONY OF THE HALL OF THE TWO SISTERS 68

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

BALCONY OF THE FAVOURITE, “LINDARAJA” 71

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

THE FAVOURITE’S BALCONY 76

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

HALL OF THE TWO SISTERS 79

VIEW IN THE HALL OF THE TWO SISTERS 81

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

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

INSCRIPTIONS IN THE HALL OF THE TWO SISTERS 87, 89

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

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

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

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

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

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

MOSAIC IN DADO, HALL OF THE TWO SISTERS 101

HALL OF THE ABENCERRAGES (BENI CERRAJ) 105

MOSAIC--HALL OF THE ABENCERRAGES 107

HALL OF THE ABENCERRAGES 109, 119, 121

WOODEN DOOR, HALL OF THE ABENCERRAGES 111

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

CEILING OF THE HALL OF THE TWO SISTERS 117

CEILING OF THE HALL OF THE ABENCERRAGES 124

MOSAIC, FROM A FRAGMENT IN THE ALHAMBRA 125

MOSAIC, NORTH SIDE OF THE COURT OF THE LIONS 125

CHIEF GATE OF THE ALHAMBRA 127

TRANSVERSAL SECTION OF THE ALHAMBRA 129

SECTION SHOWING HEIGHTS OF THE ALHAMBRA 131

ELEVATION OF THE “WINE GATE” 133

THE GATE OF JUDGMENT 135

PORCH OF THE GATE OF JUDGMENT 137

A SECTION OF THE GATE OF JUDGMENT 139

INTERIOR PERSPECTIVE OF THE ALHAMBRA 141

VIEW OF THE AQUEDUCT, NEAR THE ALHAMBRA 143

A VIEW OF THE ALHAMBRA FROM THE ALBAYCIN 145

GATE OF JUSTICE 147

NORTH SIDE OF THE COURT OF THE FISH-POND 151

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

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

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

THE BATHS; HALL OF REPOSE 159

GROUND PLAN OF THE BATHS IN THE ALHAMBRA 161

SECTION OF THE HALL OF THE BATHS 163

A SECTION OF THE BATHS IN THE ALHAMBRA 165

THE SULTÁNA’S BATH 167

THE SULTÁN’S BATH 169

THE HALL OF THE BATHS 171

CEILING OF THE HALL OF THE BATHS 173

LONGITUDINAL SECTION THROUGH THE BATHS 175

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

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

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

COURT OF THE FISH-POND 185, 193

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

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

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

ENTRANCE TO THE COURT OF THE LIONS 196

MOSAIC, SOUTH SIDE OF THE COURT OF THE LIONS 196

FOUNTAIN AND EAST TEMPLE IN THE COURT OF THE LIONS 197

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

GENERAL VIEW OF THE COURT OF THE LIONS 203, 207

LITTLE TEMPLE IN THE COURT OF THE LIONS 205

FOUNTAIN IN THE COURT OF THE LIONS 205

A LITTLE TEMPLE IN THE COURT OF THE LIONS 206

A PEEP INTO THE COURT OF THE LIONS 206

THE COURT OF THE LIONS, FROM THE WEST 209

TEMPLE IN THE COURT OF THE LIONS 211

SIDE ELEVATION OF THE COURT OF THE LIONS AND FOUNTAIN 215

ELEVATION OF THE FOUNTAIN OF THE LIONS 217

FOUNTAIN OF THE LIONS, WITH DETAILS OF THE ORNAMENT 219

PLAN OF THE BASIN OF THE FOUNTAIN OF THE LIONS 221

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

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

ENTABLATURE IN THE COURT OF THE LIONS 227

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

PART OF PANEL IN THE COURT OF THE LIONS 231

ENTRANCE TO THE COURT OF THE LIONS 233, 237

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

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

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

NORTH GALLERY IN THE COURT OF THE LIONS 243

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

THE HALL OF AMBASSADORS 247, 253

MOSAIC IN DADO, HALL OF AMBASSADORS 248

GENERAL VIEW OF THE HALL OF AMBASSADORS 249, 251

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

PERSPECTIVE VIEW OF THE HALL OF AMBASSADORS 257

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

DETAIL IN THE HALL OF AMBASSADORS 261

KUFIC INSCRIPTIONS, HALL OF AMBASSADORS 263

MOSAIC ON DADO OF BALCONY, HALL OF AMBASSADORS 265

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

MURAL ORNAMENT, ENTRANCE TO THE HALL OF AMBASSADORS 269

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

AN ARABIAN ORNAMENT, HALL OF AMBASSADORS 273

AN ARABIAN ORNAMENT, ENTRANCE TO THE HALL OF AMBASSADORS 275

INSCRIPTIONS AND ORNAMENT, HALL OF AMBASSADORS 277

INSCRIPTIONS IN THE HALL OF AMBASSADORS 281

MURAL ORNAMENT, HALL OF AMBASSADORS 283

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

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

A CEILING IN OUTLINE, HALL OF AMBASSADORS 293

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

DETAILS OF GLAZED TILES IN THE HALL OF AMBASSADORS 297

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

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

MOSAICS IN DADO, HALL OF AMBASSADORS 301

CEILING OF GALLERY, HALL OF AMBASSADORS 303

EXTERIOR OF THE MOSQUE (PRIVATE PROPERTY) 304

FAÇADE OF THE MOSQUE 305

ELEVATION OF PORTICO ADJACENT TO THE MOSQUE 307

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

DETAILS OF ORNAMENT IN THE COURT OF THE MOSQUE 311

DETAILS IN THE COURT OF THE MOSQUE, EASTERN FAÇADE 313

ARCHED WINDOWS OF THE MOSQUE 315

INTERIOR OF THE MOSQUE 317, 319

THE MOSQUE, FROM KORÁN RECESS 319

ARAB LAMP IN THE MOSQUE 321

CHAMBER OF REPOSE 324, 325, 327

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

THE GARDEN OF “LINDARAJA” 329

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

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