Part 2
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.